Every great jazz musician has, at one time or another, transcribed jazz solos from recordings. Since jazz is an art from that is aural in nature, it makes complete sense that listening and copying the improvisations of earlier jazz masters helps one become a more consistent and skilled jazz improviser.

Transcribing a jazz solo involves the repetitive listening and notation of a recorded jazz solo. To get maximum benefit from the process, the person studying the solo through transcription should memorize and internalize every note and every inflection played by the improviser. “Transcribing” refers to the activity of notating on paper the exact notes and rhythms played by the improviser.

Evolving Technologies of Transcribing Jazz Solos

Charlie Parker could arguably be called the most influential jazz artist of the 20th century. His inventive jazz improvisations changed the face of jazz and ushered in one of the most exciting eras of jazz: the bebop era.

Charlie Parker was born with a huge amount of natural talent, but that does not mean Charlie never worked hard at his honing his craft. History reveals that Charlie spent almost a year early on in his music career memorizing – note by note – the jazz solos of Lester Young from 78 RPM recordings.

Before jazz became widely available on 78 RPM recordings, musicians relied on listening and learning in “real time”. The only way to learn jazz improvisation in the early days of jazz was to listen to live musicians and pick up what you could from what they played. Once played however, the music was gone forever.

During the 1920s, artists such Jelly Roll Morton, Louis Armstrong and many others began recording their music and jazz improvisations onto 78 RPM acetone discs. This leap in technology opened the door for future musicians to “study” the improvisations of their jazz predecessors.

The 1950s saw the introduction of reel to reel tape machines and ultimately cassette tape recordings. Magnetic tape made it possible for jazz musicians to forward and rewind the tape to exact locations of solos and specific passages of a solo. No longer did musicians have to “drop the needle” on worn out discs to learn a solo or tune. Some cassette tape players were made specifically for musicians, allowing them to slow down parts or all of a recording at half or quarter speed. This proved to be helpful, but slowing down analog tape created problems with pitch and fidelity that was annoying to say the least.

In recent years, computers have assisted jazz musicians transcribe recordings in ways that were once considered impossible. Inexpensive or free computer programs have made it possible to slow down fast passages without changing fidelity or pitch. Other advantages of computer assisted transcription include the ability to change key, precise looping of passages for ease in learning, and even help with notating pitches that are played.

Transcribing and studying great jazz solos can be one of the smartest and beneficial activities any jazz musician can undertake to help hone his or her craft. Even with the marvels of modern technology, the process still takes time and effort however. Don’t forget to use the knowledge and skills you acquire from transcribing jazz solos to performing with live musicians. Nothing will replace the experience of playing jazz with others!



By: James P Martin

Jazz has long been considered to be one of the most demanding forms of contemporary music to master. So much so, that many would be Jazz musicians will spend years learning music theory, alongside developing advanced playing techniques, simply to get a start in this fascinating musical genre.

The major difference between Jazz and most other forms of music is in the fact that improvisation is not only encouraged, it forms the very backbone of the style. Although there are many Jazz classics, no two musicians or bands will play these songs the same. They will follow the basic progression, but will be given a new inflection through personal and group improvisation.

The ability to play improvisations relies heavily upon two things; first the musicians creativity, and secondly upon the musicians knowledge of musical theory. Of course, there are many fine Jazz players out there who will tell you that they do not know any music theory. The simple truth of the matter is that they do, they just do not know it. They have spent years learning to play by ear, and although they cannot name the correct musical terms for what they do when they are playing, they are clearly demonstrating a deep knowledge of music theory at a base level.

For those wishing to take up playing Jazz, then a firm grounding in music theory is entirely recommended. Even the rhythm section of a Jazz band is encouraged to improvise and embellish the piece being played. Rhythm guitar players will be called upon to construct complex chord patterns, including augmented, diminished, 5th, 9th and 13th chords. They will also be expected to follow the soloist, should they decide to shift tempo, key or mode.

As a soloist, playing Jazz is all about creativity, backup up by an understanding of what they are doing musically. Many Jazz musicians, when questioned about scales, will smile and reply, “What is a scale? I don’t know any!” This is something of an insider’s Jazz joke, as most Jazz soloists play what they feel, not what they know works mathematically. Of course, this is far from the truth, but a Jazz player will have transcended standard scales in many ways. Instead, using their ear, they will be able to find step off points, into new scales and modes, shifting the music as they go. This of course, requires an immense amount of theoretical knowledge, either learned conventionally, or learned over years of playing by ear.

Playing Jazz can be one of the most rewarding experiences any guitar player is likely to experience. A good Jazz performance will see the musician develop ideas, and musical concepts on the fly, breathing fresh life into Jazz classics, while enthralling the audience like a true virtuoso. Although a thorough understanding of music theory is not a prerequisite for becoming a competent Jazz player, it can be seen as an effective short cut, removing the requirement to play Jazz for decades before becoming entirely competent in its application.

By: Bill Kernodle

Jazz music is a very popular genre of music and is actually a very important kind of American classical music. Some believe that jazz originated in the early twentieth century in South America. But there is no question that the early development of jazz took place in the United States and was greatly influenced by blues music. Blues was especially popular among African Americans in the first half of the 20th century in the rural south and in cities such as New Orleans, St. Louis and Chicago.

The music that was called jazz was popular in many countries, including the United States. At the same time it quickly spread to many countries in Europe, and then to many parts of Asia, South America and Australia.

What makes jazz unique? Among other things the unique features of Jazz include ‘blue notes,” improvisation and syncopation. Jazz relies primarily on the spontaneous expression of the musicians – usually playing in small groups – and does not necessarily use a written score. The 1930s saw a rapid rise in the popularity of jazz. Although black musicians dominated the jazz scene, the 1930s saw an increase in the number of white jazz singers and players. But during this time jazz still remained true to its roots and to the African-American blues musicians who created it.

Jazz is a music of the world. It combines classical, popular and traditional American music with important strains of European and African musical traditions. Jazz is very technically sophisticated while still remaining spontaneous and improvisational. To really develop a good understanding and appreciation of jazz it is important to experience all aspects of the music, listen to the masters and join other musicians in playing. Jazz is truly a group experience.

Jazz is a musical style that contains a lot of self-expression. Open your mind to many different jazz musicians by listening to them play and then joining a group of musicians in your own jazz combo. Because of its improvisational character, Jazz is usually not the kind of music that can be perfected by individual practice.

For a musician learning improvisation, it is wiser to begin with simple songs. Basic techniques can be learned through listening to other musicians, experimenting, or taking some lessons. Those techniques, once mastered, can be applied in a more advanced way to more complicated songs. Remember, too, that a jazz musician is more about self-expression than technique.

Start experimenting by playing the music the way is written, but occasionally modifying certain phrasings and adding a few embellishments of your own. This is a great way to become comfortable with jazz improvisation. This process of “intentionally messing up”, and learning what sounds good is not just for piano or guitar, but can be applied to any of the hundreds of instruments used in jazz.

Immerse yourself in jazz music by listening to both contemporary and traditional jazz masters. There are also schools of musical instruction that specialize in teaching jazz, jazz improvisation, jazz soloing, and many other facets of the discipline. If you are serious about playing jazz music, one of these jazz schools might be the most direct way to get your career as a jazz musician going in the right direction.

One of the richest, most expressive and satisfying genres of music for the musician looking for creative expression is, without a doubt, jazz. It creates a magic which cannot be expressed in words. When people are really interested in actually listening to the music, jazz can be the most appropriate and entertaining type of music you can choose for almost any occasion. Being equally challenging and rewarding for the musician – what could be better than that!

By: Howard Brule