Jouer « out » comme Brecker : analyse complète



Analyse du jeu OUT dans le mode mineur par Michael Brecker.
Relevé dans Impression dans le disque de Mc Coy Tyner.


Après avoir relevé le solo de Michael Brecker sur impression dans le disque de Mc Coy Tyner « infinity », je comprends d’où viennent ses phrases out.

Il semble sauter de deux notes en deux notes, ou de trois en trois, de la triade d’origine, Mi mineur pour le ténor, à celle située un demi ton en dessous, Ré dièse mineur.

En fait, l’analyse exacte est qu’il utilise la gamme augmentée située un demi ton sous la tonalité d’origine.
Nous sommes en Mi mineur et il joue la gamme de Eb augmentée (gamme augmentée = une tierce mineure, un demi ton,une tierce mineure, un demi ton...)

Mais...monter ou descendre cette gamme ne fait pas sonner comme Brecker...

Il semblerait qu’il choisisse d’organiser sa gamme augmentée comme ceci :
il utilise, contenus dans la gamme , l’arpège majeur de G et l’arpège mineur de Eb.
Et il saute de deux notes en deux notes, ou de trois en trois,de l’un à l’autre, avec (et c’est important) l’idée que l’arpège de G est la résolution de l’arpège de Ebm

voici un exemple pris dans le solo de Mike :

allez hop au boulot !! application en impro dans les 12 modes mineurs ...

A bientôt !




21 commentaire

Jean-Marc Pron Le 12/09/2014 à 00h21.

Merci Michael, je vais bosser ça, ça me plaît beaucoup !
Je cherchais une voie pour jouer out, en voilà une qui me plaît.
C’est vraiment de la balle ton tuyau, quand on mélange les trois évidement Em(7)(9), G et Ebm en triade ou en arpège augmenté (ce qui je reconnais est beaucoup plus limité et reconnaissable), ça joue tout seul, tu peux être sur que je vais faire 12 fois l’exercice :-)

Je suis contrebassiste, je t’ai vu sur youtube, on voit bien que tu sais trés bien de quoi tu parles, l’américain y s’est vite calmé on dirait... Mon avis sur ce brave monsieur c’est que je ne sais toujours pas si il joue out mais par contre je suis sur qu’il est "out of africa" comme on dit chez nous, ou plus simplement qu’il a perdu une belle occasion de se taire.
En tous les cas Bravo et merci pour ta Musique, sincèrement.
et si tu as d’autres idées comme ça à partager généreusement, je suis preneur bien sur.

Bonne continuation avec ton quartet aussi, dis moi si tu joues vers chez moi, j’habite toulon !

À bientôt j’espère :-)

Jean-Marc

Michael CHERET Le 12/09/2014 à 08h58.

Merci Jean Marc , un peu de soutien est toujours bienvenu pour me motiver à alimenter ce site et partager autour de la pratique musicale.
je prépare (pour debut 2015) d’autres pistes de travail de l’impro à vous proposer mais cette fois en vidéo !
à bientot , peut etre à Toulon .

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Benjamin T Le 29/01/2014 à 12h42.

Et bien moi je remercie Michael pour ses transcriptions. La transcription est une technique d’apprentissage du Jazz depuis longtemps. Elle fait partie d’une tradition de transmission orale, adaptée à une époque où nous disposons d’enregistrements des maitres, ce qui n’a pas toujours été le cas.

Transcrire c’est apprendre à phraser, se placer, faire sonner des couleurs que ni l’inspiration ou la théorie seules ne nous permettraient de concevoir.

Pour phraser ’Jazz’, il faut avoir passé du temps à jouer ’avec’ Charlie Parker, Rollins, Tom Harrell, etc, etc. Tout comme on apprend à parler en imitant ses parents. Accessoirement, ca developpe l’oreille. En situation live, il n’est pas inutile d’être capable d’entendre vraiment ce que les autres jouent. La transcription aide aussi à ca (il est donc important d’en faire soi-même, quelque soit la qualité de celles qui sont à disposition sur le net).

Celà ne signifie pas que l’on se contente de ca. Ensuite on trouve sa voix/voie.
Analyser une transcription c’est comprendre ce qui fait sonner un solo, comment il fonctionne.
Il faut, pour ce faire, être armé d’un minimum de connaissances théoriques. Sinon, c’est simplement indecodable !!

Charlie Parker, joueur intuitif, inspiré, rapide, naturel, s’est interessé à la théorie. Marc Ducret, autodidacte contemporain, a appris en transcrivant les boppers et quelques grands de ECM. Il a créé son langage grâce à eux et Russell, Bartok, Tristano, etc ...

Les musiciens indiens apprennent avec un maitre qui leur fait chanter note pour note, soupir pour soupir, inflection pour inflection, des phrases musicales.

Les compositeurs classiques connaissent ce qui s’est fait avant eux, travaillent sur les grandes partitions et en tirent les conséquences pour eux mêmes. Ce n’est pas de la transcription mais bien un équivalent dans le cadre de la musique savante écrite.

