How to Master Jazz Articulation
Summary
TLDREl video analiza técnicas de articulación en el jazz. Explica que no basta con marcar los tiempos débiles, sino que hay que adaptar la articulación a los contornos melódicos, usando sílabas como 'duden' en frases ascendentes y 'dudú' en descendentes. Detalla ejercicios como escalas bebop y notas de aproche cromáticas para practicar distintos patrones de articulación. Finalmente, ejemplifica estas técnicas en frases de transcripciones de Lester Young, Dexter Gordon y Michael Brecker.
Takeaways
- 🎷 La articulación en el jazz implica más que solo acentuar los contratiempos; varía según la dirección melódica de la línea que se está tocando.
- 🎶 Existen conceptos de articulación específicos como 'dude' y 'duden' para líneas ascendentes y mezclas de articulaciones para contornos melódicos complejos.
- 📚 Se ha lanzado una clase maestra sobre articulación en jazz con más de 80 minutos de contenido en video y un PDF suplementario con ejercicios y transcripciones.
- 🎵 Muchas articulaciones en jazz no pueden representarse adecuadamente con la notación musical tradicional, lo que requiere un enfoque diferente para su enseñanza y aprendizaje.
- 🎷 Los sílabas específicas de articulación, como 'dude' y 'duden', son herramientas para ayudar a los instrumentistas a pronunciar mejor el lenguaje musical del jazz en sus instrumentos.
- 🎼 Practicar escalas de bebop descendentes con articulación de los contratiempos es un buen punto de partida, pero es solo el comienzo para desarrollar habilidades de articulación en jazz.
- 📖 La utilización de notas de aproximación cromática en toda la escala ofrece una práctica más efectiva y aplicable para el desarrollo de líneas melódicas reales en improvisación.
- 🔊 Ejercicios específicos, como agregar notas de aproximación cromática al final de cada compás, permiten practicar tanto la articulación 'dude' y 'duden' como la articulación 'do dawudaou' en contextos variados.
- 👨🏫 La clase maestra cubre la aplicación de técnicas de articulación a tripletes y semicorcheas, además de ofrecer ejercicios, frases, etudes y análisis de transcripciones para una práctica integral.
- 🎷 Leyendas del jazz como Dexter Gordon y Michael Brecker han utilizado estas técnicas de articulación, adaptándolas a sus estilos únicos y demostrando la universalidad y adaptabilidad de estos conceptos.
Q & A
¿Cuáles son algunos conceptos erróneos sobre la articulación en el jazz?
-Un concepto erróneo común es que en el jazz solo articulamos los tiempos débiles cuando la línea melódica está descendiendo. En realidad, cuando la línea está ascendiendo podemos usar la articulación 'duden' o 'doodan'.
¿Por qué no podemos escribir las articulaciones de jazz con notación musical tradicional?
-La notación musical tradicional se desarrolló antes que el jazz, así que no tiene símbolos para muchas de las articulaciones que usamos. La única forma de ponerlas en papel es escribiendo la pronunciación vocalizada de cada nota.
¿Cómo suena la articulación 'duden' en un saxofón y cómo se logra?
-Para lograr el efecto 'duden', ponemos la lengua en la caña del saxofón para ahogar el sonido por un momento, casi como si dijéramos 'duden' al hablar. Se impulsa el sonido desde el diafragma.
¿Por qué las escalas de bebop no son el mejor ejercicio para practicar articulación?
-La forma melódica de las escalas de bebop solo asciende y desciende, así que no nos permite practicar con suficientes variaciones. Es mejor usar ejercicios de notas de aproximación cromáticas a lo largo de toda la escala.
¿Cómo se aplican los conceptos de articulación a los tresillos y semicorcheas?
-Se vuelve más complejo, pero en la master class se cubre con más detalle. Hicimos versiones de algunos ejercicios y transcripciones con todas las articulaciones escritas para tresillos y semicorcheas también.
¿Cómo usaban las articulaciones jazzísticas leyendas como Lester Young y Michael Brecker?
-Aunque tienen estilos distintos, ambos usaban las mismas técnicas básicas de articulación 'duden', 'doodan' y 'dawud'. Cada uno lo hacía a su manera pero siguiendo los mismos conceptos.
