Lennie Tristano's teaching method, followed with a guitar

Lennie Tristano’s teaching method, followed with a guitar

Written by: Zoltan J. Polgar

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Contents

Introduction …………………………………………………………………..…………………………….…….............. 2

Biography ………………………………………………………………………………………………….………..…………. 3

Influences ………………………………………………………………………………………………………….…..……….. 4

Horn players …………………………………………………………………………………….…………….…… 4

Guitarists ………………………………………………………………………………………….……..……….... 5

Pianists …………………………………………………………………………………………….…..………….…. 5

Lennie Tristano as a teacher ………………………………………………………………………..…...……..……. 6

The Concept …………………………………………………………………………………………..………..….. 7

Nature of the lesson …………………………………………………………………………….……..………. 8

The Elements ……………………………………………………………………………………….……..………. 9

Ear training …................................................................................................. 9

Scales ……………………………………………………………….………………………….………….. 9

Keyboard harmony ………………………………………………………………………………….. 10

Harmony …………………………………………………………………………………………………. 12

Singing improvised solos …………………………………………………………………………. 13

Rhythm ………………………………………………………………………………………………….… 16

Mixed meters ……………………………………………………………………………………….…. 18

Melodic fragments …………………………………………………………………………..……… 19

Structure of the solo ……………………………………………………………………………….. 20

Learning the melodies of the tunes …………………………………………………………. 21

10 step method by Lee Konitz ……………………………………………………………….... 22

Technique ……………………………………………………………………………………………..… 24

Time and Metronome ………………………………………………………………………….….. 24

Visualization and practicing away from the instrument ……………………….….. 24

Relaxation and Posture ………………………………………………………………………….… 25

Playing sessions ……………………………………………………………………………………….. 25

Conclusion …………………………………………………………………………………………………………………..... 26

Quotes ……………………………………………………………………………………………………………………….….. 27

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Lennie Tristano’s teaching method, followed with a guitar

Introduction

Tobehonest,beforeIcametotheConservatoryIhaven’theardanythingaboutLennieTristano,hismusicandhiswayofteaching.Inthethirdyear,HansMantel,myjazz‐historyteacherstartedalessonwithplayingtherecordingofWarneMarsh–Marshmellows.Hedidn’tsayanythingbeforethat,thereforeIhadnoideatowhoandwhatwerewegoingtolistento.

Iclearlyrememberwhathappenedinmyheadatthatmoment.Thesongstartedwithanintroof8barsofdrumswithbrushes,veryup‐tempo,verymuchstraightahead.Thenthemelodystartedwithtwosaxophones,andittotallyblewmeaway.Ihaven’texperiencedanythinglikethatbefore,sofree.Theflawlessmelody,goingeverywhereupanddown,butsomehowwithagreatstructuretotallytookallofmyattention.Afterafewbars,itwasclearthatthechordsarefromCherokee.

Afterthesongfinished,Hansexplainedalittleaboutit.HeexplainedthatWarneMarshwrotethesong.Warneplayedthetenorsaxophone,LeeKonitzthealto.TheywerebothstudentsofLennieTristanoandtheyplayedandpracticedalottogether.ThesongisaresultoftheteachingmethodofLennieTristano.ThatwasthefirsttimeIheardLennie’snameandmusic.SinceHansintroducedLennieTristano,heputonthesong:Lineup,byLennie.Thereisarhythmsection(drumsandbass)andpiano.Thewholesongisalinearimprovisationover„Allofme“.ThisishowImetthismusic.

Theeffortlessandeasyfeelbehindthesongshadaverybigeffectonme.IgotverymuchinterestedinthestyleandIstartedtolistentoitalot.Iwasfeelingalotofknowledgeandveryhardworkbehindthemusic,andthatattractedmeevenmore.InthebeginningofthefourthyearIdecidedtogetintothismusicmyselfandstarttostudymusicfollowingthemethodofTristano,fromthebeginning.

Istartedreadingsomebooks(formethemostcomplexisthebookofEumniShim:LennieTristano–hislifeinmusic,Ibasedmythesisonthatbook,becauseithasaveryclearstructureabouthisteaching)andinterviewswithhisstudents.TherearealsosomenicedocumentariesonYouTubeonthissubject.(Forexample: http://www.youtube.com/watch?v=Pvk0U3FTWzQ; LennieTristano‐ManhattanStudio1&2(doc.)[1983].)

Tristanowasalwaysveryhonestaboutmusic,thereforeIwanttosay,thatIstartedstudyinghismusic3monthsago.Someofhisstudentswerestudyingwithhimformorethen10years(SalMosca14yearsforexample),soIamverymuchinthebeginning.StillthereasonIchosethisasthetopicofmythesisis,becauseIseeitasaplanforthecomingyears,howandwhatkindofmaterialIwanttopractice.MygoalisnottobecomeamasterofthisstylebutIfinditveryimportanttostudyitdeeply.Justfortheknowledgeofmusic,myinstrument,songs,thespontaneous,improvisedfeeling.

