“What are some good online resources for practicing improvisation?”

Ah, if I only had a Jamey Aebersold play-along for every time I was asked this, I’d have the whole series.

Practicing and playing music with your friends can be difficult. Finding a place to play and organizing everyone’s schedules can be tricky and on top of that, all of the musicians need to be of similar ability levels and have compatible goals and interests. Many community colleges and local music schools offer classes in jazz and other contemporary styles but while these can be valuable resources, they might not provide you with the individualized attention you need. A good private teacher can be a tremendous help, but not everyone has the money for that.

However, the good news is that there are many great online resources to help students practice improvisation. While cyberspace can’t provide the experience of interacting face-to-face with other musicians or give you feedback on your performance, it can be a reasonable alternative especially if you have limited opportunities to play in ensembles.

Learn Jazz Standards has an extensive collection of Youtube videos containing play-along tracks and a website where students can download chord charts for free and play-along tracks for $1.99. The site also contains videos for each song that help students get more in-depth looks at the chord progressions.

QG Videos also features play-along tracks to jazz standards; the videos show the chord charts for the tunes. The Youtube channel offers several alternative versions of each track, including up tempo or slow and no piano.

Sometimes you might not want to practice an entire chord progression but just a section, such as a “ii-V-I” progression. Learn Jazz Now’s channel features several such videos, such as this one in the key of C – and for those who want something a little different, the same progression in the key of G-Flat.

Jazz Everyone offers a mix of instructional videos, play-along tracks and downloadable sheet music, including etudes based on popular chord progressions and concepts such as chromaticism and ii-V-I progressions. Some of the material is free; some of it can be accessed with a paid membership.

Jazz Practice Loops also offers play-along tracks, including ii-V-I progressions in all twelve keys as well as several articles about theory, scales, intervals and more.

While it’s not as interactive, Jazz Advice features articles about many aspects of musicianship, improvisation and jazz. including this one about how to hear chord changes and this list of ten essential jazz standards.

What about resources for smartphones for musicians on the go? Jazz Apps Mobile offers a series of fairly inexpensive apps that focus on aspects of improvisation including scales, progressions and even a jazz theory quiz.

These are just a few of the many products and sites available to help musicians with improvisation. Technology has made us a global society and music is the universal language so it’s only natural that cyberspace can provide the answers to the challenges one faces in becoming a great musician.

It should be noted that the sites listed above were picked by Outside Pedestrian because of their musical and educational value. The band did not accept any compensation or recognition by any of the publishers. However, if any of said publishers happen to be reading this and would like to reciprocate us in any way, feel free to.

July 20, 2020

How can I improve my phrasing?

If you’ve been around musicians enough or have read enough reviews of concerts and recordings, you’ve probably heard things along the lines of, “His/her phrasing is really good.” (Or perhaps, “His/her phrasing is terrible!”) What does that mean and how can you avoid having people say that your phrasing is terrible?

Phrasing refers to the feel and rhythm with which notes are played. The easiest way to picture it is to consider the differences in how people talk. Some people might talk as if they are in a hurry or nervous while others may speak in a way that seems relaxed. Similarly, musicians who are noted for great phrasing – Miles Davis, Eric Clapton, B.B. King and Herbie Hancock, to name a few – never seem as if they are rushed or in a hurry, even when they are playing fast. This video provides an entertaining demonstration of the basic parallels between speech phrasing and musical phrasing.

It’s important to note that phrasing, like other aspects of music, is partly subjective. If you have heard recordings of yourself playing and are not happy with your note phrasing – maybe because you are not leaving enough space; maybe because you are playing too on top of the beat; maybe because your rhythmic patterns seem predictable – read on.

The first step to achieving your phrasing goals is to decide what they are. Listen to players whose phrasing you are trying to emulate; especially those who play different instruments from you. A common mistake for beginning jazz pianists and guitarists is to play phrases that are too long, with no space. Since wind and brass players have to breathe, the phrasing of their solos reflects this. Pianists, guitarists, bassists and the like can practice singing along with their solos. Don’t worry about being perfect, that’s not the goal; the goal is to become more conscientious of what you are playing and why you are playing it.

The next step will depend on where your areas of weakness are. If you are still struggling to master a given tune’s chord progression, you will need to spend more time with it until it becomes second nature. Use a familiar progression, such as a twelve bar blues, to try out new phrasing and rhythmic ideas. If you are comfortable with the progression to the point of not having to think about it, try playing it at a different (preferably slower) tempo from what you are used to. Doing this will force you to listen more closely to where the beat and the time are and to come up with new ideas. Quoting the melody of a tune is an effective tool as well; maybe even find a different tune that works over the same progression.

