And I did the best I could stumbling over chord progressions with the few licks that I’d memorized.īut as far as usable jazz language that I could play in my solos, I was empty handed… I knew the rules of music theory and had listened to a good amount of records. When I first got to college I hadn’t transcribed at all… Every line that you transcribe is the product of years of listening, years of lessons, and years of practice.Īnd if you do the work to ingrain each aspect of this one solo, you will have more than enough to material to start developing your own voice… Stuck in a rut? Start with one transcribed line Along the way it may feel like you’re falling behind, that you’re still working on that same solo…īut remember, there’s a secret in each great solo. The transcription process is more important than memorizing hundreds of solos note for note and this is what will serve you well in developing a jazz vocabulary. Realizing that it’s OK to start at square one and understanding that you don’t have to rush to play catch-up with every jazz solo under the sun.Īs a musician looking to improve quickly, picking one solo or phrase to focus on is much more effective and beneficial for your playing than rushing to learn 10 or 20 solos at once. Extremely well.Īnd that’s the key to getting started. What most people aren’t telling you is that you don’t have to transcribe hundreds of solos to start speaking the jazz language…īut you do have to learn a few of your favorite solos. Before you’ve even set out on your journey to learn the jazz language, you’re already falling behind… Why less is more in learning jazz improvisation Suddenly you’re overwhelmed and right back where you started. There’s his solo on Joy Spring or Cherokee or Sandu or Stompin’ at the Savoy or Jordu or Pent Up House…” Maybe you could start with just one player, like Clifford Brown. So where do you begin with all of those options? How do you choose the solo that’s going to make you sound better? For instance trumpet players have to deal with Louis Armstrong and Clark Terry, Miles and Dizzy, Lee Morgan, Kenny Dorham, Freddie Hubbard. Search the internet and you’ll see page after page of important players. If you look in the Aebersold Jazz Handbook you’ll find a list with over 100 historically significant recordings to choose from… And you’ve probably searched far and wide for answers. If there is a transcription you don't see and would like the PDF for, send me a message on my Contact page to purchase.What solo should I transcribe? You’ve probably asked yourself this question. Any amount is greatly appreciated and keeps the free transcription videos and content flowing! If you find these transcriptions useful, please consider supporting me by purchasing any of the PDFs on my Store page, books I have completed with Vincent Herring/Eric Alexander, Chad Lefkowitz-Brown, Sam Dillon/Andrew Gould, and Mike Tucker, or through the donate button below. Please visit my Store page for more information. The second section of the PDF includes 33 example phrases over various ii-V-I chord progressions to illustrate how you can combine the shapes to create your own jazz lines and phrases. I have compiled these shapes into my PDF release, Common Jazz Shapes and Phrases. This PDF includes 155 shapes that can be applied to common jazz progressions to create your own jazz vocabulary and phrases. While I have been completing all of these transcriptions, I have also been keeping a separate document of shapes/licks over different chord qualities (min7, maj7, dom7, altered dominant, dom7b9, m7b5) that I come across often. I hope they will be of use in your practicing sessions - remember, aim to use these transcriptions to check your own work rather than simply reading off of them! You will get much more out of transcribing a solo by ear first and memorizing it rather than reading it off of an already completed transcription. My goal for these transcriptions is to assist musicians with their practicing and help spread the word about all of these excellent artists. These transcriptions are intended solely for educational use and is not to be sold/posted elsewhere online. You will find transcriptions of solos by Cannonball Adderley, Vincent Herring, Kenny Garrett, Sonny Stitt, Antonio Hart, Michael Brecker, Jackie McLean, Eddie Harris, Joe Henderson, John Coltrane, Wayne Shorter, and Hank Mobley, amongst many others (If you are looking for my Chad LB, Vincent Herring/Eric Alexander, Sam Dillon, Andrew Gould or Mike Tucker transcription books, click here). Below are free solo transcriptions I have completed to aid in my development as a musician.
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