I have been looking for someone to explain why these jazz exercises work for so long. I am a second semester at Berklee and just recently started learning jazz improv. Once you went over the free play step and how to make it your own it finally opened my ears. Thank you.
I’ve been playing for a long time and never had a formal jazz teacher (not boasting, it’s a detriment). Dude, this is the lesson I’ve needed. I always struggled to understand why I could never get the stuff I studied solidly in my language. Much appreciated brother 🙏
When I studied with Lee Konitz he had me transcribe Coltrane’s first chorus on “Someday my Prince will come” I also learned to sing the solo before I played it on my horn.
I love that the title is not clickbait and the video has serious content, presented clearly and straight to the point. Subscribed, I'm sure you're going to be huge.
super straightforward lesson. I've heard all this stuff before from various tutorials and sax teachers, but you organized it all for me into a framework that makes sense. can't wait to start applying this
thank you for sharing this! when i transcribe i usually just play the damn thing over and over again once i learn it lol. this is helpful to anchor into some subsequent steps and really get the most out of it!
This is a great video! I always had trouble internalizing vocabulary and this is a great way to start. I'll be sure to start incorporating this in my practice!
I feel like over the years I've seen so many practice guide videos that I took nothing from, and this might be the first one that clicked in my mind. Something about how it was focused on acquiring sounds separate from shapes (guitar player here) really made sense. Thanks a ton!
Nice vid.. I just believe transcribing by ear rather than learning from someone else's written transcription matters a lot. And I say the most effective way to do it is to memorize the solo by ear before even touching the instrument, to the point you can hear and sing every single note... besides is super fun. Just after I'm comfortable with that is when I go to my instrument after the notes, but at this point you already know the solo so well that it becomes a lot easier to find everything.. after you learned the solo in the instrument through this kind of process, if you decide to write it down it just becomes so much easier as well.. you can just sit down, relax, 'play' it in your mind and write it down effortlessly.
Hey Silvio, totally agree with you! It's by far the most beneficial way to transcribe. The important part for me is being able to play it along with the recording from memory. I suggest reading as an easier point of entry for younger students of mine as a means to just start playing the language and internalising. Straight into the deep end (doing it by ear) was how I went about it, but I've seen it throw some students off and I've experienced some students giving up on the process entirely, hence my alternative suggestions to acquiring the language in the first place.
@@JaydenBlockley how interesting m8.. I wonder if it has to do with the instruments. From a guitar perspective, I guess I don't need to tell you that reading is not our strongest point haha.. I'd say we are more often encouraged to play by ear rather than reading because we usually suck on that. I guess you guys have the reading thing much more natural as it is more present on your fundamental learning of the instrument. The guitar is a little messy instrument to read, everything has 500 different fingerings, is such a pain lol.. anyway, Thanks for the chat m8 :)
Jayden,, thanks SO much for the lesson! Very well explained. After years of not playing, this time around I've decided to incorporate the rigors of transcribing and ear training. Your explanations on the application process really registered with me. Great advise. Thanks again :)
Thank you for sharing this awesome video! James Moody always stressed working on triads. He also loved to talk about "Coltrane concepts." I was blessed to see him annually in Chicago for 21 years. Thanks again, Jayden!!!👏🏾✌🏾
Thanks. Great step by step approach to taking an element of jazz improv language, pushing it around on your freestyle way then moving forward into application of the lick or phrase in a tune. Never did all the steps together like that.
Thanks for the Lesson! One question though, what is it you're doing when your moving your jaw back and forth? I've seen multiple saxophonist do it in live footage and I've been wondering what it is people are doing.
If you want to learn jazz first you have to learn to play Blues. Simple 3 chord Southern Blues. That's the foundation . Then you can study Cannonball Adderly and Roland Kirk. Jazz all came from the Blues.
The last two steps are critical, and you described it so well. Incidentally, that Coltrane phrase remind you of Thomas the tank engine theme a little bit?
This is a great lesson. I struggle with the last two steps when the lick extends over two or more changes (e.g. licks over 2-5-1, turnaround etc..), because although there might be a few instances of that sequence in a tune, you're not applying it to all chords and when practicing, by the time you change tune you've forgotten it already. I find single chord licks are more manageable and easy to apply and memorise, then how can you work on longer sequences ?
