Ƙarfin Ƙarfin Jazz na Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙarfin Ƙ

Jazz wani nau'i ne mai arziki tare da tarihi, bidi'a, da zurfin furcin kiɗa. A cikin zuciyar jazz akwai haɓaka, tsari mai ban mamaki da kirkira wanda ke ba wa mawaƙa damar sadarwa da motsin zuciyarsu da ra'ayoyinsu a ainihin lokacin. Hanya mafi kyau don zurfafa fahimtar ku game da haɓaka jazz shine ta hanyar nazarin masanan jazz, koyon daga masanan da suka tsara yaren jazz ta hanyar wasan kwaikwayon su. Waɗannan masanan ba kawai kayan tarihi banesu ne littattafan koyarwa masu rai waɗanda ke ƙunsar DNA mai jituwa, mai saurin jiwuwa, da kuma sautin al'adun jazz.

Lokacin da kake nazarin abubuwan da aka yi wa Charlie Parker, Miles Davis, John Coltrane, da Bill Evans, kuna amfani da wani nau'in tunanin kiɗa wanda ya shafi tsararraki. Kowane solo shine hoton lokaci, yana ɗaukar ƙwarewar fasaha, yanayin motsin rai, da hangen nesa na mai yin wasan kwaikwayo. Fiye da haka, waɗannan solo suna wakiltar mafita ga matsalolin kiɗayadda za a yi amfani da shi don sauya ƙirar ƙirar ƙira, yadda za a gina tashin hankali a kan nau'i mai maimaitawa, yadda za a faɗi labarin ba tare da kalmomi ba.

Me Ya Sa Za Ka Yi Nazarin Jazz Solo?

Nazarin jazz solos na gargajiya yana ba da fa'idodi da yawa ga mawaƙa da masu sha'awar. Yana ba da haske game da ci gaban waƙa, bambancin rhythmic, binciken jituwa, da fasahar magana. Ta hanyar rarrabe waɗannan solos, zaku iya gano hanyoyin tunani a bayan haɓaka da samun wahayi don kunna kanku. Wannan ba game da kwafin rubutu bane yana da game da fahimtar yare. Kamar yadda marubuci ke nazarin ayyukan manyan marubuta don haɓaka haɗin rubutu da salo, mawaƙin jazz yana nazarin solo don haɓaka ƙamus, nahawu, da maganganun fasaha.

Bugu da ƙari, nazarin waɗannan solo yana taimaka wajen gina zurfin haɗi zuwa al'adun jazz, yana haɓaka godiya ga juyin halitta na nau'in. Fahimtar yadda masanan suka kusanci solo ɗin su yana taimaka wajen haɓaka muryar ku da ƙamus na kiɗa. Kowane solo da kuka bincika ya zama kayan aiki a cikin kayan aikinku na kirkira, a shirye don dacewa, canzawa, da sake daidaitawa a cikin wasan kwaikwayon ku.

Akwai kuma wani tarihi girma ga wannan binciken. The manyan jazz solos ne kayayyakin da su lokaci, wanda ya nuna zamantakewa, al'adu, da kuma fasaha mahallin da suka halitta. da bayyanar da LP format, misali, ya ba da damar ga tsawon solos da kuma kara m siffofin. da 'yancin bil'adama motsi rinjayi da motsin zuciyarmu gaggawa na yawa rikodi daga shekarun 1960.

Abubuwa Masu Muhimmanci da Za a Yi Nazarin Su a Wasan Jazz

Don samun mafi yawan abin da za ka iya daga nazarin ka, yana da amfani ka yi amfani da tsarin da za ka iya amfani da shi.

