June 17, 2010 in Learning Jazz
Brent Jensen, Origin Saxophone Recording Artist and Professor of Jazz Studies at the College of Southern Idaho, tells us how he approaches learning tunes. This is his third video in the series (Part 1 has two parts). The original handout is also below as well as text and a .pdf document. Enjoy! Make sure to check out all of Brent’s videos!
Brent Jensen’s Recordings
Feel free to listen to some of this awesome material Brent recorded. He’s got some great stuff! It’s just fun to hear a sample of what he has recorded. Also, any purchases of these songs or albums made through this site will help Brent Jensen, Origin records, and this website will even get a little kickback from anything you order through Amazon. We appreciate your support so we can continue the website! Thank you.
SEVEN STEPS TO HEAVEN
by Brent Jensen
(with thanks to Jiggs Whigham)
1. Memorize the melody. Listen to a wide variety of recordings of the song. Work on playing the song in different keys, tempos and styles. Try to exhaust the melodic possibilities of the song and absorb it into your subconscious.
2. Memorize the form of the song (blues, AABA, etc.) and the chord progression. Play through the entire form using root/third/fifth patterns on the changes. Play through the form using whole notes & half notes (background figures) and quarter notes (as in a bass line).
3. Play through the tune using short, repeated rhythmic patterns (riffs) and note groupings (non-repetitive) of three to seven notes.
4. Play using long, connected lines (mostly eighth notes) without breaking the flow. Concentrate on creating as much density (ala Coltrane) as possible.
5. Play using very few notes and relying primarily on color (vibrato, bends, growls, sub-tone, etc.) and space. Concentrate on creating as much space (ala Miles) as possible.
6. Work on varying articulation by playing through the tune entirely in a legato style and then again in a marcato style. Experience the extremes of each method of attack and work to integrate them more naturally into your playing style.
7. Work on the elasticity of your time conception by playing “on top” of the beat, “behind” the beat (laying back) and “ahead” of the beat (rushing). Practice with a metronome set for “2 and 4” (ie: the drummer’s hi-hat) and on all four beats (ie: a walking bass line).
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