More advanced techniques include starting your phrases on beats other than the downbeat (this analysis of John Coltrane’s solo on “Blue in Green” shows this concept in action), using poly-rhythms to create rhythmic tension (more on that here) and rhythmic motifs (repeating a rhythmic phrase with the same or different notes). Perhaps the most famous rhythmic motif of all time is heard in Beethoven’s fifth symphony; the rhythm of short-short-short-long appears throughout the entire composition. While classical music is written out note for note, it has much to teach improvisers in structuring a meaningful, memorable solo.

Like many other concepts in music, phrasing won’t be mastered overnight; it could be said that one never fully masters it. Just focus on setting goals, improving, being creative and having fun.

July 20, 2020 0

“How can I bring my B-Double Flat game to understanding accidentals?”

Okay, maybe we haven’t been asked that exact question, but in the classroom and in private lesson settings, we have often seen confusion about accidentals. When is a note called C sharp, when is it called D flat, and why does any of that matter?

Just because two notes sound the same, that doesn’t mean that they are the same. Words such as “red/read”, “two/too/to” and “be/bee” sound the same but are different. While the ear perceives C-sharp and D-flat the same way, if you are writing music for others to read, it is important to understand the difference.

RULES

Every modal scale (major, minor, mixolydian, etc) scale MUST have exactly one of every note letter: one A, one B, one C and so forth. For example, a D major scale must be spelled D – E – F# – G – A – B – C#. The F# cannot be called G-flat because then the scale would have two Gs (one flat, one natural) and no Fs; the C# cannot be called D-flat for the same reason.

Even scales that are not derived from modes such as melodic and harmonic minor must follow the same model. For example, an A harmonic minor scale must be spelled A – B – C – D – E – F – G#, because if the last note was spelled as A-flat, there would be no G and there would be two As.

When accidentals are used for notes non-diatonic to the key (F# in the key of C) the same rules apply, even if it is not as obvious. In “The Star Spangled Banner” it is correct to call the note above “The dawn’s earLY light” F# and not G-flat. F# is easier to read more closely related to the key of C than G-flat.

CONVENTIONS

In jazz and popular music, the rules are not as hard and fast, but it is still good to understand conventions of writing accidentals. A common example is in chromatic chord progressions. It is considered easier to read to use flats when descending and sharps when ascending. In this excerpt from Duke Ellington’s jazz standard “Don’t Get Around Much Anymore” we see that the opening sequence of chords uses a D# between the Dm7 and C6/E chord (ascending) while the next sequence (descending) uses Bb7 between the B7 and A7 chords.

WHEN SHARPS AND FLATS ACT NATURALLY

Though it doesn’t often happen, a note with “flat” or “sharp” in its name can actually be a white key on the piano – that is to say, much more often known by another name. Below, we see an example (image from Basic Music Theory) of how a C# major scale looks on the piano. Notice how the E# is played on the key that would commonly be called “F” and the B# is played on the key that would commonly be called “C”. As discussed above, all major and minor scales must have one of every letter name and C# is no exception. Even though it would be tempting to call the note “F” out of familiarity, it is correct to call it E# for this reason.

We see the opposite in the C-flat major scale. The note that would more commonly be called “B” becomes C-flat and the “E” becomes F-flat.

Another way to think about it: to sharp a note, any note, is to raise the pitch by half a step and to flat a note is to lower it by half a step. This is true for black and white keys alike.

DOUBLE TROUBLE

If you’re ever reading through music and see two flat signs right next to each other before a note, you may think it’s a misprint. It’s not. It’s a double flat, which, like its counterpart the double sharp, is very rare but real nonetheless.

Outside of J.S. Bach’s “Well Tempered Clavier”, certain piano works by Chopin and Rachmaninoff and “The Black Page” by Frank Zappa, the area where one is most likely to find double sharps and flats is in diminished and augmented chords. An augmented triad, like other triads, consists of the first, third and fifth degrees of the scale. The “augmentation” occurs when the fifth is raised a half step compared to a major triad. In the example below, we see an F# triad (F#, A#, C#) leading to an F# augmented triad (F#, A#, C double-sharp). Strictly speaking, it is correct to call the top note of the F# augmented triad C double-sharp and not D, even though they sound the same. Theoretically, it is considered a sharp fifth and not a flat sixth. If the natural fifth is C#, the sharp (or augmented fifth) is C double-sharp.

This example illustrates the same idea, with a diminished seventh chord.

Because a seventh chord consists of the first, third, fifth and seventh degrees of the scale, it is technically correct to label the top note as a doubly-flatted 7th degree (B double-flat) instead of a natural 6th degree (A).

