# Intro to Jazz



## specialk (Dec 10, 2011)

Hi guys, I am a metal guitar player, and i would like to vary my playing style a bit to incorporate more jazz elements. however, i'm a bit lost when it comes to jazz, so I would really appreciate some advice on playing techniques to practice, artists to listen to and generally anything that would help me become a better jazz player, seven- or sixstringed

Thanks in advance


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## SirMyghin (Dec 10, 2011)

Well first, Jazz isn't really about technique. Typically it is swung, but it is more about theory, chords, and voicing. So start simple, learn you basic chord triads. Once you have those, and can play any diminished, major, minor, and augmented triad someone tells you to on the spot, more on to chord inversions. Make sure you memorized what each chord is though, note wise. Know B = B D# F# for example, this stuff is important, 

Inversions are just changing the order of the triad, so not 1-3-5, could be 3-1-5, 3-5-1, 5-1-3, etc. 

Then once you have those down start embellishing you chords, begin with 7th chords, so 1-3-5-7. 

Tertian chords, or standard chords work like this, you take a scale, say C Major

C D E F G A B C

Then you harmonize in thirds to construct the chords and you get 

C D E F G A B C
E F G A B C D E
G A B C D E F G

Those are you chords, C, Dm, Em,F,G,Am,Bdim,C. If you take it one step further you get your 7th chords


C D E F G A B C
E F G A B C D E
G A B C D E F G
B C D E F G A B 

CM7, Dm7, Em7, FM7, G7, Am7, B half dimished 7. So on and so forth, this can be generalized for all major scales too. 

Jazz is more about head space than chops is what I am getting at, I could probably explain this better if I took the time, but it will do for now. Know and understand your intervals, and get that all sorted well. Master your fretboard, and think consciously about what notes you are playing, and why you are playing them. That will get you there in time. Then when it comes time to play with others, just sit back and let the music happen, don't over think it, don't plan to do much, just play. 

I am pretty amature for a few reasons, but do improv pretty well.


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## celticelk (Dec 10, 2011)

Check the "Jazz and Acoustic" and "General Music" subforums here for recommendations on listening and instructional materials for jazz - this is ground that tends to get covered fairly frequently.


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## The Reverend (Dec 10, 2011)

Don't say anything about Tosin Abasi, it sparks this huge debate when it comes to jazz.


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## Metal_Webb (Dec 11, 2011)

Also, pretty sure Jazz lessons don't belong in luthiery lol


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## JPMike (Dec 11, 2011)

I'd recommend, learn some standards with not many changes, like "Mack the Knife".

Simple ii-V-I in C Major and improvise over that. I'd recommend also start on the C Major scale and then try arpeggios.


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## specialk (Dec 11, 2011)

Thanks SirMyghin and JPMike, that's exactly the sort of advice I was looking for to get me started.

@Metal_Webb
Sorry about posting that in luthiery

@The Reverend
I'll just pretend that wasn't what started me looking to learn jazz 

@celticelk 
Thanks for the pointer dude

Cheers again


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## Cabinet (Dec 11, 2011)

Get into more guitar oriented jazz.
Barney Kessel is one of my particular favorites.




Also yeah, rhythmically start learning how to play with a swing feel. It can be difficult to get a genuine swing and not the in between which is where I'm currently stuck at 
Learn to read sheet music and get more theory under your fingers, learn lead sheets.
Start reading up on some basic improvisational concepts.


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## SirMyghin (Dec 11, 2011)

and a drastically different interpretation of the same tune for good measure. Chet is a truly under appreciated guitarist in most circles. The only time he tends to get love is for country work.


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## Trespass (Dec 12, 2011)

The Reverend said:


> Don't say anything about Tosin Abasi, it sparks this huge debate when it comes to jazz.



Not really a debate. Tosin simply doesn't play jazz commercially. In one of the interviews when he did that Jamplay series, he mentions putting on a progression and trying to improvise over it. I assume he's alluding to practicing jazz here, and he further mentions it's something he still needs to work on.

=======

I feel like I should make a master "intro to jazz" thread with exercises, practical theory and what you actually need to know to start playing, and where you should go from there. It's like the same advice on repeat.

