In other words, this is not a transcription exercise in of itself, but a real time applied catalogue for you to build with. I'd suggest that one might keep a mental or physical notebook and keep track of each phrase, understand how the embellishments relate to target notes within the scale and then create at least three other ways to play a passage based on your own improvisational language. The purpose of this thread is not to learn the etude as a piece, though it'd be handy to have in the warm up routine anytime, but to identify the construction, intent and context of the jazz devices that make the jazz language. Now I thought it'd be a good time to take another Fishman etude, Irving Park Road, based on the Ellington Strayhorn changes of Take The A Train. Learning improvisational language through practice, phrase and etudes. How do we get our lines to have that sound? What are the things that can help us to recognize, internalize and utilize a vocabulary so creating improvisational compositions on the fly is a natural process?Ībout 6 months ago there was a group of us that took a look at Rhythm Changes as a harmonic framework and coupled with a Greg Fishman etude, began to assemble a jazz lexicon for ourselves through a study of melodic line, embellishment, rhythmic consideration and recognizing movement to target notes through phrases that led the ear.
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