h2g2 The Hitchhiker's Guide to the Galaxy: Earth Edition

It,s just as important to listen to the music and bounce up and down.
There are plenty of technical processes that go into making a Spice girls record and it's not considered necessary that we know about them in order to add to our appreciation of that music .Your ears will tell you everything you need to know about music. Jazz is a spirit which promotes extra sensitivity. Start by developing the sense of hearing.

I dont think that the intention of the article was meant to dissuade that.
The writer was just trying to point out to musicians who are interested, some basics
of how to play jazz.
You would be suprised to hear of how many classical musicians want to learn but are ashamed or scared of improvization.

I dont think that the intention of the article was meant to dissuade that.
The writer was just trying to point out to musicians who are interested, some basics
of how to play jazz.
You would be suprised to hear of how many classical musicians want to learn but are ashamed or scared of improvization.
I think the article was very nice.
I would add for any jazz enthusiast musicians to try playing half tone-whole tone lines or whole tone lines
over altered dominant seven chords.
no?

I suppose so. I'm just a purist of some kind. When it comes to the technical vocabulary used in jazz, sometimes certain methods and sounds can be overused and the music can be drawn into the kind of elite classical mentality that has turned off so many people to some of the best music from previous centuries. Maybe that kind of thing is inevitable, but I see jazz as being the first genuine world music, a positive interaction between the cultures of the earth and something that should be free to develop without too many harmonic or melodic dictates. The world is full of musical modes distinctive to their culture like the spanish flamenco sound which is full of that blood, passion and avengence type thing or the kora music from Mali which has an equally beautiful but less fiery sound or the kind of modes in Irish folk music. It's not just american sounds anymore. Am I getting too deep?.......it's only music after all

Classically-trained musicians may or may not want to understand jazz. Two points: Real musicians can do jazz without missing a beat (i.e., J.S.Bach). Trained musicians may have to go to school for a while.
Second: non-musicians might like to know what the author is talking about. OK, this is a Don't Panic situation, but at least point to a few links, or, failing that, acknowledge the mass of sociological, psychological and physical information that the author left out: Information which is necessary to understand what the author is trying to convey.
If I were an alien stranded on Earth with nothing to sustain me but cabdriving, I would be totally lost regarding Jazz. This guide entry is not helpful.
What is "play over?"

The post to which you refer tried to go too quickly. Not to advertise, but I'm trying to think and write about keeping time and, for lack of a more articulate statement, using time in improvisation. I will give you some of my perspective on the Building a jazz harmony post, but first, to answer your question, "playing over" refers to using the chords (changes) as a harmonic basis over which to play improvisation. The improvisation can be an extended melody, truly made up on the spot. It can also be completely unrelated to the harmonic form (for instance, a purely percussive use of the piano), although that might also mean that the player needs more practice.

1. Going straight to a simple, 12-bar blues form is actually a very good idea because there are so many jazz standards based on this. It would have been useful for the Guide to let you in on the notation a little. Let's look at the first twelve bar form that starts with C. This is about as basic as it can get, except that you need a little context.
C indicates the standard major triad (C, E, G). If you have access to a piano, and know what you are looking at, this will be helpful. If not, and anyone is interested, I can try to put something graphical up so that you can try it. Each box in the small table is actually four quarter note beats, or a measure (if your classical) or a bar (if you play jazz, or, possibly, rock). So, again, if you have access to a piano:

four beats of C (C, E, G)
four beats of F (F, A, C)
eight beats of C
eight beats of F
eight beats of C
four beats of G7?
four beats of F
four beats of C
four beats of G7?

The last four beats is a simple turn around that gets you back to C at the top of the form (going back to the furthest left box). I put a question mark after G7 because it requires a little explanation. A number indicates a scale tone whose reference is what is called the root of the chord. So, in G7, the seventh tone would be F. Now in the G major scale the seventh tone is actually F#, but in jazz, the 7th chord is, unless otherwise noted, the flatted seventh tone, or one half tone below the seventh tone in the major scale of the root.

Examples:
C7 C, E, G, Bf (read B flat)
G7 G, B, D, F
E7 E, G#, B, D

This is called the dominant seventh (at this point, don't ask me why).
We use seventh chords a lot because they add a different color.

I'm going to stop here in case I'm simply talking to myself. I will only suggest a few jazz recordings that show the beautiful diversity of blues in jazz. If any one is interested in more, just reply.

"The Out of Towners" (From "The Out of Towners," Keith Jarrett Trio) This is great a lesson in three chord blues. I might also add that it is absolutely brilliant improvisation. Jack Dejohnette, Drums; Gary Peacock, Double Bass.

Freddie the Freeloader (From "Kind of Blue," Miles Davis) Pretty straight jazz blues with a few chord substitutions, but a classic example of the simplicity of Miles Davis.The sidemen, if you can call them that, are giants. John Coltrane, Tenor; Julian (Cannonball) Adderly, Alto; Bill Evans, Piano; Wynton Kelley, Piano(on "Freddy"); Jimmy Cobb, Drums; Paul Chambers, Double Bass.

Relaxin' at the Camarillo (From "Eclypso," Tommy Flanagan trio.) This is a great example of a Charlie Parker melody (Head) written "over" the blues form. I suggest this because the improvisation is such a great example of playing over the bar line-- building an improvisation with phrases that fill four to eight bars. This is, to my mind, some of the greatest bebop improvisation around. Also the rhythm section is incredible. Elvin Jones (Coltrane's drummer) and George Mraz, an absolutely brilliant bassist.