Fusing Jazz and Transposition

CJceltics33 · Veteran Member Joined: 24 Aug 2017 Posts: 475

I am trying to learn how to improvise this summer, as well as work on my transposition. I know that when learning improvisation it is important to play in all keys fluently as to establish the "ear horn connection" (as others on this forum have told me and I am trying to work on). In what creative ways can I work on transposition (in the classical sense) and improvisation simultaneously?

Turkle · Posted: Wed May 13, 2020 7:37 am Post subject: Re: Fusing Jazz and Transposition

Yamahaguy · Heavyweight Member Joined: 09 Dec 2004 Posts: 3992

kehaulani · Posted: Wed May 13, 2020 8:04 am Post subject:

You are asking about transposing, too, and I don't quite understand the question. If you are reading lead sheets in concert key, you need to transpose them in your mind as you play. If it's already transposed, you play it as is. Is this what you're asking?
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CJceltics33 · Veteran Member Joined: 24 Aug 2017 Posts: 475

Thanks for the replies thus far!

Kehaulani, I am asking about working on improvisation and transposition (in the classical sense) in the same exercise. Hopefully that clears it up.

LilJohnnieC · Posted: Wed May 13, 2020 4:21 pm Post subject: Re: Fusing Jazz and Transposition

lipshurt · Posted: Wed May 13, 2020 5:04 pm Post subject:

I get th question
Take a tune like solar.....
Maybe you have a transposed Bb part...work the tune, and the changes
Put the accompaniment into iRealB

Then use a concert pitch part.....work it

Then transpose iReal into another key while you look at a part in some other key, probably the concert pitch part or whatever. Transposing the changes and how you play the changes into other keys is WAY harder than simply transposing a melodic line. Working the transpositions while improvising helps a lot with transposing in the classical sense
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Turkle · Posted: Thu May 14, 2020 5:01 am Post subject:

drboogenbroom · Heavyweight Member Joined: 16 Apr 2004 Posts: 697

Transpose the head into every key. This will work classical style melodic transposition.

Play the head with embellishment in every key. This will help with fluency and kind of improv 101.

Play chord tone patterns off the changes, then put them in every key. It doesn't just have to ascending arpeggios, mix it up and keep the tones as close to each other as possible (voice leading principles) This will teach you to read and think in the qualities and functions the ink actually represents.

Don't take short cuts (unless it's pure gig prep, in which case do whatever it takes to get paid and get called back). Make your brain do the work and chip away at it a little every day.

I think this kind of work is invaluable for any musician, even if they don't have any interest in improvising for performance. A little bit of this kind of work can go a long way towards developing literacy and fluency.

Kevin
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Ed Kennedy · Heavyweight Member Joined: 15 Jan 2005 Posts: 3187

Joe Daley, my improv teacher in Chicago had us take a tune a week and play it
through the circle of 5ths, every key. This is great ear training. You'll find quotes and snatches of tunes slip into your solos a la Dexter Gordon.

In classical transposition terms, down a half is A, Up a half is H, up a step, C, up a third - D, up a 4th Eb, up a 5th - F, down a 4th F Alto, etc. Some people use clefs for some transpositions: ie Bass cleff for down a 3rd (A on a C trumpet)