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    The document discusses techniques for maximizing melodicism in playing and compositions. It recommends singing ideas before playing them to strengthen the connection between the ear and instrument. Developing transcription skills and studying melodies in different genres improves this connection. The chapter emphasizes that chords should serve the melody, citing Ornette Coleman as an example. The overall goal is to internalize melodies and translate what is heard into quick instrumental playing.

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    220 views11 pages
    The document discusses techniques for maximizing melodicism in playing and compositions. It recommends singing ideas before playing them to strengthen the connection between the ear and instrument. Developing transcription skills and studying melodies in different genres improves this connection. The chapter emphasizes that chords should serve the melody, citing Ornette Coleman as an example. The overall goal is to internalize melodies and translate what is heard into quick instrumental playing.

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    The document discusses techniques for maximizing melodicism in playing and compositions. It recommends singing ideas before playing them to strengthen the connection between the ear and instrument. Developing transcription skills and studying melodies in different genres improves this connection. The chapter emphasizes that chords should serve the melody, citing Ornette Coleman as an example. The overall goal is to internalize melodies and translate what is heard into quick instrumental playing.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    220 views11 pages

    Time Feel

    Uploaded by

    arjun
    The document discusses techniques for maximizing melodicism in playing and compositions. It recommends singing ideas before playing them to strengthen the connection between the ear and instrument. Developing transcription skills and studying melodies in different genres improves this connection. The chapter emphasizes that chords should serve the melody, citing Ornette Coleman as an example. The overall goal is to internalize melodies and translate what is heard into quick instrumental playing.

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    You are on page 1of 11

    Chapter IV

    The Mastery
    Melodic Playing
    Seamus demonstrates several methods of maximizing
    the sense of melodicism in your playing as well as
    your compositions.
    The Mastery of Melodic Playing - Overview Ch. 4, pg.34

    The Mastery
    of Melodic
    Playing

    Melodicism is an essential characteristic of a master


    “The best players in improviser. Seamus explains that one must hear the melodies
    before playing them on the instrument to be in control of
    jazz are lyrical, what they are improvising at any given time. In order to attain
    melodic players.” this control, the player must develop a strong connection
    between their ear and what they choose to play.

    Sea
    Seamus encourages his students to sing their ideas before
    attempting to play them on the instrument. Vocalizing your
    lines will enforce this ear-to-instrument connection. Also,
    including transcription as a key element of your practice
    routine will further improve this connection. Seamus also
    suggests studying the structure of good melodies not only in
    jazz but in all other genres of music.

    Sea
    Seamus goes on further to explain that “chords are the
    servants of the melody.” To Seamus, the chords must fit
    the melody, not the other way around. He cites Ornette
    Coleman’s compositions as a good example of this way
    of compositional and improvisational thinking.

    In summary, playing melody is done through the voice.


    Developing your ear is integral to being able to grab ideas
    quickly on your instrument. Ultimately, being a lyrical player
    qui
    will help you stand out as a musician.

    Elite Music Mentor


    Sing What You Want to Play Ch. 4, pg.35

    The Mastery
    of Melodic
    Playing
    SING WHAT YOU WANT TO PLAY

    • Matching what you sing/hear in your head

    • Connecting your ear to your lines


    • Finding the notes on your instrument quickly
    • Transcribing to strengthen the ability to find notes
    • Studying strong melodies in all genres of music

    Refer to the next section for transcriptions.

    Elite Music Mentor


    Sing What You Want to Play Ch. 4, pg.36

    Sing What You Want to Play - Transcriptions

    (3:41)

    (6:06)

    Elite Music Mentor


    Sing What You Want to Play - Homework Ch. 4, pg.37

    The Mastery
    of Melodic
    Playing
    SCALE APPLICATIONS

    • Using the next page, make a list of melodies from


    various genres of music that you consider strong

    • Practice finding these melodies on your instrument


    as quickly as possible

    • Sing ideas that you hear in your head and translate


    them on your instrument as quickly as possible

    ASK YOUR MENTOR

    Interact with other users on the website and ask questions!


    Our mentors will answer all your questions and help you
    through your musical journey. The best student will be
    selected each month to recieve one free masterclass of
    their choice.

    Elite Music Mentor


    Sing What You Want to Play - Homework Ch. 4, pg.38

    Sing What You Want to Play

    Elite Music Mentor


    Melody is King Ch. 4, pg.39

    The Mastery
    of Melodic
    Playing
    MELODY IS KING

    • Chords are servants of the melody

    • Make our chords fit the melodies


    • Check out Ornette Coleman tunes for a perfect example

    Refer to the next section for transcriptions.

    Elite Music Mentor


    Melody is King Ch. 4, pg.40

    (9:42)

    Elite Music Mentor


    Melody is King Ch. 4, pg.41

    The Mastery
    of Melodic
    Playing
    MELODY IS KING

    • Using the next page, write a a few short melodies and


    experiment with different harmonizations of those
    melodies

    • In the standards in your repertoire, seek out any chords


    which would better fit the melody than the chords you
    would normally see in a real book or hear in a session

    ASK YOUR MENTOR

    Interact with other users on the website and ask questions!


    Our mentors will answer all your questions and help you
    through your musical journey. The best student will be
    selected each month to recieve one free masterclass of
    their choice.

    Elite Music Mentor


    Melody is King - Homework Ch. 4, pg.42

    Melody is King - Create

    Elite Music Mentor


    Connecting Your Voice with Your Instrument & Recap Ch. 4, pg.43

    The Mastery
    of Melodic
    Playing
    CONNECTING YOUR VOICE WITH
    YOUR INSTRUMENT & RECAP

    • Sing longer lines as you learn to tranlsate what you hear


    quickly on your instrument

    • Playing melodies is done through the voice first

    • Develop your ear so you can hear something and play it


    instantly

    • Having this ability will help you stand out as a musician

    This section is a recapitulation of previous topics in the


    chapter. No futher transcriptions.

    Elite Music Mentor

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