A Foggy Day, Red Garland

Welcome to jazz piano skills. I'm Dr. Bob Lawrence. And it's time to discover, learn and play jazz piano. Today is transcription Tuesday. I love transcription Tuesday. Well, I actually love every Tuesday regardless of what we are exploring, whether it's theory, tunes, technique, transcriptions, makes no difference to me. I love any topic as long as we are talking about playing jazz piano. Pretty darn cool, right? That every Tuesday, every Tuesday, we take the time to discover, learn and play some aspect of playing jazz piano theory tunes, technique, transcriptions, no doubt, a solid educational agenda program that happens every Tuesday, every week of every month, throughout the entire year. Wow. What a program helps you become the jazz pianist that you are aspiring to become. It's pretty darn cool. So today, transcription Tuesday, we are going to take a look at one of my all time favorite piano solos by one of my all time favorite jazz pianist. Today we are going to dive into red Garland's fabulous solo on the Gershwin standard, a foggy day, a foggy day in London town from Red Garland's very first his debut debut album, right as the leader, new album called a garlin have read, and I highly recommend adding this album to your collection so many great tunes. In addition to fog, a foggy day I on that on that album, red garlin plays What is this thing called love my romance making would be September in the rain little girl girl Blue Man not a bad tune on the entire album and it should absolutely be part of your jazz collection. As with all of our analysis on transcription Tuesday's our analysis today will cover the entire solo from start to finish, and answer a variety of questions such as what types of motion does he tend to use arpeggio or scale? What type of alterations does he tend to favor flat nine sharp nine flat 13? How much repetition does he use? Does he use any additional harmonic structures or chord substitutions? And what lines would be beneficial for us to use for developing our own jazz vocabulary? Wow, an incredible amount of great information to unpack. So it's going to be a busy podcast episode indeed. But before we dig in, as I do every week, before we dig in to read Garland's fabulous solo, I want to take a second and personally invite all new first time listeners and all slow moving old timers to join jazz piano skills to become an active member. All you have to do go to jazz piano skills comm click on the join link, pick a plan and join. It's that easy. And once you are an official member of jazz piano skills, you will have full access to all of the educational content and resources available at jazz piano skills. For instance, you will immediately gain access to all the educational podcast guides, the illustrations, the lead sheets the play along tracks. You'll have access to the interactive courses which are a which make up a self paced sequential jazz piano curriculum. 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I am happy to spend some time talking to you and help you determine which jazz piano skills membership plan is best for you. Alright, on with the show, it's time to discover, learn and play red Garland's amazing soul on a foggy day. Okay, so today you are going to discover Fred Garland's solo. On a foggy day, you're going to learn what improvisational approaches red garland tend to use when soloing and you are going to play various red garlin lines 10 of them to be specific, you're going to play various red garland lines to begin developing your own jazz vocabulary. So regardless where you are, right, whether you're a beginner, an intermediate player, an advanced player or even if you are an experienced professional, you're going to find this jazz panel skills podcast lesson, exploring the great red Garland's solo on a foggy day from the classic album A garlin have read to be very beneficial. To begin, I want to briefly talk about transcriptions, right why they are important and how to properly use them when practicing. I said this in the last transcription Tuesday episode when we looked at the bud POW solo on scrapple from the apple that you know, you do not have to hang around jazz circles very long before you will hear someone and fatica Lee proclaim that you must begin to transcribe if you are serious about learning how to improvise. And you will then this cracks me up. You will then witness as somebody making this proclamation of about transcribing, you will then witness everybody in the room, literally, emphatically shaking their heads up and down in complete and total agreement. Right. It's amazing. Even if they've never transcribed before, they will agree that yes, I need to do this. But shortly after you have publicly affirmed your commitment to transcribing solos. Right? You instantly begin wondering what the heck, how am I going to do this? You start to learn what's all involved with transcribing a solo which typically will The Press you right? golly, I remember right? It did for me when I when it was first introduced to me and I first started transcribing this and holy moly, I'm going to be here for the next six months trying to figure out this solo. And, you