La théorie ne dit pas comment faire de la bonne musique. Transcrire ne fait pas un bon musicien. Mais l’un et l’autre sont INDISPENSABLES. Aucun Jazzman ne prétendra le contraire. A moins de jouer quotidiennement avec des grands, dans une relation d’apprentissage direct. Pas evident ! Et même là, nous avons des decennies de Jazz derrière nous, une multitude d’approches et de langages. Alors transcrire est bien incontournable. Et ca n’empêche pas le naturel et l’originalité. Au contraire. Ces deux qualités sont à ce prix là, à mon avis en tous cas !

Merci encore pour ces transcriptions !
Continuez ce précieux travail.

Michael CHERET Le 29/01/2014 à 13h51.

Merci beaucoup , ce message me va droit au coeur .Prendre le temps d’écrire ces mots...c’est vraiment cool. Ce blog a été créé pour l’échange et beaucoup se servent sans échanger. Du coup ca fait du bien un retour positif.
Vous etes le/la bienvenu(e) pour donner votre avis , partager votre expérience de travail , ici quand vous voulez.
à bientot

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logan Le 11/02/2013 à 11h34.

Hello sir ;
It was not my intention to be abnoxious.
But i agree with u. sometimes i am fierce, that’s because i’m an impassionate of improvised music.
I feel responsible a little bit.
How i practice ?
I play a tought intrument call the guitar ( humor), fingering plays a very important role, i have to practice in different positions, every scale and argeggios, different fingering too. It takes lot of time to keep oil ;
I think differently on the music i’m working out, the music sometimes give the way to think. for e.g you won’t think the same way when u play Autumn leaves by contrast to Giant Steps. ( i call it cartesian mind)
so i play both scale tone and chords tone. i used to play scale tone a lot before. But i realised i sometimes lose the self consciousness while playing. Now i work out more than 70 percent chords tones and the remaining scale tone.
i work on ideas.
lets take for e.g impression, the D-7 last for 8 * 2 bars i think. i will substitute my chords to it. This is the ability to do this substitution that make the greatest musicain Brecker, Coltrane, Mr Pat Metheny, Mr Chick Corea, and some few more. ( once i hear Mr Pat Metheny said, on an interview, that he can hear all the extensions and the alterations on a particular chords, i don’t believe that, but he is very smart fella, but not a mathematician)
i can’t justify the chords substitution though, anyway it will give birth to a lot of writing i beleive to try to justify it. ( i think it like some guys trying to prove conjectures in maths), that’s what i beleive you were trying to do with Brecker impro.
But i check every axioms in music, it takes lot and lot of time again. and every musicains have to do that.
Sometimes i just play the real book i read and improvised over the chords. it is more quantiy playing than quality playing. We r musicians we r also human, not a machine, we r not perfect ( that’s why i never judge a musician)
There r lot of things to say on my playing. i’ve been playing for 22 years now, all style, i start with gospel to classical, to standard accompagnist , to improvised music. There r things to take in every style and things to live behind.
i don’t wanna become a theorician of music ( i don’t wanna prove conjectures) u r one of that kind i believe, hope u become some George Russell kind of musician someday, maybe u r one already. that’s not the path i have chosen though.
In your endeavour, i wish u the best.
Faithfully,
logan

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logan Le 8/02/2013 à 10h58.

hello sir,
Don’t be sensitive.
i feel sarcasm in your writing thought, it’s quite unpleasant. Because i ve not been sarcastic in my writings.
i’m not lucky but smart and hardworker, Cartesian minded, thinker, listener. Call it whatever u want.
i listen to u on youtube with Mr liebman ( that’s how i hear about u) i don’t judge, music speaks louder than words.
i was just sharing my point of view of what i beleive the stuff musician should be made of. That’s what it is all about.
Thank u for the informations u indirectly pass on to me about your improvisation endeavour, u enlighten me.

cheerz.
logan

Michael CHERET Le 9/02/2013 à 16h31.

Mr Logan ,
i love the idea to share your point of view here , it’s the purpose of this blog and you’re welcome here, but i was a bit upset by your way to express your ideas there , in what i felt as a negative way.
i felt incriminated but perhaps i took it the wrong way...i’m sensitive yes ! hopefully ! because i’m a musician.
Anyway , you’re always welcome here to talk about music and tell us about your own way to practice.
See U soon .

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logan Le 8/02/2013 à 01h55.

Hello Michael
I understand your arguments.
you transcribe to get the idea behind the music( hopefully) Not the phrase or whatever the heck some feeble minded musician do.
I understand that. It ’s a way of doing things.
But if Michael Brecker or Coltrane or Miles become the source for gathering knowledge for u. Then where do those guys get there knowledge ? do u really think that they transcribe others for ideas ? do u really think that ?
I mean transcription is good but it must not be the primary source for knowledge.
I don’t beleive that those guys learn phrases and r committed to memory when they perform, they work on ideas , and u must really be justifiably confident with the ideas to apply them. How can u be justifiably confident with an idea if it is not yours buddy ?
Don’t u think there is something much greater than just transcribing others. Chopping the music, the chords, the scales etc. Don’t u think that some musician like Coltrane and others of the same caliber do more than just transcribing they create things in music, they bring something new, they make things happen.
Think it like writing a dissertation some guys r more intelligent than others and will analyse and comment things and come with ideas that are profound, new and true. some others will just do some googling and copy paste the work done by others. who is the best essayist then ?
The end result may be the same but they may both get an A + but there is a great deal of difference between the two don’t u think ?
I am truly sorry for being an annoying Bart Simpson here sir, but i understand everything of Brecker playing i mean understand the idea behind the music not the music itself ( that would be too easy). I don’t know u i don’t judge but if this is route you have taken it is a difficult one.
Faithfully,
Logan

Michael CHERET Le 8/02/2013 à 09h36.

