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The weekly assignments will ask you to record your improvisations to play-along MP3 tracks we

provide.
Recording your Improvisations
To record your song ideas using one of the loops or your own music, there are many free tools
available to you. I recommend that you use GarageBand if you have a Mac computer (GarageBand
comes installed with most Mac computers) and Audacity if you have a PC computer. The following
videos demonstrate how to record your track alongside a backing track in these programs.
Recording in GarageBand
Recording in Audacity
Uploading Your Recordings to Soundcloud
In order to submit your recordings, you will need to create a free account on the Soundcloud web
site (http://www.soundcloud.com). You will upload your MP3 recordings to Soundcloud and then
provide links to them in your assignments.
To upload a recording to Soundcloud, follow these steps:
1.Log into Soundcloud.
2.Click Upload in the top right corner of the site.
3.Click Choose files.
4.Select the file you want to upload from your computer.
5.Enter a tag.
6.Make sure the "public" radio button is selected.
7.Once the file has finished uploading, click Save at the bottom of the page.
8.Select the "Go to your sound" link.
9.Click the Share button on the page that loads with your recording.
10.Copy the link.
11.Return to this course site and paste the link in the appropriate assignment.
You might ask if you have sufficient experience and musical training already to understand this
course and keep up with the other students. And I can tell you that in my past experience teaching
online, I've had a variety of students ranging from let's say intermediate. A little further along than
beginner. Let's say intermediate up to complete professionals, and everybody seems to thrive pretty
well in this online environment. So I could ask you just a few things, and it would probably tell you
what you need to know. Can you currently, read a piece of sheet music, a lead sheet of a standard
song and play it at the regular tempo and get through it all right, and do you know some of the
chord symbols. For instance, are you familiar with C seven, or F minor seven and so on. And have
you been trying, to improvise by listening to records and just doodling around on your instrument
to see if you can copy what you're hearing on your favorite records. That's how most of us start out,
in improvising. There's one thing I have to point out about this course and other music courses that
would be similar. It's a little different than some other types of courses you might take. For instance
if you take a math course and you learn a technique or a formula for math you can usually apply it
immediately to solve problems. But in the case of music the learning experience is more
subjective. It's like learning a new language. And it takes time for these things to be assimilated into
your memory and into how your brain functions, so you're not going to go from being an

intermediate level player to a fully professional player over the course of the weeks that we're
having this class,that will take place in the months and even years that follow, as you keep working
at it and keep adding to your experience. So I just wanna caution you that you may not see drastic
change over the weeks that we're studying the materials in the class. But you will be learning the
information and the knowledge that will carry you on to being able to do it and to continue learning
and assimilating long after the course has finished.