know, no doubt, no doubt that transcribing has many benefits, no doubt about it. But to actually take the time to decipher every single note a pianist is playing, and then write it down on manuscript paper, and then begin to meticulously practice the entire solo, in hopes of retaining various musical phrases that you can then utilize in your own plane. Wow, it is indeed a lot of work. And now it's, it's time for a little old fashioned skepticism, right, I saw. I want to now ask this important question. Does this process really work? What actually will be my return on investment? So for the sake of time, I'm just going to cut to the chase and tell you no, it's not worth your time to transcribe? Well, right. I know, jazz, blasphemy. absolutely the wrong thing to say, Who would ever make such a Who would ever say that, right? That's unbelievable, because we all know that transcription transcribing is king. In fact, transcribing is the very first thing that every jazz musician tells you that you need to do. And I'm telling you wait a minute, pump the brakes. Let's think about this. Because in this day and age, it is not worth your time and effort to be sitting down and transcribing all the time. Here is why. The number one justification, you will always hear for the importance of transcribing is that it is good your training. And transcribing is indeed good for the development of musical ears. However, there are much more effective and efficient ways to to develop your musical ears than to spend hours trying to figure out each and every note and rhythm of a jazz solo. Also, just because you may not have physically transcribed a solo that you're studying, like we are going to do today with red Garland's soul on a foggy day, it doesn't mean that your oral skills will not significantly improved through the proper study and practicing of that transcription or of that solo. So keep that in mind. In order to reap the benefits of a transcription, it doesn't mean that you actually have to do the transcription. The second justification for transcribing is that it is an invaluable type of jazz excavation, right needed for discovering stylistically correct vocabulary. And, again, this is this is a very true statement. However, we are living in the year 2020, where we now have what feels like endless access to collections of transcriptions, transcription books, transcription, anthologies, downloadable PDF transcriptions, and like everything else, they're everywhere and accessible with one click of your mouse. So what I'm trying to say is that you do not need to reinvent a wheel here. There are already more than enough transcriptions available at your fingertips, to keep you busy for the rest of your life. simply impossible to study all the transcriptions that are out there. So bottom line, yes, the study of transcription should be an integral part of your practice routine. So much so that I am dedicating an entire podcast episode to transcription study every month. All I am stressing here is that you do not need to spend hours upon hours every week, trying to figure out every single note of a solo when you can download it in seconds, and begin reaping the benefits right away. Makes no sense. Now once you have your transcription in front of you, regardless of how you've obtained it right, either through transcribing it yourself or downloading it. You have to know how to properly Use the transcription in order to experience jazz growth. And today, we will do just that we will properly use red garland solo on a foggy day to strengthen our jazz technique, our jazz articulation, our jazz, aural skills, and our jazz vocabulary. What we will not be doing today is memorizing a line a lick, from a red garland solo, in hopes to regurgitating it, why playing other songs. And so many students approach transcriptions in this manner. And as a result, experience, disaster, right. Why? Because the entire point, the entire objective of studying transcription is to discover and unveil your musical thoughts. Right? You're not trying to become red Garland, there's only one red garland. Right, we're gonna use red garland to discover you. Right? So this is not about shoving something into you is just the opposite. It's about pulling something out of you. Musical thoughts that you already possess? transcriptions simply serve as a launch pad or a diving pool diving board into your pool of musical thoughts. Yes, the transcription is indeed a window as I like to say a window that allows us to peer into the mind of a musician into the mind of red garland. Today, we will learn a ton about how red garlin thinks. But more importantly, red Garland's of foggy days solo will function as a musical flashlight that will illuminate our own inner musical thoughts. Right? How cool is that? No doubt today is going to be fun, as we discovered, learn and play jazz piano with jazz great red garland. And without question, I know for a fact you will have many questions as we take apart this fabulous solo. And that is precisely why I am committed to providing all jazz piano skills members immediate and personal and professional support. If you are listening to this podcast through