[Applause]
you know I have a five-year-old daughter
she keeps singing this at home do you
recognize this
[Music]
you know this yeah it’s a bit a spider
how about this this recognize it now
well nevermind I don’t know either what
it was because I was improvising that’s
what we jazz musicians oftentimes do
when we improvise we take a familiar
song like this or compose something new
and that we use the harmonic structure
and the form of that song to improvise
more melodies and rhythms actually that
kind of improvising has been one of the
most common ways to improvise in jazz
music since the world war two I think
improvising is a fantastic way to create
new content instantaneously we all
improvise in our everyday lives at least
if we think of improvising in this
general meaning of making or creating
from whatever is available to us a great
example is speaking especially mother
tongue we have an idea or feeling and we
just speak it away without further
thinking we are able to do it because we
have acquired the necessary MA
motor skills already in early childhood
and we have built a huge vocabulary that
we can use in arts improvising is
usually defined to be composing and
performing simultaneously the point is
to add aesthetic value to the
performance by opening up the creative
process for the audience it’s also
important that artistic improvising is
done within the context because it’s
only against a context that both the
other performers and the audience are
able to understand and decode what the
improviser means so the reason I’m here
today is that I want to show you three
this kind of self learning processes
have been natural to jazz musicians
since day one but in its current form
and wording these three steps are
conceptualized by a devoted jazz
educator Clark Terry for this speech I’m
using Clark Terry’s three steps but I’m
also adding to it lots of my own
experiences and examples in a way these
are also three steps for learning a
language because that’s how you learn
actually improvising you’ll learn a
language and that language might be then
the language of jazz or spoken language
or computer language you name it let’s
go to practice
here is a song called got a match by
[Music]
thank you gotta match is a typical bebop
hard bop idiom composition that has
fairly short form 16 bars it’s in
up-tempo jazz and then it’s produced
into 80s fusion kind of style on the
recording but the idea is that it has
plenty of room for improvising let’s say
I want to practice the introduction of
this recording where Chick Corea
improvises one chorus sounds like this
[Music]
okay so we go into the imitation phase
it’s good to realize that we need some
complementary skills I need to have
instrument skills some vocal skills I
need to be able to recognize pitches by
ear and I also need to know some jazz
theory okay so we start imitating in my
opinion the imitation is very close to
another process that with jazz musicians
oftentimes use called transcription and
that is nicely defined by jazz master
Dave Liebman into four segments so first
I select the working area which is the
introduction and then I learn to sing it
at least the rhythm and the melody
contour I learn to sing along with the
recording and up to the point when I’m
so fluent that I can sing it without the
recording in the tempo like this 1 2 1 2
3 but everybody bearable Barbara Baruch
dooba dooba dooba you better be able to
pay particular Bavaro parable to the
very very very with a little bit of back
but everybody with a little bit of
everybody will do very well ok then I do
the same process with the instrument so
I learned from the keyboard the right
pitches until again this takes a long
time but now you have everything
compressed until I’m able to play it
along with the recording
[Music]
and so on and then the final stage is
that I write it down like this this
alone is a great achievement but we
don’t want to end here we want to learn
more we want to go deeper into this and
for that we move to the second phase of
assimilation in this phase we break down
the working area that we just had we
learn to imitate it and now we break it
down to small phrases that we start
using as practice methods for example I
want to practice the first phrase and I
start taking it through all the 12 keys
and so on you know so I work I do small
practice efforts and I really really
really make sure that I’m totally fluent
with everything and I also analyze
theoretically next slide will contain
some heavy music theory so don’t be
intimidated here is something called
functional harmony analysis below the
stuff you can see the actual composition
and it’s functional harmony and above
you can see how the soloist Chick Corea
has chosen little bit different kind of
harmonic solutions and that’s the beauty
of dust you can find your own path and
then you resolve nicely in certain
points this second phase assimilation
has probably the largest footprint out
of these three steps because you need to
let things really incubate for Olli
before there is any point to move
further and when you finally do you
enter the innovation
in this face we start combining the
phrases we have learned into our own
sentences we might modify them if we
want we might add some influences that
we like and we start speaking the
language we have to remember that
innovation is a big word and throughout
the jazz history there are only few
people who truly are recognized as
innovators of jazz but if you do this if
you repeat this process over and over
you will gather a great jazz vocabulary
that might lead into development of
personal jazz identity meaning that your
playing will be recognized as jazz but
as well it will be recognized as you I
encourage everybody to think about this
process and try to use it in your own
field for ending I would like to play a
short version of gara match where I
first play some Chick Corea imitation
then I play the composition the head and
then I continue improvising on my own
and then I finish off by repeating the
[Music]
[Applause] thank you
you know I have a five-year-old daughter