*How to Solo (For Beginners (Particularly guitar players)):*
and *What is Jazz?:*

*Understanding structure in jazz:*
In jazz, the melody is played over it's accompanying chords. This usually fits within a set structure, such as 16 or 32 bar format (just like most blues fits into a "12 bar" format). After the melody is stated by a singer/saxophonist/guitarist/whoever, someone takes a "solo".

*What is a solo:* 
The goal of a solo is to create/improvise a *NEW MELODY* over the chord progression of the song. Like playing any melody, there is room for drama and embellishment, and this is where the excitement of technical runs, crazy "outside" playing etc. comes from. 

**Advanced Note: This new melody may or may not reflect the original melody. Whether it reflects the original melody, or doesn't is an artistic choice that you, the spontaneous melody writer makes while you improvise. This gets into artistic statement and more sophisticated ideas. 

*What is not a solo:*
A technical exercise where you show off all of the technique you've got. Seriously. Running the correct scale and the correct arpeggios over the chord* sounds amateurish. Obviously, this kind of happens when you're a new player (especially with prior technique), but doesn't have to. "Singing"** a simple melody against the chords that sounds good is possible regardless of how much theory you know*** 

*playing Abmajor, root to root [Ab to Ab] over Abmaj7 is REALLY painful to listen to. Ideally, it's better to think of third to third IF you're being really scalar.

** With your voice and/or with your instrument. See: George Benson, Keith Jarrett, Richard Bona, Oscar Peterson, Andreas Oberg etc. etc. scatting vocal lines in unison with what their piano/guitar is playing. The melody, either sung or played, comes from the same place.

*** Theory helps organize information and methods to play melody, technical embellishments/fancy stuff etc.

*Conclusion: *
Theory and technique are tools to create new melodic material, either on the fly by improvising, or by composition. They are also methods to embellish this melodic material for the excitement of the listener. Variety, contrast, etc. The melodic material should also outline the changes, solidifying the harmony in the listeners mind, especially in the beginning of a song/solo. After that harmony is "established", you can start stretching the harmony by superimposing new harmonic ideas (advanced concept).


*Steps to Playing the Changes, Understanding Jazz Harmony:*
*Note: This is the order in which I feel one should digest the language of jazz. Just like learning language, you start with one meaning for a sentence or phrase, then as you become more adept with language, that same sentence or phrase can change meaning through tone of voice, context etc. Jazz is exactly the same way. We start with the most direct and obviously, and progress to more sophisticated. This is an attempt to organize it into a method.


*Step One: Harmonic Generalization:* 

This is the idea of playing a scale against the key center of the progression you're playing, and trying to use your ear to make the melody you improvise fit. (Or the changes are moving super fast i.e. Coltrane - Countdown).

ii-V-I in Cmaj ---- Dm7 - G7 - Cmaj7

This uses all the "white" notes on the piano. You can play a C major scale over all of these chords. The melodic material you improvise in C major should line up with notes in the chord as the chord is played by the accompaniment.

i.e. Your melody line should have a (D)*, F, A, C, E on beat one of Dm7. (F and C, the 3rd/7th of Dm7, are going to sound "the sweetest"**. E, the 9th, also sweet)

i.e. 2: Your melody line should have a F, (G*), A, B, D, E on beat one of G7 (F, B 3/7 = sweet, E is the 13th. 13 over dominant chords sounds "sweet")


Note on beat placement: The 3rd/7th of the chord on beat one, as well as beat three defines the quality of the chord in the listener. Beat three is arguably not as important as beat one. For classical readers, this refers back to strong-weak-medium-weak beat structure.

*Avoid playing the root over a chord. It sounds really mundane, the bass player is definitely going to be playing it anyway.
**at this stage of the game


==============================================
*===More steps to be written and flushed out===*
(When I find time) *All bolded words are whole topics unto themselves* 
==============================================

*Step 2: Outlining the Changes:*

Topics:
*Bebop scales *(This is not a magic scale, don't get caught up like some guys do, and is a teaching theory of bebop from the 80s to explain 

what the guys in the 50s were doing*)
*Modes *(Dangerous way to think, but worth covering. Modes lock a lot of guitarists into "scale mode", which doesn't sound too hot)
*Arpeggios* (The sweet stuff. Playing the 3rd to the 9th is your friend)
*Enclosures* (Super cool, definitely part of "that jazz sound". More appropriate to describe what bebop guys were doing then bebop scales)
*Using the Melody* 

