![]() Transcription is a good way of honing your ear, which is the main reason for doing it. I just like to listen to a phrase, then imitate, and if I don't recognise what's going on right away, do a bit of analysis. If you want to go deeper, do some transcription - you could also analyse some existing transcriptions, of course, but I prefer to do my own as a I get a better connection with the music. One clear distinction to listen out for is whether you think a musician is using more bebop language or some sort of chord scale approach, or a mixture - or a different approach again like Lage Lund (which often sounds like very traditional jazz language that's a bit subverted). However, I think of some players as having fundamentally modern note choices too. 8th notes, note inequality, use of triplets, and so on and so forth. Things to pay attention to are tone (obviously) but also rhythm, phrasing, and so on. Metheny sounds modern when he's playing the same stuff that Wes would have used. Over my 15+ years of seriously studying the music I have come to a lot of findings that may or may not reflect wider patterns (since I can't transcribe everything) - but one thing I will tell you is the harmonic content is often less important in this distinction than you might think. I can then discuss what you hear with you. Well not cos I'm a dick, but because it would be good for you to find out yourself. But I also like Mark Turner and Julian Lage.ĭifferences are easier to describe if you go back to Louis Armstrong and Charlie Christian, but any thoughts between these two later generations?That's an interesting question, and I'm not sure I want to give you any information. a modern solo over a jazz standard?Īs far as an older style I like people like Chet Baker or Ed Bickert. Can anyone put into words some differences in an older style solo vs. ![]()
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