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Play jazz line language & tunes in all keys with these 4 jazz improvisation tips | jazzadvice.com
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4TricksToPracticingJazzlinesInAllKeys
PostedByForrestOnFebruary14,2016@7:35pmInJazzLanguage,Tips|Comments
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Practicinglinesinallkeysisamust,butitsnotthateasyorevenclearwhyitsso
importantinthefirstplace
Manyyearsago,IremembertryingtotakeaiiVlinethroughallkeysonthesaxophone
anditwasreallydifficult.
Iveevenhadseveraldecentplayerstellmetheystrugglewiththisskill.
Afteryearsofpractice,itsbecomeeffortlessanditsjustsecondnatureformetotake
linesthroughallthekeys.
Sofortoday,herearethetricksthatIvepickedupovertheyearsthatwillhelpyouthink
andplayinallkeys.
Whyplaylinesinallkeys?
Therearemanybenefitstoplayinglinesinallkeys.Themostobviousoneisthatitgives
youmaterialforeverykey.
Buttherearealotmorebenefitstoitthanthat
http://www.jazzadvice.com/4-tricks-to-practicing-jazz-lines-language-and-tunes-in-all-keys/print/
1/11
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Play jazz line language & tunes in all keys with these 4 jazz improvisation tips | jazzadvice.com
Playinglinesinallkeysimprovesyourtechnicalfacility
Practicingeveryrangeandfingeringonyourinstrumentyieldsbettertechnique,but,often
wehangoutinoneregisterandfallbackonourfingerhabits.Bytakinglinesthroughall
keys,wereforcedtohiteverypartofourinstrumentandworkthroughtrickyfingerings
thatwedotherwiseignore.
Playinglinesinallkeysgivesyoumentaldexterity
Whenyouplaylinesinallkeys,donotwritethemout.Dotheminyourmind.Iwill
reiteratethispointagainandagainbecauseitssoimportant.Youmusttransposetheline
inyourmind.Andbydoingsoyouwillstretchyourmindinexactlytherightwayitneeds
tobestretchedforimprovisation.Moreonthislater
Playinglinesinallkeysisgoodforyourear
Whenyoumovealinethroughallkeys,yourearisconstantlylisteningandcheckingto
makesureyouexecuteitcorrectlyineachnewkey.Bydoingso,yourtrainingyourearto
payattentiontointervals,melodies,andhowchordstructures.
Playinglinesinallkeyshelpsyouimprovisesmootherlines
Itsdifficulttoexplain,butthroughtheprocessoftakinglinesthroughallkeys,asit
becomestogeteasieryoullfindyourselfimprovisingsmootherlines,makingsmoother
voiceleadingfromchordtochordandimprovingyourgeneralmusicalflow.
Areyouconvincedyet?
Nowletsgetstartedwithhowtomakeithappen
Forgetsolfage.Thinknumbers.
YourenotJulief*&%#*ingAndrews!
Forgetsolfage.
http://www.jazzadvice.com/4-tricks-to-practicing-jazz-lines-language-and-tunes-in-all-keys/print/
2/11
15.2.2016
Play jazz line language & tunes in all keys with these 4 jazz improvisation tips | jazzadvice.com
Thinkinnumbers.Notonlyisiteasier,itsfarsuperior.
Thinkinginnumbersmakesiteasytotransposealineintoallkeysandstrengthensyour
earmindfingerrelationshipforeverykey.
Bythinkinginnumbers,youresimultaneouslyconnectingyourfingers,yourear,
andyourmindtotheharmony.
Thatspower.
Forexample,ifIknowImplaying3overCmajor,myfingersknowtheyreonthe3rdof
amajorchord,myearhearsthenoteImplayingasthe3rdofamajorchord(assuming
yourearknowswhatthethirdsoundslikeonamajorchord),andmymindknows
intellectuallythatImonthe3rdofamajorchord.
Andwhenyoubegintoplayalotofalteredchordtones,thinkinginnumbershelps
tremendouslybecauseyouhavethesenicelabelsyoucanthrowaroundwithease:b9,#9,
b5,#5.Itmakesiteasy.
