Practice not theory

I understand you, but I think you had a bad experience; I have always found teachers who saved me time

Online there are several implications for dedicating oneself to practice, one can post videos for example... on this site for example there are composition workshops, orchestration seminars and Modal Jazz

It would be nice to go deeper; look, I started studying jazz with a teacher, after 1 year of lessons (2 hours a week), I knew less than before and all this cost me the beauty of 3,200 euros in one year!

I read Marco di Battista's online lessons with greed and understood more in one month by myself than with the teacher in a year!! Just by reading!!!

If I had had a good jazz teacher, I would be a "monster" now!!!

That is why I am venting; this genre fascinates me so much that over time I have purchased a Steinway piano at 188, a Hammond B3 organ—instruments that I play regularly, but I repeat, as a self-taught musician!!

You have no idea how much I would love to understand........

I found the conservatory to be a great disappointment, and I don't blame Enzo, in the sense that I have always studied privately under the old system, being followed by private teachers who gave me a lot in terms of instruction.

Phen with the whole three-year/two-year degree situation, I had to become an internal student, and to keep learning I continue to go to my old teacher because the person who is supposed to follow me didactically is very lacking... if it were done on purpose, I wouldn't understand the reasons; in the terms explained to Enzo, in my opinion, it is precisely a matter of limitations.

Practically, when it came to evaluating my performances with a 10, they were all excellent; now that they have to prepare me to pass exams... I often have to manage on my own

Just to give credit to Enzo's words, I have just posted something practical here

http://www.pianoconc...2013-elaborati/

enzo76 wrote:

For once, instead of discussing so much, wouldn't it be nice to bring practical aspects within everyone's reach, rather than just a flood of words that, after reading and re-reading them, leaves nothing practical in hand?

Great premise; in effect, Tronky has opened a door wide for you to do something practical as well. A way to get to know each other better... try to jot down some musical signatures... then we'll talk about it

Ok, let's do this:

I-VI-II-V e.g. Ebmaj-Cm7-Fm7-Bb7

Can you give me 5 patterns to work on? To be transposed into all keys..... very swingy patterns and patterns to apply to the entire turnaround...

It is taken for granted that even though I am self-taught, I know all the scales well: major, minor, pentatonic, blues, and the various modes derived from the scales.

My problem is pronouncing these scales and creating melodic lines with musical sense; I feel like someone who knows the vocabulary by heart but doesn't know how to create a sentence.... I think that's the right comparison!!

If I knew the words salt, the, me, pepper, and, pass, only 2 sentences would be musical using these words, namely:

Pass me the salt and the pepper, or pass me the pepper and the salt, but what kind of phrasing would it be to say:

Me pepper and the pass salt?

Me salt the pepper and pass?

And salt pass the pepper?

Etc. Etc. Combinations that are not harmonious and melodic!!

I need to know how to combine notes not in sequential order like in a scale or a chord, but in a complete and melodic order!!

For this, you don't need special talents, you need a method; anyone who knows how to put a sentence together in any language doesn't have particular talents, they have just studied grammar!!

Where is the grammar in jazz?? Who can help me discover it?? Who agrees with me??

Since I read somewhere in this forum that jazz is a highly structured music that follows very strict rules, and that unlike a classical pianist, the jazz musician improvises only after having learned hundreds of patterns that they chain together in a very free way.....

A pattern a day keeps the middle finger away...... :-)

A discussion about patterns had opened here

http://www.pianoconcerto.it/forum/index.php?/topic/648-variare-un-pattern-melodico

enzo76 wrote:

Since I read somewhere in this forum that jazz is a highly structured music that follows very strict rules, and that unlike a classical pianist, the jazz musician improvises only after having learned hundreds of patterns that they concatenate in a very free way.....

Whoever wrote it is right and, returning to JazzMania's invitation... initials aside, there is always "paper" or audio to tell the phrases that come to mind, if you believe your difficulty lies there.

enzo76 wrote:

It is taken for granted that even though I am self-taught, I know all the scales well: major, minor, pentatonic, blues, and the various modes derived from the scales.

In my opinion, nothing should be taken for granted.

Precisely because you have experience, as per your exhortations, I find it appropriate to share something. I took a look at AleGozzo's arrangement; he modified the bass... modify it yourself too, give it some swing and set it to singing (invent a standard). Suppose a good fraction of it repeats 3 times... a way to vary the harmony as well.

For precise work on patterns, perhaps it is better to dedicate a topic... otherwise the discussion becomes too scattered

Egidio wrote:

For precise work on patterns, perhaps it is better to dedicate a topic... otherwise the discussion becomes dispersive

I agree, I would make targeted topics.

Returning to the topic, I find transcribing solos to be extremely important. It's normal to take a long time at the beginning; with practice, as with all things, one improves. It is an exceptional way to improve ear training and musicality. On the other hand, I am increasingly convinced that reading things already transcribed by others is not very good as an exercise. It is useful if perhaps one is studying someone's style, but it doesn't help with improvising better. Even with patterns, one should be sparing, because there is a risk of learning to play through automatisms, without true musical sense. They are useful for mastering scales better, but in my opinion, studying specifically through patterns isn't very good.

Let's open it then, and maybe post a nice video that helps to pull down a solo, because why not!!

It is the right way to learn

enzo76 wrote:

Let's open it then, and maybe post a nice video that helps to pull down a solo, why not!!

It is the right way to learn

Ok, I am waiting with curiosity

For soloists, some ideas

http://www.pianoconcerto.it/forum/index.php?/topic/1618-trascrizioni-assolo-di-piano-jazz

Here

http://www.pianoconcerto.it/forum/index.php?/topic/2637-pattern-per-partner/

Other useful material

http://www.pianoconcerto.it/forum/index.php?/topic/611-the-real-drjellyfish-book/

...also

http://www.pianoconcerto.it/forum/index.php?/topic/963-la-miniera-doug-mckenzie/

Tronky wrote:

Just to give credit to Enzo's words, I have just posted something practical here

http://www.pianoconc...2013-elaborati/

I also gave Enzo ... given the premise of the topic I was expecting an attempt, it seemed like a golden opportunity to me

i recommend:

john meeghan - jazz improvisation vol. 1 2 3 4

bill dobbins - contemporary jazz piano

hal crook - how to improvise

jerry bergonzi - jazz improvisation series vol.1 2 3 4 5 6