![]() ![]() Even if you can play them at tempo in the original keys. Start these transpotitional type ear exercises slowly. You want to be in control of all the elements. It will free you from thinking along one line.Įxercises that require more ear than technical training must be initiated slowly. This in itself will add a dimension to your music that will far transcend "jazz devices", patterns and repetition with modes and scales. You can retain the same relative fingering with less crossovers, retain classical fingering with typical crossovers, or mix and match as comfort dictates, but the technique is secondary to learning that all 12 keys are really one. The perspective will only very slightly change physically key to key because of the configuration of the hand vs. Your world will be exactly the same and you'll exercise the same mastery over it despite your vantage point. You'll know, because at that point it won't matter whether you're playing it in the original key you learned it in or standing on any other step of the 12-rung ladder. ![]() A super exercise! Do you do this as an accuracy exercise, should you be shooting for original tempo? How do you know when to move to the next phrase? Play them in every key, using your ear first, and the transcription second. To take your playing to a higher level, when you're transcribing and learning these stretches, transpose them. ![]() So how do people go about learning this 'new jazz'? Do you have to move to New York to really get involved in this kind of music-making? its not important that they explore this kind of free-playing. I know all the teachers I had are great, but they've certainly not moved beyond that style, and a good part of musicians I know are just comfortable where they are dong what they do. I think its easy to kind of get stuck in that bebop/post-bob mold and its hard to move on. learning & transcribing Chick Corea, Herbie Hancock solos, but the concept behind these new players alludes me. I feel like I've spent enough time on bebop and some post-bop stuff. I hear a lot of Brad-Mehldau-ism which I am not very familiar of. I hear bebop/post-bop in their playing but they've certainly moved beyond that. etc), and I feel like it's really hard to get info and insights into how they play what they are doing. I've been listening to a lot of the newer pianist lately (Aaron Parks, Robert Glasper, David Kikoski. ![]()
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