Anotherimportantpointistomakesureyourethinkinginnumberswhichcorrespondto
thechordyoureplayingover.Soundslikecommonsense,butitsnot.
Iveseenmanystudentsthinkinginnumbersoveraparentkeyoroverasubstituted
chord.
Nowthelatter,ismoreacceptable,eventhoughitcanstillbedangerous.
Itsdangerouswhenyoudontunderstandhowthesubstitutionrelatestotheharmony
goingonbecausewithoutthisknowledge,youwontresolvethesubstitutioncorrectlyor
hearthesubstitutioninyourmind,whichmakesforaveryweaksubstitutionthekeysto
astrongsubstitutionarehearingitinyourmindandaclearresolutionifyoureresolving.
So,untilitssolid,trytothinkaboutthenumbersinrelationtothechordthatsgoingon
andthatwillsaveyoufromfumblinginanysituation.
Breakthelineupintoseveralpieces
http://www.jazzadvice.com/4-tricks-to-practicing-jazz-lines-language-and-tunes-in-all-keys/print/
3/11
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Play jazz line language & tunes in all keys with these 4 jazz improvisation tips | jazzadvice.com
Nowthisdoesntgoforreallyreallyshortlines,butmostlinescanbebrokenupinto
multiplelines.
Thishelpsyouamultitudeofways.
First,itgivesyoumorematerialbecauseitsmucheasiertousesmallerlinesthanlong
lines.
Ihearpeopleallthetimetryingtofittheselonglinestheyvetranscribedintotheirsolos.
Itdoesntsoundnaturalatall.
Butifyoubreakupthelineintosmallpieces,sayameasureorso,thenyounowhavea
workablemelodicunitthatyoucanuse.
Actually,thisisanotherbigtipthatalotofpeoplemiss.Whenyoutranscribealinemore
thanameasurelong,youmayfeeltheneedtokeepitwhole,likeyourenotallowedto
breakituporextractpartsout,orthatyoushouldnt.
Irememberfeelingthatatsomepointyearsago.Thattheselinesbelongedtoamaster
playerandwhenItookthem,Ishouldkeepthemintactbecausethatshowthelinewas
played.
Well,thisattitudewillshortchangeyou.Why?Becauseeventheimproviserwas
piecingthatmaterialtogether!
Yes,eventheywerenotinsertingthesewholebigblocksoflines,sowhykeepitlikethat?
Breakingthelineupintosmallerpiecesisessential.Itwillhelpyouplayinallkeys,itwill
giveyoumorematerialaswetalkedabout,anditwillteachyouhowtobeginthelineat
differentplaces.
Whosaysyouhavetostartthelineatthebeginningoruseallofit?
Togetthemostoutofatranscribedline,makesuretobreakitupintoseveralpiecesand
practiceeachindividuallyinallkeys.
TakethisBillEvanslineforinstance,fromWoodyNYouat1:42
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4/11
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Play jazz line language & tunes in all keys with these 4 jazz improvisation tips | jazzadvice.com
Hereitissloweddown:
Andhereswhatwecandowithit
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5/11
15.2.2016
Play jazz line language & tunes in all keys with these 4 jazz improvisation tips | jazzadvice.com
Seehowwebrokeitupintotwolines?Nowwehaveahalfdiminishedlineandadominant
7linethatwecanpracticeinallkeys.Wecanalwayslinkthembackuplaterifwewantto
aswell.
Startwithaneasykey,thenaddoneatatime
Whenyoufirststarttotakealinethroughallthekeys,tackleoneinsteadof12.
Begininaneasykeywithametronomeon2and4ataslowtomediumtempo.Gradually
increasethetempountilyoureplayingatleastsixteenthnotesat104bpm.
Anothertrickyoumightdoisbetweeneachtimeyouplaythelineoreveryfewtimesyou
playit,dontplayitonyourinstrument,butinsteadvisualizeit.
Thesecrettoplayinginallkeyseasilyisbeingabletovisualizeitinyourmind
effortlesslyinallkeys.So,remember:visualize,play,visualize,play
Thegoalisnotmerelytotakeitthroughallkeys,itstomasteritinallkeys!LikeIsayall
thetime,ifyoupracticesomethingshortofmastery,itstimewasted.Thisisblackand
white.