¿Por qué parecía que Dexter Gordon articulaba cada nota cuando en realidad no lo hacía?
-En tempos lentos Dexter solía articular más notas, pero en tempos medios y rápidos usaba 'duden' y 'doodan', lo cual articula múltiples notas a la vez por naturaleza.
¿Qué se incluye en la master class y los materiales complementarios sobre articulación en el jazz?
-La master class tiene más de 80 minutos de video analizando la articulación en ejercicios, frases, estudios y transcripciones. Viene con un PDF complementario con muchos ejemplos de articulaciones escritas.
¿Qué se puede hacer para seguir desarrollando las habilidades de articulación en el jazz?
-Además de practicar los conceptos presentados, analizar las articulaciones usadas en transcripciones de solos de jazz legends es muy útil. El oído se educa escuchando a los maestros.
¿Por qué es importante dominar las técnicas de articulación en el jazz?
-La articulación es una parte clave de lo que hace que el jazz se sienta e interprete de forma expresiva. Domina estas habilidades para poder pronunciar el lenguaje jazzístico de forma idiomática.
Outlines
🎷 Introducción a la Articulación en el Jazz
Este segmento aborda los conceptos erróneos comunes sobre la articulación en el jazz, destacando que no solo se articulan los tiempos débiles y que la articulación debe adaptarse al contorno melódico de la música, ya sea ascendente, descendente o mixto. Se introduce la idea de articulaciones 'dude' y 'duden' para líneas ascendentes, y se enfatiza la importancia de la flexibilidad en la articulación para reflejar la dirección y el movimiento de las líneas melódicas. Además, se anuncia el lanzamiento de una clase maestra sobre articulación en el jazz que profundiza en técnicas, ejercicios y transcripciones, acompañada de un PDF suplementario con articulaciones escritas.
📚 Ejercicios de Articulación y Escalas Bebop
En este párrafo se discuten técnicas específicas de articulación para líneas ascendentes y descendentes en el jazz, utilizando el ejemplo de las escalas bebop. Se introduce el concepto de articulación 'duden duden' para líneas ascendentes, contrastando con la articulación de los tiempos débiles en líneas descendentes. Se enfatiza que las escalas bebop, aunque útiles, son solo el comienzo para entender la articulación en el jazz, y se promueve el uso de notas de aproximación cromática para ejercicios más avanzados y prácticos, incluidos en un ebook específico.
🎼 Aplicando Articulación en Ejercicios Avanzados
Este segmento profundiza en ejercicios más complejos para practicar la articulación en el jazz, destacando un ejercicio que incorpora notas de aproximación cromática en cada compás para trabajar en la articulación en diferentes partes de la escala. Se explican las decisiones de articulación basadas en la dirección melódica de la música y cómo estos ejercicios ayudan a preparar a los músicos para aplicar técnicas de articulación en situaciones reales de improvisación. Además, se menciona un descuento para una clase maestra que incluye contenido detallado sobre articulación en tríos y semicorcheas.
📝 Técnicas de Articulación en Frases y Transcripciones
El último párrafo se centra en la aplicación de técnicas de articulación en frases musicales y transcripciones de solos, incluyendo la descomposición de una frase específica para ilustrar cómo se utilizan las articulaciones 'duden duden' y 'do da oo'. Se destaca cómo diferentes articulaciones se adaptan a la dirección de las notas dentro de una frase y se menciona el análisis de solos de Charlie Parker como ejemplo de cómo estas técnicas se aplican en el trabajo de músicos legendarios. Además, se discute la importancia de estudiar y aplicar estas técnicas en contextos modernos y tradicionales del jazz.