Hey Ross. Totally relate. It gets more difficult the longer the phrase is and the more chords it fits over. When it's over infrequent chord sequences, you just have to get even more deliberate about setting up to execute it when it does come around. If you do this and keep looping chorus', hopefully it'll start to become a more natural phrase that you hear every time you get to that progression. Good luck!
I think it is a great lesson . My teacher would make me play a tune with him in 12 keys and would not tell me when he changes key. For me trying to hear the rests is hard me 8th note rests or 16th note rests
What that line you did at the beginning of this video… I’m a jazz newbie and tryna learn some things.. I ask because it reminds me of blues for Alice by Charlie Parker
Thinking in patterns only works for me in modal context. When it comes to bebop i have to think really hard about chord tones and don't have the freedom to play straight patterns naturally (unless i switch back and forth)
You’ll be able to find some patterns in bebop. Mainly enclosures and chromatic approaches. For me my language developed the most after transcribing bebop solos. Modal music wasn’t really helping me.
Well spotted. I thought it'd be best to show the transcription as the notes Coltrane was specifically playing on his saxophone, but I'm also so used to having lead sheets in concert pitch and thought it'd make most sense that way when showing Mack The Knife. Bb concert pitch transposes to C for tenor saxophone (I'm sure you already know), so technically it's all in the same key. Either way, I believe the most ideal application of improv language is over multiple songs in varying keys anyway. Cheers!
Just wondering, if Trane Trane is playing A-Bb-F-D. F# -G-Eb-C. then there is no repeated pattern in HIS playing? Similar but not the same like in the pattern you are developing.
You certainly don't need perfect pitch. You don't necessarily need strong relative pitch either to get started and the process will help develop it. I started by listening and pausing the track and then trying to work out one note at a time. It'd often take me a minute just to work out a single note - Stick with it! Like I mentioned in the video, you can also get the language from someone else's notated transcription online. Hope this helps!
I don't disagree with the steps, but I disagree with the order. Free play should be the first. I have been learning songs by ear, and just playing over them at first is much more engaging. When I tried to transcribe before, I always focused on getting the exact notes first. It's much easier to get a hang of the context of the piece than the exact notes at first. But I am a beginner, so that might be less of an issue later on. And it's actually fun, so I actually want to do it. It does not feel like practice at all.
I am a taiwanese who has just passed the qualification of jazz music department.Strictly speaking, I have only studied jazz for a few months, lol. Thank you for the video that made me understand jazz better before I entered school.😋👍
Correct me, if I am wrong, please, but looking at your video, you seem to get your Step 2 wrong, the analysis. You are deriving from Trane a lick that consists of a chromatic approach followed by a diatonic triad in root position, which then you move down or up stepwise. You are playing F MA, E-, D- etc. triads with a chromatic approach. It sounds nice. Meanwhile, Trane starts out with chromatically approaching the root of a diatonic triad, I MA, in his key of C, in first inversion followed by chromatically approaching the fifth of the ii- triad, D-, which he then plays in root position followed in the first example by an augemented V7 chord. So Trane is actually playing a cadence of IMA7 ii-7, v7 here rather than a series of chromatically approached diatonic triads. He superimposes that cadence at that spot in his solo, while you do not superimpose any cadence when you take your lick for a spin on Mack the Knife, but rather treat each chord as a modal area, in which you play diatonic patterns of the chord scale with a chromatic approach.
Hey man, thanks for your feedback and your analysis is correct, but I wouldn't go so far as to say mine was "wrong". I mention in the video that the pattern is extrapolated out from the fragment of language that Coltrane plays. The idea is that it's a chromatic note, followed by a triad and then I expanded upon that. Also, the C and D- triads shown are technically diatonic triads in C, like the pattern. I left the GAug out for the purposes of the sound I was after. You could also totally use the literal exact lick that Trane plays (and superimpose the ii - V+7) and do the other steps and get lots of value. For the purpose of the video, I decided to expand on ideas inspired by the chromatic note into diatonic triad sound. Cheers :)
You can certainly get quite some mileage out of playing a pattern like the one that you are demonstrating. But as far as the analysis part of what Trane is doing is concerned, implying that he is using a repetitive pattern - which would be wrong as that is not what he is doing - like yours in his solo, is short-changing the man and will not get you or your audience to sound like you are playing a cadence, but like you are playing a pattern, which is a fundamental difference.
Yo learn shit by ear. Don't learn from someone else's transcription. There is only so much written music can give you. Hearing it is waaaaaaaaaaaaaaaaaaaay deeeeeeper. In my opinion!
