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How to practice jazz improvisation



 
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Paolinos
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PostPosted: Sun Aug 19, 2018 2:48 pm    Post subject: How to practice jazz improvisation Reply with quote

Hello everyone! This is my first message on this fantastic forum.
I'm Paolo, a professional jazz/commercial trumpet player from Italy.
I have one very hot question for you:
How can I set an efficient daily practice routine for improvisation?
Premise: it's two years that I've been studying jazz trumpet in the conservatory, but there is still one point that's not clear to me:
I study everyday II-V-I patterns, scales, arpeggios and so on; I've studied about 60 lessons of the Aebersold topic (thaaaaaank you Tom!!!), I rotate one tonality per week (as explained in Jim Grantham's Jazzmaster Cookbook)... Well... What I have to do when improvising? Connect a bunch of patterns that I hear in mind? Think only about the tonality/chord/scales/arpeggios/melodic substitutions/other techniques and not the patterns (that maybe will come out naturally?)? Don't think nothing? Play only, forgetting all the theory rules and the practice made before?
Thank you in advance
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PostPosted: Sun Aug 19, 2018 4:34 pm    Post subject: Re: How to practice jazz improvisation Reply with quote

Paolinos wrote:
Hello everyone! This is my first message on this fantastic forum.
I'm Paolo, a professional jazz/commercial trumpet player from Italy.
I have one very hot question for you:
How can I set an efficient daily practice routine for improvisation?
Premise: it's two years that I've been studying jazz trumpet in the conservatory, but there is still one point that's not clear to me:
I study everyday II-V-I patterns, scales, arpeggios and so on; I've studied about 60 lessons of the Aebersold topic (thaaaaaank you Tom!!!), I rotate one tonality per week (as explained in Jim Grantham's Jazzmaster Cookbook)... Well... What I have to do when improvising? Connect a bunch of patterns that I hear in mind? Think only about the tonality/chord/scales/arpeggios/melodic substitutions/other techniques and not the patterns (that maybe will come out naturally?)? Don't think nothing? Play only, forgetting all the theory rules and the practice made before?
Thank you in advance


Something I think you left out is dedicated listening to great jazz players.

Spending time actively listening (as opposed to passive listening) to players you admire will help you connect the dots.

Having all the theory is pretty useless if you don't know what a great jazz player sounds like.

I also recommend finding one great album and listening to it 500 times to the exclusion of everything else. Then, find another great album and listen to it 500 times. That's how the language gets into your heart and your mind.

The stuff you are working on is like studying vocabulary words daily but never trying to construct sentences or paragraphs or stories.

You haven't been wasting your time, trust me, but dedicated listening is the missing link in what I read above.
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TrumpetMD
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PostPosted: Sun Aug 19, 2018 5:10 pm    Post subject: Re: How to practice jazz improvisation Reply with quote

Paolinos wrote:
How can I set an efficient daily practice routine for improvisation?

I suppose there are a lot of ways to approach this. But here what I've been doing for the past 5+ years. I practice about 90 minutes daily, the first 30 minutes on fundamentals, and the last 60 minutes on jazz studies. I may vary this routine, based on what I want to work on. But following is the general format.

I pick a different key each day, and run through a basic complement of jazz scales and patterns in that key. This way, I rotate through all 12 keys every 12 days. I run though about 20 jazz scales, a number of ii-V-I patterns, pentatonic patterns, triad patterns, four-note patterns, and arpeggios. I also run though major blues, minor blues, and rhythm changes in that key.

I work through Jerry Coker's Patterns For Jazz. I basically run through the book systematically, but I feel free to skip sections, depending on what I want to work on, and what I think I can incorporate in my solos. I work on everything in 12 keys, and I memorize every pattern I practice.

I work on new tunes, or learn old tunes in new keys. I commit everything to memory. I follow approach in Aebersold's free Jazz Handbook on page 10 on how to learn new tunes.

Finally, I agree with Rich's comments about listening (and emulating) others. I used to do a lot more listening, transcribing, and playing along with records.

Paolinos wrote:
Well... What I have to do when improvising? Connect a bunch of patterns that I hear in mind? Think only about the tonality/chord/scales/arpeggios/melodic substitutions/other techniques and not the patterns (that maybe will come out naturally?)? Don't think nothing? Play only, forgetting all the theory rules and the practice made before?

