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Woodshedding - Learning to Play!
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Joined: Oct 2023
Posts: 2
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OP
Newbie
Joined: Oct 2023
Posts: 2 |
Hi all -- I'm a classically-trained horn player making the transition to jazz.
On ballads I can hear the changes coming and have time to play truly by ear, and because I'm already technically capable I can always play what I hear in my head to good effect.
But when things start speeding up I get seriously flummoxed. It's not a strictly technical thing, I can play almost anything when reading sheet music, but I almost immediately get behind on the changes and its a mess.
So, I ask you, how did you work up to playing fast? What practice techniques or other work can you recommend that will help me keep my head on faster tunes?
Thanks for any help...
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Woodshedding - Learning to Play!
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Joined: Jul 2000
Posts: 26,251
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Veteran
Joined: Jul 2000
Posts: 26,251 |
Hi. Welcome to the forum.
Tough question. We could be here awhile.
I’ve played horns professionally in jazz for sixty years. Looking back, I could cite ear training and transcribing solos as useful techniques. Starting out, I simply played in lots of groups and played along with LP records. I also played along with the radio (AM at the time!) to sharpen my skills since there’s no rewind.
Turning to now, if I had Band-in-a-Box at my disposal, I would enter the chords to a song then woodshed by continuing to ramp (increase) the tempo. Skills will increase.
BIAB 2024 Win Audiophile. Software: Studio One 6.5 Pro, Swam horns, Acoustica-7, Notion 6; Win 11 Home. Hardware: Intel i9, 32 Gb; Roland Integra-7, Presonus Studio 192, Presonus Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors
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Woodshedding - Learning to Play!
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Joined: Oct 2023
Posts: 2
Newbie
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|
OP
Newbie
Joined: Oct 2023
Posts: 2 |
Hi all -- I'm a classically-trained horn player making the transition to jazz. On ballads I can hear the changes coming and have time to play truly by ear, and because I'm already technically capable I can always play what I hear in my head to good effect. But when things start speeding up I get seriously flummoxed. It's not a strictly technical thing, I can play almost anything when reading sheet music, but I almost immediately get behind on the changes and its a mess. https://100001.onl/So, I ask you, how did you work up to playing fast? What practice techniques or other work can you recommend that will help me keep my head on faster tunes? Thanks for any help... I got this,...
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Woodshedding - Learning to Play!
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Joined: Dec 2003
Posts: 21,616
Veteran
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Veteran
Joined: Dec 2003
Posts: 21,616 |
.................................
So, I ask you, how did you work up to playing fast? What practice techniques or other work can you recommend that will help me keep my head on faster tunes?
Thanks for any help... As I tell my students "if you can't play it slow you can't play it fast so always start with a slow tempo, practice until you get it, then increase the tempo". As you are an accomplished player and reader pick something that is difficult to play and use said techniques. For my students I use the identical technique that Matt suggested using Band-in-a-Box. I record backing tracks for each song at various tempos and give the student an MP3 recording to practice with. It does work wonders with backing tracks. YMMV
Yeah, I've got O.C.D, Old, Cranky, and Dangerous.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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Woodshedding - Learning to Play!
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Joined: Jan 2010
Posts: 811
Expert
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Expert
Joined: Jan 2010
Posts: 811 |
One trick I use playing fast over complex changes is to try to simplify the changes.
For example a 2-5-1 can easily be thought of as a 5-1. Others suggest it is a 2-1. Either way its 33% fewer changes and either approach sounds good.
Also you ignore as many of the upper partials (9,11,13, natural, sharped or flatted) as you need to stay up with the changes.
Focus your initial arpeggios on the root, 3rd, and 7th of the chord. Add some chromaticism, approach from above or below and you have the start of a pretty good solo.
Often those upper partials are part of the melody. You may or may not want to focus on those tones in your solo anyway.
Target the 3rd of the chord you are moving into as your first note. Not every time, but it always sounds good.
Ignore some of the more complex harmonies. A tri-tone subsitituion on a dominant chord is a cool outside sound. I love it and use it a lot.
But ultimately its a 5 chord (dominant7) resolving a 5-1 cadence. Treat it as a dominant 5 chord and leave the tritone stuff for later.
The great guitarist Joe Pass often stated he thinks of only 3 chord qualities- Major Minor and Dominant.
Great advice.
It may not get you through every song, but it helps to keep up when the changes are flying fast and furious.
biab2024(Mac) Latest Build
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Apple M2 pro 32GB Ram
Logic Pro 11
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Here's a small sampling of what XPro Styles PAK 7 has to offer: energetic rock jigs, New Orleans funk, lilting jazz waltzes, fast Celtic punk, uptempo train beats, gritty grunge, intense jazz rock, groovy EDM, soulful R&B, soft singer-songwriter pop, country blues rock, and many more!
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Watch the XPro Styles PAK 7 Overview & Styles Demos video.
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