Dan Haerle born July 23, is a jazz pianist, composer, author and teacher, based in Denton, Texas. Career Haerle began teaching in at Tri-County Community Schools in What Cheer, Iowa, where he was the Instrumental music director for elementary, junior high and high school. In to , as a graduate student at North Texas State University, Dan was one of three teaching assistants to Leon Breeden, director of the jazz studies program. In , he became an Assistant Professor of Music at Kansas State University, where he taught freshman and sophomore theory.
|Published (Last):||5 September 2010|
|PDF File Size:||13.24 Mb|
|ePub File Size:||8.35 Mb|
|Price:||Free* [*Free Regsitration Required]|
There are a lot of things to practice. What is truly vital to practice if you want to get better at improvising? Plain and simple: Language. Spending time with the actual language of jazz, the recordings of the greats, should be your number one priority. What is language in the context of jazz? It reflects values and concepts that are deemed to be the most important by a culture. A language describes the culture it comes from. It already exists.
If you want to play this music, then you have to learn the language. Everyone says that jazz is a language, but they never mention the fact that it has been created. In other words, it clued me in to what jazz language is and is not. Despite what countless books and magazine articles say, the language of jazz is not scales and chords in their raw form. All western music uses the same twelve notes. Most use many of the same chord progressions.
And most use similar guidelines to create melodies. Jazz is a particular music within the greater world of music, and the style of improvisational jazz in the bebop tradition is even more specific. An analogous example would be if I gave you the alphabet and maybe even some grammatical rules, and asked you to have a conversation with me in Americanized English.
Good luck. Speaking the language Do you have to think about the construction of your sentences when you speak in your native tongue? Of course not. Imagine if you had to stop every time you went to express yourself to think through all the grammatical rules. Unfortunately, many of us are operating this way within the jazz language. Learning the jazz language Learning language means imitating, transcribing, and understanding whole solos or lines, committing them to memory by ear, while spending a ton of quality time getting into the inner workings of the music.
A great saxophonist I recently had a lesson with, stressed that no matter who you are and where ever you may be in your musical development, you can never have enough language. I hear positive effects in my playing even after a short period of time. This helps focus your time immensely. Selecting a solo that gets me excited. It has to be fun and interesting if you are going to spend so much time with it! Sticking to the masters who invented the language. It is easier to start with a solo on your instrument, so for tenor saxophone: Dexter Gordon, Sonny Rollins, Sonny Stitt etc.
Spending way more time with every detail, note, phrase, articulation, sound…I cannot stress this enough. Hearing the phrases perfectly in my head and slowing them down in my head. Taking specific phrases I like through the keys, applying them to tunes, and experimenting with altering them. It is not just the material itself, but also the process of hearing and imitating it over many hours, just like a baby would learn to speak.
Who should you learn language from? How much thought have you put in to who you spend the most time with? Languages take such a time, and so do all the things one wants to know about.
R Tolkien Despite what you may think, most people have not spent the necessary time to get a firm grasp on the language of jazz.
Books by Dan Haerle
An intermediate method for jazz and rock keyboard players. Provides information and application of chords, principles of chord functions and substitutions. A compendium of the various scales used by the jazz greats. A book that deals with creating melodies, the left hand, soloing, chord progressions, scale choices, harmonic conception, melodic implication of scale forms and scale generation of unconventional voicings. The tunes are based on chord progressions that are typical of many jazz compositions. All the materials commonly used by jazz musicians for composing or improvisation. Included are exercises for writing, keyboard and ear-training.
The Jazz Language: A Theory Text for Jazz Composition and Improvisation
There are a lot of things to practice. What is truly vital to practice if you want to get better at improvising? Plain and simple: Language. Spending time with the actual language of jazz, the recordings of the greats, should be your number one priority. What is language in the context of jazz? It reflects values and concepts that are deemed to be the most important by a culture.
Division of Jazz Studies
The Importance of Language