Hi. It's what we call a "chord chart". The chord symbols show the chords for the song (Mack The Knife), which get repeated over and over in a cycle when you improvise. Perhaps I'll make a video about chord symbols in the future if you're interested.
I have been looking for someone to explain why these jazz exercises work for so long. I am a second semester at Berklee and just recently started learning jazz improv. Once you went over the free play step and how to make it your own it finally opened my ears. Thank you.
I play piano btw and this still was very helpful
Excellent lesson. You are quite right in the fact that we often neglect the last two steps to internalise the language. Thanks for sharing this!
Thank you!
I’ve been playing for a long time and never had a formal jazz teacher (not boasting, it’s a detriment). Dude, this is the lesson I’ve needed. I always struggled to understand why I could never get the stuff I studied solidly in my language.
Much appreciated brother 🙏
Nice!
When I studied with Lee Konitz he had me transcribe Coltrane’s first chorus on “Someday my Prince will come” I also learned to sing the solo before I played it on my horn.
I love that the title is not clickbait and the video has serious content, presented clearly and straight to the point. Subscribed, I'm sure you're going to be huge.
super straightforward lesson. I've heard all this stuff before from various tutorials and sax teachers, but you organized it all for me into a framework that makes sense. can't wait to start applying this
best video i have seen on improv. thank you so much mate
thank you for sharing this! when i transcribe i usually just play the damn thing over and over again once i learn it lol. this is helpful to anchor into some subsequent steps and really get the most out of it!
Awesome!
This was actually a very good conversation to start, Jayden! Thank you very much for sharing this perspective and inspiring us with is exercise.
Cheers Alex!
This is a great video! I always had trouble internalizing vocabulary and this is a great way to start. I'll be sure to start incorporating this in my practice!
I feel like over the years I've seen so many practice guide videos that I took nothing from, and this might be the first one that clicked in my mind. Something about how it was focused on acquiring sounds separate from shapes (guitar player here) really made sense. Thanks a ton!
Excellent lesson on transcription. Thank you so much for making this video
great video man!
Nice and warm tone! ☺ Good stuff!
Thanks Joonas!
Nice vid.. I just believe transcribing by ear rather than learning from someone else's written transcription matters a lot. And I say the most effective way to do it is to memorize the solo by ear before even touching the instrument, to the point you can hear and sing every single note... besides is super fun. Just after I'm comfortable with that is when I go to my instrument after the notes, but at this point you already know the solo so well that it becomes a lot easier to find everything.. after you learned the solo in the instrument through this kind of process, if you decide to write it down it just becomes so much easier as well.. you can just sit down, relax, 'play' it in your mind and write it down effortlessly.
Hey Silvio, totally agree with you! It's by far the most beneficial way to transcribe. The important part for me is being able to play it along with the recording from memory. I suggest reading as an easier point of entry for younger students of mine as a means to just start playing the language and internalising. Straight into the deep end (doing it by ear) was how I went about it, but I've seen it throw some students off and I've experienced some students giving up on the process entirely, hence my alternative suggestions to acquiring the language in the first place.
@@JaydenBlockley how interesting m8.. I wonder if it has to do with the instruments. From a guitar perspective, I guess I don't need to tell you that reading is not our strongest point haha.. I'd say we are more often encouraged to play by ear rather than reading because we usually suck on that. I guess you guys have the reading thing much more natural as it is more present on your fundamental learning of the instrument. The guitar is a little messy instrument to read, everything has 500 different fingerings, is such a pain lol.. anyway, Thanks for the chat m8 :)
Haha, I think you've probably nailed it there.. Us horn players are always taught to read before we know what's going on. Cheers man.
Jayden,, thanks SO much for the lesson! Very well explained. After years of not playing, this time around I've decided to incorporate the rigors of transcribing and ear training. Your explanations on the application process really registered with me. Great advise. Thanks again :)
I think the lick you talked about is quote from KoKo
thanks! keep it up. would love to see a video where you apply this process to a tune you don't know yet and document the process from start to finish.
Thank you for sharing this awesome video! James Moody always stressed working on triads. He also loved to talk about "Coltrane concepts." I was blessed to see him annually in Chicago for 21 years. Thanks again, Jayden!!!👏🏾✌🏾
brilliant
Very well done. You simplified something that seems difficult. Cheers
Cheers John!
The lesson I never knew I needed.
