Jazz Articulation (Scales part 2)
Summary
TLDRIn part two of his jazz scales masterclass, saxophone teacher Dr. Wally Wallace focuses on articulation patterns to make scales swing. He has students practice slurred, then with light articulation, then finally adding air accents on offbeats. He warns against clipping downbeats or slurring eighth notes, which kills forward momentum. The lesson includes double time exercises and ends by reminding students to listen to the jazz masters, as the answers lie in their recordings.
Takeaways
- 🎷 La construcción de un solo melódico en el saxofón requiere de acentos, inflexiones y estilo, no solo de las notas.
- 🎶 Dr. Wally Wallace presenta una serie de seis partes sobre escalas de jazz, enfocándose en la articulación y el swing.
- 📚 Se insiste en practicar escalas en todo el rango del saxofón para mejorar la técnica y cubrir todo el espectro del instrumento.
- 🎵 La articulación correcta en el jazz no se logra tocando todas las notas con la lengua, sino acentuando los contratiempos y ligando los tiempos fuertes.
- ❌ El estilo 'Mickey Mouse' de swing, basado en ritmos de triplete, no es auténtico para el jazz moderno.
- 💡 Para un estilo auténtico de bebop y swing, se debe acentuar con el aire, no con la lengua, y practicar patrones de escala con una articulación ligera marcada en la partitura.
- 🔑 Los ejercicios de articulación deben terminar con dos corcheas, una larga y una acentuada, un patrón común en el jazz.
- ⚠️ Es importante evitar acortar el tiempo fuerte, lo cual rompe el impulso hacia adelante de la frase y hace que suene entrecortada.
- 🤔 Practicar la articulación correcta, especialmente evitando unir dos corcheas que deberían ser articuladas claramente como 'do dat', no 'do it'.
- 🏃♂️ Para los patrones de doble tiempo, se sugiere acentuar los tiempos fuertes para mantener el impulso rítmico, evitando una sopa amorfa de notas.
- 🎉 Dr. Wallace desea un feliz Día de Acción de Gracias a los estudiantes estadounidenses y agradece a los estudiantes internacionales por ser parte de la academia.
Q & A
¿Quién es el presentador del Saxophone Academy?
-El presentador es el Dr. Wally Wallace.
¿Cuál es el tema principal del video?
-El tema principal es la articulación de patrones en escalas de jazz para saxofón.
¿Qué se discutió en la parte uno de la serie?
-En la parte uno se habló sobre practicar escalas en todo el rango y alternar la dirección del movimiento, sin comenzar siempre en la tónica de la escala.
¿Por qué el Dr. Wallace recomienda no articular cada nota en la escala?
-Porque en el estilo swing es importante aprender a tocar los contratiempos con la lengua y ligar los tiempos fuertes, lo que no se logra articulando cada nota.
¿Cuál es la manera incorrecta de interpretar el estilo swing según se enseñaba anteriormente?
-La manera incorrecta es interpretarlo como un ritmo de tresillos, denominado estilo 'Mickey Mouse', que no es auténtico.
¿Cómo sugiere el Dr. Wallace practicar los patrones de escala para desarrollar un estilo de swing y bebop?
-Primero practicar los patrones de escala ligados para asegurar una técnica limpia, luego agregar una articulación ligera como se indica en la partitura, y finalmente añadir un poco de acento en los contratiempos usando el aire.
¿Por qué es importante no enfatizar demasiado los turnarounds en los extremos superiores del saxofón?
-Porque puede poner el énfasis en las notas equivocadas, haciendo que el ritmo suene extraño y desequilibrado.
¿Qué errores comunes se deben evitar al practicar la articulación swing?
-Se deben evitar cortar los tiempos fuertes, lo que mata el impulso hacia adelante de la línea y suena muy picado, y no ligar dos corcheas que deberían ser articuladas, lo cual no suena acentuado.
¿Cómo se debe practicar para mejorar la articulación durante los pasajes de doble tiempo?
