Transcribing is a key element in learning the language of jazz improvisation. Through
\ntranscription you will be able to become familiar with the improvisational style of key
\nand influential jazz soloists by focusing on their individually unique note choices and
\ninflections. Additionally, you will also learn the key building blocks of the jazz language,
\nlearn the key and important components of popular solos by key and influential jazz
\nsoloists, build a foundation for your own style of jazz improvisation, mathematically
\nformulate note to chord relationships as it relates to jazz theory.
\nObjectives:
\nI. CHOOSING A SOLO
\n1. Find a solo that you are able to play at your skill level.
\na. Don\u2019t attempt a solo that is too difficult
\nb. Choose a solo that is comprised of whole, half, quarter and eighth notes at a moderate
\ntempo.
\n2. Sing and internalize the solo.
\na. You can\u2019t play what you can\u2019t hear.
\nb. If you have memorized the solo by way of singing it, then it will be much easier to
\napply to your instrument.
\nc. After you have memorized your chosen solo by singing, internalize it on your
\ninstrument or by writing it down note for note.
\nII. INTERVALIC RELATIONSHIPS – Treat your chosen solo like an etude
\n1. Focus on the difficult sections.
\na. Practice the difficult sections at a slower tempo.
\nb. Recognize and internalize all intervalic relationships.
\nc. Put a concentrated focus on the \u201cunorthodox\u201d intervals; ex. whole tones, tri-tones,
\naugmented fifths, major and minor sevenths
\nIII. NOTE TO CHORD RELATIONSHIPS
\n1. Jazz Theory is based on Western European Classical music theories. In jazz
\nimprovisation and composition, we use notes that fall outside of these Western European
\nClassical music theories. The notes cited above in item II-1c. as unorthodox intervals are
\nrecognized in jazz by a unique nomenclature.
\nFor example; b5 (flat five) or #11 (sharp eleven), #5 (sharp five), b9 (flat 9), #9 (sharp
\nnine), b13 (flat thirteen)
\na. When you hear a note in your chosen solo that is unrecognizable to Western European
\nClassical music theories, investigate that note and attempt to identify it using jazz
\nnomenclature. For example; if the note in question is C# and the chord is GMaj, what is
\nthe jazz nomenclature that correctly identifies C#?
\nIV. THE ii V7 I CHORD PROGRESSION
\n1. 95% of jazz improvisation and composition is exclusively based on this chord
\nprogression. You must understand how this progression is built and how it behaves. The
\nwork and time you spend transcribing your chosen solo will be better economized if you
\nare able to recognize and identify the locations of this chord progression in the form.
\nV. THE RELATIONSHIP OF SCALES & ARPEGGIOS THE CHORD
\nPROGRESSION.
\n1. There are many ways to create an improvisational idea over a chord progression An
\nimprovised solo in jazz is a melody that is extracted from the scales. The work and time
\nyou spend transcribing your chosen solo will be better economized if you are able to
\nrecognize a group of notes as being part of a scale or arpeggio.
\nCD 1 Transcriptions
\n1. West End Blues – Louis Armstrong – Ken Burns Jazz Collection: Louis Armstrong
\n2. Potato Head Blues – Louis Armstrong – The Essential Louis Armstrong
\n3. Cornet Chop Suey – Louis Armstrong – This is Jazz vol. 1
\n4. The Stampede – Fletcher Henderson – A Study in Frustration
\n5. Rockin Chair – Gene Krupa – Drummin Man
\n6. I Don’t Wanna Be Kisssed – Clark Terry – Portraits
\n7. Rockin in Rhythm – Clark Terry – The Happy Horns of Clark Terry
\n8. Blue Skies – Harry ‘Sweets’ Edison and Zoot Sims – Just Friends
\n9. A Little Tutu – (same as #8)
\n10. Anthropology – Fats Navarro – At The Royal Roost
\n11. Lady Bird – (same as #10)
\n12. April in Paris (instrumental) – Count Basie & Quincy Jones – Ken Burns Jazz: Count
\nBasie
\n13. Short Story – Joe Henderson – In ‘n Out
\n14. ‘Philly’ Twist – Kenny Dorham – Whistle Stop
\n1. If I Were A Bell – Miles Davis Quintet – Relaxin with Miles
\n2. Straight, No Chaser – Miles Davis – Newport 1958
\n3. So What – Miles Davis – Kind Of Blue
\n4. Sandu – Clifford Brown and Max Roach – Alone Together
\n5. Blues Walk – (same as #4)
\n6. Joy Spring – (same as nos. 4 & 5)
\n7. Ceora – Lee Morgan – Cornbread
\n8. Locomotion – John Coltrane – Blue Train<\/p>\n","protected":false},"excerpt":{"rendered":"
Transcribing is a key element in learning the language of jazz improvisation. Through transcription you will be able to become familiar with the improvisational style of key and influential jazz soloists by focusing on their individually unique note choices and inflections. Additionally, you will also learn the key building blocks of the jazz language, learn…Continue reading Transcribing Solos<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":24,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"page_fullwidth.php","meta":{"footnotes":""},"_links":{"self":[{"href":"https:\/\/www.derrickgardnermusic.com\/wp-json\/wp\/v2\/pages\/323"}],"collection":[{"href":"https:\/\/www.derrickgardnermusic.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.derrickgardnermusic.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.derrickgardnermusic.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.derrickgardnermusic.com\/wp-json\/wp\/v2\/comments?post=323"}],"version-history":[{"count":1,"href":"https:\/\/www.derrickgardnermusic.com\/wp-json\/wp\/v2\/pages\/323\/revisions"}],"predecessor-version":[{"id":324,"href":"https:\/\/www.derrickgardnermusic.com\/wp-json\/wp\/v2\/pages\/323\/revisions\/324"}],"up":[{"embeddable":true,"href":"https:\/\/www.derrickgardnermusic.com\/wp-json\/wp\/v2\/pages\/24"}],"wp:attachment":[{"href":"https:\/\/www.derrickgardnermusic.com\/wp-json\/wp\/v2\/media?parent=323"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}