Something to practice


6 Responses to “Something to practice”

  1. This is very interesting. I like how the lines just pass through the constant changes with fluidity.

    Jazz Website

  2. Hi Jason,

    I recently discovered your playing and your blog. You are a helluva player and I’ve enjoyed what I’ve read on here so far. Thanks for sharing your thoughts/experiences/musical ideas. So this triadic exercise is great. I spent about thirty minutes playing through this today. I like the 2-3 grouping and I like how you shaped the lines too. Fun to play through – the faster I can play it, the cooler it sounds actually (almost Woody Shaw-ish). I’m curious as to what you use this study for. Do play through it with different articulations, combinations of slurs and tonguing? That’s what I did today. And why did you choose the triads a whole step apart? How would you incorporate this exercise into an improvisation? Or are you looking at this as something that is purely a study for building flexibility and hearing intervals in different groupings? If you have the chance I’d love to hear your thoughts.

    Thanks! And for what it’s worth, I just started my own blog: Can I list your blog in my blog roll?

    • Hello Bart,

      First of all, thank you for taking the time to check out my blog. I’ll check yours out as well! I dig the name of yours, btw. As for this exercise, I like to use this idea and variations on it in modal tunes, like Impressions, etc. And yes switching up the articulations for these lines is paramount. I aspire to make these lines as “smooth” as possible. By that I mean having the feeling of going from one particular note to the next not be any more difficult in any other interval. That being said I allow my tongue to assist in the execution of this. A light tongue stroke, that is. I learned this from a conversation that I had with Freddie Hubbard some time ago. You can also feel free to choose a grouping of triads that have a relationship that differs from whole steps. I’m in the process of putting together some varying sets as a part of my theory book that I’m putting together. I’ll keep you all posted!

      Take care!!


  3. It is refreshing to see a specific, concrete musical practice suggestion from a striving jazz musician. Thanks!

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