Practical Solutions For Jazz Rehearsal Warm Up Robert Pippin
Why do the session? !
Many jazz clinics move too fast
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Many focus on advanced improvisation
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Details are complicated for non-jazzer
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Often not much you can use the next day
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Not much discussion of how to warm up, only performance, lit., style, etc.
Benefits? !
Scales & Modes are essential to understand for jazz success
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Forms--12 Bar Blues, others
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Improvisation--take the fear out of it
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Theory!
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Styles / Articulations / Tempi in warm up time
Scales & Modes !   Simple
Jazz Modes & Scales:
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Major--you know this one
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Mixolydian--Major with lowered 7th scale degree
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Bebop--Major with ADDED flat7, like Major & Mixolydian at same time Dorian--Mixolydian with lowered 3rd, or Minor with raised 6th Blues--R, flat3, 4, flat5, 5, flat7, R
How !
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12-bar blues form, with scales being played over changes. Always emphasize tone, legato style and logical, small steps toward comprehension Don t give them handouts! Let them experience it and learn in a musical way by playing Scale patterns put chord tones on strong beats, passing tones on weak beats
Major Scales
Mixolydian--Lowered 7th
Bebop--Mixolydian and Major at the same time
Dorian--Mixolydian with lowered 3rd. Use in minor keys
Blues--
Root, flat 3, 4, flat 5, 5, flat 7, root
Putting it together !
Don t run major scales !
(almost)
never see Major triads indicated in changes,
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(almost)
ALWAYS Mixolydian or Dorian
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Start with Bebop--8th note pattern fits logically
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Then, Mixolydian, Dorian, Blues, and on to solos...
Putting it together
Learning The Daily Routine !
First Day: percussion on mallets to start, everyone plays! !
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Discussion of scale degrees and Roman numeral chords (I, IV, V) in B flat, playing each chord s major scale-point out only 1 note difference between I-IV and IV Never refer to chords as letters again, stick to numbers Call chord numbers, and have students play their scale, leading through 12-bar form Outline 12-bar form on board using Roman numerals
Routine, continued !
When everyone understands the form, put a percussionist on the kit and play--straight 8ths on the pitched instruments, swing on drums
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When they get it, introduce Mixolydian mode
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Introduce legato backbeat tonguing !
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Doo-Bah-Doo-Bah, or whatever works for you
Introduce soloing
Fearless Improvisation !
First day: Mixolydian scales, then solos through saxes, pitched rhythm, brass, drums, then back to Mixolydian scale... scale form functions as the head of the tune !
EVERYONE solos, 12 bars each, including drums
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Only rule is everyone plays--even if only a few notes
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Give LOTS of praise! Everything is great, and nobody plays any wrong notes
Fearless Improvisation ! Beyond
first day:
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Solos increase to 2 times through form
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2nd time through, band plays background figures !
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backgrounds follow chord CHANGES, not every measure Tutti band practice on background figures, play games like call & response Emphasize rhythmic fun on roots, then add color tones--3rd, 7th, 9th, combinations Create background figures that make good solo ideas
Fearless, continued !
Require students to quote an easy figure in their solos
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Use material from charts to create background figures
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Students create figures--students either play (call & response) or compose using scale degrees & rhythms Have students praise each other s solos--tell the class what they liked about someone else s solo You listen to their solos and gently suggest improvements That was great, here s what to do next! Emphasize right notes--correct mode, chord tones on beats, passing tones on off beats, scale segments
Back to the Daily Routine !
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Once they master the process (maybe a couple of rehearsals), add the other scale types one at a time Make the connection to other scale types logical, changing only 1 note at a time Change keys: moving to key area of E flat or F only changes one scale from B flat, and really only 1 pitch Choose which mode students will solo in that day !
if it s not blues (minor key), repeat desired mode right before going on to solos
Remember...
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The key point is to teach the students HOW the scales and modes work and let them learn how to construct them Do NOT force the details of every key area through memorization--your average kid will burn out! !
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Not very many charts written in B major
Your advanced kids will memorize everything anyway on their own
Moving on...
items to build on throughout the year !
Easy theory steps ! !
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outline scale degrees through 2 octaves (Root-15th) 9ths (2) and 13ths (6) are fun & fresh! (and in lots of chords on the charts you play) The Dreaded 11th (4)- handle with care! Simple chords: Tonic, Dominant, Sub-Dominant, then Mediant, Sub-Mediant, Leading Tone, Super-Tonic Explore all keys through blues changes & modes
! Styles & !
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Articulations
Explore styles: funk, rock, latin, fast bop, ska, reggae in a variety of tempi appropriate to style Explore and define proper articulations for each style, and change styles every few rehearsals during warm up, especially emphasizing styles of the charts being played
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Forms !
ii-V-I fun: Pick a key, 1 bar per change (ii-V-I-I),
tonic chord notes work great over the whole form-great for students to explore & experiment! !
Rhythm Changes : relates to ii-V-I changes (actually I-vi-ii-V-I etc. with modifications) !
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32 bar form used in I Got Rhythm , Lester Leaps In , Salt Peanuts , The Flintstones , others A-A-B-A form; for starters, have students play on the I chord for A sections (8 bars each), follow changes for B section (also 8 bars) !
B section: 2 bars each; D, G, C, F (ii-V-I)
Wrap-up ! !
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Should be able to do this in less than 15 minutes a day Students should keep some notes in a notebook on forms, styles and articulations, but internalize scales & modes based on numbers, not note names After students master it, warm up is fun, flexible, easy and provides steady improvement while teaching essential skills Remember to listen carefully to students and provide appropriate feedback often