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Topic: Jazz tutorial recommendation? |
Bob Stone
From:
Gainesville, FL, USA
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Posted 10 Oct 2017 1:39 pm |
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I am looking for a jazz/improvisation/harmony theory tutorial book that comes with recorded examples/exercises, preferably on CD. Standard notation, no tab.
Recommendations?
Thanks |
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David Venzke
From:
SE Michigan, USA
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Paul Seager
From:
Augsburg, Germany
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Posted 10 Oct 2017 11:02 pm
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A second vote for Aebersold. The books are simple to follow, no excessive theory (which I think muddies the water) and the recorded backing tracks move musically so that one can play the melody through twice and then on to solos, feels more realistic.
The first book in the series is a set of scale related exercises and very useful too but if you know your scales, download the free jazz handbook and then jump to volume 54 or the various blues books.
Another handy tool is the 'phone / tablet based iRealPro and the Jazz 400 playlist containing most standards, a great play-along tool but no examples or lead sheets.
\ paul |
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Bob Stone
From:
Gainesville, FL, USA
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Posted 11 Oct 2017 3:39 am
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| Thanks! |
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David M Brown
From:
California, USA
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Posted 11 Oct 2017 3:40 am
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The Aebersold series is a standard for jazz instruction. Of course I recommend it - with a caveat.
It teaches only the chord/scale approach and not the older method of basing improv off of the chord arpeggios of the song.
"no excessive theory"
All you need to know are your basic scales, your chord arpeggios, and a few specialized scales like diminished and whole-tone.
https://www.jazzadvice.com/scales-are-not-the-secret-short-cut-to-jazz-improvisation/
"When you first began to learn how to improvise, if you studied out of a book on jazz improvisation or took a lesson on how to solo over chord changes, chances are the first thing you encountered were scales....Scales are not the hidden key to improvisation – if only it were that easy! Contrary to what many method books or jazz educators will tell you, learning all your scales will not guarantee that you’ll be able to improvise in all 12 keys or that you’ll be able to solo successfully over any standard."
https://www.jazzguitarlessons.net/playing-jazz-using-chord-notes-versus-scales.html
"I’ve conversed with a well known studio musician (late ’50s through early 70s) in Hollywood. .... He does not believe in using strictly scales to learn how to improvise in jazz. He said that, in the 1950s, nobody did: they concentrated on the chords, that is, the chord notes "
http://fareed.com/lessons/taking-the-fear-out-of-jazz-improvisation-jazz-theory-made-simple/
"First of all, forget all that stuff about modes and altered diminished whole-tone depreciated scales. I’ve hung out and played with a lot of the jazz greats and most of them would have a hard time even playing a phrygian mode, let alone using it in their own solos. Jazz is basically about playing melodies over chords. So to play jazz we have to know about chords. Once you know how to play chords on the guitar, then improvising becomes simple."
and finally Berklee:
https://www.berklee.edu/bt/121/chord.html
https://www.berklee.edu/bt/121/chord2.html
" Many students begin studying chord scales early in their musical education and attempt to apply the knowledge acquired immediately on their instruments. Unfortunately, this often happens too soon in the student's development as an improviser--before he or she has learned how to shape an appealing improvised melody by ear on a chord or chord progression using only, or mainly, chord tones."
Unfortunately I can't find an easy online source for lessons in this older style of jazz or I'd include that too.
Anyway, the Aebersold stuff is fine as long as you know the BASICS first, that is, your chord (and related arpeggios) and how to play over those. |
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Bill Leff
From:
Santa Cruz, CA, USA
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Posted 11 Oct 2017 7:47 am
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Tough question. Jazz is like an ocean. There are so many styles that can fit into that genre. I would start by focusing on an relatively easy genre with simple, familiar chord changes and solos played with fewer notes and slower speed. In other words, don't start with Charlie Parker. Learn arpeggios to play over a chord and string them together. In other words, keep it really simple for awhile and then build more complexity to what you already have learned and internalized. And good luck! I've struggled with it for 50 years and still suck. Keeps me humble at least.
And everything David posted above is spot on IMO. |
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Paul Seager
From:
Augsburg, Germany
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Posted 13 Oct 2017 7:29 am
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| Quote: |
| " Many students begin studying chord scales early in their musical education and attempt to apply the knowledge acquired immediately on their instruments. Unfortunately, this often happens too soon in the student's development as an improviser--before he or she has learned how to shape an appealing improvised melody by ear on a chord or chord progression using only, or mainly, chord tones." |
Yes! I agree with this and I suspect this is why I find many current jazz compositions so dreary. But to return to Bob's question I like Aebersolds because you go straight to the music, there is only minimal guidance. I think one develops through just playing over the changes, playing off the melody and so on.
I bought the Mark Levine theory book about 20 years ago and most of the time it helps keep other books upright on my shelf. The most valuable parts (and this is IMO) are the listings of valuable recordings and the section on song forms (heads).
I truly think that learning the songs and listening to the great players is far more educational than theorizing each one. As an old musician friend often said: "if it sounds good it is good and if it sounds weird, well then it's probably deep"
\ paul |
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David M Brown
From:
California, USA
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Posted 13 Oct 2017 9:37 am
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| Paul Seager wrote: |
Yes! I agree with this and I suspect this is why I find many current jazz compositions so dreary. But to return to Bob's question I like Aebersolds because you go straight to the music, there is only minimal guidance. I think one develops through just playing over the changes, playing off the melody and so on.
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So many current players have learned all the same material, the same method books, the same memorized solos (Giant Steps anyone?) that it does get drearily similar.
I like it when a jazz player has a distinctive voice.
And as you say, the best part of the Aebersold series is just being able to solo over a good rhythm section that never gets tired of repeating a tune. |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 13 Oct 2017 10:36 am
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But surely Modes and arpeggios get your skills and sounds you need.
Example Doug Jernigan.
He sounds fresh every time and is by my ear IMO the best there ever was if you hear his catalogue and articulation, cleanliness and speed and connected lines never ending outlining the changes.
And from his Berklee stint he outlines chords with Modes. Even in his video tutorials he stresses:
"Scales are the key to single string"
And I'm hard pressed to find anyone who can play better even Emmons himself couldn't play those blinding speeds connected through changes. And even if he did if I sound as good as Doug I would die a happy man.
Just my two pence.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 13 Oct 2017 10:44 am
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Also
Many great Jazz players all played solos Note for note
but equally many never did and used modes but are still great.
And Giant Steps if played note by note even on a recorder would still impress the pants off of me. But maybe that's just me.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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