peoria civic center 405/406 example of the listen and imitate method of practice chick corea, now he...
TRANSCRIPT
The Power of Transcribing:
The Essential is Invisible to the Eye
Presented by
Rodrigo Villanueva
ILLINOISMUSICEDUCATIONCONFERENCEFriday,January26,2014at2:45pm
PeoriaCivicCenter405/406
Sponsored by:
2WHYISIMPORTANTTOTRANSCRIBE?
“Imitate,Assimilate, and then… Innovate.”~Clark Terry
Transcribingallowsustoanalyzeandunderstandmusicalelementsatadeeperlevel.Whilewelistenoverandovermusicalexcerptsourminddecodeselementsthatwedidnotknowwerethere,atboth,consciousandsubconsciouslevels.Playingalongwithrecordsusingourowntranscriptionsisapowerfultoolforimprovingtimeawareness,timefeel,rhythmicsubdivision,dynamics,articulations, internalbalanceofthekit,sound,touchandmanyotherstylisticelements.
“Workonyoursenseoftimeandyourfeelingforthebeat.Thatistheimportantthingindrummingandwithout itallthetechnique intheworlddoesn’tmeanathing.”
~“Big Sid”Catlett
InthispresentationIwilldemonstratedifferentwaystotranscribeandusetranscriptionstolearnvariousstylesandtointernalizetherhythmicsubdivision
neededtodevelopagoodrhythmicfeel.
Using Transcriptions
to Improve your
Time Feel, Jazz Conception and Improvisation skills
• IMITATION AND ASSIMILATIONWorkingonyourtimefeeland jazzconceptionbyanalyzinggreatplayers
o Listen toSignificant JazzRecordings.o PlayalongwithRecordings.
Startplayingbyear.Letthemusicgetinyoursystemandfallinlovewith it.UseyourEARS. Alotoftheinformationshouldbeimitatedandassimilated inthesamewayyoulearnalanguage.
o Transcribe and Imitate: Sound, RhythmicArticulation, InternalBalanceofthekit,Stickings,andTouch.
o Findrelated footageonYouTubeaspartoftheresearchprocesso Learnasmanystylesaspossible.Focusononeplayerorstyleat
atimebyLISTENING, TRANSCRIBING and ANALAZING historicallysignificant recordings.
o Userecordsto“play-along.”Includingdrum-lessrecordingstoapplytheconceptsacquiredthroughthetranscriptions.
o Learnhowtoplay indifferentwayswithinastyle:straightahead,twofeel,brokentime,etc.
o ExperimentplacingthegrooveCentered,BehindandOnTopofthebeat
o Listentoandanalyzedifferent “ signature”Ridepatterns.SuchasthesignatureridepattersplayedbyBillyHiggins,JimmyCobb,RoyHaynes,ElvinJones,andTonyWilliams
3Exampleofthelistenandimitatemethodofpractice
Chick Corea, Now He Sings, Now He Sobs, 1968 ~ Solid State Records
• TRANSCRIPTIONSCANHELPDEVELOPINGMANYAREASOFYOURPLAYINGo Practice makes PERMANENTo PracticeSlow--focusonquality–Itisrecommendedtopracticeatslowertemposthantheoriginalrecordings
o Balance the dynamicsof thekito ImitatingtheSoundo ImitatetheMotiono Payattentiontowhatisgoingonwiththemusic,notonlythedrumseto Listenandlearnwhatotherinstrumentsplayo Researchthehistoricalcontextoftherecordingso Analyzestructureandformwithinanimprovisationandcompingpatternso Transcribeotherinstrumentstodevelopperipheralhearingandtobetter
understandtheinteractionsbetweenthemusicianso Findcommonplacesinsolosandcompingideas
4
Chick Corea, Friends, 1978 ~ Polydor Records
Additional pointers
Awell-roundedjazzdrummerprovidestheframeworkforrhythmicsubdivisions,dynamics,style,phrasing,balance,interpretationandeventheattitudeandvibethatcreatesthesparkthatmakesjazzmusiccomealive.Adrummerisinmanyways,the
musicaldirectorofthejazzgroup…theleaderoftheband.