(Both images above courtesy of Practical Chords and Harmony)

TWO MNEMONICS TO HELP YOU REMEMBER SHARPS AND FLATS

If you have been playing music long enough, you have probably noticed that certain sharps, such as F and C, tend to be more common, as are flats such as B and E. That’s because on the Circle of Fifths, which maps out the relationship all keys have to each other, flats and sharps are always added in the same order. If a key signature is one sharp (G major, e minor) it is always F. If a key signature is two sharps, they will always be F and C and so forth, all the way up to seven. The same is true of flats, only in the opposite direction: F major and d minor have only one flat, B; Bb major and g minor have two flats (B and E) and so forth. These are also notes you are most likely to see as accidentals and that goes for double sharps and flats as well. If you’re going to see any double sharp, it will probably be F and if you see any double flat, it will probably be B.

To remember the order of the flats and sharps, try the following mnemonics:

(Flats – B E A D G C F)

Be Ever Alert During Guitar Class Fool

(Sharps – F C G D A E B)

Fine Classic Guitarists Demand Accurate Execution Baby

Good luck with your double sharps and flats and feel free to leave any questions or comments below.

July 20, 2020

“If I’m a pop/rock songwriter, should I still learn about music theory?”

Guest writers are always welcome to contribute to “Ask OP” as we value the diversity of perspectives and experiences and aim to make this section of the site as valuable and interesting as possible. We are proud to welcome Greg Daulton for this post. Originally a self-described “metal guy from Oakland”, Greg hadn’t studied any theory before attending Berklee College of Music, where “having to play catch-up” forced him to find “practical application of the techniques and theory studied,” which in turn influenced his philosophy as an educator. At Berklee, he completed an honors degree in film scoring. Currently Greg lives in Orange County and is the founder of The Rock Band Experience, a program where students form bands, write and perform original music. Greg is also the author of “The Complete Guide to Modern Songwriting.” He can be reached by email for more information about his projects.

One question I get asked all the time from aspiring musicians and students is:

“If I’m going to be a rock/pop star why do I need to know music theory?”

While the mention of music theory may seem intimidating to the emerging musician, it doesn’t necessary refer to the studies of fugue or species counterpoint. True, countless bands have put out tons of great music with little to no formal education but the techniques employed by these artists generally DO tend to follow the concepts studied in music theory whether they know it or not. No matter what instrument you play, understanding and applying theory can help you and your bandmates sound better.

Johnny Cash once said, “There’s no money past the third fret.” However, guitarists who can spell and construct chords will discover that the same shapes found in open chords may be played anywhere on the fretboard. This broadens the guitarist’s palette by facilitating different voicings in different registers and it also enables branching out beyond the common keys of “A”, “C”, “D”, “E” and “G”, providing a good weapon against songwriter’s block.

Understanding the characteristic sound and construction of scales and being fluent with them can help guitarists, keyboardists and bassists elaborate on musical ideas when playing lead or accompanying melodies. By understanding the relationship of diatonic notes to non-diatonic notes, musicians acquire the ability to create tension and release, add dissonance and make their ideas more vibrant.

Do drummers get a free pass from learning theory? Absolutely not! At the very least, a good drummer understands song form and can set up choruses, pre-choruses and other sections appropriately. Understanding beat placement and subdivisions is also important; supposedly Pete Best’s inability to play anything other than quarter notes on his bass drum was one of the reasons he was fired from the Beatles. Good drummers are adept with, or at least have an understanding of, odd times and polyrhythms; many working cover bands play songs such as Pink Floyd’s “Money” (7/4 time) and Led Zeppelin’s “Kashmir” (3/4 over 4/4). In the Doors’ “Light My Fire”, drummer John Densmore accents organist Ray Manzarek’s solo with some polyrhythmic figures, helping to build excitement. Lastly, remember that since drummers are often the butt of musician jokes (“how do you know when the stage is level? The drool comes out of both sides of the drummer’s mouth”) you can do your percussionist brothers and sisters proud by mastering theory and out-geeking your lead guitarist.

Each instrumentalist has their own contribution to make to the group’s collective sound: the bass line connects the drum beat and the harmony while the harmony connects the rhythm section to the melodic lines. Players who understand the inner workings of music can help their band break away from the traditional formulas of pop and rock and help create memorable exciting music that stands out from the masses.

July 20, 2020

“How do you get started with jazz improvisation?”

At one of our College of the Desert clinic, we were asked this question by a student. While there are many possible answers to that question, here are a few of our thoughts.

“The biggest thing to remember with improvisation is that there ARE no wrong notes. There may be notes that sound better than others, but a great musician can ‘sell’ a note that’s not ‘supposed’ to go over a certain chord or harmony. Notes also make up only part of what a musician communicates. Don’t forget phrasing, tone, dynamics, rhythm and space.

For some students, the ‘blank canvas’ of improvisation can be a little intimidating, just as for the novice jazz listener it can be hard to understand exactly what’s going on in a Bird or Coltrane solo. The more you listen to jazz, whether on recording or live, the more you will pick up.

