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http://www.jazzadvice.com/playing-longer-lines-in-your-solos/print/
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13/09/2016 18:12
Improvise Longer Jazz Melodic Lines like Parker and Diz | jazzadvice.com
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http://www.jazzadvice.com/playing-longer-lines-in-your-solos/print/
For every musician that came after them, each one had to devote themselves to learning the
language of bebop in order to speak it musically and eventually create their own sound. All of
the players that we consider greats first found a way to master playing lines over changes and
navigating every aspect of the harmony.
Think of Miles and Coltrane for instance, two masters that you can really hear evolve on
records over the years. Miles began by playing with Parker and then spent a period developing
his sound over standards until finally he was playing highly chromatic lines in the mid-60s. In
the same vein, when people think of Coltrane they think of A Love Supreme and his sheets
of sound, but before being able to play that way, he spent a long time intensely working out
lines over standards and figuring out ways to connect common chord changes and traditional
harmonies in innovative ways. Check out this clip below of Coltrane practicing Four and
working out lines over the changes:
Both Miles and Coltrane didnt just learn bebop and move on to their own styles, but spent
years developing their lines and sound over standards, continuing to develop their linear
approach even after they were already considered great players.
Probably the best way to learn how to play longer lines is to transcribe and study the solos of
the masters; analyzing the way the great improvisers navigate changes and develop lines in
their solos. Below are two excerpts of solos, one of Bird and one of Clifford Browns, that really
demonstrate how to play longer musical lines over common progressions.
13/09/2016 18:12
Improvise Longer Jazz Melodic Lines like Parker and Diz | jazzadvice.com
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http://www.jazzadvice.com/playing-longer-lines-in-your-solos/print/
Notice how Parker frequently uses triplets to vary the rhythmic structure of the solo and also
how in the fourth and fifth bar he uses the tritone sub of C7 (F#7) to resolve to the F7. Parker
is able to continue or extend his lines many times through the use of chromaticism towards a
goal note.
13/09/2016 18:12
Improvise Longer Jazz Melodic Lines like Parker and Diz | jazzadvice.com
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http://www.jazzadvice.com/playing-longer-lines-in-your-solos/print/
This tune has many ii-Vs to navigate and Clifford creates a solo where instead of playing licks
for each ii-V, he develops lines and long phrases that flow into each other independent of bar
lines. For example, take his line going into the bridge and coming out of the bridge. In both
these spots, Clifford continues his lines through the form, rather than stopping his phrase at
the end of each section or progression and starting again with the next one. By doing this his
solo has a great deal of continuity and forward motion that keeps the solo unpredictable and
interesting to the listener.
Another technique Clifford was very adept at was using chromatic enclosures around goal
notes. Take the first four bars of the bridge for example:
Here Clifford utilizes each 7-3 resolution of the ii-V progression, but uses enclosures of chord
tones to delay the resolution of each chord creating a much more interesting line. He does
not resolve to the third of the G7 chord directly on beat one, but waits until the third beat and
in the same fashion reaches the third of the C Maj.7 on beat two of the second measure chord.
With this technique Clifford is creating long lines by aiming for and chromatically enclosing
chord tones. If you look at the two bars of CMaj.7 above, he is really just enclosing the 5th,
3rd and root of the chord with chromatic upper and lower neighboring tones.
13/09/2016 18:12
Improvise Longer Jazz Melodic Lines like Parker and Diz | jazzadvice.com
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http://www.jazzadvice.com/playing-longer-lines-in-your-solos/print/
Use enclosures and chromatic approach notes to extend phrases and land on key notes on
specific parts of the beat
Explore harmonic substitutions to add interest and tension to your lines
Find the connections and resolutions between chords from lines starting on every chord tone
(from root, 3rd, 7th, etc.)
Practice tunes without chordal accompaniment and try to create lines that are interesting yet
still outline the harmony. Check out that clip of Coltrane on Four again or listen to this clip of
Clifford Brown practicing to get an idea:
Our goal as improvisers should be not just to make the changes, but to create unique well
crafted lines throughout the course of our solos. In teaching his ensembles, Mulgrew Miller
often said that it took extremely slow practice to discover the intricacies of the harmony and
to develop lines that connect it. Developing jazz language takes quality practice and in-depth
study, something that takes years of continued dedication to develop, but ultimately this type
of study is the most beneficial and rewarding for an improviser.
13/09/2016 18:12