Mindmap
Keywords
💡Articulación
💡Contorno melódico
💡Escala bebop
💡Notación musical tradicional
💡Sílabas vocalizadas
💡Notas de aproximación cromática
💡Master class
💡Ejercicios prácticos
💡Frases y etudes
💡Células melódicas
Highlights
Articulation in jazz often articulates the offbeats on descending lines, but accents the downbeats on ascending lines using 'duden' articulation
The articulation syllables are to help articulate notes on instruments, not for scat singing
Bebop scales going up and down are a starting point for practicing articulation, but have limitations
Chromatic approach notes used more thoroughly in scales makes lines sound hipper
Approach note and enclosure exercises are practical for translating articulation technique into real lines
Articulation applies to triplets and 16th notes too, covered more in full masterclass
See analysis of a Charlie Parker solo using these articulation techniques in the full masterclass
Dexter Gordon used these articulation approaches with a fat, legato style
First 8 bars of Dexter's solo on 'Love for Sale' shows this articulation approach
The full articulation masterclass analyzes transcriptions showing use of these techniques
The masterclass comes with a PDF of articulations written out to supplement video content
See analysis of modern players like Michael Brecker using articulation with modern language
Coupon code for $10 off jazzlessonvideos.com masterclasses
Everyone from Lester Young to Michael Brecker used this articulation approach uniquely
Subscribe to the YouTube channel for more jazz education content
Transcripts
[Music]
[Music]
hmm
[Music]
all right so let's talk about
articulation today the first thing to be
aware of with articulation
is that there are some misconceptions
about how articulation works in jazz
mainly there's this idea that all we do
in jazz is articulate the offbeats in
reality
that's only true for when the shape of
the line is descending
when the shape of the line is going up
we can actually do what's called a dude
and do articulation or a duden
articulation
and then a lot of times realistically
the shape or melodic
contour of the line that we're playing
is really
twisting around and going into all sorts
of directions
not just up and down but around and
moving in interesting ways so then we
want to be flexible
in mixing up the articulation to match
with the shape of the line so that's
what we're going to talk about today
we're going to talk about different ways
to use articulation patterns and
techniques
in jazz articulation and i've actually
just released a full master class on
jazz articulation that has over 80
minutes
of video content going really deep into
articulations on exercises
phrases etudes and transcriptions
and it also has a supplementary pdf with
tons of articulations written out for
you
and the articulations match with the
exercises
and all the content that we go over in
the master class so if you want to get
serious about refining your articulation
techniques
definitely make sure to check that out
it's a great reference
but for now let's just do a brief
overview of how to develop your
articulation skills in jazz
and first off it is important to note
that the articulation
breakdown and analysis that you're
seeing in the examples
on your screen are not written with
traditional
music notation so the first question
that we should answer is why is that in
jazz the reality is there are a lot of
articulations that we use that just
can't be written down with traditional
music notation
of course traditional music notation
started long before
jazz existed so the articulations that
we use in jazz
just have never been really given a
music notation
label one of the things that makes jazz
feel so good is the way that we
pronounce
the language in the vocabulary that
we're playing and the only way to really
put that on paper would be
through writing out the actual vocalized
pronunciations of each note and it's
important to know that these are not
scat syllables like these are not scat
syllables that a vocalist would use
the purpose of these syllables are for
helping us articulate on our instrument
now some of these exact syllables might
be catered a little bit to saxophone
but the general idea of how we feel the
music on our instrument
is the same throughout brass players for
instance might say doodle doodle
saxophonists for instance would probably
say dude and duden
but we're all speaking the same language
either way and we're just trying to get
the music to feel as good as possible
on our instrument i've actually done
ensemble master classes where i've had
the student drummers in the master
classes
say duden duden while they play a ride
cymbal pattern
and it's actually helped them
significantly to make their ride cymbal
pattern feel better so this really
applies
to all instruments so by now i'm sure
you're wondering what these syllables
are and if you're already familiar with
these syllables you might want to know
how you can play them better
so that's what we're going to get into
now alright so i mentioned earlier that
we do
articulate the offbeats a lot when we
play a descending line
that's a line going down a great way to
understand that and help practice that
would be by playing a bebop scale going
downward
now in general i actually think that
bebop scales aren't the best thing to
practice
and so we'll go over that more in a
second but for now
bebop scales can be a great way of just
getting into step one
of articulation just make sure you don't
get stuck here because we can go so much
further
with a bebop scale the direction is only
going to go straight up and straight
down
so we'll get into more practical shapes