  • ] Tsarin Melodic: ] Dubi yadda mai sauraro ya gina jimloli da dalilai. Bincika jigogi masu maimaitawa, ci gaban motsa jiki, da amfani da tashin hankali da sakin. Ka lura da yadda mai sauraro ya tsara madauki mai faɗi daga farko zuwa ƙarshe, da kuma yadda jimloli na mutum ke da alaƙa da juna a cikin nau'in.
  • Riya da Lokaci: lura da sanya sautin dangane da bugun jini, amfani da haɗin kai, jin motsawa, da kuma bambancin rhythmic wanda ke ƙara sha'awa da motsawa. Kula da yadda mai kida ke amfani da motsawa mai kyau, tsammanin, da jinkiri don ƙirƙirar ci gaba gaba ko don kwantar da hankali.
  • Halin da aka yi amfani da shi a cikin wannan zane ya nuna yadda mai wasan kwaikwayo ya yi amfani da sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sautin sa
  • Fassara da Tattaunawa: Ka mai da hankali ga motsi, kai hari, tsawon rubutu, da kuma magana da ke ba da motsin rai da kuma tsara labarin solo.
  • A cikin saitin live, la'akari da yadda mawaƙa ya amsa ga sashin sautin ko sauran membobin ƙungiyar, yana mai da haɓaka tattaunawa mai ma'ana. Neman lokutan da mawaƙa ya ɗauki siffar sautin daga drummer, ya yi murya daga jimlar mawaƙa, ko kuma ya ciyar da ƙarfin layin bass.
  • Amfani da sarari: Abubuwan da suka fi muhimmanci kamar sautunan sune shiru tsakanin su. Ka lura da inda mawaƙa ke numfashi, inda layin ya tsaya, da kuma yadda waɗannan lokutan hutawa ke haifar da tsammanin ko samar da ƙuduri.

Ta wajen yin nazarin kowane ɗayan waɗannan abubuwa, za ka iya fahimtar kowane abu da kake nazari a kai.

Darussa Daga Maɗaukakiyar Jazz Solo

Ga wasu solo masu ban mamaki da darussan da suke ba wa masu haɓaka. Kowace daga cikin waɗannan solo suna da zurfin nazari kuma suna ƙunshe da fahimta wanda zai iya zurfafa fahimtar ku game da haɓaka jazz. Na haɗa da takamaiman bayanan kiɗa don taimaka muku mai da hankali ga sauraron ku da aikin ku.

1. Charlie Parker "Ornithology" (1946)

Charlie Parker ta solo a kan "Ornithology" wani babban darasi ne a cikin harshen bebop da kuma kirkirar waƙa. Layin sa mai saurin wuta ya haɗu da arpeggios, sautunan wucewa na chromatic, da kuma sautin da aka daidaita wanda ke kalubalanci kunnen mai sauraro yayin da yake kula da madaidaicin zaren waƙa. An rubuta shi a 1946 tare da quintet wanda ya haɗa da Miles Davis, wannan solo ya nuna juyin juya halin bebop wanda Parker ya taimaka ƙirƙirar. Sautin kansa wani abu ne na karya bisa canje-canjen jigo na "How High the Moon", kuma solo na Parker misali ne na littafin koyarwa game da yadda ake yin wasa da ƙwarewar jituwa a saurin ƙugiya.

Wani sanannen fasali na solo na Parker shine amfani da ƙullawa kusanci da taken manufa daga sama da ƙasa tare da sautunan wucewa na chromatic. Wannan fasaha tana haifar da jin tashin hankali da sakin da ke da mahimmanci ga ƙirar bebop. Parker kuma ya nuna ci gaban motsa jiki mai ban mamaki, yana ɗaukar sel mai sauƙi kuma ya canza shi ta hanyar tsari, juyawa, da canjin rhythmic a cikin tsari.

Aikin a kan haɓaka ƙwarewa a cikin bebop sikelin da arpeggios, da kuma yin aiki a haɗa waɗannan abubuwan cikin sauƙi don ƙirƙirar gudana, layi masu rikitarwa. Idan kuna son nazarin fasaha ta Parker cikin zurfin zurfi, albarkatu kamar FLT:2 Jazz Advice suna ba da cikakken rubutun da nazarin solo.

Miles Davis "To Me" (1959)

Miles Davis ta solo a kan "So What" daga kundi * Kind of Blue * ya nuna ikon sarari da sauƙi. Maimakon yin wasa da sauri ko layin da ya rikitarwa, Davis yana amfani da sautin sautin da ya dace da magana, yana ba da damar kowane sautin ya yi murya da ƙirƙirar yanayi. Wannan hanyar ta kasance mai juyin juya hali a 1959, a lokacin da yawancin mawaƙa na jazz ke jaddada saurin da kuma kaurin jituwa. Davis ya tabbatar da cewa abin da kuka rasa yana da mahimmanci fiye da abin da kuke wasa.

Davis ta phrasing ne zurfi alaka da rhythmic ji na rhythm sashe. Ya taka a baya da beat, samar da wani ji na shakatawa da kuma swing cewa ne kusan hypnotic.

FLT:0]]Key Takeaway: rungumi fasaha na "ƙasa ita ce mafi". Yi amfani da sarari da kirkira kuma ka mai da hankali kan sautin da magana don isar da motsin rai ba tare da yin wasa ba. Yi nazarin rikodin a kan uDiscoverMusic don jin yadda hanyar Davis a kan "Don haka Me" ta shafi ƙarni na masu busa ƙaho.