*My opinion, a few others I know agree

*Step 3: Substitutions and Reharmonization:*

*Implying Other Key Centers*
*Quartal/Quintal Voicings* (Diatonic vs. "Perfect" intervals)(Inside and "outside")
*Functional Substitutions* (Dm6 for tonic minor, maj6/ maj69 for tonic maj7 etc.)
*Reharmonization* (Altered Dominants, 7#11, maj7#11)
*Modal Interchange* (What is it, how does it work etc.)

which ties to the concept of

*Tension and Release*

*How Western Musical Thinking Works* (Cadence system)
*What do Candences Do?* (Produce forward motion through tension and release)
*Tension and Release without Cadences* (See Modal Jazz, Superimposition)

which ties to the concept of

*Heightening Tension: Playing "Outside"*

*The Brain Likes Strucutre* (Use all the different harmonic/intervallic structures to go "outside"


*There Are Only 4 Functional Chord Qualities:*
Minor 7, Dominant 7, Major 7, Minor 7b5

-or-

m7, 7, maj7, m7b5 on charts (with variation depending on pubisher etc.)
Everything else is a substitution or a reharmonization.

(This may go under step 2)

==============================================
*===Comping===
And Steps to Practical Comping*
==============================================

*Step One: Get Out Of My (The Pianists) Way *
Joke. 

*What is Comping?
(When I flush this out, it will be less esoteric)*
Philosophically, comping is playing a counter melody that supports the chord changes of the music. Refer to my bit about the importance of melody at the beginning of this. 

Advanced Reader Note: Comping is the act of improvising counter point both melodically (through voice leading), harmonically (through chord voicing) and rhythmically (through what rhythms you play) against the soloist, bass player and drummer.

*RealStep One: Practical Voicing Knowledge for Guitar*

Topics
*Rootless Voicings - What they are, How they work* 
*Rootless Voicings - Applying them to a ii-V-I*
*Drop Voicings (What they are, how they work, and why they 'usually' sound good [Theories on acoustics, resonance etc.])
Constructing Good Voicings - Maj7th inverval vs. b9 interval

More Comping Topics
Methods to Comp with Pianists (Dyads, 3rds/7ths, Freddie Green rhythm)
Supporting a Soloist (How to support a soloist with the elements of comping described in the "Advanced Reader" section above)
How Understanding Good Comping Makes You a Better Soloist

==============================================
===Recommended Reading:===
==============================================

==============================================
===Above All:===
==============================================

If Any Of This Is Daunting
-Realize that this is years worth of practice.
-There is no rush or race to digest and use all of this material
-If you don't get an idea, try working on another concept and come back to the first idea later

The goal of all of this theory is to organize the jazz thinking process, practice it, and then internalize it. 
--When I play, I "feel" what things sound like, I'm usually not consciously thinking "Oh now I'm playing a AbmMaj7 over a G7, which implies an altered dominant sound". I'm "feeling" the tension produced when I play this voicing over this chord. If what I play "feels" wrong to me, I 
might have played something theoretically acceptable, but doesn't artistically sit well. (Or makes sense structurally)

If any of what I say above doesn't allow you to play melodically, or gets in the way of your playing, ignore it.
This is how I think about jazz, after sifting through massive quantities of information and critically deciding other people's theories or methods and whether it works for me, and why. For example: I respectfully disagree Jamey Aebersoles/Mark Levine's idea of playing modes over ii-V-Is, for example, because it locks the player into thinking too much in scales. This is reflected in what you play, and is not a sound I like.

80% of the time, you are accompanying a singer/other soloist, and contributing to the overall feel of the group's output

A Good Teacher is Priceless
--As in, a good teacher. Not someone who doesn't really know what their doing. Finding a good teacher can be difficult depending on where you are, financially how stable you are etc. 
--Teacher's will organize information and help you digest it, working with you to help you understand the information
(Coincidentally, I offer Skype lessons // Shameless plug)*


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## Trespass (Dec 12, 2011)

Wow. I could seriously write a book about all this stuff. I haven't even touched upon the history of jazz, different playing styles for different periods of jazz etc.