Start by quoting the melody of the tune. This can make your solo feel more coherent; you’re trying to tell the audience a story, not just show them how fast you can play. For guitarists, pianists, vibraphonists, bassists and other non-wind instrumentalists, try singing along as you play. It doesn’t have to be perfect; that’s not the point. The point is that by singing along with your line, you’re likely to play more musically. Every note and phrase you play will have a purpose, even if they’re not executed 100% accurately. For phrasing, try the “two on, two off” exercise – that is to say, on a progression such as a 12-bar blues or a jazz standard, solo for two bars and then rest for two, as if you’re trading with a drummer.

As for the language of jazz and the ability to navigate over chords, there are many transcriptions of great jazz solos available. The Charlie Parker Omnibook is a good place to start. Playing the arpeggios of chord symbols (Cm7 = C, Eb, G, Bb; F7 = F, A, C, Eb; Bbmaj7 = Bb, D, F, A) is a good exercise too. In addition to reading the transcriptions of other soloists, try transcribing solos yourself–and not just those played on your own instrument.

Realize that trial and error is part of the learning process. With software such as Garage Band, it’s possible to record yourself improvising along to existing tracks. Some of what you play won’t work; some of it will probably make you cringe, but that’s how you grow.”

July 20, 2020

What’s the difference between 6/8 and 3/4 time?

There are many parallels between music and math but there are some differences, too. In math, 3/4 and 6/8 are the same; in music, they are not. Recently one of our clinic participants asked about the difference. We admit that it can be confusing, so here are some thoughts.

Six-eight time means that each measure of music consists of six beats, each of which is an eighth note. Three-four time means that each measure consists of three beats, each of which is a quarter note. Since six eighth notes last for the same amount of time as three quarter notes, why are the two time signatures different?

The difference is in how the eighth notes are GROUPED. In 6/8 time, the eighth notes are grouped into two sets of three beats; the accent usually falls on the first and fourth eighth note of the measure. In 3/4 time, the eighth notes are grouped into three sets of two, meaning that the accents fall on the first, third and fifth eight notes of the measure.

Three-four time is used in waltzes, both from the classical era such as “Blue Danube” and from the jazz repertoire, including “Someday My Prince Will Come.” Three-four is also associated with energetic sing-along songs such as “Oom-Pah-Pah” from “Oliver” and “Take Me Out to the Ball Game.” Other popular tunes in three-four time include “Happy Birthday”, “Star Spangled Banner”, “First Noel” and “We Wish You A Merry Christmas.”

Six-eight is sometimes considered a “duple” meter because the measure is broken down into two distinct halves. Many marches, such as John Philip Sousa’s “Liberty Bell” and “76 Trombones” from “The Music Man” use 6/8. It’s also common in Irish tunes, both traditional fiddle melodies such as the “Swallowtail Jig” and Celtic rock songs like the Dropkick Murphys’ “I’m Shipping Up to Boston”. Notice how in these examples, there is a strong emphasis on two beats per measure, but each beat can be subdivided into three (“ONE” and a “TWO” and a; or “ONE two three FOUR five six.”)

Sometimes, the line between 3/4 and 6/8 can be blurred. Dr. Anthony Fesmire’s composition “Dance” (heard on our “Reclaimed” CD) starts in 6/8 time but shifts to 3/4 time. In this performance from our recent clinic, the shift to 3/4 occurs at 1:10; the return to 6/8 happens at 1:47. The shift happens later as well – watch the complete performance of “Dance” here and see if you can figure out where!

July 19, 2020

“I have two different lead sheets for the same tune. Which one is right?”

This is a question asked primarily regarding jazz standards, where many different interpretations of the same tune can become well known. Compared to classical scores or transcriptions of rock recordings, lead sheets for jazz tunes are often a “secondary source.” Just as people might tell the story of the boy who cried “Wolf” differently from one another, the same tune might be presented differently from one fake book to the next. How do you know which is the best version?

One way to think about lead sheets is as recipes. Two cookbooks might present different recipes for the same dish, but the basic idea and finished product remain the same. Just as chef can prepare the same recipe with different options, different levels of flavor or other variations as they see fit, so too the same tune can be played with simpler or more complex harmonies. An example of that is in these two versions of the standard “My Shining Hour.”

While the melodies are nearly identical, the chords vary considerably. In measures 7-8 and 23-24, the second example’s harmonies are more complex, while the first chart has more harmonic movement in measures 11-12. Still, there are certain signposts that both sets of chords have in common, such as the Bbm7 at measure 17 and many spots where the second chart’s chord is simply the hipper version of the first (Ebmaj7 compared to Eb for example.)

Listen to several different versions of the same tune; familiarize yourself with commonly played variations, understand the basic harmonic function of a chord progression and discern when the same thing is being said with different chords. Fluency and versatility will help you and those with whom you play sound good on any tune.

July 19, 2020