Vocabulary Learning (Lick Learning)Įver notice how Barry Harris can sound so much like Bud Powell and Thelonius Monk at times? Why is this? He’s studied a ton of their amazing vocabulary.Īs an example, take a listen to Barry playing Monk: None the less, every one of these guys could play and swing their #$$es off from slow ballads to burning up tempo tunes. Very few pianists could burn like Oscar). They all had high degrees of technical proficiency and continued to develop their chops as their careers progressed (with Oscar Peterson probably being the one with the most emphasis on this. They all studied and transcribed the music that came before them.įor example: Barry Harris (although not an inventor of bebop) has an almost encyclopedic knowledge of the bebop vocabulary.īill Evans was thoroughly grounded in bebop, modal playing, and impressionistic classical music. They all respected the tradition and the jazz vocabulary that came before them. The takeaway of course here is that spending time learning tunes is clearly very important. Here’s an article on jazz standard tune learning. How do we know this? The sheer amount of tunes these greats had/have recorded. They all had/have an incredible amount of repertoire under their belt. So, I’d like to share with you 5 of the common elements these jazz greats seemed to make a part of their practice routine. Yet, they still all seemed to study many of the same core elements of jazz music.īy understanding what these core elements are you’ll have a much clearer path for your own practice. Musicians like Bill Evans, Chick Corea, Barry Harris, and Oscar Peterson all had/have their unique sound. Of course I was interested in the individual exercises each musician did but even more so I was interested in the common elements they all seemed to practice. I’ve spend alot (maybe too much) time in the last few years researching what many of the great jazz piano players did in their practice routines. So, how do you simplify the abundance of information? How can you come up with a long term game plan for your practice that will get you the musical results you desire? Some guy on a forum insists that the only way to get good is learn every solo from Charlie Parker’s Omnibook. You read one book and it says you should practice your scales for an hour every day.Īnother person you meet says you should only transcribe and work on your ears and don’t bother with technique study. The amount of material it seems you have to digest to be a good jazz musician can seem unbelievably overwhelming. There are hundreds (maybe even thousands) of directions you can go on any given day inside the practice room. Or, in other words, “How do I practice so I’m consistently moving in the right direction and not wasting my freakin’ time?” Please remember to transpose before you print or save as a PDF.One of the most common questions I get from my beginning and intermediate jazz students is, “How do I practice jazz successfully?” Once you've made a purchase and if your chosen piece is transposable, you can then adjust it to your desired key. Conversely, choosing -1 Semitone for a piece originally in C will transpose it to B. A completely white icon indicates transposition options, which include: Original, 1 Semitone, 2 Semitones, 3 Semitones, -1 Semitone, -2 Semitones, and -3 Semitones.įor example, if a song's original key is C, selecting 1 Semitone will transpose it to C#. To check, look for the "notes" icon at the bottom of the viewer. We highly recommend verifying transposition availability before completing your purchase. While a majority of our scores support transposition, there are exceptions. However, if the feature is unavailable for that particular score, the "notes" icon will appear grayed out. If the piece is eligible for transposition, a range of semitone options will be displayed. To transpose "Here's That Rainy Day", simply click on the "notes" icon located at the bottom of the viewer.
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