and exercises in a second but for now
this is a great place to start
so to start i'm just going to play a
descending bebop scale
and again here i'm just going to be
articulating the
offbeats giving syllables that you could
vocalize
to this articulation i would say
if you were to sing that it would sound
like
and then playing it would sound like
this
so that works great for going down but
what about going up
if we do just the offbeats going up that
doesn't sound
nearly as hip it would sound like this
so as you can hear it doesn't sound
super hip to just play the offbeats when
you're playing
an ascending line so what if you accent
the downbeats going up
that would sound like this
all right so that sounded a lot better
but how did that work
because i wasn't just tonguing the
downbeats i wasn't just articulating the
downbeats i was doing a little bit more
than that
if i just articulated the downbeats and
did nothing else
that would sound like this
again what i did was different that
sounded like this
[Music]
so how did i do that this is what a lot
of people refer to as a duden
duden articulation now the label doesn't
really matter it's just a way of helping
us get this concept down more
and it's a way of helping us pronounce
the language that we're playing
a lot better so let's talk about how to
apply this duden articulation to our
plane
so essentially the reason why a lot of
people call this a doodan doodan
articulation
is because essentially we want to
pronounce the language that we're
playing
on our instrument as if we're saying
duden duden
through the horn so just like when you
speak the sound
duden your tongue goes to the roof of
your mouth
and chokes off the sound a little bit
for instance you go
duden duden
so that's what we want to translate onto
our instrument so for saxophone we
actually want to choke off the sound for
a second
by putting our tongue on the reed this
is something that we get into with a lot
of detail
in the master class that i've done on
this but just a quick tip
would be to really push from the
diaphragm to help make it happen
so if we just play dude in it would
sound like this
if we go on and play dude and do it
would sound like this
[Music]
if we go all the way up the bebop scale
using this approach
it would sound like this
then if we play up the whole bebop scale
with the dude and doonan articulation
and we play down with the du da da
articulation
it will sound like this
then if we mix up the shapes of the
melodic contour that we're playing
and we do a bunch of combinations of
dood and dude ins
and do dawud material is going to end up
sounding like this
[Music]
so how do we bridge the gap between
being able to play up and down a bebop
scale with this articulation technique
and actually being able to play real
language
with this articulation technique so the
first thing that i recommend
is actually just practicing this
articulation concept
on better exercises so like i mentioned
before i actually think the bebop scales
aren't really the best thing to practice
and that's because we can go so much
further into the concept
that the bebop scale was based off of
and if we do that then we can actually
practice
exercises that use that in a way more
effective way
and a way that's more practical for
translating
into real lines and so that brings us to
the concept of chromatic approach notes
i've made videos on this before but
pretty much the bebop
scale just takes a major dominant
or minor scale and adds one chromatic
approach note to it
then with that chromatic approach note
we just zip up and down the scale in one
or a couple octaves if we want but the
reality is the legends of this music
all added chromatic approach notes all
over the place
throughout the scale not just in between
two
notes so if you want to make your lines
sound way hipper
then you really want to be practicing
chromatic approach notes
throughout the whole scale and not just
in one place
so that's what the exercises in my ebook
on this concept
do that ebook is called 15 approach note
and enclosure exercises for jazz
musicians
with all those exercises written out in
all 12 keys and because the melodic
contour of those exercises is way more
like an actual line that you would want
to solo with these exercises are great
for
practicing articulation as well so let's
briefly check out one of the exercises
that we go through in more detail
in the full articulation master class
this is an exercise where we add one
chromatic approach note
at the end of every single measure that
way we're getting chromaticism
in every part of the scale the diatonic
part of this exercise so the scale part
of this exercise
always goes up and down so you can
practice both the dude and duden
articulation
and the do dawudaou articulation in that
part of the measure
and then you can also practice mixing up
the articulation
for the last part of the measure from
the end of four
to the downbeat of one on the next
measure
because depending where you are in the
scale you might do an
in do from the n four into one
or you might do a duo depending
on where you are in the scale and
depending on the direction
of those two notes are they going up or
are they going down
so we might articulate there or we might
slur
if we put all this together it will
sound like this
[Music]
and if you want to go more in depth into
that exercise
plus phrases and etude and transcription
content
make sure to check that out in the full
master class
which comes with a supplementary pdf
that has all these articulations written
out for you as a reference
there is a coupon code in the video
description if you want to check that
out you can use coupon code