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## Skyblue (Dec 12, 2011)

Your post seems great, but for some reason lots of sentences got cut off in the middle and it makes the whole thing a headache to read. Or is it just my comp?


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## rippedflesh89 (Dec 12, 2011)

The Reverend said:


> Don't say anything about Tosin Abasi, it sparks this huge debate when it comes to jazz.


 
thats because he went to school for classical guitar AFAIK


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## JPMike (Dec 12, 2011)

I would listen to early Swing stuff, Bebop is way too advanced for a beginner.

Try learning the forms, for Jazz Blues and ii-V-I's.

Also, transcribe some Charlie Christian.


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## Trespass (Dec 12, 2011)

Skyblue said:


> Your post seems great, but for some reason lots of sentences got cut off in the middle and it makes the whole thing a headache to read. Or is it just my comp?



The formatting somehow is all screwed up. I'll try and fix it. Anything after "More Stuff to Flush Out" should be considered just fragments of topics. I ended up thinking of far more than I could possibly flush out.


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## piggins411 (Dec 13, 2011)

Trespass said:


> The formatting somehow is all screwed up. I'll try and fix it. Anything after "More Stuff to Flush Out" should be considered just fragments of topics. I ended up thinking of far more than I could possibly flush out.



It would be awesome if you decided to do some master thread like you were mentioning on this stuff


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## StratoJazz (Dec 25, 2011)

Everyone's feedback here is fantastic.

I'd say that the biggest challenge in transitioning from being a metal/blues/rock player to more of jazz player or to just playing jazz in general is more conceptual than it is technical. If your a metal player with a good amount of technique you can probably play any jazz exercise that anyone throws at you. Which does really help. 

In a conceptual sense, jazz improvisation is based off of several different kinds of improvisation:

A. *Horizontal* - This is the kind of improvisation you are more used to. This would be where you take a scale and play it over a series of changes. An example of this could be improvising over a regular blues with a the minor pentatonic scale. Listen to Clapton or SRV to get an idea of this.

B. *Vertical* - This is conceptually is hard to understand or at least the most difficult to get under your fingers at first. In this style you play to a particular set of chord changes. As Trespass said, the most common chord progression in jazz is the ii-V-I and the ii-V. If you were going to play a solo over of those changes you would want to play a musical line that emphasizes those changes. I get more into who you should listen to later on this.

C. *"Playing outside"* - Playing outside is basically where you have a set of chord changes that you don't specifically outline. To differentiate it from horizontal playing, the Tones you might play are outside of the particular scale you might use. This might be something like playing an A major, B major, or D major lick over a tune in the key of Bbmajor. Listen to some Post-bop artists and as far as guitar goes, check out Jim Hall.

D. *Sequence playing* - This tends to cross the boundaries between both B and C. Chromatic sequencing can take you outside of the key very quickly while Playing a particular sequence or lick that is transposed to each key or chord change can help you outline the chord changes. Listen to Joe Henderson or some Sonny Rollins if you want to here this. Coltrane also good too.

To Sum it up, the Conceptual difference between other types of improvisation vs. Jazz improvisation is the Jazz improvisation is about outlining the harmony when you solo. Again, *OUTLINING THE HARMONY WHEN YOU SOLO!!!!!!*

Keep that in mind.

I'd also like to suggest that you should avoid chord/scale method of improvisation when learning to improvise. While it's great for theory class, it allows for to way many variables when you are first starting out. I'd suggest you find a good/reputable ii-V lick you like and insert it over every ii-V you see. When you get alittle more comfortable with the material, read through hal galpers book *Forward motion: From Bach to Bebop*. If you feel really pressed for time, just read the first 2 chapters.

Also for comping purposes, first learn your drop 2 root voicings and how to voice lead them. When you get comfortable with those get acquainted with playing open triads in there 3 inversions.

When those bore you, and they will, take a look at Frank Mantooths modern keyboard voicings and see if you can adapt any of it to guitar.

Overall hope this helped you and ask me questions if you need or want to. I wrote this reply really fast so i might not have explained everything thoroughly.

