Using musical tool when transcribing
thanks
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i hear about guys that can transribe whole solos without even touching the keyboard but i'm sure that it takes awile to get to that point. maybe singing (both vocally and mentally) your transriptions can get us a step closer to not having to depend on a keyboard or in your case a guitar.
part two
as far as developing the melodies you come up with into usable jazz lines,patterns,and phrases, studying transcriptions of solos is the generally recommended next step in the quest to becoming a competent improviser.as someone who's done an immense amount of transcription,here are some suggestions regarding this:
1.you should only transcribe what you want to internalize as an influence on your own playing,i.e it's not so much that the practice of trancribing is in itself that important(although it is in terms of developing various faculties of ear and cognition)but it's what you transcribe in terms of who you are listening to and what you want to sound like that counts,and especially what you do with what you transcribe and how you transcribe it.
2.less is more,in terms of the actual effect on your development.what i mean by this is,i think it's better to identify one thing,one idea,one passage,and take it off by ear,don't even write it out at first.everyday you decide you want to work on it,listen to the recording(a tip i could give you is to use a little handheld microcassette recorder,they have a switch that allows you to go to half-speed which is great for melodic transcription,especially for slowing down fast passages and seeing what they're made of,but can get muddy depending on the range of what you're working on,see below for more on this).
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Volume 1 of this educational jazz piano book contains 15 jazz piano exercises, tricks, and other interesting jazz piano techniques, voicings, grooves, and ideas Scot Ranney enjoys playing.
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