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Из курса от партнера Berklee College of Music

Improvisação no Jazz

8 оценки

Berklee College of Music

Improvisação no Jazz

8 оценки

Aprenda os conceitos básicos de improvisação com Gary Burton, um dos improvisadores mais renomados do mundo do jazz, incluindo os processos mentais, melódicos e harmônicos que contribuem com as habilidades instintivas que um improvisador põe em prática ao realizar um solo. Embora muitas pessoas sejam fãs de jazz e compreendam que os músicos estão frequentemente "compondo" as notas que tocam durante uma apresentação, a maioria das pessoas — o que geralmente inclui os próprios músicos que estão aprendendo a improvisar — não sabe com clareza quais são os processos exatos que ocorrem e fazem isso tudo acontecer. O objetivo deste curso é apresentar os conceitos básicos da improvisação moderna e mostrar como dominar as diferentes habilidades musicais e mentais envolvidas. O autor do curso, Gary Burton, codifica uma abordagem muito procurada da improvisação, a qual tem sido o centro do currículo da Berklee College of Music há décadas. Os alunos que concluírem esse curso saberão o que e como praticar os diversos aspectos da improvisação, além de compreenderem como o improvisador se comunica espontaneamente com os ouvintes por meio de suas criações musicais.

Из урока

IMPROVISAÇÃO COMO UMA LINGUAGEM

Como todos aqueles que iniciam esse curso começam de um ponto diferente em relação à experiência individual como improvisadores, é importante, primeiramente, tratar de alguns materiais básicos. Começaremos nossa jornada explorando a linguagem utilizada pelos improvisadores de jazz. A improvisação é análoga à linguagem de diversas formas. Na música, tornamo-nos fluentes quando o vocabulário (as escalas e os acordes) e a gramática (progressões harmônicas) são assimilados no conteúdo das conversas ou histórias (temas melódicos e estrutura) e já não temos de pensar conscientemente a respeito deles ao tocar.

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Gary Burton

I want you start listening to records a little differently than you're used to.

most of us we listen to records to enjoy them and we're kind of grooving on the

time feel, and the mood of the piece. And we're going to go along with the flow

of the solo. You may notice some moments that you

know, sound especially good to us and we kind of just enjoy them as they come

along. But I want you to try to analyze a little

more about what goes into an improvisation.

Imagine for instance, that you have a student, who doesn't know anything about

improvising, but he's interested in finding out.

And one of the things you decide to do, is play him a solo and then break it down

for him. Explain, here are the different kinds of

things that are going on in this solo. things like what style is it?

What you know, time feel is it? how do, what are the sections of the

solo? Is it eight bar sections?

Or is it four bar sections? How does the tune break down?

what kind of intervals are being featured, what kind of rhythm figures are

being featured? This sort of thing.

So, this is where we come to part one of the assignment for this week.

I've recorded a solo on piano and you're going to hear the audio portion of this.

After I played it I wrote out the notes that I played and listen to it a few

times, look at the written notes. And then go to your computer keyboard and

write a description of what my solo is made up of.

Again, like I say, what kind of intervals am I using, what is the breakdown of the

song? What's the tempo and time feel?

Things like that don't get carried away and write a ten-page dissertation on this

32 bars of music. it seems like every time I assign

something like this, somebody goes crazy and, and it's down to analyzing every

single note, somehow. all this should fit on one page it's an

overview of the kind of things that I used when I was soloing to make up this

particular improvisation. So, once you've got your description

done, upload it to the site, that's part one.

Part two is a continuation of this song. Download the play along tract.

there are two versions, one is piano, base and drums, that's for most of you

And one version is just for piano players, that is, just base and drums

because you don't want to have two pianos competing on the, on the recording.

So, I want you to play along, with the recorded track, and see how you do with

this particular set of chord changes. If you're a, an, an experienced

improviser, this will be real easy for you to do and you'll knock it off in no

time. If you're new at this, it may be more of

a challenge. And but do, try the best that you can try

to find notes that work on the harmonies and see if you can keep up with the flow

of the harmonies. It's a place to start.

And next week we will look at the vocabulary of the improviser.

That is the cord scales and the cords that we use for playing.

in the meantime good luck with this assignment.

For part two, when you have your MP3 created, upload it to the site.

And and then you'll be complete for this week.

Good luck with it, and I'll see you here next week.

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