3. John Coltrane "Gigantic Steps" (1960)

Coltrane ta solo a kan "Giant Steps" an shahara don saurin sautin sautin sautin sa da tsarin haɗin kai mai rikitarwa. Sautin yana motsawa ta cikin cibiyoyin maɓalli guda uku (B mai girma, G mai girma, da E-flat mai girma) a cikin sake zagayowar da ke maimaita kowane sanduna huɗu. Hanyar Coltrane ta ƙunshi kewayawa ta cikin cibiyoyin maɓalli da yawa tare da daidaito da kirkire-kirkire, ta amfani da haɗuwa da arpeggios, matakai na scala, da kuma bayanin kula da yanayin chromatic don bayyana jituwa tare da sauri da daidaito mai ban sha'awa.

Abin da ke da ban mamaki game da solo Coltrane ba kawai fasaha ba ne amma kuma kiɗa. Duk da tsananin saurinsa da motsi mai ƙarfi, ya sami damar ƙirƙirar ma'anar ma'ana da ƙarfin motsin rai. Amfani da shi na maimaitawa da tsari yana ba da daidaito, yayin da sonsa na tura iyakokin jituwa yana haifar da jin bincike da ganowa. Solo hujja ce ga ikon zurfin shiri tare da haɓaka mai ban mamaki.

Key Takeaway: FLT:1] Nazarin ci gaba da jituwa da kuma yin kwaskwarima a kan canje-canje masu saurin motsawa don fadada sassauci na jituwa. Ga waɗanda ke sha'awar zurfafa zurfafa zurfafawa cikin tsarin jituwa na "Giant Steps", nazarin a FLT:2 Learn Jazz Standards ya ba da kyakkyawar gabatarwa ga canje-canjen Coltrane da aikace-aikacen su.

Bill Evans "Waltz don Debby" (1961)

Bill Evans na piano solo a kan "Waltz for Debby" ya nuna taushi mai ban sha'awa, kalmomin lyrical, da kuma ƙwarewar jituwa. An rubuta shi kai tsaye a Village Vanguard a 1961 tare da ƙungiyarsa ta uku tare da Scott LaFaro da Paul Motian, wannan wasan kwaikwayon ya kama Evans a lokacin da ya fi ƙarfinsa. Amfani da murya da kuma hulɗar motsi ya haifar da wadataccen yanayi. Sautin wani waltz ne a 3/4 lokaci, kuma Evans na solo ya nuna yadda za a yi wasa da kyau a cikin tsarin mita uku yayin da yake kula da motsi gaba da kyau na lyrical.

Evans harshe na harmonic yana da amfani da muryoyin kwata-kwata, ƙirar ƙirar ƙirar ƙira, da kuma hanyar da ta dace da sauti wanda sau da yawa yakan ɓoye layin tsakanin babban da ƙarami. Layin sa na waƙa da murya suna raira waƙa da ƙira a cikin inganci, tare da matakai masu kyau da kuma furcin rubato wanda ke sa piano ya zama kamar muryar mutum. Hanyar da Evans ke hulɗa da layin bass na LaFaro yana da mahimmanci.

FLT:0 Key Takeaway: Explore sauti na sauti, sikelin modal, da kuma karfin don ƙara zurfi da nuance ga kwaskwarima. Saurari cikakken saitin live daga Village Vanguard don jin yadda Evans ke haɓaka ra'ayoyinsa a kan ɗaukar abubuwa da yawa na waƙa ɗaya.

5. Sonny Rollins "Blue Seven" (1956)

Don kammala bincikenmu, yana da kyau a bincika solo na Sonny Rollins akan "Blue Seven" daga kundi *Saxophone Colossus.* Wannan solo shine babban darasi a cikin jituwa mai taken.

Rollins kuma yana amfani da rikodin da kuma sautin sauti, yana motsawa daga ƙananan zuwa babban zangon saxophone don ƙirƙirar bambanci da wasan kwaikwayo.

Babban Bayani: Ka mai da hankali kan ci gaban jigogi a cikin abubuwan da kake yi. Ka ɗauki dalili mai sauƙi kuma ka bincika duk yiwuwar sayi shi sama, ƙasa, sauri, jinkiri, baya, ko tare da sautin daban. Wannan hanyar za ta ba wa solo ɗinku wani ji na shugabanci da daidaito wanda masu sauraro zasu iya gane shi nan da nan.

