Вы находитесь на странице: 1из 2

Improvising On The Violin: Part Two

Learning Patterns

One of the broader catagories on a standard I.Q. test is “Pattern Recognition”. I don’t
know the technicalities of how the category breaks down, but I do know that the
difference between Charlie Parker and his contemporaries is Parker’s ability to create and
masterfully juggle patterns. Parker’s creations materialized in time and space like atoms
forming to become cells…cells forming to become branches and leaves…forming to
become a tree. His patterns are placed with so much integrity, you can’t really change his
genaral structure without diminishing the overall quality. The integrity of a Charlie
Parker solo rivals that of a Bach Invention or a Beethoven String Quartet. Beautiful
shapes, mutated, manipulated, reversed, stretched, smashed, wrought inside out, and
arranged into a patchwork of splendid form for no other reason other than to defy
death…that’s how I look at it. Parker’s Jazz is high art, and at the heart of his creation
you find the humble pattern.

For years, not much Jazz pedagogy was available in the mainstream. Jazzers had to learn
patterns off recordings and practice them in all twelve keys. In the days of record
players, this was accomplished by slowing the 33 rpm recording down to 16 ½ rpms (the
speed language courses were recorded at) and carefully transcribing the material you
liked and wanted to learn.

There are many books of patterns for Jazz these days. All you have to do is step into
your local Sam Ash and you’ll find a room full of them. Some of the books are
transcriptions of great Jazz solos. You can even find “The Omnibook”, a volume of
transcriptions of Charlie Parker’s classic “Dial Records” solos. It’s available in C, Bb,
Eb, and in bass cleff. These are classic solos, and for half a century, sax players have
been practicing them. The band “Supersax” has recorded them harmonized with 5 saxes
(2 altos, 2 tenors, and bari). I’ve even harmonized a few of them for string orchestra.

You can also find books of just patterns for jazz. Various modal patterns, 2-5 cycles,
turnarounds, pentatonic, diminished, and all varieties imaginable are available for
purchase. Some of the tried and true “Patterns for Jazz” titles come from greats like
Oliver Nelson, Jerry Coker, Dr. David Baker, and others.

OK, so we all agree, patterns are one of the seminal elements of Jazz improvisation.
Once you find the patterns you like and get them ready to learn (either by transcribing
them yourself or by buying a book) you have to get to the next step. You have to make
the pattern your own.

My sax player friend, Tim Misika, showed me a great way of mastering patterns. The
first step is to learn the pattern as written (or as played on the record). Eventually, you
need to know the pattern by memory. The next step is to practice the transposing the
pattern in the cycle of fifths. For example: assuming the pattern is in the key of F and the
first note is a G, play the pattern starting first on G, then on C, then on F, etc, making the
chromatic adjustments so that your pattern cycles through all 6 possibilities. Then do the
same thing up a half step. When you complete this task, you will have played the pattern
in all 12 keys going throught the cycle of fifths. You should also practice your pattern at
it’s starting note by ascending and/or descending whole and half steps. And finally,
transpose your pattern by ascending and descending minor thirds and major thirds. For
minor thirds, cycle through the 4 possibilities (using the above example of a G starting
note, play starting on G, then Bb, then C#, then E), then go up a half step and do 4 more
possibilities, and repeat this step once more. You will have cycled through all twelve
keys. The major third variation only has 3 possibilities (G, B, and Eb). You need to
repeat the pattern up a half step 3 more times to make it through all twelve keys.

When string players get together at a rehearsal, you can hear people noodling Paganini,
Ysaye, Sibelius, and all manner of difficult reperoire. They want to let their neighbor
know that he or she is sitting next to someone that can play. If you really want to freak
your stand partner out, learn a bunch of double diminished paterns at break neck speed,
and rattle that off before you start playing Brahms. Hit em’ with the famous alto break in
Charlie Parker’s “Night In Tunisia”. You’ll make a lasting impression. Trust me.

Вам также может понравиться