Music is not about perfection. It is about feeling. Jazz, in particular is about groove. It is groove which gives jazz it’s identity, it’s purpose, it’s joy. You know groove when you hear it. You know what it feels like. The main issue is . . . how to develop a great groove in your playing?
I’m pretty sure that ALL great players practice to a metronome. Practicing to a metronome develops an internal “click” in the player’s subconscious. However the click is only a reference point. If you have recorded your music, you, and all the players on the recording, have probably listened to a “click track” while recording. All the players have the same reference point of time.
But this does not create a groove. The groove is a point of “off-ness”. Being “off” of the click of the metronome creates emotion. If the player simply attempts to duplicate the metronome click, the music is “groove-less”. It won’t swing. It won’t have the required emotion.
I think of “time” as a pressure, not a click. It feels like water coming out of a hose. It is continuous. It never “let’s up”. Once you have identified this pressure (I often feel it in the small of my back), then identify with it. The pressure is not dependent upon what you are playing. It is just “there”. It is automatic. It is constant.
How do you develop a particular groove? (In fact, there are many different grooves in jazz.)
- First, you have to specifically identify the groove you want to develop. Is it a deep blues groove? Or, maybe an intense “Chick Corea Groove”? Perhaps it is a “Stan Getz Bossa Groove”? You might be trying to duplicate an “Oscar Peterson Groove”?
- Second, listen to a recording which exemplifies the particular groove you are trying to develop. This is important: sing the groove. To sing the groove, don’t think about the chords or melodies. Make up a scat language which sounds like the groove. You don’t have to sing on pitch. Just approximate the feeling and timing of the groove.
- Third, you need to develop an accompaniment pattern to play with a simple chord change. I often suggest using a diatonic turnaround, i.e.: I, VIm, IIm, V7. Play a looped pattern over and over as an accompaniment pattern. For instance: you can use a simple “chunk, chunk” in the left hand, playing quarter notes. Or, if you are more advanced, play a simple bass line. Play this chord pattern over and over while singing the groove. Perhaps, for example you can play a Boogie Woogie groove using a 12-bar blues. Make sure the accompaniment pattern you choose is easy for you to play.
- Once this is automatic, then start singing improvised simple melodies over your accompaniment pattern. The sung melodies do not duplicate the groove. You have to imagine that you are a singer or instrumentalist singing off of the accompaniment pattern.
- Finally, apply this groove to an actual song. Start by just learning the accompaniment and chord changes of the song. Then, very slowly add in melody. Adding in melody is a significant level of difficulty. Remember not to play the melody as a groove. The melody is separate from the groove.
Always return to the recording of the original groove that you are attempting to learn. Keep reinforcing it in your subconscious. Do it every day until the groove is permanently part of your subconscious language!
Boogie Woogie 8-bar Blues 13-9
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have studied the Boogie Woogie Ostinatos, start studying Boogie Woogie 8-bar Blues. [/features_box_yellow]
- Learn the Eight-bar Blues until it is effortless and completely subconscious.
- Start soloing over the Eight-bar Blues.
- Have Fun!
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BWBlues8bar.pdf” + target=”_self”]Boogie Woogie 8-bar Blues[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
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- I have practiced the Boogie Woogie 8-bar Blues until it is natural and automatic.
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Boogie Woogie Ostinatos 13-8
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have studied the Boogie Woogie Melodic Rhythms, start studying Boogie Woogie Ostinatos. [/features_box_yellow]
Ostinatos:
- Play different BW Ostinato accompaniments. Learn each until totally subconscious.
- Listen to “old-time” BW recordings to get the “feel”. You can also learn BW licks. They are usually in the key of C and usually are the Twelve-bar Blues.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BWLHostinatos.pdf” + target=”_self”]Boogie Woogie Ostinatos[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
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- I have practiced the Boogie Woogie Ostinatos Exercise until it is natural and automatic.
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Boogie Woogie Melodic Rhythms 13-7
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have studied the Boogie Woogie Continuous Melody Exercise, start studying Boogie Woogie Melodic Rhythms. [/features_box_yellow]
Ideas for Melodic Rhythms:
- First think and clap a short rhythm (it should be a pick-up to the first beat of the next measure).
- Attach different melodies to the above rhythm.
- Think of one rhythm . . . then play the same rhythm throughout the BW Twelve-bar Blues with different melodic notes.
