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“…it’s so hard to describe music other than the basic way to describe it – music is basically melody, harmony and rhythm – but I mean people can do much more with music than that. It can be very descriptive in all kinds of ways…”

~Charlie Parker from an can you buy robaxin over the counter in canada

The more I ponder Bird’s fundamental decomposition of music, the more I discover how aptly anything musical can be described by its harmony, melody, and rhythm. There’s still that lingering, intangible “much more,” the part that gives music meaning. But let’s save the “much more” for another post…

As improvisers, we strive to use our instruments as a medium for channelling the musical thoughts that are trapped inside our mind’s ear. When I sit down to practice, I want to focus my routine around activities what work the mental and physical muscles that will get me closer to this goal on two fronts: working on my ability to execute the sounds I hear is one piece of the puzzle, but I’m also constantly looking to develop my ear and my mind’s ability to imagine new sounds.  These sounds can be harmonic, melodic, rhythmic, or a some combination of the three. where to buy robaxin

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Back in the late 60’s and 70’s, fourths were the hippest thing since sliced bread. Jazz entered the age of treble-heavy bass and electric fusion, and musicians were overlaying fresh-sounding (at the time) intervallic fourth patterns over all sorts of funky modal groove tunes.

But fourths are so much more than just a few licks to plug in. Let’s explore the harmonic and intervallic possibilities the fourth creates. I hope to open your mind, your practice routine, and your playing. After all, it’s called a perfect fourth for a reason!

Let’s start from the beginning and work our way up.

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Let’s take 10 seconds and cover the extreme basics. The fourth is an interval. In the key of C, moving from C to F is moving from 1 to 4 if you number each note sequentially: robaxin mg dosage

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Tune Tracker

Tunes are our shared language. One of the most beautiful and unifying aspects of jazz is this common musical familiarity that enables any group of seasoned musicians to get together and immediately start making music. I’ll cover the pros and cons of learning tunes as well as the right approach to building a solid base of tunes in your arsenal. At the end I give a list of tunes to learn, separated out by their importance based on the frequency with which they get called at sessions/gigs.

=&0=& Why limit your pool of gigs? =&1=&Learning to navigate myriad harmonic, rhythmic, and structural intricacies of various tunes makes you a more well rounded improviser and better musician. Your compositional foundation comes from the tunes you have studied. You will use the melodies, forms, and harmonic standards should you choose to start composing (highly recommended!). Put your listening into context. Once you know a tune, listening to a recording/show of somebody playing that tune becomes far more meaningful. You will be an engaged, active listener, and you will begin to understand the choices the improviser is making
The Dark Side of Tunes

Knowing a shared set of tunes can be a crutch. An unrehearsed group of guys gets on the bandstand, takes 10 minutes between songs trying to figure out a tune to play next, then eventually agrees on something everybody knows and doesn’t consider too lame. We’re all guilty of this from time to time. Not only does this come across as extremely unprofessional, but also consider that the portion of your audience that’s not musicians is probably already a bit confused by jazz in the first place. Why further alienate them? Check out some of the veteran guys on the scene to learn how to play a pure tunes gig while still putting on a good show. order robaxin online

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Say what you will about Roy Hargrove’s current lifestyle choices; the man has blown some serious trumpet in his day. Roy’s ability to effortlessly glide between playing “in” (playing notes that fit the harmony) and “out” (creating tension by playing notes that don’t fit) has always impressed me, so I recently decided to pick a few lines to analyze his various harmonic devices.

Although he released a slew of post bop material throughout the 90’s, I reached for his more groove-oriented stuff in order to cut to the core of his soulful harmonic concept. His solo over Rich Man’s Welfare off RH Factor’s “Strength” fit the bill nicely.

But First, A Few Observations

Before getting into the meat of the analysis, I want to note a few keys to Hargrove’s playing in this era that made it all work. His time is impeccable, he shapes his lines with clean, clear articulations, and his style is…well he really swings. oeder robaxin on line

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When I was first exposed to the half-diminished chord, I was told to simply play the major scale a half-step up, thus giving me the proper chord-scale relationship. After giving a number of other approaches a shot in between with mixed success…

I’ve started thinking about the half-diminished chord in a new way that really opened up my playing: think about simply playing the dorian minor starting on the third of the root

(i.e. for Emin7b5, play your G-dorian). You will give weight to the proper chord tones and start feeling more free over this complex-sounding harmony. More explanation down below.

