ENCLOSURE

To learn jazz language, you must be listening to the music

and learning solos and lines from your favorite jazz
musicians. Jazz is first and foremost an aurally learned
music and it must be treated as such.

But it is also important to analyze jazz language and

observe how jazz greats constructed their phrases. We
can learn so much about jazz and how to become a better
player by breaking things down and understanding how
it works.

One common technique that jazz musicians utilize when

playing lines is enclosure.

What is enclosure?
Enclosure is simply approaching a target note from above
and below either diatonically or chromatically. Heres an
example:
In this particular case the target note is the root (C), and
it is being approached by a whole step above (D), and
a half step below (B). The target is being approached by
two notes, but enclosure is not limited to this. Heres an
enclosure using 4 notes:

This one is targeting the 3rd of Cmaj7 (E), and is

approached diatonically from above (G), diatonically
from below (D), and chromatically from below (D#). This
makes for a nice sounding resolution. We can also use
enclosure when the target note is played twice:
This one is both diatonically approached (F) and
chromatically approached (D#) by a half step. There are
many different possibilities for enclosure. So far all of our
examples start with an approach from above, but you can
also start with an approach from below:

In this case, the 7th (B) is being targeted, and is being

approached chromatically from below (A#) and
diatonically from above in half steps.

Not too difficult of a concept. But the big question is: how
do we start getting enclosure to come out in our playing

There are three ways we can practice enclosure patterns:

1. By isolating single chords and experimenting with

different kinds of enclosure (which we have already
done).
2. By applying enclosure to scales.
 3. By applying enclosure to different harmonic contexts.

Since we have already looked at some examples of

enclosure in the context of individual chords, lets take a
look at enclosure being applied to a major scale:

Heres that enclosure pattern that plays the target note

twice and is resolved chromatically. Notice how the
target notes walk up the C major scale and how the
enclosure follows suite. You of course can apply this
same concept to any scale you would like to practice, and
you are not limited to using this enclosure pattern.
Rhythmic variations outside of eighth notes can be
applied as well.

By applying enclosure to scales, you will be getting used

to the technique and feel of enclosure patterns. The more
you practice enclosure in different contexts the more
natural it will begin to feel and you wont need to think
about it.
The next step is to apply enclosure to different harmonic
contexts.

Take a II-V-I chord progression for example:

Notice how each enclosure resolves to the target note

(3rd) with an anticipation on the & of 4. The 3rd is
always a wise choice to target in a harmonic progression
like a ii-V-I because it establishes clear voice leading,
however, any note can be targeted.

Another way to practice this is to apply enclosure to an

entire song form such as the blues:
Here we are using half step approaches to target the 3rds
of each chord in the blues form. The blues is always a
great place to start when applying new concepts like
these, but of course you can practice enclosure in any
song you are learning.

Start adding enclosure to your practice sessions today.

The more you work on this concept the more natural it
will feel, and you will be surprised when you start
hearing it come out in your solos.

IMPROVISATION TIPS
The dictionary defines meandering as moving aimlessly
and idly without direction. Does that sound like your jazz
solos? When teaching high school and even college aged
students, the biggest criticism I have of their playing is
what I call meandering. If you surveyed all the jazz
improvisation materials on the marketplace, you would
probably be led to believe that chord scale knowledge or
ii-V7 licks are the prime deficiencies in the developing
jazz player. I would disagree, observing that rambling
and meandering are the most important problems to
overcome. Many young players are first attracted to jazz
by the sheer virtuosity of some jazz players. Playing
higher, faster, and louder seems the way to go. We have
all heard sax players spewing notes or trumpeters
squealing high notes attempting to demonstrate their
virtuosity. The danger is that these devices become the
main thrust of their solos. The result is playing that is
analogous to speaking without punctuation. Here are
some handy tips to reduce or eliminate meandering.

1) Use punctuation
Challenge yourself to pre-planning your solos to include
commas, periods, exclamation points, and question
marks. Each punctuation mark causes the speaker to
pause or change direction. Be sure to pause when
soloing.
2) Tell a story
Great jazz solos are just like great conversations. A
statement is made, possibly repeated, a counter-
statement is made to which another retort is
offered. Have a conversation with yourself. Try this
quick exercise. Play a solo while thinking of the following
phrases in your mind. By doing so, your phrasing will be
much better and you will not meander. Went to the store.
Picked up some fruit. Wanted some apples and maybe
some pears. Ended up with grapes. Should I taste one
before I go home? Yuck! Yuck! Sour, man! These short
phrases will help build logical ideas. Of course, you can
choose your own story. Just vary the lengths of the
phrases and use punctuation! The end result should be
short, controlled phrases that build on one another to
form a beautiful logical conversation.

