How to Play Outside the Changes Ep. 1: Atonality
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- Опубліковано 23 жов 2023
- In this episode of Theory with Bob, trumpeter @bobbyspellman covers techniques for playing outside the changes using atonality, including the use of chromatics, wide interval leaps, and interval structures.
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The band:
Jesse Lynch: electric piano
Julian Smith: bass
Evan Hyde: drums
Thank you! Thank you!
Your concise and generous approach to sharing good musical knowledge is interesting and well done. You got my vote every time, thanks.
Thanks Nick!
One thing that I have noticed is that in order to playing atonally you have to listen a lot of jazz, that is the main trick in my perspective.
I'd also recommend checking out Schoenberg and Primus.
FANTASTIC lesson, and top notch playing!
Thanks, Nick! Glad you liked it!
the demonstration where you stretched out the intervals was pure hotness.
Thank you 😊
Awesome! Now I definitely need to try that. Thank you!
Good content, I have played guitar for years, have an inexplicable ability to make musical noises on a piano, could bend notes on a harmonica from the beginning, I knew the sound I wanted and just modified the embouchure until it bent, but the instrument I wanted to learn as a 8 year old was Trumpet, my Dad was always playing Herb Albert and more, finally stumbled across practice mutes so I bought a Trumpet and a whisper mute and a Harmon mute,last year and the mouthpiece mute, because I discovered that, unlike guitar practice, you can’t do Trumpet practice laying down on the bed because the saliva keeps pouring back into your mouth but the buzz kill is ok, haven’t established a firm practice routine but I can hit notes I shouldn’t be able to playing an average of 20 minutes a week but getting to the point, my first guitar lesson ever the teacher got me to transcribe a few phrases of a Santana solo and as I played it back to him, he was about to comment but I kept going for another 20 secs and he said “I didn’t expect you to get that far actually “ (disclaimer I haven’t watched this video yet I just put it in the history to watch later), but I have mostly improvised all my life actually I learned very quickly that when you do covers even musically illiterate people have something to judge you on, and getting to the point I was once involved with a weird Church, the Mormons and I joined the choir for 4 weeks (that’s actually why I can mod the embouchure, because singing uses the tongue and so on and the sinus cavities and the key for a male to sing outside of range is to relax and and sigh the air not force it, I am not trained but I can imitate the screamers by breathing backwards. (That’s not what’s happening of course but sounding the note while breathing in I can go really high I think it sort of just relaxes the tension, when I was in high school, doing that I could hit harmonics that hurt peoples ears) getting to the point, Church Choir training, directed by a young woman, significant because the church women do not talk to males other than their family or husbands outside of church, at least not to me and this person had an instant problem with me that deteriorated when she said “I don’t want to hear any sliding up to notes I want the pitch correct, sliding is unprofessional “ to which I replied “I’m inclined to disagree with that” an acquaintance next to me snorted in amusement, but it was a valid statement, sliding notes as an expressive tool is a professional skill I would love to hear a choir start a note atonal and all four parts slide into harmony, but after that I was talking to the friend who was asking how my blue’s journey was going and I said “I am leaning towards Jazz because you can play anything you want to” and he replied “that’s not strictly true” and I said “Jon, if you can use a chromatic scale then you can play any note you want” he conceded the point, what I didn’t know then but the actual puzzle piece that makes it work is the timing as long as the accent beats are pleasing at least some of the time it works out but I don’t gig so I don’t care what anyone else wants me to sound like I just like sound and resonance and you don’t find the extremes without going atonal and microtonal.
Whole tone phrases?
On an instrument such as a trumpet to play the fourths, seconds etc what exercises do you do without writing it out ahead of time and memorizing it? Funny I can do it singing, but freeze while playing in the moment