Mr Logan ,
did i say that’s my only way to work ?
wasn’t i just choppin the scale in that case ???

did you had the curiosity of goin far away in my website before writing these lines, to listen to what and how i play ?
do you find listening to this that i imitate Mike Brecker or anyone else ?

Mike was transcribing Bird , but hopefully it wasn’t his ONLY source of work.
Do you thing Brecker never transcribed a solo of Coltrane ??
Kenny Garrett is transcribing Lester Young BUT he doesn’t play like Lester.

And anyway, i assume that i’m « just following » Mike Brecker and not being a genius like he was .
i’m shurely not that kind of genius and i’m at least happy to follow these masters.

Are you a genius yourself ?

please tell us how you practice
Share with us some musical material as you understand everything of Mike Brecker’s playing (waouuuu , lucky you are , i’m not in that case for shure )
that would be interesting, and generous from you.

Lisaa Simpson.

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logan govinden Le 7/02/2013 à 12h25.

hello sir,

My name is logan.

i think u get it all wrong concerning Brecker impro.

He sound like a truck going down the hill right, but it is not out.

He is just improvising on chords substitution. using the scale on the proper substituted chords.

if you listen to the improvisation on impression with Rembrandt Frerichs( piano)and do comparison with Mr Tyner music.

just transcribing the solo, is not enought to get the gist or insight of the music it would be to easy. don’t u think ?

God bless u.

Michael CHERET Le 7/02/2013 à 13h48.

Hello Logan , it’s a pleasure to talk about Mike Brecker with you.

i would like to say first that i can’t be wrong , just because i explain that it’s my interpretation of his chorus , just to find my own way to work it to make it become my stuff.
there is no right or wrong in that...

to talk about terms , you can call it out or not , or modern or whatever. i jus call it out compared to the original changes of the tune. i could also say "far away"

And you’re completely right about thinking when you transcribe a solo to pay attention at what is playing the piano at the moment !

But...in that case i think that Mike is not responding to the changes of Mc Coy but HE IS playing that scale and Mc COY is following in the right way for it.But again it’s my interpretation of it.
anyway all of this doesn’t change anything about what i propose : just a way to think and work on a scale to make it music , my music , and perhaps yours if you like it.
if you’d like to share your personal dailywork on improvisation with me and others here , it would be great for all of us !

wish you the best.

(that’s what Mike wrote for me on this transcription as a decdication when i brang it to him 6 years ago in Paris)

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Concerts


  • Le 17/08/2017 : Art Pepper +11 à Bourg en Bresse

    Dans le cadre des Jeudi du Kiosque, à 20h, Square des Quinconces 01000 BOURG EN BRESSE (Angle du bd Maréchal Leclerc et av Alphonse Muscat).
    Voir aussi l’article que nous avons eu aux Etats-Unis sur notre groupe.


  • Le 21/08/2017 : Presles en quintet le 21 aout

    Concert en quintet avec le saxophoniste invité Sébastien Jarousse. Au programme des compos, des standards en mode Bergonzi. Un saxophoniste coltranien à découvrir absolument.
    Entrée paf au choix !
    Salles des fetes de Presles, 20h30.
    Pour diner avant il est indispensable de réserver à l’auberge de Presles.


  • Le 22/08/2017 : 22 aout à Presles

    Concert Michael Cheret trio à la salle des fetes de Presles, 20H30 --->Boeuf à la fin !!
    Jazz standards : piano contrebasse et saxophone.
    Entrée paf au choix.
    Pour diner avant il est indispensable de reserver à l’auberge chez Ezio.


  • Le 23/08/2017 : 23 aout concert des stagiaires à Presles

    Concert des stagiaires + jam session ouverte à tous !
    Venez faire la fete avec les stagiaires sax et une rythmique pro. Entrée gratuite
    salle des fetes de Presles 20h30


  • Le 31/08/2017 : festival jazzaccord (Lentilly) Jim Rotondi 5tet

    Le french quintet de Jim Rotondi ! Du grand jazz à la New-yorkaise ! C’est à Lentilly , salle de la passerelle. Ici le site du festival


  • Le 04/09/2017 : Vandojam Sunset Paris le 4 sept.

    Vandojam hommage à Joe Henderson + jam session Sunset jazz club,
    Special guest au premier set : Balthazar Naturel.
    Paris, 60 rue des Lombards métro chatelet. 21h, gratuit. Come by and play !