the jazz piano skills website, you can use the convenient speakpipe widget nestled directly beneath the podcast player you can see it right there. Right orange, that orange button, you can send me a voicemail message using speakpipe. It's that easy. It's that simple. One click and the two of us are interacting and engaging with one another. Send me a voice message with your questions and I will send you one back with the answers to very cool technology that I hope you will take advantage of. And if you are listening to this podcast, use on high iheart radio Spotify, apple, Pandora, amazon music, or any other popular podcast directory you can use the link speakpipe.com forward slash jazz piano skills to send me a quick message. And as I always say if you're a scaredy cat, and are afraid to send me a voice message, then you can post your question in the private jazz piano skills forum. Or pose your question to the private jazz piano skills Facebook group and let the jazz piano skills community help you. Right so look directly beneath the speakpipe widget and you'll see the links for easy access to each of these platforms. Or if you are free on Thursday evening plays as a jazz piano skills member you can attend that weekly masterclass. It's all part of your membership, and I hope you will I host this masterclass every Thursday evening. 8pm Central time using zoom and the zoom link is posted on the jazz panel skills website. So just click on that link it will take you right to the masterclass and you can enjoy an hour long lesson, right we discuss not only will we discuss this red garland solo in more detail Thursday evening, but we will also address any questions that you have regarding jazz piano in general. So I provide jazz piano skills members with so many ways to get help. So definitely take advantage of the opportunities. As you know, my entire goal is to provide all of you with the very best jazz piano lessons, the very best jazz piano educational materials, and the very best jazz piano support that's available anywhere today. Okay, here we go. If you are a jazz piano skills member, take a second right now to open download and print, the illustration guide and the lead sheet guide. You're going to want both of these guides all of the materials within these guides, you're going to want them in front of you, as we go through this transcription. You know, As the old saying goes, a picture is worth 1000 words. And you will find these diagrams, these illustrations. These guides to be incredibly beneficial as we go through red Garland's solo on a foggy day. If you are a jet if you're not a jazz piano skills member, I just invited you at the beginning of this podcast to join so please take a second join. And then you too will have access to all these educational podcast guides that are so invaluable and packed with more value than I could even explain. Alright, to get started, let's take a listen to red garland play a foggy day. I want us to hear the head the melody followed immediately by his solo with his solo. So here we go red garland on piano Paul chambers on bass and art Taylor on drum drums. George Gershwin's a foggy day in London town from the album garlin have read Let's check this out. Here we go. Man, that is some kind of energy right? Pretty impressive. But now let's begin our analysis. I always want I always want to break apart of transcription into three parts, right I want to look at chord scale tones, the root the third, fifth, seventh and so on. I want to look at non chord scale tones, things like neighboring tones, passing tones alterations, and I also want to look at any significant harmonic and melodic patterns ascending and descending scale and arpeggios. Classic progressions like 251 and so on. So you will notice in the illustration guide that you have in front of you. You have a copy of the transcription with all of the chord scale tones and non chord scale tones. spotlighted hi All right. So what I've done there is all the non scale, non chord scale tones are highlighted, which really magnifies, it really illuminates the overwhelming dominance of the chord scale tones used when improvising. And in fact, 78% of the notes that red garland plays in this solo 78% What the heck was 80% 80% of the notes that red garland plays in this solo are chord or scale tones. Let that sink in, right chord or scale tones. So if you know your chords, and you know your scales, you are in great shape. You can play great solos. Just like red garlin. I told you a picture's worth 1000 words. And this, these illustrations here really, really prove that all adage to be 100% true. You will also find included in the illustration guide a diagram that labels all of the non chord scale tones right that labels them. Right are they passing tones, upper and lower neighboring tones, altered tones, excuse me altered tones, like the flat nine sharp nine, flat five sharp five, sharp 11, flat 13, and so on in red garland uses a ton of those right? Being able to identify these improvisational approaches, and to see how a professional jazz pianist like red garland uses them is essential for our own musical growth. Simply invaluable. There's no