Theresnoinbetween.
Jazzimprovisationislikebeingintheheatofbattle.Onlywhatyoureallyknowcomesout.
Onceyoumasteritinonekey,addasecondkeybymovingdownahalfstep.Nowmaster
itinthatkey.
Visualize,play,visualize,play
Thenmovebacktoyouroriginalkey,playitonceandthenplayyournewkeyonce.And
thenrepeatthesetwokeystogetherlikethisforafewminutes.
Next,addathirdkey.
Visualize,play,visualize,play
Andoncethiskeyismastered,dothesamethingyoudidbefore.Addittotheothertwo,
playthemalltogether,thenaddanotherkey.
Keepdoingthisuntilyouveaddedallthekeys.
http://www.jazzadvice.com/4-tricks-to-practicing-jazz-lines-language-and-tunes-in-all-keys/print/
6/11
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Play jazz line language & tunes in all keys with these 4 jazz improvisation tips | jazzadvice.com
Playitinvariousrootmovementsanddirections
Playingalineinvariousrootmovementanddirectionsiswherethefunreallybegins.
AsIsaidbefore,Donotwritethelineout!
Youwilldotheentiretranspositioninyourmind.Yes,theentiretransposition,meaning
youcannotevenlookataseriesofrootpositionsonapagetohelpyouout.
Everythingwillbeinyourmind.Byforcingyourselftopracticethisway,youreincreasing
yourmusicalmemoryandflexingthemuscleyouactuallyusewhenyouimprovise.
Whenyouimprovise,youreawareofthechordyoureplayingover,thenextchordcoming
up,theform,whatyoureplayingandhowitrelatestotheharmony,whereyouretaking
yoursolointermsofdevelopment,whattherestofthebandisdoing,andmore
Howisthisextremeamountofmultitaskingpossible?
Itsonlypossibleifyouconstantlyforceyourselftopracticeinawaythatmakesyou
multitask.
Practicinglinesinvariousrootmovementsdoesthis.Herearetheessentialroot
movementstopractice:
Halfstepsup
Halfstepsdown
Wholestepsup(2keygroups,6keyseach)
Wholestepsdown(2keygroups,6keyseach)
Minor3rdsup(3keygroups,4keyseach)
Minor3rdsdown(3keygroups,4keyseach)
Major3rdsup(4keygroups,3keyseach)
Major3rdsdown(4keygroups,3keyseach)
Cyclemovement(descendingperfect5ths/ascendingperfect4ths)
WhenIspecifyaKeygroupthatmeansyouhavegroupsofseveralkeystopractice.For
example,ifyouplayalineupanddowninwholesteps,youreonlyhitting6keys,so,you
havetohittheotherkeygroupcontainingtheother6keys.
So,ifIweretakingalinethroughallkeysinvariousrootmovementsanddirections,it
wouldlooklikethisbutrememberyouwoulddoALLofthisinyourmindwithout
writingthelinesoutorlookingatthechordchangesoftherootmovements:
http://www.jazzadvice.com/4-tricks-to-practicing-jazz-lines-language-and-tunes-in-all-keys/print/
7/11
15.2.2016
Play jazz line language & tunes in all keys with these 4 jazz improvisation tips | jazzadvice.com
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8/11
15.2.2016
Play jazz line language & tunes in all keys with these 4 jazz improvisation tips | jazzadvice.com
Whenweretakingalinethroughallkeysinvariousrootmovementsanddirections,we
havetothinkabout:
WhatchordamIon?
Whatchordisnext?
AmIplayingtherightchordtonesinthelineforthecurrentharmony?
Soundsabitsimilartotheprocesswejusttakeabout,huh?
Thatsright.Itsverysimilartothementalprocessgoingoninthebackgroundduring
improvisationthatneedstobesoeffortlessitdoesnthinderourabilitytoimprovise.
Thatswhythisexerciseissovaluable.Itsoneofthemajorwaysthatwecanworkonthis
mentalprocessandmakeiteffortlesssowecanconcentrateonmakingmusicinsteadof
thedetailsofwhatsgoingon.
