![]() ![]() Like Pablo Picasso said “ good artists borrow, great artists steal”. ![]() ![]() Start your free trial now and get access to all the jazz solos and jazz etudes for trombone right away – plus more than 2.000 pages of trombone sheet music. Listen carefully to the phrasing, dynamics, and tone of the trombonist you are transcribing. It is probably the best ear-training out there for a jazz musician, and I strongly recommend you get started right away. That lets you get under the skin of the player, and you will gain a deeper understanding of the melodic lines when you have to figure them out on your own. But the real learning is gained when you transcribe solos yourself. Yes, ready-to-go sheet music with trombone solos is great, and I use both my own jazz etudes and other transcribed solos frequently, both when I practice myself and with my students. Here is a list of some of the tunes you will be soloing over:Įvery note in each solo is there for a reason, and they are written especially for a very special instrument – your trombone! Start your free trial now and you’ll find all the solos in the Jazz etudes section. You will find all the solos from my best-selling book “10 Jazz Etudes For Trombone” plus many more. There are over 100 pages of jazz solos in the member’s section of this site, and more are added regularly. If you signed up for my newsletter, you already got one of them based on Sonny Rollin’s Doxy. They all start easy and the difficulty gradually builds up for each chorus. If you want to play trombone jazz solos, I have written a lot of them based on famous jazz standards. Trombone jazz etudes based on famous jazz standards Both their melodies, phrasing and rhythmical patterns are clear, making it easier for you to catch. If you are new to the world of transcribing jazz solos, I suggest that you start with articulate artists such as J.J. Many times, you will find that what sounds really hip or challenging, is quite logical on the instrument it is played on. Transcribing solos played on your own instrument is smart, even if there might be some technical challenges, you know that it is playable on the instrument. Transcribing jazz trombone players is a good place to start. At the end of each section, a conclusion is drawn detailing why Teagarden’s, Johnson’s, and Watrous’ debut solos were able to captivate audiences and in effect, how they transformed the course of jazz trombone style.There is a lot of good music out there that has already been played! As a jazz player, you can take advantage of that and learn from the masters. This study also offers important and historical insights into how the public reacted upon hearing Teagarden, Johnson, and Watrous for the first time. Each analysis includes an in- depth look at each solo from harmonic, technical, and stylistic points of view. Detailed analysis is also provided for solo transcriptions of three prominent trombonist within the realm of jazz during the same time periods prior to Teagarden’s, Johnson’s, and Watrous’ debut recordings: Miff Mole (1928) Bill Harris (1945) and Urbie Green (1968). ![]() These recordings marked new and innovative styles that the next generation of jazz trombonists would emulate.ĭelineated into three sections, the bulk of this document focuses on the analysis of solo transcriptions taken first from the debut recordings of Teagarden (1928) Johnson (1946) and Watrous (1974). In effect, a “passing of the torch” took place because of their debut recordings. As I discuss later in detail, each man’s debut recording was drastically different from recordings made by other trombonists during his particular time period. The primary argument, as presented within this document, is that these three men ultimately changed the course of jazz trombone style within their respective time periods more so than any of their contemporaries for a number of harmonic, stylistic, and technical reasons. Later in his book, Dietrich also mentions that Watrous became the most prominent “new jazz trombonist” beginning in the 1970-’s and throughout much of the 1980-’s and 1990-’s as well. According to Kurt Dietrich, Johnson and Teagarden are easily the most celebrated trombonists within the history of jazz. When discussing the art and history of jazz trombone improvisation, three names are invariably mentioned as being among the top of the heap: Jack Teagarden, J.J. ![]()
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