substitute. I tell students all the time improvisation development begins first and foremost with chord tones. Then we add scale tones. Then we add non chord non scale tones. Playing with non chord scale tones before you have a command of improvising with chord and scale tones is playing with fire. You are going to get burned. I promise you. You know why? Here's why. Because non chord scale tones are technically what? They're technically wrong notes. And if you can't make music using the right notes, you certainly cannot make music using the wrong notes. Right. I remember, a teacher asked me one time. I love this question. He said Dr. Lawrence, how do you teach students to play wrong notes? Right? It's a great question. And I said easy. teach students how to play write notes right? First, then worry about the wrong notes. Read garlin is certainly validating this improvisational approach right 80% of all the notes he plays our chord tones and scale tones. Again, think about that let that sink in. We always tend to think that jazz professional jazz pianist are using a lot of fancy schmancy stuff. That's why it sounds so good because it must be a lot of fancy schmancy stuff. And of course there is some fancy fancy stuff but 80% of red garland solo that you just listened to not fancy schmancy stuff at all chords cones and scale tones. When you're looking at the illustrations, right the diagrams that you have in front of you the illustration guide for this podcast episode, I also want you to notice that all the fancy schmancy all the alterations to flat nine sharp nine, flat five sharp five so on occur on the dominant sound. Right not major sounds, not minor sounds, not have too many should diminish. They occur on the dominant sound, this is so important. This revelation is so important to have, right? That's where the fancy schmancy stuff is happening 99.99999% of the time, the dominant sound, maybe that's why the dominant chord is called dominant. It is the sound that we can do the most with. It is the sound with the most flexibility. Right. So finally included in your illustration guide that you have in front of you is the transcription with 10 That's right 10 handpicked improvisational ideas that red garland played or various major dominant and minor chords, and that we are going to use those 10 ideas today we're going to explore those 10 ideas to begin developing our own On jazz vocabulary, how cool is this? transcription Tuesday is awesome. Okay, so let's jump in. Let's look at pattern number one, it's measure 10. Right, I have that red box, around counts one and two of measure 10. And you will see that the chord is G minor seven chord. And red garlin starts on the third, the B flat and literally goes straight up using chord tones, B flat, D, F, N A. Right, nothing fancy fancy there. Third, the fifth, the seventh and the ninth, he uses a triplet rhythm. That's it. So, I want to take just that little motif, that little two counts, starting on the third of G minor, ascending to the ninth to the A. And I'm going to play that I'm going to state that motif several times. And then I'm going to begin improvising using variations to that motif. And using the notes of that motif. And only the notes of that motif. Right, I'm not going to use any neighboring tones, no passing tones. Nothing fancy schmancy, I'm just going to use the notes that red garland gives gives us the B flat, the D, the F and the A. And I'm going to try to use that idea to start developing my jazz vocabulary. So let's bring the ensemble in I'm going to play at 120, nice, comfortable tempo 120, I'm going to take that motif, measure 10 of the red garland solo. And let me see how I can develop that. Okay. So here we go. Let's check it out. Wow, see what you can do with just simply chord tones. You're just using the root, the third, I'm sorry, the third, the fifth, the seventh and the ninth. Copy and read garland. And look what you can develop. I just stayed with those four notes. Again, nothing fancy ceman said don't use any upper or lower neighboring tones and E passing tones. Nothing. Just those notes. So now, let's continue to look at some more patterns here. I want to draw your attention to measure 15 and counts one and two of the measure. Now this is a D dominant seven chord, right? And check out what he's doing. He enters the entry point again for D seven is the third is F sharp. And what does he do? He goes straight up using chord tones. A, C, E, straight up to the ninth. Hmm. Does that look or sound familiar? Sure does. Just a simple arpeggio from the third up to the ninth just like he did on the G minor seven. He went from the B flat up to the A here he's on a D dominant seven going from F sharp up to the E using only chord tones. He does resolve that at the top when he comes. It comes down to that d i like that. No triplet. Nice So now let's bring the ensemble in, I'm going to take that little motif, I'm going to do the same approach, I'm going to state it several times. And then I'm going to see what I can develop, utilizing those nodes that shape that ascending shape, and see what I can come up with to develop my vocabulary. So here we go. Let's check it