Thank you Jayden for this great content.
Thanks TH-cam recommendations.
this sounds SOO GOOD!!!!
Thank you Kurt Elling, I couldn't have done it without you!
Thanks. Great step by step approach to taking an element of jazz improv language, pushing it around on your freestyle way then moving forward into application of the lick or phrase in a tune. Never did all the steps together like that.
Good stuff
Didn't know Cillian Murphy played the saxophone so well! Seriously though, great playing and very helpful video!
Great lesson! I liked that you picked that chunk out of the solo, because that was the piece that appealed to me also.
@Jayden great wrk kind sir
Really cool way to exercise, and crystal clear way to teach it. Thank you for sharing it man.
this lesson was great! thank you! :))
you earned that sub, thank you so much. I am a tenor player looking to learn how to play jazz and improve and this helped me find somewhere to start
Good job. Not long-winded like some. Right to the point. Thank you.
Thanks for sharing, mate.
It was so clear that I think I actually understood xD
Great video dude, very helpful. I've subscribed!
Absolutely correct 🎼🎶
Thanks for the Lesson! One question though, what is it you're doing when your moving your jaw back and forth? I've seen multiple saxophonist do it in live footage and I've been wondering what it is people are doing.
Love your videos Jayden
Awesome lesson man
Thank you! This is very helpful and inspiring!
Very helpful Jayden. This has been a big problem for me for years. Thanks.
Thanks Paul!
If you want to learn jazz first you have to learn to play Blues. Simple 3 chord Southern Blues. That's the foundation . Then you can study Cannonball Adderly and Roland Kirk. Jazz all came from the Blues.
The last two steps are critical, and you described it so well. Incidentally, that Coltrane phrase remind you of Thomas the tank engine theme a little bit?
Man that was awesome!!
Excellent lesson. Thanks
I really liked the 2 notes shape freeplay! :)
Oh wow love it brother thank u 🎉
So much good information in 10 minutes 🔥🔥🔥
Well done!!
This is a great lesson. I struggle with the last two steps when the lick extends over two or more changes (e.g. licks over 2-5-1, turnaround etc..), because although there might be a few instances of that sequence in a tune, you're not applying it to all chords and when practicing, by the time you change tune you've forgotten it already. I find single chord licks are more manageable and easy to apply and memorise, then how can you work on longer sequences ?
Hey Ross. Totally relate. It gets more difficult the longer the phrase is and the more chords it fits over. When it's over infrequent chord sequences, you just have to get even more deliberate about setting up to execute it when it does come around. If you do this and keep looping chorus', hopefully it'll start to become a more natural phrase that you hear every time you get to that progression. Good luck!
Yoooooo this is some good shit! Certainly changes how I think of learning the language of jazz :)
Amazing lesson 👍👍
Blessed stuff
I've heard this method before from Fusion Giant Scott Henderson
Great Video!
I think it is a great lesson . My teacher would make me play a tune with him in 12 keys and would not tell me when he changes key. For me trying to hear the rests is hard me 8th note rests or 16th note rests
It's helpful!
Hey Jayden hru bro?By the way you forgot about one step man😊one of the most important "Listening" to tunes
nice keep it up Its Noah YOO
I love how the thumbnail is the mario kart lick
What that line you did at the beginning of this video… I’m a jazz newbie and tryna learn some things.. I ask because it reminds me of blues for Alice by Charlie Parker
Thinking in patterns only works for me in modal context. When it comes to bebop i have to think really hard about chord tones and don't have the freedom to play straight patterns naturally (unless i switch back and forth)
Bebop has different rules, but you will basically use this method of learning language to internalize the language organically.
@@pjbpiano sure, but pattern playing is something quite hard to achieve in bebop unless you let it go and play in one scale only
You’ll be able to find some patterns in bebop. Mainly enclosures and chromatic approaches. For me my language developed the most after transcribing bebop solos. Modal music wasn’t really helping me.
🎉 thank you for sharing 🎉 hope you are well God loves you deeply shalom 🤗🐼♥️✝️💐 Philippians 4:8
good!
I noticed that the examples that appear in the transcription are in C, while the ireal track is in Bflat right?
Well spotted. I thought it'd be best to show the transcription as the notes Coltrane was specifically playing on his saxophone, but I'm also so used to having lead sheets in concert pitch and thought it'd make most sense that way when showing Mack The Knife. Bb concert pitch transposes to C for tenor saxophone (I'm sure you already know), so technically it's all in the same key.