Bien, hemos cubierto lo bsico y ahora vamos a empezar. Vamos a trabajar. La primera cosa a
entender es la similitud. Y la relacin entre la palabra hablada y la improvisacin. Nuestro cerebro
funciona de manera muy similar en ambas acciones, as que vamos a ver como, como el habla
funciona primero. Digamos, que lo que quiero hacer es hablar sobre, y explicarte que es esta
cosa. Y inmediatamente, tan pronto como tengo la necesidad de comunicar esta informacin, mi
cerebro reclama palabras de mi memoria que combinan. Baqueta, vibrfono, lana, bola de
goma, ratn, flexible, y etc. Y estas palabras estn todas c... sabes, conectadas a este objeto en mi
memoria, y estn todas almacenadas en mi memoria. Tenemos tambin gramtica, porque para
explicar esto no me basta con soltar palabras aleatorias. Tenemos que ser tambin capaces de
ordenarlas en una estructura de frase lgica, para entender mejor. Y esto es lo que hace la
gramtica. Aprendemos el lenguaje, normalmente aa.. nuestra lengua nativa, cuando somos
nios, imitando y escuchando y probando, por ensayo y error, y tambin la estudiamos en la
escuela e incluso aprendemos con ms detalle cmo funciona la gramtica y todo eso. Siempre
aadiendo nuestro vocabulario y nuestra destreza a la gramtica, a medida que vamos creciendo y
siendo ms educados. Tambin hay contenido, cuando explico algo hay cierto orden en ello. La
primera afirmacin lo introduce. Voy a hablarte sobre esta baqueta. Y luego cada frase que aado,
aade a la historia, explica de qu, cmo est hecho, ya sabes, cul es el motivo de los diferentes
materiales, y etc. Y eso lo convierto en una explicacin completa, una pequea historia que se
cuenta. As que tenemos vocabulario, gramtica y contenido, y lo mismo para
cuando improvisamos. Para los improvisadores, el vocabulario son las notas, los sonidos que
omos. Aprendemos las... los nombres de las notas, y los sonidos de las notas, y esto incluye
tambin las escalas y los acordes. As, estos sonidos musicales bsicos est almacenados en nuestra
memoria y los podemos reclamar cuando los necesitemos, dependiendo de las circumstancias
musicales en ese momento, reclamaremos las notas correctas para tocarlas. Existe tambin una
gramtica en la msica. Igual que la conversacin est constantemente avanzando en el tiempo
mientras hablamos, lo mismo sucede con la msica, por supuesto. Estamos en el tiempo, nos
movemos hacia delante, y hay movimiento y avance a medida que las armonas cambian de una a
la otra. El modo en que los acordes resuelven, hay reglas sobre qu acordes llevan a determinados
acordes, y qu tipo de movimiento es, etc. As como hay reglas gramaticales, hay reglas para la
armona y para la msica. Y aprendemos cmo eso funciona, y eso tambin se aade a nuestra
memoria. As podemos hacer frases musicales que suenen lgicas a los oyentes. Y finalmente
tenemos el contenido. Como en el lenguaje cuando estamos diciendo algo o explicando una
historia, improvisando hacemos lo mismo. Nuestras improvisaciones son fragmentos de
meloda que estn interconectados, y cuando los escuchas, sigues de uno a otro, de uno a otro, y
stos siguen un desarrollo lgico. Y luego, tienes un solo que puede captar la atencin de la gente.
De esta manera, tenemos los mismos tres elementos del lenguaje, que usamos en la improvisacin
como hacemos en el lenguaje hablado. Bien, piensa sobre ello y veremos las maneras de ponerlo
en prctica.

