
You hand Lady Day a lead sheet for this tune, written as you see there on the lower lines, and what comes out is what is (attempted) transcribed on the upper lines. I defy anyone to place those notes accurately using rigorous notation.
I think that's right on. Another thing is that classical musicians don't have a jazz feel sometimes, too. I am a classical saxophonist who now plays mostly improvisational music. I read very well but I had to condition myself to not depend on the notes.The CLASSICAL musicians Ive taught jazz are scared to death of PLAYING A WRONG NOTE. We spend literally weeks breaking through that K
Simply put, because they don't swing.To answer the title of the thread:
Sorry. It has legs, now. Stream of consciousness is a powerful thing. Just accept it. 🙂I wasn't asking a question, I was providing an example. I don't think I've ever seen someone graphically illustrate the time flexibility in this music so clearly.
Thanks for posting saxoclese. In Duke's article it talks about accents and how a Classical player, for example, simply wouldn't know about the specifics in jazz until they are taught (and vice versa). I tried to convey this to a classical cello player and teacher. There was a passage she was saying to accent a certain way, and I said that I thought I was playing it in more of a jazz approach, trying to explain myself. She said "music is music!"- like there was no other way to look at it. There are specifics to different genres, and she's so steeped in classical that she literally didn't know what I was talking about. I have another friend who's a jazz musician who has very little regard for classical and doesn't see much value in studyig it. To each his own, but I really love both worlds, and playing one just strengthens the other. To me it's like rearranging my lving room- all the same elements but looking at the room in a fresh way when you need a change.For the pedantic types like myself, there are some interesting studies related to this topic. An integrated approach to playing the saxophone by Steve Duke and a more detailed paper Approaching the classical style - a resource for jazz saxophonists by JP Vanderheyden
I love that analogy. As a sax player who has studied both classical and jazz playing for me it boils down to listening to great artists in each genre. That is the only way to develop the "concept" of sound and style you are trying to achieve. That is where it has to start. Changing from one style to the other I call putting on a different hat.Thanks for posting saxoclese. In Duke's article it talks about accents and how a Classical player, for example, simply wouldn't know about the specifics in jazz until they are taught (and vice versa). I tried to convey this to a classical cello player and teacher. There was a passage she was saying to accent a certain way, and I said that I thought I was playing it in more of a jazz approach, trying to explain myself. She said "music is music!"- like there was no other way to look at it. There are specifics to different genres, and she's so steeped in classical that she literally didn't know what I was talking about. I have another friend who's a jazz musician who has very little regard for classical and doesn't see much value in studyig it. To each his own, but I really love both worlds, and playing one just strengthens the other. To me it's like rearranging my lving room- all the same elements but looking at the room in a fresh way when you need a change.
We all to varying degrees .Wow. Maybe I'm 1/1,024th black after all!
Opinion of the former violinist : cello is a very problematic instrument in ( classical) jazz, in contrast to violin, which has blues traditions.. I tried to convey this to a classical cello player and teacher. There was a passage she was saying to accent a certain way, and I said that I thought I was playing it in more of a jazz approach, trying to explain myself. .
This is an illusion! They can play the precise notes of a classical piece, precisely written rhythm; but the sound and phrasing will not correspond to the spirit of the work - for this you need to know the biography of the composer, the era in which he lived and worked, the musicians around him, music, literature and painting of that time. In a word - explore the culture!Well, pretty much 99% of jazz musicians today, you can hand them a part and say "play exactly as written" and they can do it; but the pure-classical people freak out when you tell them "don't play it as written; bend the time and swing the eighths and pitch the notes".