Either way, I believe the most ideal application of improv language is over multiple songs in varying keys anyway. Cheers!
@@JaydenBlockley Thanks, I'm a guitar player so I hadn't considered transport
Step zero-sing the solo get in so in your mind you can sing without the recording, try to develop a connection between your mind and your instrument
nice
Just wondering, if Trane Trane is playing A-Bb-F-D. F# -G-Eb-C. then there is no repeated pattern in HIS playing? Similar but not the same like in the pattern you are developing.
liked
do i need perfect or relative pitch to transcribe
You certainly don't need perfect pitch. You don't necessarily need strong relative pitch either to get started and the process will help develop it. I started by listening and pausing the track and then trying to work out one note at a time. It'd often take me a minute just to work out a single note - Stick with it!
Like I mentioned in the video, you can also get the language from someone else's notated transcription online. Hope this helps!
Whats the play along program called?
ireal pro!
I don't disagree with the steps, but I disagree with the order. Free play should be the first. I have been learning songs by ear, and just playing over them at first is much more engaging. When I tried to transcribe before, I always focused on getting the exact notes first. It's much easier to get a hang of the context of the piece than the exact notes at first. But I am a beginner, so that might be less of an issue later on.
And it's actually fun, so I actually want to do it. It does not feel like practice at all.
wich saxophone do you use?
It's a transitional Conn New Wonder ii
เล่นเปียโนเป็นไหม
0:50 haha nvm
I am a taiwanese who has just passed the qualification of jazz music department.Strictly speaking, I have only studied jazz for a few months, lol.
Thank you for the video that made me understand jazz better before I entered school.😋👍
Thank you. Good luck!
OVER AnALIZing!
Good/Great JoB though 👏
Thks for breaking it DOWN thought
Very INTEResting
Correct me, if I am wrong, please, but looking at your video, you seem to get your Step 2 wrong, the analysis. You are deriving from Trane a lick that consists of a chromatic approach followed by a diatonic triad in root position, which then you move down or up stepwise. You are playing F MA, E-, D- etc. triads with a chromatic approach. It sounds nice.
Meanwhile, Trane starts out with chromatically approaching the root of a diatonic triad, I MA, in his key of C, in first inversion followed by chromatically approaching the fifth of the ii- triad, D-, which he then plays in root position followed in the first example by an augemented V7 chord.
So Trane is actually playing a cadence of IMA7 ii-7, v7 here rather than a series of chromatically approached diatonic triads. He superimposes that cadence at that spot in his solo, while you do not superimpose any cadence when you take your lick for a spin on Mack the Knife, but rather treat each chord as a modal area, in which you play diatonic patterns of the chord scale with a chromatic approach.
Hey man, thanks for your feedback and your analysis is correct, but I wouldn't go so far as to say mine was "wrong". I mention in the video that the pattern is extrapolated out from the fragment of language that Coltrane plays. The idea is that it's a chromatic note, followed by a triad and then I expanded upon that. Also, the C and D- triads shown are technically diatonic triads in C, like the pattern. I left the GAug out for the purposes of the sound I was after. You could also totally use the literal exact lick that Trane plays (and superimpose the ii - V+7) and do the other steps and get lots of value. For the purpose of the video, I decided to expand on ideas inspired by the chromatic note into diatonic triad sound. Cheers :)
You can certainly get quite some mileage out of playing a pattern like the one that you are demonstrating. But as far as the analysis part of what Trane is doing is concerned, implying that he is using a repetitive pattern - which would be wrong as that is not what he is doing - like yours in his solo, is short-changing the man and will not get you or your audience to sound like you are playing a cadence, but like you are playing a pattern, which is a fundamental difference.
上手い。🙄
the thumbnail😭
Yo learn shit by ear. Don't learn from someone else's transcription. There is only so much written music can give you. Hearing it is waaaaaaaaaaaaaaaaaaaay deeeeeeper. In my opinion!
I still don't have any idea how to read the type of chart at the end.
Hi. It's what we call a "chord chart". The chord symbols show the chords for the song (Mack The Knife), which get repeated over and over in a cycle when you improvise. Perhaps I'll make a video about chord symbols in the future if you're interested.
@@JaydenBlockleyThanks! I hope so, as someone who is older and learning online, that's the only stumbling block I have.
👍👏💕🌠