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Aside from knowing your theory and understanding what notes go with what chords, the answer is in your question. Phrasing. Phrases, just like spoken language. Breathe, pause, accent, get quiet, get loud, shift rhythms. Don't just ramble through run-on sentences of notes. Learn to sing in your head or out loud as you play. Rhythm is so import and to phrasing. ...


2

Here are a few things that jazz players play over a dominant chord and give a 'jazzy' sound Let's say the chord that is being played is G7. What you can play is: G#o Arpeggio (G# is b9 of G7, so that note can also be added in the chord) G# auxiliary diminished scale If the chord is G7#5, you can play the whole tone scale. If the chord is G7(alt) (which ...


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Reharmonization of the chord progression so as to provide different target tones for your improvisation. That's what it boils down to. I recommend you learn reharmonization techniques.


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If you are talking about improvisation, every jazz musician must get to know how to get the phrases. Everybody is different. You should know what jazz types are you. Swing, ska, blues-jazz, fusion, rock-jazz, etc, you can choose more than one, so it'll make you unique. Then you choose your favorite artists. Perhaps if you chose blues-jazz, you can pick Jimi ...


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While is very tempting to approach improvisation focusing on phrases and licks, your solo may sound very awkward if you play unrelated chunk of melodies/ideas without thinking about beginning/development/ending. One aspect I love - and judge to be very important - about jazz improvisation are 'motifs', and you can't really apply that to a single phrase. ...


4

You know what you should do is learn jazz tunes. Learn the heads on the standards then worry about improvisation. It is limitless what can be done in the Jazz world but you have to know fundamentals. Your second post is too general, so I am assuming you need to learn standards and listen to a lot of Miles and look at transcriptions of his playing. Start ...


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It's not just the smokers themselves that smell of cigarettes. I lent my soprano cornet to a dep player who was a smoker and the instrument was in a revolting state when I got it back. It stank, and I had to wash it inside and out several times and polish it hard to get it back to its original state. It was horrible.


6

I've been searching online, talking with musicians about this, and here are some techniques I retained, with some interrogations : Get out of scales from time to time Totally off-scale, no limit (really?) Play a riff and play it elsewhere For instance and play it off one half-tone higher, and then come back / play it a half-tone higher again Ascend and ...


2

Wide mouthpiece - easier, more volume. Small mouthpiece - higher notes easier to control, more compressed tone.



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