Hold Up, What’s a Half Diminished?

Don’t feel bad if you have no clue what I’m talking about. In traditional jazz harmony, minor and major tonalities are tonicised (made sound like the key / landing point) with specific cadences (one or two chords that lead to the root). Take C-major. The standard cadence leading to it is a ii-V7-I (Dmin – G7 – Cmaj), where you can just move up and down the white keys to find the different modes of the major scale that fit each chord. how many robaxin to get high

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In case you didn’t already notice, this is a blog, thus I’m going to try to use an infographic to communicate an idea. Read below the graphic for more information.

As a saxophone player I’ve transcribed many, many saxophone solos. When you’re starting to learn jazz, transcription is one of the first pieces of advice you’ll receive: “Just transcribe a bunch of solos!” says random Joe jazz mentor/teacher.

But why do we transcribe?

And what is the best process? It can be tedious, but is the payoff to build your vocabulary, give your ear and notation skills a good workout, emulate the sound/style of one of your idols, to just figure out what the hell somebody is playing? Yes to all these things, but I’d argue that the value of transcription evolves as you develop as an improviser. nonprescriptionrobaxin

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I’ve been obsessed with harmony lately. Those of you who read get robaxin online no prescription might have guessed as much (yes, I still owe a follow-up to that post, and it’s coming soon!).  Specifically, I’ve been experimenting with ways to expand my harmonic vocabulary.

Transcription: a place to start

You know those points in a solo where one of your idols plays an interesting line, something a little unexpected (out), and you think to yourself, “that was cool, but what was it?!” Maybe you’ll go and transcribe that lick; motivated students of the music will probably learn it in all 12 keys, and now you have something cool and new to add to your improvisatory arsenal.

But are you really learning the idea or just the lick?

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It’s been a whirlwind of a summer. I almost moved to London, but then I heard the burritos over there are terrible, so last week my girlfriend and I moved into a new apartment together instead. So, the posts stopped for a while, but it’s time to get back on the horse!

I’ve been thinking a lot about harmony and come to believe that the difference between today’s best jazz musicians and the rest of us is their masterful command over the minutia of harmony.

I realized that I don’t have as a good a grasp of the plethora of dominant alterations out there as I should.

Why Harmonic Mastery is ESSENTIAL

Those of you with some degree of jazz exposure may be thinking…

…I know what a dominant chord is, and I know what a b9 and #9 sound like. It’s not rocket science.

Fine. But are you sure you aren’t just blindly applying alterations regardless of each particular context? Do you REALLY know when the piano player is hitting a #11 or b13, or are you just thinking… robaxin mail order

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When you hear John Coltrane, you immediately know it’s Trane. It’s not the notes he’s playing or his dazzling technique that makes him sound uniquely like himself. It’s his sound. Every jazz musician, at some point, ventures into the abyss in search of their own, unique sound. Your sound is what makes you, well, you. But where do you start?

Let’s begin by defining the core elements that determine one’s “sound”:

  • Articulation – Contrast Wayne Shorter’s heavy tongue with the light, legato style of Hank Mobley.
  • Color/Tone – Joe Henderson’s rich, dark tone stands in stark contrast to the bright, aggressive color of Michael Brecker’s tone.
  • Rhythm– Dexter Gordon plays his eighth-notes straight and behind the beat, while Cannonball mostly uses a heavy swing and plays squarely in the middle of the beat. Sonny Rollins loves the off-beats.
  • Harmonic Conception – Do they always play a flat-9 over a the five chord on a major ii-V7-I? Do they employ a lot of chromatic runs and enclosures a-la Mark Turner?

Forget About Mouthpieces.

Charlie Parker played on any horn, mouthpiece, and reed combo he could get his hands on, and he always created the same, beautiful, distinctive sound that defines the music we continue to play. How was he able to do this? It’s not his equipment that made the sound. It was his conception.

In order to sound like yourself, you need to have a crystal clear idea in your head of what you want to sound like before you put any air into your horn. So save your money and stop buying new mouthpieces. Instead, find something that gives you a consistent sound and lots of control, and stick with it. buy robaxin from india