And,practicingthiswayiswhenthingsreallycometogetherwithaline.Itswhereyou
begintogainflexibilitywithit,improveyourtechnique,workonyourear,andevenfind
newwaysofapplyingtheline.
Forinstance,maybeyourepracticingthatBillEvanslineinminorandmajorthirdsand
youhearatranspositionthatsoundscooltoyourear.Andthenyouthink,WhatifIplayit
overaminoriiV?
http://www.jazzadvice.com/4-tricks-to-practicing-jazz-lines-language-and-tunes-in-all-keys/print/
9/11
15.2.2016
Play jazz line language & tunes in all keys with these 4 jazz improvisation tips | jazzadvice.com
Sure,theBnaturaldoesntbelongtotheC7chord,butitstillsoundsgreatbecauseofthe
strengthoftheline.Letyourearbeyourguide.And,ifitsnottoyourelikingsimply
adjustthetransposedlinesoitlaysoverthetargetchordtoyoureliking.
Asyoucansee,practicingalineinvariousrootmovementsanddirectionsissogoodfor
yourmusicalmind,fingers,andears.
Itstrickythough.
Justasyoufocusedononekeyatatimewhenlearningalineinallkeys,focusonone
rootmovementatatime.
BeginwithhalfstepsupanddownandCyclemovement,ineitherorder.Eitheroneof
theserootmovementsgetsyouaccustomtothelineinallkeys,whichisagreatwayto
start.
Onceyouvemasteredhalfstepsinbothdirectionsandcyclemovement,movetowhole
stepsinbothdirections.Makesuretopracticebothgroupsofwholestepsifyouplaya
lineinwholestepsyoureonlyhittingsixofthekeys,soyouhavetoalsohitthegroupup
ahalfstep.
Then,movetominorthirdsinbothdirections,allfourgroups,followedbymajorthirdsin
alldirections,allthreegroups.
IalwaysusedtowonderwhetherIshouldpracticemorerootmovementsthanthis
becausepeopleusedtotellme,allkeys,allrootmovements,bothdirections.
Youcanpracticethemfurtherifyoulike,playingthelineintritones,perfectfifth,etc
Buttherootmovementsyoullgetthemostoutofandtheonesyouwanttobesureto
practicearetheoneswetalkedabout.
http://www.jazzadvice.com/4-tricks-to-practicing-jazz-lines-language-and-tunes-in-all-keys/print/
10/11
15.2.2016
Play jazz line language & tunes in all keys with these 4 jazz improvisation tips | jazzadvice.com
Itstimetostartpracticinglinesinallkeys
Playinglinesinallkeysisanabsolutemustforanyjazzmusicianwhowantstogetbeyond
theircurrentlevel.
Itsdifficult,butIpromiseyouitbecomesveryeasythemoreyoupracticeit.
Makesureyouarethinkinginnumbers.Everytimeyoulearnaline,gothroughitin
yourmindandnameeachnoteinrelationtotheharmony.Actuallysay,13567#9or
whateverthelinemaybe.
Numbersareaquickwaytoconnectyourear,mind,andfingers.Bydoingsoyoullmake
playingsomethinginallkeysmucheasierandneverbecomekeydependent.Inother
words,youalwayswanttobeekeyindependent,meaningyouunderstandthe
relationshipsgoingonsomuchthatthekeydoesntaffectyou.
Breakthelineupintoasmanypiecesasyoulike.Thisishowthelineactually
becomesuseful.
Youcantinsertalonglineanditsverydifficulttoimprovisewithlongblocksofmaterial.
Whenyouabreakalineup,youunleashitspossibilities.
Masterthelineinonekeybeforeaddingmore.Insteadofgoingstraighttoall12,just
pickone.
Truemasteryofthelineinallkeyswillgiveyouthefacilityyouneedtotakeitthroughall
keysinvariousrootmovements.So,onceyouvemasteredthelineinallkeyswitheither
halfsteporcyclerootmovement,then
Practicethelineinvariousrootmovementsanddirections.Everythingcomes
togetherandyougainatrueflexibilitywiththeline,stretchingyourearandyourmindto
engageinamentalprocesssimilartothatofimprovisation.
Nowyourereadytotakelinesthroughallkeys!Happypracticing.
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