DEVELOP YOUR EARS WITH SOLO TRANSCRIPTION Jazz Tactics #10

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Jazz improvisation requires the ability to play what you hear and also to hear something worth playing. Solo transcription does both, and is therefore arguably the most important of what I call The Four Ts (transcription, tunes, transposition, theory). For many if not most jazz musicians it is the crucial link, i.e., if you do nothing but transcribe solos you’ll absorb the language, but if you do everything but solo transcription, the outcome is less certain.
The 10th episode in the Jazz Tactics series is the first of several relating to solo transcription, with a tip of the hat to one of my biggest inspirations, the great Guido Basso.
ABOUT THIS SERIES
This is the 10th video in the Jazz Tactics series, exploring elements of playing jazz music, especially improvisation, based on my book of the same name and a university course that I’ve taught for over thirty years. The sequential videos in this series will provide a solid foundation of understanding of the principles and practices of jazz improvisation, on both and aural and intellectual levels. Below are some suggestions to get you started:
Do You Speak Jazz? • YOU ALREADY KNOW HOW T...
What Makes Jazz Jazz? • TRADING FOURS WITH FRE...
Why I Can't Teach You Jazz • WHY I CAN'T TEACH YOU ...
What's So Great About Chet Baker? • TRADING FOURS WITH FRE...
Trading Fours With Freddie Hubbard • TRADING FOURS WITH FRE...
Improvising on Autumn Leaves • IMPROVISING ON AUTUMN ...
Improvising on Rhythm Changes • IMPROVISING ON RHYTHM ...
ABOUT THIS CHANNEL
On this channel, jazz trumpeter, educator and author Chase Sanborn offers information and advice for musicians and music appreciators.
PLAYLISTS
This link will take you to all the playlists on this channel:
/ @chasesanborn
LEAVE A TIP
You can leave a tip to support the work that goes into this channel by clicking the THANKS button. Thanks to YOU for watching!
MORE INFORMATION
For more in-depth and personal information and instruction, check out Chase's books and online lesson options on his website:
www.chasesanborn.com

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15 авг 2022

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Комментарии : 13

@chasesanborn Год назад

This is the tenth episode in the 'Director's Cut' series of Jazz Tactics videos, the first of several relating to solo transcription. Please make sure to leave a LIKE (and if you REALLY like it, click the THANKS button). Thanks to you for watching!

@64Golfy Год назад

As always - wonderful. Thank you so much.

@chasesanborn Год назад

And as always, thanks for saying so!

@JeannieSargent Год назад

Awesome video! I'm a big believer in this as well as I don't know any other way to learn improvisation effectively and more importantly the jazz language. At first, I did a lot of stealing licks from parker's omnibook and that helped for a while but I could only get so much from that. Fast forward a few years and I started doing a lot of playing solos by ear and that really opened things up for me and gave me the boost I needed. There's no accounting really for each individuals learning process, but, it can't hurt to transcribe - imho, it can only help and for some, it really does the trick. This is the one thing I remember hearing from every jazz player that I talked to regarding my improvisational skills. They all said it, and for a long time I didn't do it, it was too hard.. but eventually, I dove in and started grinding away and my playing got better in ways I couldn't really describe. My ears wanted more melody and having listened intently like this made it possible for me to understand what I wanted to produce. 100%

@chasesanborn Год назад

Glad you like the video--it is a re-edited version of one of the first jazz videos I made, which speaks to the importance of transcription in my eyes (ears, more accurately) and evidently yours.

@lukejuras8024 Год назад

Hey Professor Sanborn, I'm not sure what recordings to start with, or how to find the right song/recording to transcribe. Could you explore the idea of how you choose? Thank you.

@chasesanborn Год назад

Look for solos that you like which seem within your ability to transcribe, even if you have to skip parts of it. Chet Baker is one of the best for many people to start out with. Watch for more videos on the topic coming up.

@mustafa1name 10 месяцев назад

"The same note functions very differently depending on the chord. Transcribing enables you absorb note/chord relationships. When playing, this knowledge informs you which notes to aim for" (there may be errors in this transcription 😃)

@chasesanborn 10 месяцев назад

For a listener, music begins and ends with the sound. For one who seeks to play music, the beginning and end are the same, but there are steps within.

@presequel Год назад

I love playing along with records, so I started transcribing the melody parts first. at the moment I just finished working my way through the Workout album of Hank Mobley. You are talking about transcribing solo's but I guess/hope that there is also something beneficial in playing the lead/melody? On the other hand I am transcribing solo's, which is really cool to play along, mostly it takes me 1 month for 1 solo. I start with learning the pitches, which is going reasonable quick (although I have no perfect pitch), then I try to get the rhythm right, which is more of a process and after that I try to mimic the feel which gives more trouble... Will it make me a better jazz musician? I have no clue but I think I like it :)

@chasesanborn Год назад

One should absolutely transcribe melodies as well as solos to gain an understanding of phrasing and interpretation. Anything you learn by ear is beneficial--I've often wondered what the outcome would be if a classical musician learned the repertoire that way. Your point about the pitches being just the starting point is well taken.

@awreckingball Год назад

Do you think solos are still worth transcribing if they have already been transcribed by someone and are available online for study?

@chasesanborn Год назад

As the title suggests, the primary goal of transcribing is to develop your ears and attune them to ALL the nuances of the music. There are things you can hear that cannot be notated, e.g., time feel and tone quality or the interaction between soloist and rhythm section. So there is a world of difference between a solo you learn by ear--even imperfectly--and one you read. That said, it can be beneficial to compare your transcription to someone else's. Just make sure you give your ears every opportunity to extract musical information before you 'muddy the waters' with your eyes.