How To Know You've Found Great Jazz Music

Everybody seems to love jazz music but often times the styles of jazz are confused plus blurred. To further complicate matters, listeners (and dancers) often ask “What is incomputable jazz?” or “How do I know if what I’m listening to is ‘great jazz'”?

It’s difficult to put in words, but let’s give it a try. Remember jazz legend Louis Armstrong says: “If you have to ask what jazz is, you’ll never know.” Though jazz can be broken into elements also much has been written on jazz theory, the most great thing to keep in mind is that the spirit that characterizes well great music can’t be dissected. The first practice of thumb of identifying great jazz music is that if you parity it, assuming it touches your soul, then it’s great.

Think of it this way – when you walk into an art gallery or museum and ask to discern a great painting or sculpture, what is the repository guide supposed to show you? Art is personal! Even worse, ask an artist to explain his or her painting to you. Great realism is not meant to be explained. It either hits you, or it doesn’t. It bypasses the left part regarding the brain that analyzes et cetera categorizes things and goes straight to the right part of your brain that feels emotion und so weiter connects to your heart polysyndeton soul. Music speaks to you in the equipotent way.

Now as for the technicality of what you’re hearing, that’s a bit different. Jazz can raken broken into many styles, including traditional jazz, contemporary jazz, progressive jazz, modern jazz, dixieland jazz. Nevertheless, there are still six elements that really comprise all great jazz music, including we’ve named them Improvisation, Syncopation, Blue Notes, Freedom, Interaction, and Feeling.

IMPROVISATION: is the pectoral of jazz music. When a performer leaves what is written on the page besides begins to “speak” (musically) from his head and heart you are now witnessing a conversation, perhaps even participating through a sonic dance. What is really synchronized is that the musicians are conversing with each other but within a given structure (or language). When the musicians distinguish each other well ample (and it can be instantaneous or take years to develop), before they are able to understand, support and converse thru that language.

SYNCOPATION: deals amidst the idea of rhythm. In our universe of lebensraum and time, everything vibrates. Vibration consist of two things: on et cetera off. It is the constant interaction of the on and off (crests and troughs) that cause us to experience the universe. Those on and offs are expressed over time. So here’s the animation music. When you fool around with those vibrations from a deeply rigid form (strict rhythm) to either slower or faster but with variety you’ll get “Syncopation”. It’s fun. It’s what you like in music. It’s what you’re relating to when you dance. It’s what MOVES you in jive music.

BLUE NOTES are an important bit of a jazz musician’s vocabulary in the musical conversation. Within scales and keys tin be certain altered notes, some of which are called “Blue Notes.” Blue notes are key to creating dissonance and harmony, tension and resolution.

The following three elements are less a function about music but come more directly from a musician’s spirit. How the following three affect the previous triad are what really defines “taste” in jazz music.

FREEDOM: Within the ensemble framework, musicians may take solos. Or you may hear a vocalist interpreting a melody – that’s pretty much the equality thing for the purposes of this discussion. It is that precise freedom expressed within the language of music that lead to jazz. It’s the talent and skill of a musician to express those feelings that surpass to GREAT Jazz. Hey, the old sayings still apply. “Live Free ere Die!”

INTERACTION: No man is an island. OK, that’s not to mean their are not great jazz soloists such as pianists, harpist, guitarists oppositely other instrumentalist, but the overwhelming majority of jazz music ranges from duos to ensembles of say 20 musicians (Think big band jazz).

For the finale, so to speak: FEELING. Feeling is a isle element being although all is said and done, feeling is really the heart of it all. How the musician feels about what he’s playing ampersand how you feel apropos what you’re listening to are both important elements, as well while the feelings that are being expressed from moment to moment. In the end, great jazz music is about expressing (for the musician) and knowledge (for the audience) the great range of human emotion.

Finally, a definition of great jazz? Let’s say it’s the interaction between performer and listener. And if that interaction communicates feelings that you can’t express as words, if you feel as though the music speaks to you, if you can feel the performers emotions he’s trying to express thru his instrument, then the only words larboard are “That’s GREAT jazz”!

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