out. Nice. Wow, you see how much you can do with a simple arpeggio. Starting on the third of the sound, ascending up to the ninth. It's amazing, so much jazz vocabulary can be developed. Utilizing that simple pattern, that simple motif, so much. So check out what red garland does measure 19. So D minor seven sound, right? Again, focus is that third. In fact, it's the exact same thing that he just played on the D seven. But now on a D minor, he's going f A, C, E, up to E and then dropping right back resolving it to the right, on the D seven, it was F sharp, A, C, D. It was that now it's this just modifies the idea to fit the D minor seven sound. He uses an approach town core a scale tone and the note he just like that. So now let's bring the ensemble and let's take let's utilize that same motif, except this time with a D minor sound D minor seven. So let's bring the ensemble in and let's see what we can develop. Again. I'm going to state that motif several times that I'm going to be improvising using just the notes of that motif. So here we go. Let's check it out. Interesting, right. So so far, G minor, D dominant, D minor, all three of those sounds. What's he do? enters on the third. A sends us an arpeggio motion up to the nine Very interesting. So now let's take a look at pattern number four. So I want to draw your attention to measure 21. This is a C major sound. So we've already looked at what he's done on a minor and a dominant sound. What what the what the, what's he going to do on a major sound? Oh, look at that, what a shock, right? He's playing starting on an E. C major, which is he is the what the third? A little triplet, triplet, triplet. Oh, my God starts on the third eat little triplet. Using arpeggio motion up to the note D, the nine. got away? Are you kidding me, we've looked at four patterns here. And all four, he's using the same approach third to the ninth. He just resolves it down to the seventh. And he's using, again, another triplet, triplet motion, or rhythm. So let's bring around sambal. And let's see what I can do with a trip triple, triple, triple, triple it. Let's have some fun and see what we can come up with, again, using just the chord tones. Here we go. Let's check it out. Pretty amazing, right? We've taken a look at four different patterns using minor sound, dominant sound, major sound. And regardless of sound, he certainly enjoys you utilizing the third up to the ninth that fragment of the sound, to improvise to create ideas. It's wonderful, right? So I would encourage you that that would tell us by looking at this transcription so far, you know what that's a, that's a pretty important pattern, I should, I should practice that, over my major sounds, my minor sounds my dominant sounds, I should spend time getting familiar with that motion with that sound fragment for all of my majors, all of my dominance, all of my minors. So now let's take a look at pattern number five. So I'm going to draw your attention to measure 26 counts one and two, we're back to a G minor seven sound. But hey, got a little variation here. Red garland is starting on the fifth of the sound. So he's going to start on the note D of that G minor. And guess what he does? arpeggio motion right up to the seventh to ninth to the 11th. So he's starting to get into the upper extension of the sound. Fifth, seven 911. Simple arpeggio. How cool. So now let's bring the ensemble in. Let's take this melodic motif. I'm going to state it several times. And then I'm going to improvise using only those notes. Again, nothing fancy. Just going to take what red garland gives us. And I'm going to try to create you utilizing that motif. So here we go. Let's check it out. Nice, right, very nice simple arpeggio motion ascending. So with that being said, I want to take a look at a demonstration pattern number six, right, that's going to be measure 32 counts one and two again, entry point, the fifth, this is going to be a D minor seven, the entry point is going to be a fifth, he ascends to the seventh. And then the sense I want to get a little descending motion in here and he descends doing what arpeggio motion down to the root. So he gets us going up to the seventh and then triplet. Nice, nice little pattern. So let's bring the ensemble in. Let's see what we can do with this motif. Again, all arpeggio motion this time descending, descending, entry, point fifth up to the seventh descending to the root are going to stick with just those notes. Let's see what we can develop. Let's see what we can create. So here we go. Let's check it out. Pretty darn nice, right? Lots of arpeggio motion. If you're picking up on what I'm trying to drive home here, arpeggio motion using chord tones. Red garlin does it a lot. And if it's good enough for red Garland, I'm telling you, it's good enough for me, it's good enough for you so much vocabulary and getting the command and mastery of your arpeggios and getting the command and mastery of your arpeggios from different entry points, the third, the fifth, seventh and so on. So I just want to right now for the sake of time just walk you through the remaining patterns that I've highlighted. Pattern number seven is measure 