"Tudo contribui para o bem daqueles que amam a Deus" Romanos 8:28

sexta-feira, 10 de junho de 2011

Jazz Improvisation Myths

Let’s begin by discussing what jazz improvisation isn’t. Here are four common myths about
jazz improv:

1) “Jazz improv is something you’re born with, not something you learn.”
2) “Jazz improv requires perfect pitch.”
3) “You can’t practice without an instrument.”
4) “Classical and jazz have little in common.”

Myth #1: You’re Born With It

Although jazz improv is a universal language, we’re not born with it. But almost anyone can learn basic improv skills (listening, ear training, theory, instrumental or voice techniques); some people learn faster than others. Some very good improvisers start later in life, but all good improvisers pay their dues by studying the works of the
great jazz soloists. You need to constantly develop your listening skills, your sound and technique, and your desire to create better solos, or your progress will be blocked from time to time.

Myth #2: You Need Perfect Pitch

You don’t need perfect pitch (although it usually doesn’t hurt). But you do need good relative pitch, to recognize and remember intervals you hear. Accurately hearing intervals is one of the keys to improvisation; it’s a skill you can gain and develop. It can be as simple as matching pitches with a keyboard or recording, or as involved as a full-fledged ear-training course. Unfortunately, many improvisers don’t spend adequate time developing relative pitch, so they hit roadblocks in hearing and creating ideas. The Art of Improvisation gives you plenty of material for developing good relative pitch.

Myth #3: You Can’t Practice Without Your Instrument

So what’s your instrument? The most neglected but perhaps most powerful jazz instrument is the human voice. Jazz instrumentalists who know how to practice vocally can practice longer hours (such as in the car, in the shower, etc.) and can try new melodies and rhythms that are difficult at first on an instrument. Vocal practice can include humming, whistling, or just mentally hearing the notes you want to improvise.
It’s important to know how to practice improv vocally, even if you’re a “bad” singer. (You may even improve your voice in the process.) Singing or humming improv lines lets you concentrate on capturing pitches and rhythms without fighting an instrument; then you can transfer the vocal ideas to your instrument later. This book shows you how to use the Virtual Practice Method to help you practice improvisation vocally and instrumentally.

Myth #4: Classical and Jazz Don’t Mix

Actually, they do mix; jazz and classical music have some similar elements. There are some very interesting parallels in the histories of classical and jazz musics. Understanding these parallels enriches your improv skills, helps you play the right styles for the right tunes, and helps you appreciate music of great jazz improvisers. This is a strong hint for the importance of studying jazz history. Here are the historical parallels, with times and composers:

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