![]() Here Jarrett changes its quality to a dominant 7 chord to point to the Db major chord. In the tune itself, this chord is played as a major 7 chord, with the major 7 in the melody. Jarrett plays this 3-5-7-9 arpeggio in m.4. Some rhythmic variations and displacements can disguise the repeated pattern and make it sound more organic. It could be described as a descending arpeggio (7-5-3-1) with one pick-up note or leading tone, and one passing tone.Īpply this idea to the entire progression. JARRETT EXERCISES - 2 - © 2010 Bert Ligon As the pat-tern becomes more familiar, try different rhythmic variations. It clearly lines up with the chord – a 5-3-1 arpeggio idea with one passing tone, which could be expressed as a 5-3-2-1 pattern.Īpply this fragment to the entire progression (only the first eight measures are shown). SIMPLE EXCERPTS Jarrett plays this simple line in the first measure of the form. Attention should be paid to ap-propriate jazz phrasing, articulations, accents and good time feel. I suggested taking excerpts breaking them down, applying them several places in the progression, finding ways to con-nect these excerpts, and through this process, develop vocabulary. She can probably sight read it at tempo, but is unable to improvise using the vocabulary. One of my primarily classically trained students transcribed the first 36 measures of a Keith Jarrett improvisation over the chord changes to All the Things You Are from YouTube. It might be easier when breaking apart shorter excerpts from that solo. That is difficult when deal-ing with memorizing a 128 measure solo. In order to improvise, one must get into the thinking behind the notes. But has playing non-jazz etudes and pieces note for note with correct style helped them with improvisation? Students who focus just on memorizing other’s work, whether it is jazz solos or classical pieces are typically the least prepared to improvise, even though they may have very well developed technique on their instruments. I can imagine this would be very helpful. Should they learn it note for note matching articulations. Students often ask what they should do with the solos after transcribing them. ![]() It will do little to help their ears if they are using software to move the solo note by note and hunt and peck to find that note. It will certainly improve their ears if they are trying to hear the relationships of pitches in a phrase. Jazz educators tell students that transcribing solos will help them learn to improvise. JARRETT EXERCISES Exercises Developed from Excerpts of a Keith Jarrett Improvisation - by Bert LigonĪll The Things You Are (Transcribed by Susan Zhang JARRETT EXERCISES - 1 - © 2010 Bert Ligon As the pat- tern becomes more familiar, try different rhythmic variations. Apply this fragment to the entire progression (only the first eight measures are shown). It clearly lines up with the chord – a 5- 3-1 arpeggio idea with one passing tone, which could be expressed as a 5-3-2-1 pattern. Attention should be paid to ap- propriate jazz phrasing, articulations, accents and good time feel. I suggested taking excerpts breaking them down, applying them several places in the progression, finding ways to con- nect these excerpts, and through this process, develop vocabulary. That is difficult when deal- ing with memorizing a 128 measure solo. ![]() ![]() JARRETT EXERCISES - 1 - © 2010 Bert Ligon JARRETT EXERCISES Exercises Developed from Excerpts of a Keith Jarrett Improvisation - by Bert Ligon All The Things You Are ( ) Transcribed by Susan Zhang Jazz educators tell students that transcribing solos will help them learn to improvise. ![]()
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