Charlie-Parker-Licks
Lesson time: (3min 54sec)
Course preview
This lesson is part of the course Der innere Zugang zum Trompetenspiel
Watch a preview of the full course below.
Lesson transcript:
Music Lesson
Thank You!
Thank you very much for joining me over the course of lessons. You are now ready. If you've worked carefully and considered the exercises, they're often very simple but have very specific instructions.
Moving Forward
Now, we will move forward into my book with a modern approach to playing.
Preview: Bebop Head by Charlie Parker
I want to show you a bebop head by Charlie Parker called Au Privave. The goal is for you to listen and think about all the different things I'm incorporating. Not too carefully, but certainly in a way where you get an idea of the potential for everything that we've worked on and how it translates into my approach to playing, particularly in bebop and this great composition by Charlie Parker.
Playing Process
I'm going to turn on Philly Jo Jones.
- To get that really good sound, I will do this in phrases.
- This time, I played through the whole melody to save time.
- However, what I should do is take each phrase and:
- Work on legato
- Breathe it
- Make sure I'm really breathing it
- Then move on into articulation, again out of tempo, and finally play it in tempo.
Maintaining Legato
What happens once you go into tempo is crucial. If you start to change your physical approach, you may get tense or stop flowing air, making it become much punchier. You may find yourself stopping and starting the air because you're using articulation. That means you're doing it wrong.
Key Point:
You need to maintain this legato approach throughout your whole body when you're playing the trumpet. It's not just about your lips; it's really about the larger air support we need to think about.
Another Tune: Donnelly
Another tune that I enjoy is Donnelly, also by Charlie Parker. This piece is somewhat easier because it doesn't have so many short stopping notes.
Focus on Last Eight Bars
I like to play the last eight bars because it consists of a line of eighth notes. It's also essential to talk about using the descent where you're crescendoing into the descent. This is where the notes can tend to break up, causing the line to falter and forcing things to come out.
Let's play the finale:
The last eight bars of Donnelly.
Final Thoughts
What I feel there is I need to do more of a crescendo on the descent.
Great! And goodbye.
About the instructor
In den vergangenen 25 Jahren hat sich Gerard Presencer einen beachtlichen Ruf als einer der angesehensten Trompeter der europäischen Szene erarbeitet. Mit 18 Jahren gelang ihm der Durchbruch auf der internationalen Bühne, als US3 ihn bat, den Solopart auf Blue Notes Cantaloupe Island (neu interpretiert als Cantaloop Flip-Fantasia) zu spielen, das zu einer der meistverkauften Jazzplatten der 1990er-Jahre wurde. Seither ist er mit einem Who's who internationaler Jazzkünstler aufgetreten und fordert sich und sein Instrument weiterhin heraus, indem er seine Komfortzone verlässt, um sich als Spieler und Autor weiterzuentwickeln. In anderen Genres hat Gerard als Studiomusiker mit Künstlern wie Sting, Jamiroquai, Zero 7, James Brown, Ray Charles, Joni Mitchell und Jonny Greenwood aufgenommen. Gerard war zudem in den letzten 25 Jahren ein unverzichtbares Mitglied der verschiedenen Jazzformationen von Charlie Watts, tourte um die Welt und veröffentlichte mehrere Alben mit dem jazzbegeisterten Stone. Als Pädagoge leitete Gerard von 1999 bis 2010 die Jazzabteilung an der Royal Academy of Music in London und ist derzeit Leiter der Blechbläserabteilung am Jazz Institut in Berlin. In diesem Kurs teilt er seinen inneren Ansatz zum Trompetenspiel - die mentalen und körperlichen Gewohnheiten hinter einem großartigen Klang -, damit du Ton, Kontrolle und Musikalität von innen heraus entwickeln kannst. read more