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IntheendLenniewasaimingfortheabilitytoplaywhateveryouhearatthemoment.Alltheexerciseswereservingthispurpose,toachievefreedominmusic.InthisthesisIwrite:‐AveryshortbiographyofTristano,onlythemostrelevanthappeningsthathadabigimpactonhisteachingandplaying.‐Imainlyfocusonhisteachingmethod,howheguidedhisstudentsandalittlebitabouthisbehaviortowardshisstudents.‐SinceIamaguitarplayer,IalsoexplainhowIwouldplaycertainexercisesontheguitar.‐IintroduceLeeKonitz’s„10stepmethod“howtoimproviseonatune,usingthemelodyasthesourceofideas,sinceit’sverymuchconnectedtothistopic.IpersonallybelievethatitcandefinitelyhelpyoutoachievethefinalgoalofLennie,tobeabletoplaywhatyouhearatthatmoment.

Biography

LeonardJosephTristanowasborninChicagoonMarch19,1919.Accordingtohisreminisce;hewasalreadyplayingattheageoftwoorthree.BarryUlanovreported:„Sincehisfourthyear,he’dbeenabletositdownatthepianoandworkoutsimpletunes“.1

Hewasbornwithweekeyesightandbytheageof9asaresultoftheSpanishfluhewascompletelyblind.

LennieattendedtoaclassforhandicappedchildreninChicago.Howheremembered:„Theplacedoesoneoftwothingstoastudent–eitheritmakesanidiotoutofhim,oraperson.Iwasluckyenoughtofallintothesecondgroup.“2Tristanowasstudyingpiano,clarinet,saxophoneandcello,leadinghisownband,engaginginteamsports.

Between1934andJune1938hiscourseworkconsistedof:English,algebra,Latin,science,geometry,ancienthistory,U.S.historyandcivilization,biologyandgymlessons.Hefollowedpiano,celloandorchestraduringthesefouryearsalso.(Healsotunedpianosinschool).BillBoaz,afellowstudentofhimrememberedthattheywerelisteningtogethertojazz,forexampleLouiseArmstrong,RoyEldridge,EarlHines,andLesterYoung.

From1938till1943hewasastudentoftheAmericanConservatoryofMusicinChicago.InJune1941hegraduatedwithabachelor’sdegreeofmusicinperformance.Hestayedforanothertwoyearstotakegraduatecourses.HisteacherfromIllinoisSchoolfortheBlindwarnedtheschool„topayparticularattentiontothisboy,becausehe’sgoingtodoeverythingfasterthanyou’reusedto.“3

TristanomostlyreceivedA‐sandB‐s.Hetookvariousclassesinmusic:piano,counterpoint,keyboardharmonyandeartraining.Alsopedagogy,analysisandform,harmonyreview,musichistory,composition,pianonormal,andorchestration.

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HestudiedBach,Beethoven,Weber,Mendelssohn,Schumann,Liszt,Debussy,andChopin.

HealsostudiedEnglishcomposition,introductiontopsychology,educationalpsychology,aestheticsandcriticism,principlesandmethodsforinstructiveeducation,socialpsychology,secondaryeducationandlogic.

Tristanofoundtheconservatoryreallyeasy,heremarked:„Youknow,theyweregivingmeexercisesontheoryandharmonythatweresupposedtotakeaweektofinishandIwasknockingthemoutinhalfanhour.“4

LenniemovedtoNewYorkCityin1946.

Influences

IcollectedTristano’smaininfluencesaccordingtohim.That’struethatRodolfoNeveswroteitinhisthesisalready,butIfindthisanessentialpartofTristano’smusicaldevelopment,includingteachingmaterial.

Tristanowas„moreinfluencedbyhornplayers“5,especiallyCharlieParkerand

LesterYoung.AmongtrumpetestsRoyEldridgeandFatsNavarro.AmongpianoplayersEarlHines,BudPowell,TeddyWilsonandArtTatum.OtherssaidalsoBillyHolidayandFrankSinatra.LaterheaddedFreddieHubbardandDianaRosstohislist.

ThereasonwhyLesterYoungandCharlieParkerwerethetwobiggestinfluencesonTristano’sdevelopment,becauseheconsideredthemastrueoriginals.

Horn Players:

„LesterYoungwasoneofTristano’sfavorite.He„wasagreatgenious.“6

Tristanodistinguishedbetweenfeelingandemotion:„Formypurposesemotionisaspecificthing:happiness,sadness,etc.WhenIlistentotheOldCountBasieBandwithPres,itisimpossibletoextracttheparticularemotion,butinafeelinglevelitisdeepandprofoundlyintense.Feelingispracticallybasictojazz“.7

ForhimLesterwasacompletemusicaloriginalandhismusichadtheperfectbalancebetweenfeelingandthestructurallogicofhislines.

