* indicates a fan submitted question
| Q.: *Joshua's Method: How do you do what you do? I'm working really hard on my saxophone playing but I've got a bunch of people telling me different things on improv. First, that I should do it all by ear and the other is to do it by learning all scales and modes... I just don't know which way to go and then if I'm going the ear way how to train my ears enough to do it that way. Any suggestions? |
| A.: I don't believe that there is any one way to learn and improve as a jazz improvisor. I have met so many amazing, and amazingly unique, musicians with so many different backgrounds, styles and approaches to improvisation. Everyone has to find their own "way", consistent with their own singular perspective and personality. That being said, I do think that the ear is tremendously important. You have to be able to "hear" what you want to play and what others are playing in order to be able to improvise, communicate and interact effectively as a jazz musician. Some people are born with naturally incredible ears - different types of perfect pitch, for example. I am definitely not one of them. So over the years I have had to (and continue to) work hard to develop my ear. For me, one of the best approaches has been to "transcribe" great jazz solos, but to learn them by ear and memory, as opposed to writing them down. Then learn that same solo in multiple keys, maybe even in every key. Quality and depth, not quantity and breadth, are what's important here. Don't be afraid of simplicity, and concentrate (at least at first) on solos of great melody and clarity. Better to take one chorus of Lester Young and really absorb it, then to take 27 choruses of John Coltrane and lose focus or get overwhelmed. Also, when you are listening to recordings, spend some time trying to figure out what the all the instruments are playing – not just the sax, for example, but the bass notes and piano chords as well. But, by all means, you should also learn your scales and modes. Fluency with theory is extremely valuable (perhaps even essential) to modern jazz improvisation. It doesn't have to be one or the other: ear or theory. It can, and should, be both. Do it all! And do it in your own way! |
