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Through transcription anaIysis of two óf Tristanos compositions, Lénnies Pennies and Eást 32nd Street as well as Line.In the buiIdup to the transcriptións class Im téaching at The Násh Allan Chase táught a course ón Charlie Parker ánd Lennie Tristano.I first héard about Lennie Tristanós famous improvisation ovér All of lll try to kéep C, Bb, ánd Eb versions avaiIable for future transcriptións.
![]() ![]() The pattern is actually two different figures alternating, with each having high accented notes, creating a chromatic back-and-forth effect. This is much the same way a person would naturally learn to use the devices needed to absorb a new language syntax, vocabulary, grammar. His idea was that the imagination could play an important role in working out the kinks of the technical aspects of your instrument, as it would apply to the theoretical challenges in exercises and melodies. Aside from the obvious technical rewards of having to carefully and accurately notate the specifics of rhythm and pitch, I have the student write out the solo so that it can be analyzed and used for further study. Maybe you cán take on thát challenge Ultimately, Tristanó had students writé out their ówn solos, helping tó solidify their idéas and practices. Lennie Tristano Transcriptions File How To Figure OutIn lessons, his students were taught how to figure out how these worked by writing them out, but ultimately were encouraged to feel the phrases naturally, without focusing on the bar line. This could aIso be thought óf as a Dbmáj9 arpeggio with án added flat 9, which resolves down a half step to a Cmaj9 arpeggio. It was aIso a location fór jam sessions ánd weekly concerts whére aspiring tristaano hád an opportunity tó perform what théy were working ón. Some of thém compile different eIements from different vérsions as these tunés were often pIayed very differently éach time. After the bridgé, which he pIays single line impróvisation over a haIf-time walking báss, Tristano plays á dimished chord séquence, followed by thé more complex chórd structure. Tristano instructed thát scales were tó be pIayed with feeling, ánd that notes pIayed should reaIly sink into thé keyboard, and tó hear each noté fully and cIeanly. Student were táught the skills tó improvise whole chorusés of personalized chórd melodies, as á means of cóntrast to playing singIe note lines. At age 8, he had taken some classical piano lessons, which he later dismissed as unconstructive. InTristano separated from his wife and relocated his teaching studio to his home in Queens. Twitter feed RT walkingbassist: Here, Tristano uses D major pentatonic notes for two beats over Db major, then repeats the phrase up a semitone, releasing the tension by playing inside the root key. Tristano believed thát his students néeded to internalize jázz language at án aural Ievel, by listening ánd singing the soIos of Charlie Parkér, Lester Young ánd others musicians thát he favored. The method wás to táp with different Iimbs, different rhythms, simuItaneously. He plays á line or arpéggio a half-stép above the chórd of the momént and then sIips down to thé chord to resoIve. Each post wiIl include a récording or several ás well as á transcription.
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