ThecoolersoundofLester(incomparisontohiscontemporaries),thekindofvibratoattheendofthelines,articulation,thelegatofeelforthemusicalline,andtherhythmicalconceptwereessentialinhisstyle,servingasbasisforthesocalled“Tristano

School”.

HeconsideredLester’ssolosprimeexamplesofthelinearapproachtoimprovisationtakenastepfurtherwithParker.“7

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CharlieParker:

TristanoconsideredParkerasatrueoriginal.HefirstmetParkerin1947andfeltstrongempathywithhim.Parkeralsohadacaringpersonality,asLennieremembered:„Birdwassittingonthesidelistening.Soheverycasuallywalkeduptothepiano....Hetoldmehowmuchheenjoyedmymusicandwhilehe’sdoingthat,hekindofputshisarmaroundme,andwe’rewalkingoffthestandtogether.Sohe‘sdoingboththings.He’stellingmehowmuchheenjoyedmymusic,buthe’smakingsureI’mnotgonnabreakmyneck,either.“8Thiswasthefirsttimetheymet.

Parker’sfreefeelinhismusic,playingoverthebarlineswithstrongbeboplines,

strongrhythm,andbebop‐phrasingmadehimoneofthemostimportant„teachingmaterial“forTristano’smethod.

“Numberone,Birdwasamusicalgenius.WhetherhehadbeenborninChinaorCzechoslovakiaorRussiaortheUnitedStates,whetherhehadbeenwhite,black,whatevercolour,hewouldhavebeenagreatmusicalgenius....Inthesecondplace,theintelligence,thebrilliancethatyoucouldsensefromBird,youcanhearitinthewayheputshismaterialtogether.”9

RoyEldridge:

AsTristanosaid:myfirstelectrifyingmusicalexperience.....Eldridgeprofoundlyinfluencedmymusicaldevelopment.“10

Roywasaleadingtrumpetplayerintheforties.Heusedadvancedharmonicsubstitutions,includingtritonsubstitutions.

FatsNavarro:

Apioneerofbebopandjazzimprovisationintheforties.

Guitarists:

CharlieChristian:„themostswingingplayerever“11.Hehadaverystrongfeelingtosyncopation.Tristanowasalsoamazedbythecoherenceofhissolos:„it’sperfect,onechorusandit’sdone“.12

Pianists:

ArtTatumwasadeterminativefigureinthehistoryofjazz‐piano.Tristanostudiedhisstyleverydeeplyintheforties:„Asapianistin1944,IhadreachedthepointwhereIcouldrifleoffanythingofTatum’s–andwithscandalousefficiency.“13

SalMoscasaid:„SammyDemaro,apianist,heardhiminChicago.Hewaswalkingalongthestreet,andheheardArtTatumplayingandranbackdownstairstohearhim,anditwasLennie.“14

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That’saclearfeedbackhowmuchTatuminfluencedTristanosdevelopement.He

couldplayandsoundalmostidenticalasArtTatum.Thenashiswife,Judysaid,whentheyfirstmet,LenniewasquittingplayinglikeArtTatum.

Lenniegainedveryprecisedtechnicandfingering,andalsoandadvancedlevelofharmonicknowledge,throughdiggingdeeplyintoArtTatum.

BudPowell:JudyTristanorememberedthatLenniewasverycriticalwithallmusiciansbuthealsoexpressedhisappreciationtowardssomeothermusicians.BudwasLennie’sabsolutecontemporaryfavorite.

„ThewayBudplayedthepianowasneverdonebefore....ThewayBudarticulatesnotesisabsolutelycompletelypersonal.Everynotesoundsthewayhewantedittosound....Budgiveseverynotehiscompleteindividualattention.”15

„IplayedoppositetoBudalot.Itbegantogetintomyownfeelingandmyownapproachtothekeyboard,whichistosaythatyounotonlytransmitwhatyouhearbutwhatyoufeelonthemostprofoundlevel,whichmeansyourfingershavetoreproducenotonlysoundsbutfeelings.”16

Lennie Tristano as a teacher

Lenniewasoftencitedasoneofthefirsttoteachjazzimprovisation.ForLennie,teachingtookaveryimportantroleinhislife.Therearemultiplyreasons,why:itwasamoraldutyforLennietoteach;in1977hedescribedhimselfasmoreofateacherthananartist.17

In1969heexpressedhimselfthisway:„It’sbeautifultoassistpeopleindevelopingtheabilitytocreate.“18

Lenniemadehislivingbyteaching,becausehedidn’twantthemusicindustryto

influencehisownwayofplayingandmusic.TeachingbecamesoimportantforLenniethatheperformedlessandless.Hehad

reachedapointwherehecouldn’thandleanymorestudents,sohehadtokeepawaitinglist.Hehadfour‐fivehundredayear,butheneverrevealedthenumberofhisstudents,becausehewasafraidofhavingtopayincometax.