• LearnthemostcommonstyleswithintheAfricanDiaspora,alwaysreferto recordingsand liveperformances.AskandLearnfromothermusicians
o Dixielando ChicagoStyleo Swing, Bebop o Brokentime o EarlyLatinElementsinJazzo Brazilian Styleso Afro-CubanStyleso JazzRocko Fusiono ECM
5• JAZZDRUMMINGHISTORY
Gettoknowthemasters,fromtheearly1910’stothepresentday.Onlythenyou
willbeabletounderstandthehistoricalprocess,theevolutionofJazzandJazzdrumming.ItisalsoimportanttoknowhowtheJazzRhythmSectionworksandhowitsrolehasdeveloped.Tobeabletointeractwithothermusicianswealsoneedtoknowthejazzrepertoire.Inotherwordsweneedtoimmerseourselvesinthiscraft,getacculturatedanddevelopapassionforit.
Earlyjazzrecordingscouldnotincorporatethedrumsastheywereplayedlivebyearlyjazzdrummersbecausetheyaffectednegativelytheoverallmix.Therefore,thereisnotenoughevidenceofexactlyhowthedrumsetwasusedduringtheNewOrleans-Dixielandyears,earlydrummershadtoadapttheirplayingstyletofitthelimitationsoftheincipientrecordingtechnology.
Paycloseattentiontodetail,takenotes,imitate,assimilateandthencreateyourownexercisesandpatternstodevelopyourownapproach.Alwaystakesometimetoimproviseusingtheelementsyouaretryingtolearn.
“Wejustkepttherhythmgoingandhardlyevertookasolo.”~ZuttySingleton
Theseareverybasicsamplesofsignificantjazzdrummersandtheirtimekeepingstyle.Ofcoursetherearemanyotherimportantjazzdrummersthatcanbestudiedindepth.Takeyourtimeanalyzingsignificantjazzdrummersandenjoytheride!
Warren“Baby”DoddsKingOliver’sCreoleJazzBand
“I’mGoingAwayToWearYouOffMyMind”
Anthology of Jazz Drumming Vol. 1 (1904-1928) 1997 ~ Média 7
Otherearlyjazzdrummers:TonySpargo,ZuttySingleton,SunnyGreer&PaulBarbarin
6“Papa”JoJones
BennyCarter&hisOrchestra“CottonTail”
Benny Carter and his Orchestra, Further Definitions, 1961~MCA Impulse
Othersignificantdrummersfromthe1930’sChickWebb,DaveTough,GeneKrupa&CozyCole
Big“Sid”CatlettCharlieParker“SaltPeanuts”
Charlie Parker, Yardbird Suite: The Ultimate Charlie Parker Collection, 1997~Rhino Records
7Additional jazzdrummersfromtheSwingandBoperas inthe1940’s:BuddyRich,ShellyManne,SonnyPayne,LouisBellson,MelLewis,KennyClarke&MaxRoach
PhillyJoeJonesMilesDavis’Quintet“ICouldWriteABook”
Miles Davis, Relaxin’ With The Miles Davis Quintet 1956~Prestige Records
Other jazzdrummersfromthe1950’s:ArtBlakey,ElvinJones,ArtTaylor& Jimmy Cobb
• RECOMMENDEDBIBLIOGRAPHY
o Drummin’Men:TheSwingYearsbyBurtKorallo Drummin’Men:TheBebopYearsbyBurtKorallo Traps,TheDrumWonderbyMelTormeo Rifftide,TheLifeandOpinionsofPapaJoJonesby
PapaJoJones&PaulDevlino HaroldJones:TheSinger’sDrummerbyGilJacobso AdvancedTechniquesfortheModernDrummerbyJimChapino ModernRudimentalSwingSolosbyCharleyWilcoxono StickControlbyGeorgeLawrenceStoneo MusicalTimebyEdSopho ProgressiveStepsToSyncopationbyTedReedo TheArtofBopDrummingbyJohnRileyo TheNewBreedbyGaryChestero AdvancedConceptsbyKimPlainfieldo JazzDrummingbyBillyHart
Transcribing © Rodrigo Villanueva ~ 2018 IMEC2018
8NOTES:
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