3) Think about contour

Build your solos. Challenge yourself before you start by
plotting the contour of your solo. Many solos are
structured like movies or books. They start with brief
introductions of the characters, the plot is introduced,
things develop, conflict is introduced, tensions heighten,
and finally a resolution comes. Structure your solo to
include these elements. This doesnt mean that every
solo needs to be the same contour, but having a concept
before you begin will help eliminate meandering. Soloing
in big bands has its unique issues. Typically, you are
given 16 bars to say what you have to say. The contour
for something like that is much different. Shape your
contour plot to complement the situation in which you
are playing.

4) Space!
Its not what you play, but what you dont play! A jazz
solo should be about conversations on different
levels. Ive already addressed the conversations that you
can have with yourself while you solo. In addition, there
is a conversation happening between you and the rhythm
section. You need to allow space to give your supporting
players a chance the comment (musically) on what you
just said. Use space frequently. I realize that this is
easier said than done, but it is the key to a logical solo.
Miles Davis was a master of the use of space. Listen to
how he plays. Try to emulate it. Obviously, we dont
know exactly what was going on in his head, but it
appears as if he simply was editing what his inner voice
was saying. It is my observation that when he was
playing an extended passage of eighth notes that he
actually heard a continuous line in his head, but played
on selected portioned of the line. It sounds as if he was
turning the sound on and off as he listened to his minds
cd player. I suppose it doesnt matter how he did
this. The result was the same; he used space to his
advantage.

WHY TRANSCRIBE?
1. To improve our ears.
This is a huge benefit. If you want to hear like Jaleel
Shaw, youve got to put in the time listening and learning.
Most of us cant transcribe complicated lines as quickly
as he can because hes put in WAY more time than most.
Of course, having great ears is extremely helpful for a
musician for many reasons, not just transcribing.

2. To improve our technique.

If you learn to play someone elses solo, you are getting
playing their ideas. Not your ideas. This means that it
wont be as natural to most improvisers as playing your
own solo. It will help your chops, like an etude would.
 3. To improve our ideas.
Your articulation will improve, and so will your lines. You
should take the time to analyze, in terms of numbers
instead of notes, the ideas that you learn. Take one lick,
and analyze it. Move it to all 12 keys. Internalize it. You
could do this with the whole solo, if youre up for a big
challenge! Learning a transcribed solo in all 12 keys is
GREAT for your chops. Start with learning one easy solo
in the original key first, though. You need to crawl before
you can walk.

Micro-transcription
Now that you understand the benefit of learning a whole
solo, heres another idea. Instead of learning all of a solo,
just learn one lick. Transcribe a lick, learn how it fits in
the context of the chord changes, and then learn that lick
in all 12 keys. Learn to play it at many different tempos.
Internalize it so you can do it in your sleep, so that it
becomes a part of you. It will come out in your
improvising. I missed the idea of Micro-transcription
when I tried to tackle the Bill Evans solo in high school.
My playing did not improve because I only thought on the
Macro level. I learned the big picture, but I didnt
examine, analyze, and transpose ideas into chunks I could
use. I wish I had started smaller so that I would have
stuck with it earlier in life. Its better to transpose smaller
ideas and REALLY learn those well that to learn a whole
solo and never be able to use anything from it. Ideally,
you will learn whole solos AND take small chunks to
internalize as well.

Here are two more suggestions for transcribing:

1. Buy software to help you.

I noticed that even Jaleel Shaw could have done it faster if
he hadnt needed to rewind quite so much. He got the
ideas instantly, but he wasted a little time just getting to
the new phrase. A good looper software, like the Amazing
Slow Downer (for cds and mp3s) or the Ultimate DVD
Player (for dvds), will save you time rewinding. They also
have a function where you can slow down the music or
even change keys! However, I recommend learning most
everything at the original tempo except where you really
need to slow it down. Its better for you to learn solos as
they are played, not at a quarter tempo. Ultimately, these
programs will save you time, and will allow you to do
more solos in less time. Heres a link to their site:

2. Dont be afraid of playing other peoples

transcriptions.
You should do more transcribing on your own, but
learning a solo someone else lifted is never a bad thing as
long as you do your own transcriptions as well. Analyze
the Micro as well as Macro, and pull out licks and ideas to
transpose into other keys to help your improvising (for
more on transposing see my article on transposing).

Ultimately, stay at it. Transcribing becomes easier the

more you do it, just like anything else. I know great
players who mostly transcribe whole solos, and I know
other great players who mostly transcribe licks, and then
internalize those licks. I also now great players who use
both approaches consistently. Find the approach that
works best for you, and go steal some ideas! Nothing will
help you find your own sound faster than figuring out
what worked for others. If you aint stealin, you aint
tryin!