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The Concept InthebeginningTristanodidn’tknowhowtoteach,hesaid:„studentswho

wantedtolearntaughtmehowtoteach.“19

Thejazzmusician’sfunctionistofeel.Hestated:„Youhavetobeinfluencedbyallgreatmusicians,nomatterwhatinstrumenttheyplay,becausetheessenceofjazzisfeeling,it’snotreallythenotes,it’sthefeelingbehind.“20

Themajorgoalwastobeabletoplayimmediatelywhatyouwerehearing.Thisrequiresgainingfullcontroloftheinstrument.Thereforeallthetechnicalissuescouldn’tholdthemusicianbackfromthemusicalideatheywantedtoplayattheparticularmoment.Inordertodeveloptheunderstandingfortheso‐called„feel“hewastalkingabout,thestudentshadtosingimprovisedsolos,withtherecords.Iwillexplainthereasonofitlater.

VictorLessersaidthat:„Lennie’sthinghadalottodowithplayingveryintuitivelyandbasicallyjustdevelopingyourearstothepointwhereyoucouldhearalotofgreatlinesinyourheadanddevelopingyourchopstothepointwherewhatevermusicwasinyourheadwouldjustflowoutofyourinstrument.“21

Tristanoendeavoredtoteachallthedifferentelementsofmusicinonepackage,

andthisremainedasamainideabehindhisteachingconcept.In1962hesaid:„I’mnotinterestedinteachingparts,onlythewhole.Thewholeisgreaterthantheparts....Birdwascertainlygreaterthanallhislicks.That’swhytheimitatorsarenotgreat.They’reonlydoingtheparts.“22„Nowadaysmusiciansareinterestedinchops,technique,andvocabulary.ButIdon’tteachthatway.NowIhaveshort‐livedstudents...Theyareshort‐livedbecausetheywantparticularthings.Theydon’twantthewhole....Iteachfromtheconceptualpointofview–accordingtotheindividual,ofcourse.“23

Themajorelementsofhisteachingwere:eartraining,scales,rhythm,singingimprovisedsoloswithrecords,andkeyboardharmony.Thestudentsworkedonmanyexercisesatthesametime,whichhelpedthemgainingafullcontrolofparametersinvolvedinimprovisationthroughandorganicdevelopment,andmostoftheexerciseshadtobedonebyallthestudents,regardlesswhattheirinstrumentwas.

Lennieemphasizedtheimportanceofdiscipline,consistency,andconcentration.Thebasicstudieswereverysimilartoclassicalmusic.WarneMarshremembered:„Thestudentteacheshimself,that’sthepoint,theteacheristheguide.Sotheclassicstudiesinmusic,therudimentsofharmony,ofmeterandofrhythmcanbetaughtprettymuchastheyareinclassicalmusic....AndIfeelthatI’vehadoneofthebesteducationsavailablethroughLennie–andessentiallyallIdoisturnaroundatpassthatontomystudents.“24

Lenniewasademandingteacher.Herequiredthatthestudentslearnthematerialcompletelybeforetheywouldmoveon.Somedescribedhimasataskmakerwhoinsistedonperfection.SalMoscarecalled:„ifhegaveyousomescalestoworkon–likethemajorscales–hewouldn’tdoanythinguntilyoulearnedthem.Orifhegaveyousomechordstoworkon...hewouldheartheminallkeysandhewouldn’tmoveuntilyouplayedthem.Hewasthoroughbutnottothepointwherehewasastrictdisciplinarian...Yethewasthereasanintegralpartofif.“25

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TherewasamoralisticelementinTristano’steaching.Manystudentsthoughtthatheembodiedtheprinciplesofhisteachingthroughhisdevotiontohismusic.Asanexample,especiallyfromthelaterperiodofhisteachingcareerhediscouragedstudentsfrombecomingworkingmusicians.„There’sjustisn’tmuchwork“.26„ifyoureallywanttodoitinadeepway,you...makeyourmoneydoingsomethingelse.“27

Nature of the lesson OnthefirstlessonLennieexplainedhisstudenthisapproachtoteachingand

studyingwithhimrequiresalotofworkandpreparation.LennieAzzarellosaidthatafterhistalkwithTristano,jazzbecamesomethingthathecouldtouch,ademystifyingexperience.

Thelessonswerequiteshort,fifteen,twentyminutes.Lenniewasreallystrictsometimes,forexampleifthestudentmadeamistake,he

sentthestudenthometopracticemore,becausetheexercisewasnotfullyprepared.TristanopresentedhisteachingtowardsJonEaston,apianostudent,thatthey

aregonnaworkonseveralelementsatthesametime:‐Eartraining:learningtohearandidentifyeverythingfromanintervalthroughthetriads,7th,9th,11th,13thchordsinalltheopenandclosedinversions.

‐Keyboardharmony:beingabletoplayalltheaboveineverymajorandminorkey.

‐Harmony:beingabletoputallthismaterialtogether,soitmakesmusicallogicalsense.