Quiero que empieces a escuchar discos de manera un poco distinta que solas hacerlo. la mayora de
nosotros escucha discos para disfrutarlos sentir el ritmo y la atmsfera de la obra. Y vamos fluir junto con
el solo. Podrs notar algunos momentos que suenan especialmente bien y los disfrutamos cuando llegan.
Pero quiero que procures analizar un poco ms de lo que hay en una improvisacin.. Imagina por
ejemplo, que tienes un estudiante que no sabe nada acerca de improvisacin pero est interesado en
aprender. Y una de las cosas que decides hacer, es tocar un solo y luego analizarlo para l. Explicar, aqu
estn los diferentes tipos de cosas que estn sucediendo en este solo. Cosas como qu estilo es? Cul es
la sensacin rtmica? Cules son las secciones del solo? Tiene secciones de ocho compases? O de cuatro
compases? Como analizar la cancin? que intervalos son los que estn siendo ms usados, que tipo de
figuras rtmicas estn siendo utilizadas? Ese tipo de cosas. Hemos llegado a la parte uno de nuestra tarea
de la semana. He grabado un solo en el piano y t vas a escucharlo. Tras haberlo tocado, yo escrib las
notas que toqu. Escchalo varias veces mirando las notas escritas. Luego, con ayuda del teclado de tu
computadora escribe una descripcin de qu est hecho mi solo. Nuevamente, como dije, que tipo de
intervalos estoy usando, cul es el anlisis de la cancin? Cul es el tempo y la sensacin rtmica? No te
dejes llevar y escribas una disertacin de diez pginas sobre 32 compases de msica. Parecera que cada
vez que asigno algo como esto, alguien se vuelve loco y analiza cada nota. Todo el anlisis debe caber en
una hoja, es un resumen de las cosas que he usado cuando estaba improvisando ste solo particular. Una
vez que tengas tu descripcin lista, crgala al sitio, esa es la parte uno. La parte dos es una continuacin
de esta cancin. Descarga la pista de la cancin. Hay dos versiones, la una tiene piano, bajo y batera, esa
es para la mayora de ustedes Y una versin es solo para los pianistas, tiene solamente bajo y
batera porque no es deseable tener dos pianos compitiendo entre s en la grabacin. Quiero que toques
sobre la pista grabado y veas que tal te va con este set particular de acordes. Si eres un improvisador
experimentado va a ser muy fcil para t y lo logrars en muy poco tiempo. Si eres nuevo en esto, ser un
reto mayoe. Intenta lo mejor que puedas encontrar notas que funcionen sobre la armona y mira si puedes
seguir el desarrollo de las armonas. Es un lugar para empezar. Y la semana siguiente vamos a ver el
vocabulario del improvisador. Esto es las escalas y los acordes que usamos para tocar. Mientras tanto,
suerte con sta tarea. Para la parte dos, cuando tengas tu MP3 creado, crgalo al sitio. Y entonces habrs
completado sta semana. Buena suerte y nos vemos aqu la prxima semana.
0:03
The topic today is scales, specifically what we call chord scales in the jazz world. And, if you've
looked at some books on improvisation you might have come across some that included page
after page after page of scales with exotic sounding names. the truth is, there is a small number
of scales that cover most situations. there are ten of them, in fact, that are the most commonly
used scales. And 90% of the chords and scales that you come across in a tune, a standard tune
or a jazz tune will use one of those ten scales. So, they're the ones that you really need to have
under your fingers, that you have to have memorized and are able to play on them. And we're
going to look at each of those ten scales today, and what their characteristics are and how to
organize them and think of them. And how to practice them. The goal is to have them memorized
to the point that you have instant recall. Now you probably already have instant recall on a few
scales. Let's say the C scale , that's one that, you know, you surely have played by now. And
you don't have to stop and think what the notes are in that scale as you play it on your instrument
you're just used to playing it. Well, here's the thing. We can memorize scales in two ways. There
are two characteristics that our memory uses. One is the shape that the scale makes in terms of
the pattern. for instance if I play a that minor, that C minor scale there's a certain shape to it.
And it doesn't matter whether you play a keyboard instrument like mine, or the piano. But on any
instrument, there's kind of a, a kind of a shape and pattern to a scale run. And we get used to
recognizing that shape. And we also recognize the sound of it when we hear it. when it, you
know, we associate the sound and the shape of the scale and that's what allows us to have instant
recall of it. And, you know, the, the, the situation is, you don't have time to think about the
mechanics of the scale when you're in the act of playing. Chords change every couple of

seconds there is not time for conscious, you know, study of arguing with yourself about can I use
the B flat or not and so on. I mean, if you have to think at all about the scale as you're playing, you
won't be able to keep up with the music. We have to have instant recall. So that's the goal is to
get instant recall. And the way we practice the scales is what will help us attain that level of recall.
Now, in the classical world, the way you practice scales is usually going up and down. But
that's not much help to a jazz musician, to an improvisor. We need to make melodies out of that
scale. Which means moving to different intervals, and different groupings of notes within that
scale. So we want to have flexibility, and be, be very facile with the notes in the scale. So instead
of practicing the classical way with the scale we want to , we want to change the
intervals. Use most of the range of your instrument. Don't do it all within one octave. So you
can see I'm rambling around. I'm not playing any particular pattern or any combination. I'm
thinking in my mind and using my eyes. And I'm seeing the shape of the scale, the C Minor scale,
called the Dorian. We're going to talk about the names later. And I'm using different
combinations of notes from that scale . Immersing my eyes and my ears. I'm getting used to
the sound of this scale. And, and eventually I recognize it so well that the minute I see on the
music C minor 7 is called for, but without even having to think about the notes in the scale, I can
just start playing on it. That's the instant recall that we're looking for.