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Getting outside

 
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John G



Joined: 21 Apr 2007
Posts: 21
PostPosted: Wed Sep 12, 2007 2:14 pm    Post subject: Getting outside Reply with quote
I was listening to some of Mark's recordings online and noticed his ability to seamlessly weave in some altered notes, all while being tasteful and musical.

My question is for Mark and/or anyone else who cares to comment on the use of altered notes. When using them, what approach do you use? Do you think, I'm going to raise the 5th or the 9th, do you think altered scale or tritone sub, or do you simply let it rip and see what comes out?

I think I'm thinking too much about it and therefore when I play them it doesn't come out sounding very musical.Crying or Very sad

Thanks,
John
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Mark
VM Coach


Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR
PostPosted: Tue Sep 18, 2007 12:18 am    Post subject: Re: Getting outside Reply with quote
John G wrote:
I was listening to some of Mark's recordings online and noticed his ability to seamlessly weave in some altered notes, all while being tasteful and musical.

My question is for Mark and/or anyone else who cares to comment on the use of altered notes. When using them, what approach do you use? Do you think, I'm going to raise the 5th or the 9th, do you think altered scale or tritone sub, or do you simply let it rip and see what comes out?

I think I'm thinking too much about it and therefore when I play them it doesn't come out sounding very musical.


John,

Thanks for the kind words. For me the key to "sounding musical" was when I abandoned my earlier efforts to improvise based on scales, modes, and classroom theory, because I was spinning my wheels thinking too much and getting nowhere. I even gave up attempts to play jazz altogether, figuring that I just didn't have what it takes.

Later, out of curiosity I began to ask myself how players like Christian, Wes, Benson, and Pass managed to become accomplished jazz players with virtually no knowledge of scales, modes, or even the ability to read and write music. It all came down to a path based on learning from their mentors by ear, so I started doing likewise and haven't look back since. Nowadays 99% of what I play, compose, and teach is based on the core language I've acquired by transcribing, although being an educator I do notate what I learn for study and for sharing with my students.

The problem with using scales to employ altered tones is that the method isn't based on tried and true melodies, solos, licks, etc. It's like reciting the alphabet hoping that you'll comprehend a given letter, so it's out of context and your ear never really gets a chance to experience the sound itself. And it's not a matter of "letting it rip" until you've first found something significant to say. Try transcribing (written or not) 10 to 15 minutes a day and you'll see how quickly things will come into focus for you. All for now...

- Mark
_________________
"Anyone can make the simple complicated. Creativity is making the complicated simple" - Mingus
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John G



Joined: 21 Apr 2007
Posts: 21
PostPosted: Mon Sep 24, 2007 5:25 am    Post subject: Reply with quote
Thanks Mark. I knew I was going about it the wrong way. I'll try transcribing some of my favorite players who can really take it outside but bring it back in beautifully... Robben Ford and Larry Carlton. Maybe I'll even try transcribing some of your solos as well. Very Happy
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