she keeps singing this at home do you
recognize this
[Music]
you know this yeah it’s a bit a spider
how about this this recognize it now
well nevermind I don’t know either what
it was because I was improvising that’s
what we jazz musicians oftentimes do
when we improvise we take a familiar
song like this or compose something new
and that we use the harmonic structure
and the form of that song to improvise
more melodies and rhythms actually that
kind of improvising has been one of the
most common ways to improvise in jazz
music since the world war two I think
improvising is a fantastic way to create
new content instantaneously we all
improvise in our everyday lives at least
if we think of improvising in this
general meaning of making or creating
from whatever is available to us a great
example is speaking especially mother
tongue we have an idea or feeling and we
just speak it away without further
thinking we are able to do it because we
have acquired the necessary MA
motor skills already in early childhood
and we have built a huge vocabulary that
we can use in arts improvising is
usually defined to be composing and
performing simultaneously the point is
to add aesthetic value to the
performance by opening up the creative
process for the audience it’s also
important that artistic improvising is
done within the context because it’s
only against a context that both the
other performers and the audience are
able to understand and decode what the
improviser means so the reason I’m here
today is that I want to show you three
this kind of self learning processes
have been natural to jazz musicians
since day one but in its current form
and wording these three steps are
conceptualized by a devoted jazz
educator Clark Terry for this speech I’m
using Clark Terry’s three steps but I’m
also adding to it lots of my own
experiences and examples in a way these
are also three steps for learning a
language because that’s how you learn
actually improvising you’ll learn a
language and that language might be then
the language of jazz or spoken language
or computer language you name it let’s
go to practice
here is a song called got a match by
[Music]
thank you gotta match is a typical bebop
hard bop idiom composition that has
fairly short form 16 bars it’s in
up-tempo jazz and then it’s produced
into 80s fusion kind of style on the
recording but the idea is that it has
plenty of room for improvising let’s say
I want to practice the introduction of
this recording where Chick Corea
improvises one chorus sounds like this
[Music]
okay so we go into the imitation phase
it’s good to realize that we need some
complementary skills I need to have
instrument skills some vocal skills I
need to be able to recognize pitches by
ear and I also need to know some jazz
theory okay so we start imitating in my
opinion the imitation is very close to
another process that with jazz musicians
oftentimes use called transcription and
that is nicely defined by jazz master
Dave Liebman into four segments so first
I select the working area which is the
introduction and then I learn to sing it
at least the rhythm and the melody
contour I learn to sing along with the
recording and up to the point when I’m
so fluent that I can sing it without the
recording in the tempo like this 1 2 1 2
3 but everybody bearable Barbara Baruch
dooba dooba dooba you better be able to
pay particular Bavaro parable to the
very very very with a little bit of back
but everybody with a little bit of
everybody will do very well ok then I do
the same process with the instrument so
I learned from the keyboard the right
pitches until again this takes a long
time but now you have everything
compressed until I’m able to play it
along with the recording
[Music]
and so on and then the final stage is
that I write it down like this this
alone is a great achievement but we
don’t want to end here we want to learn
more we want to go deeper into this and
for that we move to the second phase of
assimilation in this phase we break down
the working area that we just had we
learn to imitate it and now we break it
down to small phrases that we start
using as practice methods for example I
want to practice the first phrase and I
start taking it through all the 12 keys
and so on you know so I work I do small
practice efforts and I really really
really make sure that I’m totally fluent
with everything and I also analyze
theoretically next slide will contain
some heavy music theory so don’t be
intimidated here is something called
functional harmony analysis below the
stuff you can see the actual composition
and it’s functional harmony and above
you can see how the soloist Chick Corea
has chosen little bit different kind of
harmonic solutions and that’s the beauty
of dust you can find your own path and
then you resolve nicely in certain
points this second phase assimilation
has probably the largest footprint out
of these three steps because you need to
let things really incubate for Olli
before there is any point to move
further and when you finally do you
enter the innovation
in this face we start combining the
phrases we have learned into our own
sentences we might modify them if we
want we might add some influences that
we like and we start speaking the
language we have to remember that
innovation is a big word and throughout
the jazz history there are only few
people who truly are recognized as
innovators of jazz but if you do this if
you repeat this process over and over
you will gather a great jazz vocabulary
that might lead into development of
personal jazz identity meaning that your
playing will be recognized as jazz but
as well it will be recognized as you I
encourage everybody to think about this
process and try to use it in your own
field for ending I would like to play a
short version of gara match where I
first play some Chick Corea imitation
then I play the composition the head and
then I continue improvising on my own
and then I finish off by repeating the
[Music]
[Applause] thank you
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