![]() ![]() #Saxsolos com jazz transcriptions of the masters how to#Essentially, developing a skill necessary to all improvisers: learning how to play what you’re hearing. Not only will you immediately begin to memorize the solo, but you’ll begin to improve your ears learning to hear chord tones, progressions and intervals along the way. Instead of figuring out a line note by note and going directly to the paper, you should sing the line and play it on your instrument repeatedly. Truly hearing the intervals, chords, and articulation of a solo and internalizing them. The one aspect of transcription that vastly improves your musicianship is the process of figuring out the solo by ear. It’s not W hat you’re transcribing, but How you transcribe it Perhaps the question you should be asking yourself is: What do I plan to do once I have that line written out and how am I going to make it a part of my playing? The problem for me wasn’t that I was trying to learn solos, but the method in which I was getting the information and what I did with that information once I had it. Yes, you can get information from a record by writing out a solo on paper, but in the long run you’re gaining very little compared to what is possible. The simple act of writing down a solo note for note or learning a lick in one key will not automatically make you a better jazz musician. After running into stumbling block after stumbling block, I’ve found that writing down one line from a solo and expecting drastic results, like the above reasons, is a huge misconception. For years I’d been writing down solos and wondering why I wasn’t seeing improvement. These were all reasons that I gave myself for transcribing solos in the past.
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