Dear jazz friends,
Gregorian mode scales, whole-tone scales, whole-tone/half-tone scales, modes in melodic and harmonic minor, double harmonic minor and, and, and… As a musician who wants to learn to improvise with harmonic structures, you get to know all of these terms over time. In addition, there is a huge amount of lick books on the market. Suddenly you find yourself in front of a mountain of material that you should supposedly master in order to be a good soloist. You end up feeling completely overwhelmed when you realize that you’d need a lifetime to get through it all!
“Jazz Alphabet“ shows you a way to learn improvisation with jazz, pop, funk, Latin and soul cadences in a manageable amount of time from around 1 to 3 years - depending on the amount and intensity of your daily practice. Through this, you develop a jazzy sound which doesn’t sound like the scales you’ve practiced. All of the exercises are musically and traditionally conscious, meaning that your solos will ultimately be understandable and pleasant for fellow musicians and listeners.
This book can be used for all instruments as well as the voice.
This book is available in German only.
Introduction into the secrets of jazz improvisation
With his book “Jazz Alphabet”, Ro Gebhardt, who has worked as a jazz musician and lecturer at many universities, has written a book about improvisation for all instruments. To do this, he analyzed the playing techniques of the great jazz instrumentalists and developed from this a method which is easy to apply. After an introductory section over four chapters in which the player is introduced to general music theory and harmony, the player begins with the basics of jazz and jazz improvisation in chapters five to eight: arpeggios, the Bebop major scale, the Bebop dominant scale with octave breaking, endless chains and free combinations. Lesson 7 deals with the II-V-I cadence and how you can design whole measure cadences within it or how the delayed cancelation works. Lesson 8 deals with the diatonic and chromatic approach in different variations (complex approximation, rhythmic variations and shifts).
From chapter 9, players will be introduced into the deeper secrets of jazz improvisation which is also used in styles such as jazz-rock, fusion, blues or hip hop. You will practice the individual techniques of jazz in detail, such as ornamentation, added tone chords, pure tones, the Bebop altered scale and the Bebop cliché cadences, which will be clarified using countless exercises, which are also recorded on the CD.
The chapter “Solo Transcription” ends this comprehensive jazz alphabet with four solo-analyzes of pioneering jazz musicians. The author has chosen, among others, the following pieces: In Charlie Parker’s “Donna Lee“, the pioneering rhythmic displacement is used, in which the motif is moved back by two quavers each time. Wes Montgomery’s “D-Natural Blues“ is played by him in double time: while the band keeps their original tempo, you’re left with a lot of room for improvisation if the guitarist plays at double speed. George Benson takes Wes Montgomery’s playing one step further - the solo lines in the piece “Stella by Night“ are more perfect, more modern and more bluesy!
More Article from Ro Gebhardt
Lesson 1 - A Huge Amount of Harmony First
Lesson 2 - Compulsory Exercises Before Going Freestyle
Lesson 3 - How do we listen to harmonies?
Lesson 4 - Arpeggios
Lesson 5 - Bebop Major Scale
Lesson 6 - Bebop Dominant Scale
Lesson 7 - II-V-I-Cadence
Lesson 8 - Diatonic and chromatic approximation
Lesson 9 - Playing Jazz Standards I
Lektion 10: Ornaments
Lesson 11 - Added tone chord and chromatic passing tone
Lesson 12 - Mixob9/#9/b13
Lesson 13 - Playing Jazz Standards II
Lesson 14 - Bebop Dominant Scale #11 – Bebop Altered Scale
Lesson 15 - Bebop Cliché Cadences
• born in 1963 in Neunkirchen/Saar
• Studied popular music at the Conservatoire de Musique/ Luxembourg
• Popular music course at the University for Music and Performing Arts in Hamburg
• Studied at the Berklee College of Music in Boston/USA as a scholarship holder with excellent grades
• Master pupil of Mick Goodrick, John Abercrombie; pupil and sideman of Hal Crook
• Studied Arrangement and Composition/ Jazz at the University for Music in Cologne, graduated with honors
• Winner of the Saarland jazz-rock sponsorship award as leader of the band Alegria
• Stephen D. Holland Award for artistic services in Boston/USA
• Finalist at the Concours de Jazz de la Defense, Paris
• Guest lecturer at the University for Music and Performing Arts in Nuremberg, Jazz and Rock School in Freiburg.
• University for Music and Performing Arts in Cologne
• University for Music and Performing Arts in Saarbrücken
• Johannes-Gutenberg University in Mainz – Music Department
• Jazz Workshop Cottbus, Sulzbach Jazz Workshop, Trier Jazz-Workshop, Saarland Jazz Workout
• Kaiserslautern Big-Band Meeting together with Prof. Joachim Ullrich
• Harbor Conservatory for the Performing Arts/NYC
• “Franz Liszt“ University for Music in Weimar
• University of Saarland/ Collegium Musicale, etc.
• Institute of Music and Arts, Malta
He has been an artist since 1989 concentrating on guitar, composing, as well as arranging for jazz, Latin, pop and fusion ensembles in various orchestrations.
Numerous CD Productions