You're definitely going to get a lot of answers here. And if something works for someone, that's great. But here's what I do.

I think about a lot of things when I'm improvising, although much of it is more in the background. I think about the melody, partly as a place holder, and partly to keep my solo somewhat compatible with the given song.

I also think about the changes (the written changes as well as the possible alternative changes the band is playing). My goal is to make sure what I'm playing is compatible with what the band is playing.

Finally, I'm thinking about what I'm trying to communicate musically. I almost never close my eyes and blow. And I never think "that's a C7 chord, so I can play these notes". But I always have a plan, even though that plan is likely to evolve as I'm playing.

Mike
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kehaulani
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PostPosted: Sun Aug 19, 2018 5:25 pm    Post subject: Reply with quote

Not that what I did is applicable to everyone, but I learned how to sing and scat tunes before I ever tried to play them. Learning first without the horn freed me up for ideas first, then after that, added an instrument.

Next is, frankly, stealing ideas. That is transcribing solos, getting not only the technique down, but understanding how and why someone made the choices they did. Clark Terry says, "Imitate, Assimilate, Innovate".

Get a good regimen. I first used recorded backgrounds, then playing jam sessions and in any group I could find. Aebersold Vols. 1, 2 and 54. An intermediate method that helped me was The Goal Note Method by Shelly Berg. YMMV. Aebersold has a good little primer by Jerry Coker on How to Practice Jazz.

Above all, Jazz is an aural art. Listen voraciously, not only to recorded music but to as much live music as you can. Support your local musicians! Develop your ear.

Theory - learn to listen first. Then, only when you get stuck, learn enough theory to solve your immediate problem. Don't get bogged down on theory but use it when you need it.
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Paolinos
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PostPosted: Mon Aug 20, 2018 5:03 am    Post subject: Reply with quote

Thank you all for your precious advices!
Well, really I listen to a lot of jazz, but having Spotify premium is a double-sided blade:
I listen a great quantity of artists, but I rarely focus on one album, maybe I have to change this thing and steal a bunch of ideas in a "passive way"...
Also: this work that I'm doing everyday is worth it?
Thank you
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jhatpro
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PostPosted: Mon Aug 20, 2018 5:48 am    Post subject: Reply with quote

You can’t learn to swim by listening to people splash around in the pool. You’ve got to get in the water.
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kehaulani
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PostPosted: Mon Aug 20, 2018 9:14 am    Post subject: Reply with quote

Paolinos wrote:
Well, really I listen to a lot of jazz, but having Spotify premium is a double-sided blade: I listen a great quantity of artists . .

Just keep in mind, hearing is not listening.
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TrumpetMD
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PostPosted: Tue Aug 21, 2018 2:06 pm    Post subject: Reply with quote

jhatpro wrote:
You can’t learn to swim by listening to people splash around in the pool. You’ve got to get in the water.

Absolutely.

Mike
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Bach Stradivarius 43* Trumpet (1974), Bach 6C Mouthpiece.
Bach Stradivarius 184 Cornet (1988), Yamaha 13E4 Mouthpiece
Olds L-12 Flugelhorn (1969), Yamaha 13F4 Mouthpiece.
Plus a few other Bach, Getzen, Olds, Carol, HN White, and Besson horns.
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Paolinos
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PostPosted: Fri Aug 24, 2018 4:43 pm    Post subject: Reply with quote

Thank you all.
Now I'm beginning to do a workout that maybe can be useful for someone:
Sit at the piano, play the chord changes slowly and do everything I know on them (scales, chords, substitutions, licks, patterns etc), trying to internalize the sound of the phrases that I chose on the chord.
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robbo
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PostPosted: Fri Aug 24, 2018 11:43 pm    Post subject: Reply with quote

Hey Paolinos,

The thing that stood out to me most of all is that it's only been two years! That's not very long really.

I like the sound of what you're doing. The only thing I'd add which is what I tell my students to dedicate part of your practice to throwing away the theory. At the end of your practice do 15 or more mins with backing tracks of a tune and just play.

I agree with practicing patterns etc, with the goal that they get into your subconscious. If you've been practicing Freddie licks and you listen to lots of Freddie, you'll find some of that naturally coming in.
I know people think you'll just end up like someone else. Many criticise Sonny Stitt for being a Parker rip off. Well, I'd be happy with that

Rob
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