-Una manera es tocando los tiempos fuertes importantes con la lengua, para mantener el impulso rítmico sin tener que articular todos los contratiempos.
¿Qué se planea para la próxima lección en la serie?
-Se trabajará en patrones de escala de jazz más complejos y habrá algunas sorpresas.
Outlines
🎷Introducción a las escalas de jazz y articulación
El Dr. Wally Wallace da la bienvenida a los espectadores a la Academia de Saxofón, enfocándose en clases magistrales y reseñas de productos relacionados con el saxofón. Este episodio, siendo la segunda parte de una serie de seis sobre escalas de jazz, se centra en cómo tocar escalas de manera que suenen con swing, agregando articulación e inflexión que distinguen al jazz del clásico. Wallace enfatiza la importancia de practicar escalas en todo el rango del instrumento y de no iniciar siempre en la tónica. Introduce el concepto de no articular cada nota y la importancia de la articulación ligera y el acento en los contratiempos, utilizando el aire más que la lengua para crear acentos. Se recomienda descargar los ejercicios gratuitos para practicar estas técnicas.
🎵Evitando errores comunes y preparación para el futuro
En esta sección, Wallace aborda problemas comunes que encuentran los estudiantes al intentar la articulación de swing, como cortar el tiempo fuerte, lo cual interrumpe el flujo melódico. También critica el error de unir dos notas octavas que deberían articularse separadamente, lo cual afecta negativamente el estilo jazzístico. Además, introduce ejercicios de articulación en doble tiempo para mantener la coherencia rítmica incluso en pasajes rápidos. Finalmente, anticipa el contenido de las próximas lecciones, que incluirán patrones de escala jazzísticos avanzados y se despide agradeciendo a los estudiantes por su participación, deseando un feliz Día de Acción de Gracias a los estadounidenses y agradeciendo a los estudiantes internacionales.
Mindmap
Keywords
💡fraseo
💡articulación
💡swing
💡bebop
💡tempo
💡acento
💡ritmo
💡improvisación
💡escalas
💡técnica
Highlights
Primer texto de aspecto destacado
Segundo texto notable destacado
Tercer punto clave del resumen
Transcripts
[Music]
to build a melodic solo we don't just
need the notes we need the accent the
inflection the style a certain what the
french would call
it all yeah
[Music]
hi and welcome to the saxophone academy
i'm dr wally wallace and if you're
interested in saxophone master classes
and product reviews please do subscribe
and be sure to hit the like button to
make your skills swing harder than a
troubled marriage in the 1970s now today
is part two in a six part series on jazz
scales now last week to refresh your
memory we talked about doing skills in
full range and also alternating the
motion and not always starting on the
tonic of the scale tonic meaning the
first scale degree now this week we're
going to dive into articulation patterns
because it don't mean a thing if it hath
not got that swing so we're going to
start to make your scale swing a little
bit and start to add the inflection and
articulation that makes it sound much
more jazz like than your typical
classical scales now if you haven't seen
part one please do watch it where we
insist that you practice your scales
full range to make sure we're covering
the entire range of the saxophone
there's nothing more frustrating than
hearing something in your head a melodic
idea or a motive and your fingers you
don't have the technique to go up there
the brain the mind is willing but the
flesh is weak
and untrained
what were we talking about
so in addition to doing full range
skills we also need to practice with
articulation patterns but i actually
don't like doing articulation patterns
in the full range as you get to the
turnarounds in the upper extremes of the
saxophone it puts the beat the emphasis
on the wrongs the label it gets very
wonky and strange kind of like twin
peaks where it's kind of cool but kind
of wonky but you don't want to tell your
friends that you don't think it's cool
because you're really more confused
it's exactly like that and as always all
the exercises that we're working on
today and all of the exercises in the
six part skill series you can download
for free in the pdf the link is below
now concept one we need to make sure
you're not tonguing every note
so obviously that doesn't work a big
part of the swing style is learning to
tongue the offbeats and slurring to the
downbeats so it sounds more like this
[Music]
and that's actually the basis of how we
create the swing and bebop style now you
may have been taught like i was a
