Essential Jazz Lines In The Style Of Clifford Brown Pdf

Download Essential Jazz Lines In The Style Of Clifford Brown C Edition in PDF Format. You also can read online Essential Jazz Lines In The Style Of Clifford Brown C Editi PDF Search Engine. Essential Jazz Lines in the style of Clifford Brown Clifford Brown was one of the most influential jazz trumpeters and was a true master of jazz. His fantastic tone, time, feel and command of the jazz language have been inspiring jazz musicians on all instruments for decades.

At a certain point in your development as an improviser it becomes necessary to evolve beyond just playing “right notes” and using your favorite licks and move onto playing longer coherent musical phrases that develop over the length of your solo. This can be an especially frustrating stumbling block to overcome in that it takes a great amount of effort just to be able to play the “right notes” in the first place.

So how exactly do you go from thinking about which scale to play over which chord to creating long innovative lines in the style of Bird and Trane? Well, truthfully it has to do with improving every aspect of your overall musicianship. You need to have your technique developed to a point where you do not have to think about it while soloing, you must be able to hear chord progressions and their inherent resolutions throughout a tune and finally have an in-depth harmonic knowledge of the music. All of these skills take years of dedicated practice and persistent study to develop and master, this is why it is so rare to hear people that are actually playing innovative and interesting long lines in their solos. When we begin to improvise we are taught to play certain scales over certain chords, for instance a D dorian scale over a D minor 7 chord or a G bebop scale over a G7 chord. This is effective to a point in that it is a means to an end in getting a beginning player to play the correct corresponding notes with each passing chord. The more important skill for creating lines though, is developing ways to connect the chords and resolve the harmonies within an improvised phrase.

As with all music that sounds pleasing in “Western” music, there are certain resolutions that are inherent within chord progressions that are necessary for the line to sound logical. When we first study music theory we learn how to resolve the V7 to the I chord with the half-step resolutions of the third and seventh of the V7 to the root and third of the I chord. These voice leading principles are the building blocks of Western harmony and chord progressions and hearing these connections and resolutions are the first step in creating long improvised lines. The true art of improvising lies in creating musical ideas and phrases within this established framework in original and unique ways.

Take the music of a master like Bach for instance. He composed, and improvised, not only single elaborate lines, but multiple extended contrapuntal lines that were complex, yet always musical. Within each phrase were the necessary resolutions and voice leading techniques so that, to the listener, the intricate construction and technique were ultimately masked by the overall musicality of the phrases. In the 1940’s, Charlie Parker and Dizzy Gillespie developed an innovative and intricate style of jazz that was essentialy a new that required in-depth and devoted study to learn. For every musician that came after them, each one had to devote themselves to learning the language of bebop in order to speak it musically and eventually create their own sound.

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