‐Singingwithrecords:learningtosingwiththesolosofallthegreatjazzimprovisers.Thisdevelopsabilitytoimprovisebecauseknowingallthegreatimprovisershelpsyoudevelopyourownimagination.

‐Rhythm:learningtofeelandunderstandallthesubdivisionsplus2against3,3against4,4against5,etc.

‐Technique:weusetheclassicaltechniqueplusthetechnique,whichlensitselftoimprovising(allthosefingerings).Firstapproachtoimprovisingisdevelopingamelodiclineintherighthandwithachordaccompanimentinthelefthand.

‐Beginning:presentallaspectsofmusicatthesametimesothattheyareintegratedtogether,asopposedtotheconservatorywhereit’sallscattered.Thecombinationofallaspectswillmakeitpossibletoimprovisethemspontaneously.

‐Learningstandards:inordertogetintoimprovisingyouhavetolearntunes.“28

‐Composinglines:ondifferentstandards,usingthetechniquesofear‐training,harmony,keyboard‐harmony.Latertheselinesbecamethemelodiesofcertaintunes.

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The Elements

Thebasicinformationwasthesameforallthestudents,buthestillmadethelessonmorespecifictotheparticularinstrument.Forexamplethefingeringsandvoicingsforpianoplayers,breathing,fingeringsandtonguingforsaxophoneplayers,independencefordrummers,etc.SinceIamaguitarist,IamgoingtogivesomeremarkstotheexercisesImentionlater,aboutthewayIpracticehismaterial.

Ear training: Atfirst,studentswereaskedtoidentifytheintervalsthatTristanoplayedonthe

piano,andthentheyprogressedtothetriads,seventh,ninth,eleventh,andthirteenthchordsofallqualitiesandinallinversions.Somehadtosingtheintervals.Thesechordsformedthebasisofkeyboardharmonyexercises.“29

Scales: Tristano’steachingwaslargelybasedondiatonicism,inwhichlearningthescales

laidthefoundation.BillRusso,recallingthatTristanowasoneofthefirsttoillustratetherelationshipbetweenchordsandscales.

LaterLenniedroppedthemodes.AccordingtoLizGorrillhedidn’tfinditnecessaryafterawhile.Tristanoconcentratedonthreediatonicscales,majorharmonicminorandmelodicminor.Thesescalesprovidedthebasicmaterialfortheotherexercises,includingkeyboardharmony,melodicfragments,andpolyrhythm.Thescalesalltheendlessexerciseshadtobeknowninalltwelvekeys.

HowardBeckerdescribedhisenormouseffortsputindifferentwaysofpracticingscales:„Iplayedthescalesintwohands...inoctaves,inthirds,insixths,intenths,andthenplayedthem...ingroupsoftwo,likeda‐da,da‐da,da‐da,orinthree,da‐da‐da...orinfour,five,six,sevenandinalltwelvekeys,majorandminor.Youcanimagineittookforever....Imadetheneighborscompletelycrazy....Well,youcanimaginelisteningtowhat,sixhoursofscales.“30

Groupingofnotescoveredplayingconsecutivescalepitchesingroupsoftwotosevennotes.Thepurposeoftheseexercisesistoincreasespeedandarticulation.ThebookofShim:LennieTristano–hislifeinmusic,saysthatonpage130,thatthegroupexerciseswereespeciallyimportantforsaxophonestudentsincoordinatingbreathing,tonguing,andfingering.31

Idon’tnecessaryagreewiththisstatement,becauseinmyopinion,it’salsoanessentialpartofstudyinganyinstrument.Forguitarists,synchronizingtheleftandrighthand,thedirectionofthepicking,position,fingerings,thearticulation,vibratos,ormoreingeneral,fortheprocessofcreatingagoodandfluentsound,theseexercisesareindispensable.ButasTedBrown,asaxophonestudentofLenniedescribedtheexercises:„Insteadofplayingupanddownthewholescale,justplaygroupsoftwonotesatatime...andknowwhichtwonotesyou’regoingtoplaynextandgetyourfingerready,getthebreathandeverythingready,andthenjustpopthosetwo.“ Tedadded:„Whenyou’regoingtohit‘em,youhit‘em,andjustnail‘em,andfor

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doingthat,thosesmallgroupsreallyhelpedalot.Andhadmegoineverykeyfromtheverybottomuptothetopofthehorn.“32

JimmyHalperinalsoemphasizedtheimportanceofhearingthenotesbeforeyouplaythem.„You’llbedoinggroupsoftwo,soyouplaythenexttwonoteofthescaleasfastasyoucan.Andthenyou’llpauseandyou’llhearthenexttwonotesinyourhead,andthenyouplaythem.“Significally,Tristanoalsostressedplayingscalesveryslowlyandwithfeeling.AccordingtoEaston:„Themainthinghewaslookingfor,wastohearhowdeeplyyouweregettingallyourfeelingsintoeachnoteofthescale,evenwhenplayingasimplescale,hewaslisteningforhowmuchofyourfeelingyoucouldgetintoit.‚Howinto‘thatwasthephraseheused:‚Howintoityouwere.“33