million years ago that swing style was a
triplet rhythm something like this
[Music]
but of course
y m o m-i-c-k-e-y-m-o-u
s e that's the mickey mouse style of
swing it's not really authentic and it's
not how you the masters and your heroes
play so here's how i want you to start
practicing these scale patterns first do
them slurred to make sure all the
technique is clean and even
[Music]
then add a light articulation were
marked on the sheet
[Music]
and once the scale feels clean and
somewhat effortless as effortless as you
can make it sound then add a little bit
of accent on the offbeats but remember
accent is created by the air not the
tongue we're not hitting the tongue with
the reed remember the tongue releases
the reed allowing to vibrate our air
creates the accent so we're going to add
air accents on the offbeat for a little
bit of inflection
[Music]
[Music]
and this will lay the groundwork for a
good post-1940s bebop and swing style
you notice we don't have a lot of lilt
or triplet feel to the rhythm after the
1940s now there are some instances
depending on the style the genre the
player and the tempo especially where we
will have a little bit of lilt or
triplet feel to the sound how much you
ask
i can't answer that and trying to answer
that is almost pointless because all the
answers are in the records none of these
exercises make any difference if you're
not listening to the masters all the
answers are there on the records i'm
just here to help guide you and build
some technique to do what you're hearing
you'll also notice that all these
exercises end in two eighth notes one
long one accented a do that now you'll
notice that's an incredibly common
articulation in jazz find in the middle
of souls the ends of solos the beginning
of solos it's a ubiquitous sound to jazz
and especially bebop
do that bebop
get the picture
[Music]
now the reason i'm having you end all
these patterns within a good doodad
articulation is to get you in the habit
of practicing ending your phrases i find
that newer improvisers tend to have some
good ideas to start some interesting
melodic development and then this phrase
just kind of ends
poorly in a disappointing fashion like
the final season of game of thrones
where it's not just brand that was
broken
what were we talking about
now let's talk pitfalls a couple of
things i want you to avoid one of the
most common problems i hear when
students start to do the swing
articulation is clipping the downbeat
[Music]
that kills the forward momentum of the
line makes it sound very choppy and it
doesn't sound like good phrasing at all
and it's certainly not the jazz style we
want to make sure our airstream pushes
constantly through the phrase we're
simply accenting the offbeats not
clipping the downbeat to create an
accent now the next biggest problem i
hear is whenever there are two eights
that should be articulated do that
students often slur them together and
play do it trying to create the accent
by clipping it short now no matter how
short you clip it it's not going to be
accented and it's not going to sound
cool
jared so we want to make sure we're
actually doing a do dat not a do it
so the do it that i hear all too common
sounds like this
[Music]
make sure instead we're playing do dat
we've also got a couple of patterns to
start working on double time
articulation we don't want our double
time to be a long flurry of a rhythmic
nonsense soupy notes we want to make
sure it still has rhythmic drive even in
the double time so there's a lot of ways
to do that but a common way that's a
good place to get you started is simply
tonguing the large downbeats at certain
tempos we simply can't tongue all the
off beats it's you know you hurt
yourself so we want to make sure we're
at least hanging the downbeats to give
it some forward rhythmic drive again
there's a lot of variations and
different players play double time
tongued different ways depending on the
line and the direction but this is a
good starting place to at least make
sure you don't have a big amorphous soup
of notes
[Applause]
[Music]
so make sure you download the sheet and
start working on it this should keep you
busy until our lesson next week when we
start to work on some more cool jazz
scale patterns and have some surprises
along the way i think you're gonna like
now this is thanksgiving week in america
so to all my american students most
happy of thanksgivings to you to the
international students i'm thankful for
you joining us i'm thankful that you're
part of the academy and i really feel
that go practice
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