Accessible to those who don't read music yet (though reading is encouraged).
Don’t just memorize these patterns and regurgitate them on stage. That is the opposite of jazz. Here is the three-step method to get the most out of Volume 1 :
— This is where the patterns become phrases. A pattern is a cold sequence of intervals (1-2-3-5). A phrase is a pattern with attitude. The book introduces “enclosure” (approaching a target note from above and below) and “chromaticism” (the art of playing the wrong notes at the right time). One famous exercise in Volume 1 takes a simple C major triad and adds a chromatic approach note before each chord tone. The result sounds like a bebop line from 1956. The student feels a thrill: I am not practicing. I am quoting.
Every pattern includes specific fingerings to ensure you aren't "tripping" over your own hands during fast passages. 3. Focus on Ear Training
This is an essential "workbook." It is less about reading and more about doing . If you feel like your solos are just "up and down scales," Volume 1 will give you the rhythmic syncopation and melodic direction needed to start sounding like a real jazz player. To help you get the most out of your practice,
Accessible to those who don't read music yet (though reading is encouraged).
Don’t just memorize these patterns and regurgitate them on stage. That is the opposite of jazz. Here is the three-step method to get the most out of Volume 1 :
— This is where the patterns become phrases. A pattern is a cold sequence of intervals (1-2-3-5). A phrase is a pattern with attitude. The book introduces “enclosure” (approaching a target note from above and below) and “chromaticism” (the art of playing the wrong notes at the right time). One famous exercise in Volume 1 takes a simple C major triad and adds a chromatic approach note before each chord tone. The result sounds like a bebop line from 1956. The student feels a thrill: I am not practicing. I am quoting.
Every pattern includes specific fingerings to ensure you aren't "tripping" over your own hands during fast passages. 3. Focus on Ear Training
This is an essential "workbook." It is less about reading and more about doing . If you feel like your solos are just "up and down scales," Volume 1 will give you the rhythmic syncopation and melodic direction needed to start sounding like a real jazz player. To help you get the most out of your practice,