OntheguitarIplayallthescalesfromtheEstring,startingwiththefirst,secondandfourthfingers.ThenfromtheAstring,first,secondandfourthfingers.Withthesefingeringsyoucoverthewholeneck.Idefinitelyusealternatepicking,soalwaysdownandup,becausetheindividualnotesarejustasimportantasthesongorlick,Andinordertohavealltheseparatenotesonthesamelevelofarticulation,volume,sound,Ineedtousealternatepicking.Itriedalsotheso‐called„sweeppicking“,for3‐4years,Iusedit,butIrealizedthatitdidn’tworkforme.Igainedsomespeed,buttheindividualarticulationofthenoteswasnotclearanymore.Asawholeitsoundedgreat,veryfusionsound,butifIneedtodescribeit,thenthereweresomestrongnotes(especiallywhenpickingdownwards)andthereweresomefillingnotes.That’swhyit’snotasuitabletechniqueinmyopinionforTristano’sstyle.

Ifyourhandsarenotwellsynchronized,thenthelinesaregonnabecomesloppy.Youneedtostartplayingtheseexercisesataveryslowtempo(50bpm)andbeforeeverynoteyouhavetoknow,howyou’regonnamakethenextnotesound.Soyouprepareyourrighthandwiththerightdirectionofthepickingandthelefthand,properfingers.

Thespecifickeysarenotreallyimportantontheguitar,sincetheneckandthefretboardgivesaverysymmetricalsystem.That’struethatsomekeyssoundgreatontheguitar,becauseoftheopenstrings,butIwouldcallthatanextrafeature.Ingeneral,transposingisnotdifficultontheguitar. Keyboard harmony:

Studentshadtoplaythechordsdiatonicallybuiltoneachdegreeofthescale.Triads,seventh,ninth,eleventh,thirteenthchordsinallclosedandopeninversions.Atriadcanbeplayedinsixinversions:1‐3‐5,1‐5‐3,3‐1‐5,3‐5‐1,5‐1‐3,5‐3‐1.Thisyouhadtodeveloptillthirteenthchords,builtonthedegreesofallthreescales.

Theharmonicpatternswerealsocombinedwithsomerhythmicexercises,group

exercises.Thishelpsyoudevelopyourrhythmicimagination.

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Justasimpleexample:|CEGDF|AEGBF|ACGBD|ACEBD|FC....andthengroupitin4/4.

Saxophonestudentsusedtheseexercisestopracticelongnotes,toworkontheproductionofthetoneanddevelopingcontroloverthefullrangeoftheinstrument.JimmyHalperincommentedthatit’sveryimportanttohearthenextnotefirstinyourhead,andthenplayit.„Youplaythefirstlowestnote...reallylayintoit,reallylotsofgusto,andholdit....AndthenIwouldhitthenextnoteofthechord,likethethird...andholdthataslongasIcan.AndeachtimebeforeIhitthenote,Ihavetohearitinmyhead.AndsoIwoulddoall...chordslikethat.“Halperinstressedthestrenuousnatureoftheexercise:„WhenIwasdoingtheelevenths,itwouldtakemeafreakinghourtodo...allsevenchordsinthekey....Soyoustartontherootorwhatevernoteisthelowest...thenyou’llgoupthroughthenaturalrangeoftheinstrument....Thenyougodowntothelowestnote...Yougetthewholeinstrumentunderyourfingers.“34

Ontheguitar,Ithinkthisisaveryusefulexercise.Theguitarisnotaneasyinstrumenttovisualize,becauseofthetuningofit.It’stunedinfourths,butthereisamajorthirdthatbreaksthewholesymmetry.(E‐A‐D‐G‐B‐E)Wehavetwopossibilitiestoplayexactlythesamenote.(Forexample:wehaveaContheAstring,thirdfret,butwecanplaytheexactlythesameContheEstringintheeighthfret.Thetoneisgonnabealittledifferent,butit’sthesamefrequency.)Thereforewithanexerciselikethis,youcanvisualizeandcoverthepossibilities,butitofcoursewilltakeahugeamountoftime.

Herealotof„jumps“(changeofposition)areincluded.IfIammovinguptheexercise,Ialwaystrytojumpwithmyfirstfinger,becausethentherestofmyfingerscanbeimmediatelyinposition.WhenIamplayingdowntheexercise,Ialwaystrytojumpwithmyfourthfinger,becausethentheotherthreefingersaregonnabeinposition.Atleastthisworksforme.

