So you want to learn how to become a jazz improviser..... Great! Everyone has been telling you that listening to the Masters is the most important way to study jazz and improvisation. They are right! Jazz is a language with the vocabulary words as melodies, sentences as phrases, and punctuation as articulation. The best way to internalize this language is to immerse yourself in the music, listening in an active rather than passive manner. Active listening involves a high degree of focus and concentration in order to fully hear and take in the music you are studying.
In these lessons you will be transcribing three Jazz Piano Masters: Hank Jones (
Rockin' in Rhythm), Keith Jarrett (
In the Old Country), and Herbie Hancock (
Thieves in the Temple). I chose portions of their solos as examples of masterful improvisation that are accessible for the beginning transcriber. For the purposes of these examples, we are only working with the right hand only, however another part of transcription for pianists is the comping with the left hand.
To begin, download the chord progression of each solo as a guide for your transcription. This outline can help guide you as you transcribe the solo. For instance, it gives you the key, and also the specific chord that is being improvised on. So if the chord is G minor, it is likely that at an important point the melody would involve a G Bb D or F.
In order to get the solo in your ear, you need to listen continually to the solo until you can sing along with it. By "sing" I don't necessarily mean vocalize out loud, but rather use your inner voice to "sing" the solo. (If you are able to vocalize that's great too.) Then, "sing" the solo without the recording, in order to see if you can remember and recreate the melodies and rhythms without the recording behind you. Now that you really know the solo, you can begin to transcribe it from your internal memory / hearing. Depending on the complexity of the solo, you can write it down phrase by phrase, measure by measure, or even beat by beat. (Some fast lines are written down note by note.)
Consider these as attainable beginning goals through which you will gain the confidence and skill to take on longer and more complex solos. Remember that while the skill of transcription is essential, it is even more important to be able to play your transcription in order to develop your time feel, vocabulary and articulation. (some students memorize and play the solos without writing them down.) As with any language, skill comes from listening, study, and imitation. After the language is spoken fluently, one can innovate and express his/her own voice. Good Luck, and happy practicing!
Click on one of the following song:
1) Rockin In Rhythm
2) The Old Country
3) Thieves in the Temple
The form for the solo of Rockin' in Rhythm is a "vamp" (repeat until
cue) which is two measures long (I-VI-II-V in minor). I chose the first 16
measures of the solo as an example. The first four measures lead into the
solo with a melodic cue (F# to G). In the fourth measure is the pick up to
the solo (G Bb).
The first two measures are relatively simple, so you can slowly sing
back the melody in your mind while conducting, or tapping, or counting
internally. Pick whichever way works for you to be able to write down the
rhythm. Some students write down the rhythm first, and then add the melody.
At other times you will be able to write the rhythm and melody at the same
time. In measure 11, beats 3 and 4, there is a cue written to help with a
longer, more challenging phrase (same for measure 16). If you are having
trouble with a particular phrase, go on to the next phrase. Sometimes coming
back to it later helps. Finding a target note or phrase and then working
your way back can also help. You do not have to transcribe the solo in order
from beginning to end.
After you have finished your transcription, download the completed version
to check your work. At this point when the melody and rhythm is correct, you
should focus your attention to detail: articulation (long, short), accents
(strong, soft), dynamics, and swing feel. You need to emulate every aspect
of the solo in order to really learn the language. Learn to play the solo
along with the recording and play along exactly with Mr. Jones. Feel what
its like to play like a masterful musician!
In The Old Country has the first two choruses transcribed to see how Jarrett interprets the melody. The first chorus of the melody is relatively tame. The second chorus adds some melodic and rhythmic twists. Be specific about the eighth note anticipation's and syncopation.
In the beautifully melodic first solo chorus you may be able to write down the first four measures at once. The articulation is particularly important in this solo, as in the last four measures.
Feel free to continue the transcription and learn licks (phrases) you like. When you find a lick you like, transpose it to other keys. For example, the first four measures of this solo are in D minor. Play the phrase up a step in E minor, or down a fifth in G minor. The best way to continue your ear training in this process is to transpose by ear, rather than to write it out.
Again, work on playing the solo exactly along with Mr. Jarrett. You need to experience the time feel, tempo accuracy, and melodic expression.
In Thieves in the Temple, only the first chorus of the piano solo is
transcribed. Each chorus is 24 measures long, and is a minor key "blues
like" form. This is because the I minor and IV minor go back and forth until
finally the Vsus4 is given, resolving us back to the top of the chorus.
Of the three, this solo is the most challenging to transcribe because of Mr.
Hancock's incredible way of interpreting and expressing time. You may find
it "impossible" to accurately transcribe the rhythms. You will learn to make
choices regarding the closest you can get to the way it sounds. Sometimes
this involves notating a rhythm, and then writing in words such as: "lay
back", or "rushed".
There are also many grace notes, octaves, tremolos, and coupling notes in
this solo. All of these methods offer another degree of expressiveness in
the solo and sound great, but may provide a challenge in writing down the
solo. Students may come up with slightly different ways of transcribing
these ornaments. Do your best, and then check your work.
The time feel in this solo isn't "straight ahead swing", as the eight notes
are "straight". Yet the feel does have a swing-like quality to it.... Enjoy!
