Practicing jazz vocabulary on 'All of me'
Here is the video that accompanies this blog post - https://youtu.be/RViPiIJBFhQ
Yes, we 'practice' jazz.
We don't just get on the bandstand and hope that a great burst of creativity bursts from our minds! You have to practice in a way that you hear great sounding jazz lines!
Check out this video of the great Clifford Brown practicing his jazz vocabulary.
This blog post will share with you one of the most beneficial ways I have found to practice jazz improvisation.
For the examples I am using the first eight bars of the old jazz standard 'All of me'.
There are so many ways to show you how to practice vocabulary, but in this post I will share with you just seventeen!
I always teach by learning the melody (by ear, not reading off a lead sheet). Let's acknowledge we know the tune to 'All of me' really well!
If you have never tried to learn chords before, I suggest reading Mark Levine's 'The jazz theory book'. I don't want to talk about all the theory in my lessons and posts. I prefer getting on with the practical side.
Next, learn the triads!
By learning the chord notes in this way, we are getting to know the chord progression and notes within each chord!
If you don't know the chords really well, spend time writing them out. this will help the learning process! Also write them out starting on different notes of the chord! 3rd, 5th, 7th...
Next, try to improvise using just the chord notes but adding great syncopated rhythms. Subscribe to the jazz etudes newsletter to receive lots of helpful resources, plus I have created a page, full of the youtube lessons I have published too!
Solo using the triads and rhythm!
Next, try and practice using leading notes! A leading notes is apporaching a chord note by the semitone below on a pick up 1/8 note.
In the next example, we use the 7ths of the chords too! Very important as they are guide tones (read the theory book). Basically, they take us smoothly from one chord to the next!
This exercise, playing the 3rd, really gets us to start hearing a melodic loine through the progression.
Then we can add the 7th and create a 'line' using the guide tones which are the 3rd and 7th of the chords!
Whilst it is important to learn and know the scales for the chords, many of my favourite jazz musicians don't just endlessly play scales! Used sparingly or just fragments of the scales is the best way forward in my view! But here they are written out for you anyway!
The scales come in very handy for the next exercise where we target certain chord noites, in this case the 3rd. This type of practice comes from the book by Hal Galoper called 'Forward motion'. I highly recommend this book.
The next exercise is the same but we descend to the target note!
Practice the approach notes, or forward motion, really gives the listen the knowledge that you know the changes as you are splling them out as you hit them, you are not simply noodling over the top and hoping for the best!
Now that we know the guide tones, the scales and chord notes, we can start to practice vocabulary, as much of the vocabulary (in my teaching) relies on the knowledge of these things!
For example, in order to really nail the Clifford Brown two note enclosure type vocabulary, we MUST know the chord changes, otherwise we won't be nailing the changes! We always enclose a chord note as this makes it sound super melodic.
One of my favourite pieces of vocabulary, sounding super authentic is what i call the 'fats lick'. he uses it in his solos and it sounds great. in this example I have started it on the 3rd and then drop to the 5th of the chord, followed by the 7th and 9th. you can use this vocabulary starting on the 3rd, 5th and 7th. it doesn't really work on the root as you won't end up on a chordal note on beat three of the bar!
Chromatic enclosures are super authentic sounding jazz vocabulary and you can simply use them almost anywhere!
Practicng the enclosures in a certain way (over major, minor chords) will really develop your ear/finger coordination as well as giving you this great piece of vocabulary to implement!
I have seen many musicians use this type of vocabulary but I seem to remember the first being tom harrell. it really is great as you can use it over major, minor, dominant and half diminished chords!
just practice it over those chords to get it into your ears and fingers!
I think you may have noticed by now, jazz takes a lot of practice to become fluent and authentic sounding!
Another type of vocabulary that is really worth practicing is motifs! I could create lots of videos and posts just on this topic alone but basically, we take a phrase and thn play it again changing the notes to fit the chords. Most of the time i have found the motifs are very rhythmically based!
I have heard Clark terry use this type of vocabulary in lots of his solos, especially when playing very fast! again, it relies on knowing the chord notes as each beat 1 and 3 is targeting a chordal note!
Stan getz has to be one of the most melodic jazz musicians of all time. this next phrase was taken from him.
enclosing the cord note. it is almost classical sounding and could have been used in a Mozart sonata?? it also sounds great in jazz too.
Once you have practiced lots of different types of vocabulary over major, minor, dominant, half diminished and diminished chords, you can then practice it over jazz standards, using just one piece at a time. This way, you know if you can play it over the changes or chords!
then, you need to start practicing improvising. try to only play what you hear in your head. if you have practiced lots and lots of jazz vocabulary, you should start to hear things to play, if not, keep practicing! the more you practice vocabulary, the more chance you will have of hearing it! it doesn't come for free! not in my case anyway!
remember that practicing jazz is a lifelong pursuit. there is no rush. enjoy the jopurney as there is no destination... there is always ways to improve...
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Warm regards, Darren.
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