I’ve had another amazing lesson with Martin Shaw.
We spent quite a long time looking into what we have agreed to call “Ghost” tonguing. Having done a bit of work on it since the last lesson and got somewhere (though by no means anywhere near it yet) it’s now got a little clearer exactly what I have to do. So now I have an exercise I will put into my work-out to teach my tongue to jump in and out of that precise position on my upper incisors which damps the sound. It’s a great effect and I’m chasing after it seriously.
The second half of the lesson was spent trying to find a way of using the ghost tonguing in context. Martin wrote out a couple of little riffs for me, which would work over a 2-5-1 sequence and which contain obvious places to do the ghost notes.
We talked quite a lot about how dificult it is for me actually to hear some of the things that Martin does (he does play really beautifully) well enough to even try to copy him. He worked through a variety of ways of slowing it down, with me listening and copying, but not getting anywhere near it. Mine always sounded clumsy and awkward – his always fresh and alive and perfect.
I think next time I’ll have to bring the minidisc recorder so I can better analyzing exactly what’s going on. I need to do this not just with the ghost notes but with many other aspects of style.
My articulation still needs to be blunter, firmer and more immediate at the front of the notes. I still sound too much like a horn player – shaping everything. Despite this being quite a profound change in style, I’m completely confident it won’t mess up my horn playing , as it seems to me that people who learn to speak French don’t lose their Engish accent in the process. I’m sure it’s exactly the same thing. The parallel with learning a foreign language is very clear to me
Martin also said I need to listen to tons of Clifford Brown. Fantastic! I’ll try to learn some more of his solos.
- Continue the chromatic runs and practise ghost tonguing as workout exercises.
- Practise the riffs Martin gave me.
- Study “Confirmation” by Charlie Parker – from the copy Martin lent me with articulations and other useful pencil marks added.
- Get hold of David Baker’s book on Clifford Brown in the Giants Of Jazz series.
- Get hold of the Charlie Parker Onmibus.
- Tongue firmer all the time.
- Listen to Clifford Brown. Listen to Clifford Brown. Listen to Clifford Brown. Listen to Clifford Brown. Listen to Clifford Brown.
Valentin Garvie came around this evening. He had phoned up to say he was in London for four days between a tour around Sweden and a pile of work with Ensemble Moderm in Germany, so I invited him around straight away. We played through a few blues pieces and one or two standards, all with the Aebersold playalongs.
To summarise what came out of the evening:
1. I’ve improved a bit since the last time we tried this together, which is encouraging in itself, but in addition Valentin was particularly encouraging. He’s very good at delivering praise and encouragement wrapped up neatly with some constructive criticism.
2. My polycarbonate mouthpiece is really not bad – we did a sound test and the differences were not quite so obvious as they had seemed last time we compared it with his Bach 1.5C
3. Valentin is a really good jazzer! I don’t know why he hasn’t been doing more of it. As we got warmed up he got much better, very rapidly, indicating that he has been very good at jazz improvisation in the past but has let it get a bit rusty. After half an hour or so he was producing some amazingly impressive stuff and by comparison I felt I was sounding worse and worse. The most noticable thing for me was that I don’t seem to have any sort of style, rather I play in what might be called the “Blandissimo” style. Some gin didn’t help. For a moment or two I felt like giving up but then Valentin managed to find yet more encouragement, somehow.
4. He agreed wholeheartedly with “Really, the best way to learn is to take tunes off records..”. (see previous post, here).
5. He thinks that rather than trying to learn all the turnarounds, all the two-five-ones, all the blues progressions in every key etc. (not that I have been, entirely…) I should I should stick to the simpler more common keys only and concentrate my efforts more on learning a big repertoire of patterns, licks, riffs, whatever they are called, extracted from recorded solos. I must find a ways of chaining chunks of this sort of remembered material together in my improvisation. Hopefully, this should to prevent me meandering around aimlessly, which is what I tend to do when I’m reading chord symbols.
Now, that’s a lot of learning in one evening – and all it cost me was the preparation of a bowl of stif-fried vegetables with rice and a gin&tonic!
(6. I must persuade Valentin to come over more often.)