Yadda Za Ka Yi Nazarin Jazz Solo da Inganci

Sanin abin da za a nema kawai rabin yakinkuma kuna buƙatar hanyar bincike mai tsari. Ga hanyar da za ta taimaka muku samun mafi yawan abin da kuka koya:

  1. Ka fara sauraron solo sau da yawa, mai da hankali kan bangarori daban-daban kamar waƙa, sautin, ko jituwa a kowane lokaci. Yi ƙoƙarin raira waƙa tare da solo don fahimtar siffarta da jimlar sa kafin ka fara kowane bincike na rubuce-rubuce.
  2. Yi amfani da kayan aikin software kamar Transcribe! ko Amazing Slow Downer don rage saurin rikodi idan ya cancanta.
  3. Break It Down: Rarraba solo zuwa ƙananan kalmomi ko sassan don nazarin dalilai, tsarin rhythmic, da kuma hanyoyin da suka dace.
  4. Lura da amfani da fasaha kamar karkatarwa, nunin faifai, bayanan fatalwowi, ko kuma motsi. Hakanan gano manyan dabaru kamar haɓaka motsa jiki, tsarawa mai jituwa, da bambancin sautin.
  5. Yi amfani da abin da kuka koya: Yi aiki da haɗa ra'ayoyi, ƙira, da fasaha a cikin abubuwan da kuka yi wa kanku. Yi wasa da licks da aka rubuta a cikin maɓallan goma sha biyu, sannan kuyi gwaji tare da canza sucanji sautin, magana, ko mahallin jituwa.
  6. Yi tunani da kwatanta: Bayan ka bincika wani solo, gwada shi da sauran solo na mawaƙa ɗaya ko na mawaƙa daban-daban a kan waƙa ɗaya. Menene ke da alaƙa tsakanin solos? Menene ya sa kowannensu ya zama na musamman? Wannan hangen nesa mai faɗi zai zurfafa fahimtar ku game da salon mutum da al'adun jazz gaba ɗaya.

Ka tuna, makasudin ba shine kwafin solo ba amma don ɗaukar harshe da salon masanan, yana sanya ra'ayoyinsu wani ɓangare na furcin kiɗa naka. Kwafi hanya ce don ƙarshen, ba ƙarshen kanta ba. Babban burin shine haɓaka muryarka ɗaya wanda aka koya daga al'ada amma musamman naka.

Ka Ƙirƙiri Kalmarka Ta Wajen Nazarin

Ana bayyana haɓaka jazz sau da yawa a matsayin koyon yare. Ta hanyar nazarin solo, kuna faɗaɗa ƙamus da fahimtarku game da nahawu. Wannan yana ba ku damar bayyana tunanin kiɗa da kyau da kirkira. Kamar yadda marubuci ke gina ƙamus ta hanyar karatu da kwaikwayon, mawaƙin jazz yana gina ƙamus ta hanyar sauraro da rubutu. Kowane solo da kuke bincika yana ƙara sababbin kalmomi da jimloli ga ƙamus ɗin kiɗa, yana faɗaɗa zangon abin da zaku iya bayyanawa a ainihin lokacin.

Ka yi kokarin gano licks, scales, ko rhythmic motif da aka saba amfani da daban-daban soloists. yi amfani da wadannan licks a daban-daban keys da mahallin da za su internalize su. Amma kada ka tsaya a can a lokacin da ka samu wani lick a karkashin yatsunsu, gwaji da canza shi. Canja da rhythm, wasa da shi fara a kan wani rhythm, ƙara ko cire notes, ko hada shi da wani lick. Wannan tsari na canji ne yadda ka matsa daga kwaikwayon zuwa bidi'a, daga kwafa zuwa halittar.

A tsawon lokaci, za ku ci gaba da ƙwarewar ƙirƙirar sababbin ra'ayoyi da aka yi wahayi zuwa gare su daga waɗannan abubuwan tushe. Yin wasa zai zama mai sauƙi, na sirri, da kuma amsawa ga lokacin.

Don ƙara faɗaɗa kayan aikin nazarin ku, albarkatu kamar JazzStandards.com suna ba da bayanan tarihi, bayanan bayanan bayanan, da nazarin ɗaruruwan ƙa'idodin jazz. Wannan zai iya taimaka muku sanya solo da kuke karatu a cikin mafi girman kundin tarihi da yanayin tarihi.

