Fermata Technique
Tempo can be an obstacle when learning a song. A song that is traditionally played fast might lead a person into thinking a song should be learned fast. Not so. When tempo is removed unlimited time can be given to each chord allowing for the choosing of correct notes, drilling and exploring. Losing the tempo offers a way to simply 'Hang out' with a chord and get to know it.
Here are three steps to help get you started.
1. Choose the correct notes or Chord-Scale. . Because of all the possible alterations for major, minor, half diminished, diminished and especially dominant chords, more than one Chord-Scale choice might work for any given chord. From the many options decide what information to use, simply make the decision. Remember, the scale (1, 2, 3, 4, 5, 6, 7) equates to a 13th chord (1, 3, 5, 7, 9, 11, 13). The 2, 4 and 6 of a scale equates to the 9, 11 and 13 of the chord. Hence the name 'Chord-Scale'.
2. Drill the information. Once you have decided on the information it's important to get familiar with it. Putting the information in different formations and shapes will help familiarize. There are unlimited ways information like this can be shaped and drilled. Players are constantly developing their own personal workout exercises. Some drills might not fit well on certain instruments. Be aware of what drills are suitable for a particular instrument. Drills that go over an octave are not always suitable for brass instruments. Remember all of these exercises are to be done without any tempo. Here is a list a few drills that I might use with someone who is starting out.
A. Play 1, 3, 5, 7 up and down.
B. Play 1, 3, 5, 7, 9 up and down.
C. Play 1, 3, 5, 7, 9, 11 up and down.
D. Play 1, 3, 5, 7, 9, 11, 13 up and down.
E. Play entire scale up and down.
F. Play scale in thirds up and down.
G. Play scale shape: 1, 2, 3, 2, 3, 4, 3, 4, 5, 4, 5, 6, 5, 6, 7, 6, 7, 8.
H. Play ascending triad scale shape: 1, 3, 5 - 2, 4, 6 - 3, 5, 7 - 4, 6, 8 - 5, 7, 9 - 6, 8, 3 - 7, 2, 4 - 1, 3, 5.
3. Create on the information. Now let's get started improvising. Here are two approaches that seem to work well especially with beginning students. Much of the jazz language comes from listening to players. A beginner might be limited conceptually based on how much they have or have not listened. Lets assume there hasn't been much listening going on. What to do?
A. Choose one of the above drills thinking of it as 'home-base'. For example if 'B' (Play 1, 3, 5, 7, 9 up and down) is chosen play this shape in different ways, lyrically, slowly, fast, swing feel, rock feel, Afro Cuban feel, ballad feel, super long romantic melodies, staccato and ragged, mix up the order of notes, etc., anything you can think of. Make up your own approach.
B. Without referring a particular drill create on the Chord-Scale any way you want. Let go and see where your intuition takes you!
This whole process will take as long as you would like it to. Spend 5, 10, 20 minutes on a chord before you move to the next one. When returning to a chord that you already have spent time with, either skip that chord or apply a new drill to it. Obviously this will take time in order to get through a complete tune BUT you will have a handle on all information. To see results quickly try the Fermata Technique on a tune with a short form. When playing the actual song you will feel more comfortable with the information because you will now have a relationship with each of the chords.
6 сен 2024
