Author: Roberta

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RIP Marian

I just found out that Marian McPartland passed away last night. I can’t even begin to say what a good friend and wonderful person she was, in addition to being a great musician and radio host of course. The last time I saw her was a few months ago when Huey and Paul DeBarros held a screening/book reading in her honor and asked me to play a few of her tunes, mostly in the background while Marian and the authors autographed DVDs and books. It was her day, and yet she expressed concern to me (twice actually) that someone should announce me before I played, and offered to do so herself! Such thoughtfulness and generosity.

Another great thing about Marian: she could swear with the best of them. It was hilarious to hear her cursing with her proper British accent.

I will miss her.

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Playing Jazz: Forget Your Scales and Patterns

Young musicians are often very concerned about what scale or mode they are using. While it’s important to have a strong knowledge of theory, at some point in the maturation process one must get beyond thinking about scales to the concept of playing musical ideas.

The title of this post is admittedly a bit sensationalistic. I’m not advocating that you literally “forget” the scales and patterns that you’ve learned (Okay, maybe most of the patterns, except for the really hip ones, which are probably the ones you came up with on your own. Just lose the ones you were fed from a play-along record.)

Improvising using specific melodic material or motives, without worrying about “making the chord changes”, is a practice device for learning to think motivically and develop your ideas in a logical progressive manner, as opposed to playing a sequence of unrelated “jazz patterns”, which all too many musicians (even some professionals) lean on.

To begin practicing, pick a very short motive or phrase from the tune on which you’re working. Don’t worry about playing the changes for now; begin with a series of three-note phrases.

Here’s an example of a solo that is completely “motive-based”. What I mean by that is that I am ignoring the changes altogether. When I play this introduction to Thelonious Monk’s “Monk’s Dream”, my goal is to squeeze as much as possible from these short, simple motives.


 
As you progress, focus on varying the patterns through transposition, inversion, retrograde, diminution, augmentation, etc. (If you don’t know what these terms mean in a musical context then look them up.)

When you feel ready, you can try this exercise over the chord changes of a tune. I suggest you start with a tune that has simple changes that are easy to navigate so you don’t have to think about too many things at once.

This is a practice exercise. At first you will sound forced, mechanical and awkward, just as you did when you first tried to play over changes. As the process of motivic development becomes more intuitive your playing will develop in maturity and coherence, and you won’t be just another purveyor of licks.