The argument is hot. Hectolitres of ink (real and virtual) have been spilled to compile countless studies, research, publications and social posts. Long-standing friendships have been shattered, famous musical groups have been disbanded, fierce enmities have arisen.
Well, you might say, it is not rocket-science to develop a phrase, making use of concepts like target notes, tension and resolution, melodic skeleton and so on and so forth…but what happens when the underlying harmony change?
Well, we discussed how the concept of “tripartite phrase” can help to structure our improvisation, we delved in the idea of target note, tension and resolution, and finally proposed how to start a bebop phrase.
I already told you that day when I was at the airport on a business trip, and I had a long time to go before catching my flight home: had already drunk all the beers I could, I was sleepless, nothing to read, nothing to do…in short I didn't know what to do.
If you don't know three hundred standards don't move to New York, they say.
So, many of my friends, blog viewers, students and other jazz lovers asked me to propose some effective strategy to learn these freaking three hundred standards...and here we go.
When we think about bebop piano, we can’t help but think of Bud Powell… but we all know that there were many, many other incredible piano players on the bebop musical scene.
Introduction
There is a huge difference between hearing and listening, set apart the further concept of active listening.
Hearing is a passive behavior, the mere reception of acoustic stimuli followed by a certain level – very variable indeed – of cognitive elaboration.