Good luck, and don't forget. Listen to Straight Ahead jazz as well as the Tosin Abasi-like stuff.


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## Trespass (Dec 25, 2011)

StratoJazz said:


> In a conceptual sense, jazz improvisation is based off of several different kinds of improvisation:
> 
> A. *Horizontal* - This is the kind of improvisation you are more used to. This would be where you take a scale and play it over a series of changes. An example of this could be improvising over a regular blues with a the minor pentatonic scale. Listen to Clapton or SRV to get an idea of this.



This is what I referred to as "key center playing" in my post. I've also heard it called "chord-scale theory". Mark Levine is all about putting the right mode over each chord (dorian over ii, mixolydian over V, ionian over I, then substituting from there), but it's basically all the same key. Mindset directly influences how you play - So if you're thinking scales all the time, it'll sound like you're playing scales all the time.



StratoJazz said:


> B. *Vertical* - This is conceptually is hard to understand or at least the most difficult to get under your fingers at first. In this style you play to a particular set of chord changes. As Trespass said, the most common chord progression in jazz is the ii-V-I and the ii-V. If you were going to play a solo over of those changes you would want to play a musical line that emphasizes those changes. I get more into who you should listen to later on this.



This is all in the section I haven't flushed out. All those bolded topics are different tools and techniques to outline the changes -hopefully- melodically.



StratoJazz said:


> C. *"Playing outside"* - Playing outside is basically where you have a set of chord changes that you don't specifically outline. To differentiate it from horizontal playing, the Tones you might play are outside of the particular scale you might use. This might be something like playing an A major, B major, or D major lick over a tune in the key of Bbmajor. Listen to some Post-bop artists and as far as guitar goes, check out Jim Hall.



That's an interesting way to express it. I think of it as superimposing different harmony or different key centers over the established key center. There is several ways to do it, like sequencing, sidestepping, anticipation, tritone substitution, bebop scales/arpeggios (basically the same thing) from a different key center etc. etc.



StratoJazz said:


> To Sum it up, the Conceptual difference between other types of improvisation vs. Jazz improvisation is the Jazz improvisation is about outlining the harmony when you solo. Again, *OUTLINING THE HARMONY WHEN YOU SOLO!!!!!!*



This is where I disagree with you. Anything post-bop is about melody and "energy" (structure to your solo). Outlining the changes is important, but becomes less important as the harmony in your solo becomes established. Again, people that are playing the right arpeggio/scale over the right chord without any sense of direction or melody are pretty boring.


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## StratoJazz (Dec 26, 2011)

Trespass said:


> This is what I referred to as "key center playing" in my post. I've also heard it called "chord-scale theory". Mark Levine is all about putting the right mode over each chord (dorian over ii, mixolydian over V, ionian over I, then substituting from there), but it's basically all the same key. Mindset directly influences how you play - So if you're thinking scales all the time, it'll sound like you're playing scales all the time.
> 
> 
> 
> ...



First off, i'd like to say that i didn't mean to come across as critiquing your post. Your post does clearly talk about use of chord scale relationships in order to outline more static and Vertical harmonies. My post is definitely abbreviated in general. My goal was to discuss Jazz Improvisation vs. Improvisation in other styles. I felt you already provided quality and in-depth information.

Alot of my struggle(maybe continuing struggle because we learn more everyday) was coming from a blues/rock background and figuring out how to outline the harmony when i solo. Thus i gave examples of different types of improvisation i've encountered. It took me forever to figure out you can't play the minor pent over each chord change. D minor - G minor - C minor. Learning to improvise in terms of specific chord scales has always mystified me because i felt like it was too many variables.

So i recommended the Hal Galper book for learning how to outline harmonies vertically because i think it's a great resource for that. Chord tones fall on strong down beats 1 and 3 in the measure. The other 6 beats(and of 1, 2, and of 2, and of 3, 4, and of 4) are set up for embellishment. If i remember correctly i think you included something about the embellishment of melody too.

I do definitely agree that post-bop music, especially hard-bop, since Clifford Brown is an excellent example motivic development and structure to a jazz solo. I simply felt that it was important for the beginning jazz player to look at it from a more bebop-like perspective in that You improvise not based on the melody, but the harmony itself.

Seriously man, your post is good dude.


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