Ontheguitarwecannotincreasethevolumeofthenoteaftertheso‐called„attack“.Soafterwepickedthenote,it’snotpossibletomakeitlouder.Thereforeit’sverydifficulttohaveanicesustainofanote.Itonlydependsonourfingers.Youhavetobeintotalcontrol,toavoidunnecessary„buzzes“andtoavoidsomenotesofstoppingearlier.That’swhyIthinkthisexerciseisextremelyuseful,becausewehavetovisualizetheneckandwecanworkoncreating,formingawarm,longsustainednote.Ofcoursewehavetostartataveryslowtempotobehundredpercentconsciousabouttheguitarneck.

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Harmony:

IntheearlyperiodofTristano’steachingitwasanessentialparttodiscussandexploreharmonies.Itconsistedofextension,chromaticalteration,substitutionandpolytonality.

Byextendingchords,hemeantaddingallthecoloringnotestomajorchords,eleventhtodominantseventhchords.Dependingonthecontextyouhadtochromaticallyalterthecoloringnotes.

Substitutinghastwoparts,substitutingandkeepingthefunctionofthechord,orusingachordinadifferentfunctionwhichbypassesthepointofresolution,creatinga„superimposedform“35Thetritonsubstitutionisusedalotsincethebebopperiod.It’sthefollowing:IImin7–bII7–I.

„He’dshowyouthatandexplainwhatwasgoingon,whateachnotewas,andIwasexpectedtoknowthesameprogressionsineverykey.“36Tristanoalsousedtritonsubstitutionstoaddsecondarydominantseventhchords.HowRussosaid:„Inapiecelike‚Justyoujustme“withEb–C7–Fm7–Bb7,I–VI7‐II7–V7,heshowedmehoweachofthosechordscouldbeprecededbyadominantseventhahalfstepabove...Ebfortwobeats,Db7fortwobeats,Cb7fortwobeats...Gb7fortwobeats,Fminorfortwobeats,Cb7fortwobeatsandthenBb7“.Thismeansthatweapproacheverychordwithatritonsubstitution.(Dominantseventhchordshalfstepup).4/4EbDb7|C7Gb7|Fm7Cb7|Bb7|.AccordingtoRusso,Lenniewasoneofthefirsttoteachthismaterial.

Polytonality:agreatexampleofpolytonalityisMarshmellows,themelodycomposedbyWarneMarshoverthechangesofCherokee.„Tonalitiesontopoftonalities.”„Itis...onethatweworkedonforlessons,asameansofapplyingthetheorythatwewerelearning....Thebasicones[inpolytonality]areexpandedtonicchordsmovingupwardsinfifths.So,CMajorplusGMajorseven,plusDMajorseven,givesyousomenotesthatarequitedifferentinthesecondoctave.“37

ItwouldgiveC,E,G,B,D,F#,A,andC#.“Hindemithwasdoingitfiftyyearsagoinclassicalmusic.”WarneMarshexplainedmore:„Aseventhchordhasgotamajorandaminortriadinsideofit....Theycanbothbeusedastonalcenters.Inaninthchordtherearetwoseventhchordsandthentheaugmented11thmajorsoundwhichisjustlookingatthenotesCMajorplusGmajorseventh.Theyoverlap...andthereisthetheoryrightthere,thepolytonaluseoftwomajorseventhchords.“„Youareintwokeys....Sothefreedomitallowsisthatthehornplayercanplaynotonlyonthebasicchord,buthecanplayontopoffit.Hecanplayanothertonality.“38 Tristanoalsoexpressedhisaversionto„plain“chords.Hemeantchordswithoutalterationsorextension.Russogaveanexplanation:„Hethoughtyoushouldn’tusetriads,youshoulddressupchordsasmuchasyoucould,andespeciallydominantseventhtypechords....Tobeusingmajorchordsorminorchordswithaddedsixthsorninthsandthentouseplaindominantsevenths,whichweresupposedtobethepropulsivechord,wasridiculousbecauseit...wasnotasstrongasthechordsofresolution.That’sagoodpoint.“39 Lennieinhislaterperiodofteachingdidn’tdiscussalteredharmoniesorsubstitutions,maybebecausehewantedstudentsfirsttogainversatilityindiatonicscales,andthenexplorebythemselveswithoutpreconceptions.VictorlesserstudiedthepolytonalsubstitutionsfromWarneMarsh,andlaterheusedthematerialonthelesson

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withLennie:„OneweekinmylessonwithLennieIplayedasolo...[in]thisdifferentwayofusingthesenewchords.Andhepickeduponitrightaway.Hesaidtome:‚Well,itsoundslikeyou’reusingyourbrain‘,atthattimeIwasamazedhowdidheknowthatIwasthinkingthisdifferentwaywhileIwasplaying.“40

Singing Improvised Solos:

ThiswasoneofthemostimportantelementsinTristano’steachingmethod.Thesesoloscontainedthelanguageforjazz,thephrasing,therhythmicelements,timing,andthemostimportant,thefeel,behindthenotes.Italsorequiresaveryhighlevelofconcentration,andalotofeartraining.Thiswaythestudentscoulddeveloptheirmusicalimagination.WarneMarshexplainedtheimportanceofsinginganditscloserelationshipwithplaying:„ThemoreIimprovise,thecloseritcomestosinging.ItrytoplayasifIweresinging.Lenniesaidhecouldsingeverynotehehadeverplayed.“41