Ƙungiyoyi da Ya Kamata Mu Guje wa

Yayin da kake fara tafiya ta nazarin solo, ka kasance sane da wasu matsalolin da za su iya lalata ci gabanka. Na farko shi ne dogaro da rubutun rubutu ba tare da shanyewa ba. Yana da sauƙi a rubuta wani solo, haddace shi, kuma a buga shi ba tare da fahimtar dalilin da ya sa mai sauraron ya yanke shawarar da suka yi ba. Dole ne a koyaushe a bi rubutun rubutu tare da bincike. Tambayi kanka me ya sa aka zaɓi wani rubutu, me ya sa aka sanya jimla a inda yake, da kuma yadda solo ke ginawa a tsawon lokaci.

Matsalar ta biyu ita ce watsi da sashin sautin. Ba a wanzu da solo na jazz a cikin wani iska bashi tattaunawa ne da bass, drum, da piano ko guitar. Lokacin da kake nazarin solo, saurari abin da sashin sautin ke yi a lokaci guda. Ta yaya mai wasan kwaikwayo ke hulɗa da layin bass mai tafiya? Ta yaya tsarin motsawa na drum din ke shafar furcin mai wasan kwaikwayo? Wannan yanayin hulɗa yana da mahimmanci don fahimtar yadda aikin haɓaka jazz ke aiki a cikin yanayin rayuwa.

Kashi na uku shine mai da hankali ne kawai kan saurin sauri, solo mai kyau. Duk da yake akwai abubuwa da yawa da za a koya daga 'yan wasa kamar Charlie Parker da John Coltrane, kada ku manta da jinkirin, mafi girma solo. Miles Davis "Don haka Me" da Bill Evans "Waltz for Debby" suna da ilimi kamar yadda yake idan ba su da yawa fiye da masu fasaha masu ƙalubale. Wani lokaci mafi girma darussa sun zo daga abin da aka bar ba a faɗi.

Haɗa Nazarin zuwa Ayyuka

Babban manufar nazarin jazz solo shine inganta ingantaccen aikinka. Wannan yana nufin cewa bincike koyaushe ya kamata ya haifar da wasa. Bayan ka bincika solo, ɗauki abin da ka koya kuma ka yi amfani da shi a cikin yanayin aiki. Yi wasa tare da waƙa ta baya ko tare da metronome, kuma ka yi ƙoƙarin haɗa ɗaya ko biyu daga cikin ra'ayoyin da ka cire. Kada ka yi ƙoƙarin amfani da komai a lokaci ɗayadaidaita kan ra'ayi ɗaya a kowane zaman aiki kuma ka yi aiki sosai kafin ka ci gaba.

Ka rubuta kanka kuma ka kwatanta yin wasa da na asali. Wannan ba game da hukunci ba ne amma game da fahimtar jin inda kalmominka suka bambanta, inda lokacinka bai da tabbas, da kuma inda zaɓin ka na jituwa ya bambanta.

A ƙarshe, ka ɗauki nazarin ka a cikin saitunan wasan kwaikwayo na rayuwa. Lokacin da kake yin jamming tare da sauran mawaƙa ko yin wasan kwaikwayo, ka zana kan ƙamus da ka'idodin da ka yi ciki. Ka saurari 'yan'uwanka na ƙungiyar ka amsa a wannan lokacin. Manufar ba ta sake yin rubutun ba amma don amfani da yaren da ka koya don faɗi wani sabon abu da na sirri. Wannan shine inda bincike da aiki suka haɗu da spontaneity, kuma inda sihiri na gaskiya na jazz improvisation ya faru.

Ƙarshen

Nazarin jazz solos na yau da kullun kayan aiki ne mai mahimmanci ga kowane mawaƙin jazz ko mai sha'awar. Yana buɗe asirin da ke bayan wasu abubuwan da ba za a iya mantawa da su ba, yana ba da darussan waƙa, sautin, jituwa, da magana. Ta hanyar nazarin masanan, fassarar solos, da kuma amfani da fasahohin su, zaku iya haɓaka ƙwarewar ku ta haɓaka da zurfafa alaƙar ku da wadatar al'adun jazz. Solos na Charlie Parker, Miles Davis, John Coltrane, Bill Evans, da Sonny Rollins ba kawai kayan tarihi bane kawai

Ka rungumi kalubalen, ka kasance mai son sani, kuma ka bar waƙar manyan jazz ta yi wahayin tafiyarka. Babu wani abu da zai maye gurbin kai tsaye da ta kai tsaye. Yayin da kake ciyar da lokaci tare da waɗannan solo sauraro, kwafi, bincike, da amfani za ka ga muryarka ta fito, an tsara ta ta ne ta al'ada amma ta musamman naka.