21 skills to develop
1. Scales.
Work on playing your basic scales such as major or
natural minor. Also be familiar with your dorian
minor, mixolydian, and melodic minor scales. Make sure
you can play them in multiple keys.
2. Arpeggios.
Work on spelling out different chords by playing
arpeggios. Then take a jazz standard or a chord
progression and play the arpeggios over the form.
3. Enclosure.
Work on this technique that can really help you
conceptualize jazz language and some of its
characteristics.
4. Minor pentatonic application.
This is a pretty commonly used scale, especially in a
blues context, but you can use this scale in many different
ways. So you can see what I mean, check this out.

5. Interval recognition.
Having a great ear is super important as a jazz musician.
One of the most basic ear-training skills to have is being
able to recognize intervals, like major thirds, minor
sixths, and perfect fourths. You can also use jazz
standards to help you memorize them.
6. Learn a lick by ear.
Find a lick (short musical phrase or idea) that you like
from one of your favorite jazz musicians. Learn it from
the recording and be able to play it on your instrument.
7. Take musical phrases into all 12 keys.
Take a musical phrase, or a lick you have learned, and be
able to play it in all 12 keys.
8. Learn how to play a jazz solo by ear.
Find a jazz solo you really like by one of your favorite
musicians, and learn it by ear. This is a bigger project to
do, but the results will be quite worthwhile! If you need a
little extra help with knowing how to do this, check this
out.

9. Learn a jazz standard.

There are hundreds (if not thousands) of jazz standards
you can learn, and they all have something musical to
teach us. If you need help picking one, check out our 50
jazz standards you need to know list, and if you need help
with how to learn a jazz standard, check this out.
10. Learn a jazz standard you already know in
different keys.
Work on a jazz standard you are already familiar with
and take it into different keys, or if you are ambitious, all
12. Taking tunes into different and uncommon key
centers can really help you understand a tune more fully
and improve your improvisation ability.
11. Learn a jazz blues tune.
The blues is one of the most important song forms in jazz,
and studying jazz blues is really important. There are
always more blues heads to learn and have ready to play
at any given time. If you need some help picking one out,
heres a good list.
12. Learn a rhythm changes head.
Rhythm changes is another common song form in jazz
and is important to study. Lots of bebop heads are
written over this form. Need some help picking one out?
Check out this list.
13. Practice some jazz etudes.
While its important to be learning jazz language by ear, it
is also helpful to read them and analyze them. Etudes are
also normally written for practicing purposes, and help
identify particular ideas and concepts. The best thing to
do is find a good book to practice out of. We actually have
one called 15 Essential Jazz Etudes, you can use.
14. Compose your own jazz solo.
Write your own jazz solo and be able to play it. Writing
down solos helps you express the music you hear in your
head, helps you analyze the jazz language you know,
come up with your own original ideas, and improve your
notation ability. This is a great practice!
15. Practice specific chord progressions.
Pick just one chord progression to focus on. Try working
on your ii-V-Is, or your minor ii-V-is. There are many
more of course. Just focus on one and practice
improvising over it for an extended period of time. Want
a list of common jazz chord progressions, and play-
alongs to help you practice in different keys? Go here.

16. Write your own jazz lick.

Similarly to composing your own solo, it can be helpful to
create your own jazz lines to play. The music you create
will also feel more natural to you. Try composing your
own and work on it in different keys.
17. Practice improvising over just one chord.
Pick one chord and practice creating melodic lines over
it. Try working on a maj7, min7, dom7, dim7, maj7(b5),
or half-diminished chord. Of course there are more than
just that! If you want a list of chords to practice, and
some play-alongs to help you practice in different keys go
here.
18. Compose your own contrafact.
Whats a contrafact? In jazz, a contrafact is a musical
composition consisting of a new melody overlaid on a
familiar harmonic structure. Essentially you are
borrowing the chord changes to a jazz standard and
writing your own melody over top of it. Pick a jazz
standard you like, get rid of the melody and write your
own.
19. Practice playing just the 3rds and 7ths of a
jazz standard progression.
Take a jazz standard(s) and simply identify and play only
the 3rds and 7ths of each chord. These notes identify the
voice leading between different chords and are good
notes to target while improvising.
20. Practice improvising over a jazz standard
with a metronome.
The key and focus here is with a metronome. Set your
metronome to default click on beats 2 and 4. When you
are comfortable with that set it to 1 and 3. Then set it to
only click once a measure. This is covered in much
greater detail in this podcast episode.
21. Listen to jazz.
This is not to be underestimated! If you arent feeling
motivated to practice, this is a good one to go to. Why?
Because at the end of the day, listening to jazz is some of
the best practice you can do. Im serious.