- Sing while you play. Think of the breath. You play on the exhalation.
- Licks always are pick-ups which move forward.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BWMelRhyA.pdf” + target=”_self”]Boogie Woogie Melodic Rhythms – Page 1[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BWMelRhyB.pdf” + target=”_self”]Boogie Woogie Melodic Rhythms – Page 2[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
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- I have practiced the Boogie Woogie Melodic Rhythms Exercise until it is natural and automatic.
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Boogie Woogie Licks 13-5
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have studied the Boogie Woogie Rhythmic Chords, start studying Boogie Woogie Licks. [/features_box_yellow]
- Play melody over the BW accompaniment and the twelve-bar blues.
- Completely learn the three BW melodic licks. Think in pick-ups. Use the 12/8 feel.
- Learn the ending licks.
- Mix and match the BW Licks in your soloing. Add licks during the “space” after the licks.
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
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- I have practiced the Boogie Woogie Licks until they are natural and automatic.
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Boogie Woogie Rhythmic Chords 13-4
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have studied the Boogie Woogie Groove, start studying Boogie Woogie Rhythmic Chords. [/features_box_yellow]
- It is most important that you completely master the Boogie Woogie Accompaniment Pattern #1.
- Then, drop the right hand and play only the left hand.
- Play rhythmic patterns (some are below) with the right hand.
- Learn the Mixolydian Mode (b7). Then play chords in all inversions up and down using the Mixolydian Mode.
- Play with a metronome.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BW-RhyPat1.pdf” + target=”_self”]Boogie Woogie Rhythmic Patterns #1[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BW-RhyPat2.pdf” + target=”_self”]Boogie Woogie Rhythmic Patterns #2[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BW-MixoChords.png” + target=”_self”]Boogie Woogie Mixolydian Chords[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
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- I have practiced the Boogie Woogie Rhythmic Chords until they are natural and automatic.
- I have practiced the Mixolydian Chords until they are natural and automatic.
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Boogie Woogie Groove 13-3
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have studied the Boogie Woogie Accompaniment, start studying Boogie Woogie Groove. [/features_box_yellow]
Work hard to develop a good groove. The Boogie Woogie is ideal for this.
When playing with a metronome, don’t listen to the “click”. Think of time as a push, a continuum, a pressure.
Examine the subdivisions of any groove that you want to establish. In the case of BW, think of triplets, a rolling three feel. The triplets are not strict, but more “sloppy”. Imagine that you are on springs . . . or a small boat. Sing the groove feel before you play the BW.
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
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- I have practiced the Boogie Woogie Groove until it is natural and automatic.
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Boogie Woogie Accompaniment 13-2
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have studied the Boogie Woogie Twelve Bar Blues form, start studying Boogie Woogie Accompaniment. [/features_box_yellow]
Begin by mastering the Boogie Woogie Accomkpaniment Pattern #1. Play it over and over . . . until it is automatic.
Study the Groove:
Sing the 12/8 feel. It is a “loose feel”. Think that you are on springs, or in a small boat. Always strive for a great groove.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/BW Blues Accomp2.pdf” + target=”_self”]Boogie Woogie Accompaniment #1[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
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- I have practiced the Boogie Woogie Accompaniment #1 until it is automatic.
- I can play with a great groove!
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Boogie Woogie Twelve-bar Blues 13-1
[features_box_yellow width=”75%” + border=”2px”]Level: Advanced
After you have mastered the section on Jazz Theory, begin practicing all of the Boogie Woogie Groove Tune. If this groove doesn’t interest you . . . start studying the Bossa Nova Groove. The Bossa Nova Groove contains many lessons which can be applied toward all the other grooves.[/features_box_yellow]
I think that the main differentiation between classical and jazz music is in the use of “Groove”. A great way to develop a groove is to play Boogie Woogie.
But, we must begin by mastering the Twelve-bar Blues. We think of the Twelve-bar Blues as three groups of four measures. In general they are described as follows: Section 1 is the I chord; Section 2 is the IV chord and Section 3 is the V chord. Study the examples below and the video.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Blues12bar.pdf” + target=”_self”]Twelve-Bar Blues[/membership_download_item_pdf]
[features_box_blue width=”75%” + border=”2px”]Personal Evaluation
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- I have learned the Twelve-Bar Blues form in all keys.
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