The final thing we need to cover is how to get rhythmic interest in your solos.
Now, one way is to use syncopation which is basically starting a quarter note on an up beat instead of a down beat. You may recall we did some of this earlier in the video.
Okay now, written out, syncopation looks like this. You see, instead of quarter notes that would sound like this.
[Demonstration]
You have this rhythm instead.
[Demonstration]
You see? Now, generally speaking, starting a phrase with syncopation, here is the feeling of momentum of moving forward and if you put syncopation in the middle or at the end of a line it can be surprising or interesting.
Now, just deciding to use syncopation is not going to make it show up in your solos. You have to practice using it until you actually hear the lines containing syncopated figure.
Now here are some practice suggestions. Take a single scale and in this case we will use a D Dorian scale and practice using syncopation at the beginning of a phrase and then the middle and then the end.
Okay. Now, use this rhythm to syncopate the beginning of a line. It goes like this.
[Demonstration]
See, now all you need to do is plug in the notes of the scale, like this.
[Demonstration]
Now then, next, use this root to add syncopation in the middle. It goes like this.
[Demonstration]
Now then finally, syncopate the end of a line with this rhythm.
[Demonstration]
Now then, one last thing about rhythm, you need a lot of variety.
Now, one way of changing things up is to organize your eight note lines into groups of three instead of four and this can be hard to do.
Now here is an exercise that you can work on that will help.
[Demonstration]
What I did on my second phrase was just to play the exercise backwards that is all. Now, it is a good idea to play this matter up and down using every Major scale and not only is going to help you visualize your keys but you will start to get that three note thing in your ear, be in that group from that way.
Now, once you can hear lines that way, you are going to winds up playing no problem. We have come to the end of this session. We have given you some practice techniques which will help you become a player, but before I go, there is something I cannot stress it up.
The most important step in becoming a jazz artist is being a professional listener. That is actually Bill McHenry’s term you should listen to lots and lots of great jazz artist but how you listen is the important thing. You want to listen to the soloist as if the ideas where coming from you. see, you try to really be that artist when you listen to him.
And now, whether you are a rhythm section layer or a horn player, you need to listen to the base lines and the piano competing and the civil patterns, I mean everything. Recordings are your best teachers. Guys like John Coltrane, Freddy Harbored, Bill Evens, Miles Davis, you name it. All these guys, they will play for you whenever you want it.
Bill placed up over and over and over for until you get it. I do not talk much but they never get tired and they never asked for a race. And it is a good idea to pick bits and pieces of scale -- bits and pieces of solos you like and relate them to the changes if possible and play him in every key.
A list of artists and their recordings is available on our website and you can only download most of the solos in this video, the good ones any way. And do not forget, if you have questions about anything in this video or that matter, anything in the universe. You can also contact me on our website.
Now, remember, jazz is like a language. To learn a language, you have to hear it spoken. And one more thing, the object of all these is to have fun. Do not ever to forget that.
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