Archive for the ‘jazz’ Category

Rhythm in jazz

Thursday, April 9th, 2009

Rhythm is the most important element in jazz.

If rhythm is played well, the audience will react positively.

Musicians have problems with rhythm:

— lack of exposure to listening to artists

–result from tension in the body

–technical difficulties with the instrument; the more control you have your instrument, the less barrier it presents to expressing yourself.

To get rid of tension: method that teaches coordination and relaxation such as yoga, physical exercise, dancing, meditation etc are useful

The way the rhythm is played is determined by the style of the music.

Swing — evolved around 1900 in new Orleans.

–the strong accent on the off-beats which is the wak beats in Western art music.

–the downbeats were often anticipated, creating synocpation.

Ragtime — evolved from 19th C dance known as the cakewalk, employed syncopation which was called ragging the melody.

— ragtime relied on straight 8th notes and dotted 8th-16th note rhythms. Therefore it did not swing in the same manner as the early jazz bands and is closer rhythmically to Western art music.

Latin American rhythms:

Bossa Nova, Samba, Clave — has underlying basis of the mambo, cha cha, meringue, salsa

Jazz

Thursday, April 9th, 2009

“Jazz is not about flashy licks.

It’s a story with a beginning, middle and end.

You must first learn the vocabulary

–scales, chords, etc….then let it fly.

And be sure to listen inside the rhythm section

–that’s the motor.

Stan Getz, the tenor saxophnist

Strategies to learn jazz improvisation

Thursday, April 9th, 2009

Some artists have come up with the following 8 practices that you need for improvisation:

1.  Internalize the rhythmic nature of the music

2. Understand jazz theory (forms, harmonic progressions, scale/chord relationships)

3. Practice scales, arpeggios, patterns, phrases derived from the vocab of jazz

4. develop the ear

5. transcribe improvised solos by the masters

6. Memorize jazz compositions and standard repertoire

7. Listen and respond to other musicians whom you are playing with

8. Become attuend to the inner workings of the mind, the realtionship between your inner self and the music you create, and play spontaneously without undue premeditations