clb10 for ten dollars off any master
class
this week at jazzlessonvideos.com one
thing that we get into
in the master class content is also how
to apply these concepts to
triplets because that definitely gets
tricky
and 16th notes as well we also get into
the topic of melodic cells and there you
can really get a sense of how the more
modern legends like michael brecker
use these same articulation techniques
even with the more modern technical
language
so in other words if you're playing with
a more modern sound you can still be
using these dude and doodon
articulations along with the doo daous
and applying it to a more modern
approach that would sound like this
[Music]
so all in all the bebop scales are fine
to practice
but it only gets into a really small
part of the potential for
chromatic approach notes and there's
really no variation
in the shape or the melodic contour
because we're just
playing straight up and down escape so
there are a lot of exercises that we get
into in the master class like the
approach note and enclosure exercises
as well as the melodic cells approach
and these exercises are going to be a
lot more
practical for getting into sort of real
life material real life language that
you would actually be playing
on a gig or playing when you're
improvising and speaking of real-life
examples of articulation
let's actually check out a phrase now
and apply
this articulation technique to this
phrase
so this phrase is one of the 10 phrases
that we go over in the master class
and we have all the articulations
written out on all those phrases as well
this phrase is from an ebook that i
released called approach note and
enclosure phrase workouts
because all of these phrases are really
good ways to practice the concept
of approach notes and enclosures in
actual phrases
these phrases are also a great way to
practice this articulation technique
so let's check out how the articulation
works in this phrase
so with this phrase you'll see a lot of
duden doodons to start
we have a couple notes that go down from
beat two to the n of two but the reason
why we're still doing
dude and duden there is because the and
of two
goes up into a do on the downbeat of
three
so whether you use the do-da-ooze or the
dude and doodons
a lot of times just comes down to if
you're on the end of a beat going up
or the end of a beat going down so here
for the first part of the line we've got
all doom do's that's going to sound like
[Music]
then from there we've got a da uh
because we're going
down from the end of four to the
downbeat of one
so then we've got doo doo
then from the end of one of the second
measure into the downbeat of two we've
got
another now this is a great
example of when you don't want to get
too caught up on the d
in the den it's more of a duden than a
do
dim then after that we finish off the
phrase with just a dawu
because we've got another descending
direction in the shape there
and then for the last note you can say
that as being dot
because for ending the phrase it's kind
of like a dot sound
so if we were to sing through and
pronounce the whole phrase all the way
through
it'd sound like this
[Music]
all right so the last thing you want to
be doing to get a hang of this
articulation concept
is practicing this sort of thing on
etudes and transcriptions
this gets more challenging because we
start adding in triplets and 16th notes
which again we get into more detail on
in the full master class and we actually
made some versions of some
etude and transcription content with all
the articulations written out
so make sure to check that out as a
great resource for getting deeper into
this topic
and with transcription of mind i think
it's really cool to see how
no matter what jazz legend you're
checking out
whether it's someone like lester young
or someone more contemporary
like michael brecker i find they're all
doing the same articulation style
just in their own way so for instance
dexter gordon used this articulation
style in a really amazing way
dexter would play his articulations with
a really
fat thick legato approach but it's a
common misconception that dexter
actually articulated
every single note in reality that's only
really true
in the really slow tempos like on three
o'clock in the morning off of the album
go but anytime he was playing more
medium or up tempos he was totally
locked into the dude and doodon
and the du dau daus but it's important
to note that with the duden dudens
by nature of how you articulate that in
a way
you sort of are articulating every
single note
but it wasn't just dexter who would do
this as i mentioned
everyone from lester young to michael
brecker has used this approach
one perfect example of dexter using this
approach would be on his version of love
for sale
which is also off of the same album as
three o'clock in the morning that album
is of course
the album go so if you check out the
first eight bars of what he plays
on the bridge of his first chorus that
is a prime example of this approach
that would essentially look and sound
like this
[Music]
all right so again in the master class
we go way more in depth
into this sort of thing and i even break
down and analyze a full
charlie parker solo writing out all the
articulation techniques that he used
which was
quite challenging but well worth it was
really fun to make this content and i
hope you'll enjoy checking out the full
master class
and the supplementary pdf that comes
with it in the meantime i hope you
learned something from this video today
make sure to subscribe to the channel if
you haven't already
and i will see you guys next time thanks
so much for watching
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