41. Again, we're back to a D dominant seven. And he uses approach tone of the fourth and a sharp four. And then arpeggios, arpeggios again, from the fifth up to the 11th it's really nice right the kind of the passing tone, the approach tones to the fifth triplet right up to the summit. That's a great one for Are you to practice as well look at pattern number eight, measure 44 counts one and two, back to a G minor seven. entry point is the third, he just he just extends that arpeggio instead of going to the ninth, he adds the 11th on there. So he gets this. Let me try that again. Again, it's classic, classic line, all the way to the 11th. So that's one that I would encourage you to practice and explore as well. Okay, pattern number nine, measure 55 counts two, three, and four. Okay, so now the entry point is a half step approach to the third, again, classic, classic motion, half step to the third on the C major. So it's going to be a D sharp, there's an outside note, right to the E to the third. And then he's just arpeggio motion right up to the knife. He drops it right back down to the seventh. So he gets love it. More arpeggio motion, just the addition of a little half step approach to give it a little bit of tension, and then release into the third arpeggio up to the knife. Again, classic sound classic motion. And finally, I want to draw your attention to measure 61. Pattern number 10 counts two, three and four. The entry point is the fifth, right? Which descends, write with passing tone to the third. So he starts on the it's an F major seven. So it starts on the C uses the B flat as a passing tone, down to the A. Now he's on that third, and guess what he does arpeggiator right up to the knife. He loves it, man. So it's great. Another classic line, classic arpeggio motion that you should actually utilize the help develop and discover your own improvisational vocabulary. Now, jazz piano skills members, you have access to the play along tracks. For all for all 10 of these patterns for the minor sounds, the dominant sounds, the major sounds, and there are play long tracks at various tempos for each of the sounds at 101 2140. So the objective is take these 10 patterns, arpeggio patterns, ascending, some descending a couple with some approach tones and passing tones. To take those patterns. And to practice first, first and foremost, state the motif, play it get the right articulation the right feel. Then that motif becomes a diving board a launchpad into your own musical thoughts and ideas begin exploring, manipulating the motif rhythmically, and explore various directions ascending and descending with the notes only. I would strongly recommend using just the notes of the motif. Nothing fancy. Keep it simple. And begin developing your jazz vocabulary. When you have ideas that you like, repeat them several times to develop muscle memory and oral memory. Okay. So it's a great way to develop your jazz chops. No doubt about it. So look, we took a transcription today. We could have looked at various Look, there's so much in this transcription. We could have looked at the 251 patterns. We could look at all the altered sounds, the dominant altered styles, there's a ton there. It's packed with tons of gems and goodies within this solo. I just happened to focus today on arpeggiated motion over various sounds minor dominant and major and taking a look at what red garland does with that arpeggiated motion. And it's very telling he loves the entry point of the third he'll enter on using the fifth as well and even the seventh. So spend some time studying the transcription. Use the play along tracks, use the illustrations to help you the illustration guide and in the lead sheets all it's all They're for you to open download access and you utilize when practicing. Right. If you have any questions, please let me know. Well, I hope you have found this jazz panel skills podcast lesson, exploring red garland solo on a foggy day to be insightful. And of course, I hope it to be very beneficial. Don't forget if you are a jazz piano skills member, I will see you online Thursday evening at the jazz piano skills masterclass. 8pm Central time to discuss this podcast episode this to discuss red garland solo on a foggy day in London town in greater detail, and to answer any questions that you may have about the study of jazz in general. Also, as a jazz panel skills member, be sure to use the educational podcast guides that are available for this episode to help you maximize your musical growth. Likewise, the jazz piano skills courses check those out online as well. And also, if you are not already an active participant of the jazz piano skills forums and private Facebook group, do so get involved and make some new jazz piano friends. As always, you can reach me by phone 972-380-8050 extension 211 by email Dr. Lawrence at jazz piano skills.com that's Dr. Lawrence at jazz piano skills.com or by speakpipe found on the jazz piano skills website in the educational podcast guides and the jazz piano skills courses. So that's it for now. And until next week, enjoy red Garland's a foggy day. Enjoy the journey. Most of all, have fun as you discover, learn and play jazz piano