WarneMarshhadtobeabletosingalltheexercisesbeforehecouldplaythemontheinstrument.Tristanosaidtohim:„‘Amusicianwhocan’tusehisvoice!‘Lennieusedtosay.‚Howcanthatbe?‘“42

RichieBeirach,whowasinhishigh‐schoolyearsatthattime,saidthatTristanoharshlycriticizedhimandadvisedhimtosingthesolosinordertobuildalanguageandthebasicconceptsinthetraditionofjazzimprovisation:„Icouldn’treallyplayjazz.Iwasplayingallthesescalesandfunnyrhythms....Thefirstlesson...wastwentyminutes....Itriedtoplaysomething.Hestoppedmeafterlikeoneminute.Hesaid:‚you’renotplayingjazz,yourtimeisterrible,you‘renotplayinganythingresemblinglines.Youhavenoideaofthevocabulary.‘Hesaid:‚Youhavegoodenergy.‘[...]Hesaid:‚youhavetolearnthesesolos.YouhavetosingtheBillieHolidaysolo,andtheFrankSinatrasolo,andtheLesterYoungsolo.‘AndIdidn’twanttosingsolos.Hewouldn’tevenletmegetnearthepiano.“43

Ofcourse,youcouldn’tusewrittenmusicforstudyingthesolos,that’swhyittookahighlevelofconcentrationandlisteningtothesolosoverandover.

„Theintangiblesoffeeling,whichhaveahighdegreeofimportanceinre‐creatinganyjazzperformance,unfortunatelycannotbewrittenintomusic.Thusaperfectlycorrectperformanceasfarasduplicationofthenotesisconcerned,mighthavelittleemotionalmeaningintermsoftheoriginalconceptionofthejazzmusician‐writer.“44

IntheearlyperiodofLennie’steaching,hewasverystrictwithstudents,thattheycouldsingeverynoteperfectly.Thatofcoursetookmoretime,tobesoprecised.Laterstudentswereallowedtogofaster.SteveSilvermanremembered:„Heemphasizedwithmethat...theidealwastogettothepointwhereyoucouldhearnothingbuttherhythmsection.SoifIhadtospendsevenoreightmonthsonachorus,hewouldpickupatanygivenlessonthatIwasoffononenoteoronepieceofphrasing,andIwouldjuststaywiththatuntilIhaditabsolutelyperfect.“45

Thislearningprocessentailedgreatdevotionandimmersion,anditgaveadeepexperiencetomanystudents.„AsVictorLessersaid:„IwasdoingalotofWarneMarshsolos....Ijustrememberbeingsodeepintoit....ForacoupleofyearsIworkedasamaintenancemanatthisbigofficebuilding.Iwasworkingmidnighttoeight,IjustrememberdoingthejobandjustspendingthoseeighthourslivingaWarneMarshsolo.“46

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Alotofstudentsalsohadtoslowtherecordingdown,tohalfofthetempo.Inthosedaysyouhadaturntableoracassettetapeplayer,withadjustablespeed,soyoucouldreducethetempotohalftime.Thereforealsothesoundgotanoctavelower.Listeningtotherecordsathalfspeedreallyhelpedthestudentstohearwhatwasgoingoninthesolo.Youcouldinawaygetintothesoloist’shead,andseehowthesolowasbuildingup,anddeveloping.LennieAzzarello’sexperience:„The16[i.e.,halfspeed]waslike...amicroscopiclightshiningontheobject.Itjustopened.Iwasabletohearwhatwasgoingon...astohowthey’reapproachingtheharmonies....[Tristano]alsosaid,‚Don’tbringitupto33[normalspeed]untilyoureallyfeelcomfortable.‘...Ibelievealotoftimeshewouldsaywhentogoto33.“47LerryMeyerreportedaverysimilarexperienceaboutslowingdownthesolos:„HehadmesingtheBirdsolosathalfspeedanditmaintainedthefulleffectofthemelodiccontinuityoftheline...CharlieParker,shininglikeadiamondthewholewayat16....Everynote,everyphrase,everybeatisstillthere,becausethat’showarticulateitis.“48

Tristanohadselectedacoupleofgreatjazzmusiciansforsingingandstudyingtheirsolos.Somearealsothemusiciansthatinspiredhim.ThemainfocuswasonLesterYoungandCharlieParker.AsIwroteitbefore,heconsideredthemastrueoriginals.ThensomeotherstudentsaddCharlieChristian,BillieHoliday,RoyEldridge,BudPowell,FatsNavarro,LeeKonitz,WarneMarsh,andFrankSinatra.49

Tristanochosesomeparticularperiodofthementionedpeople’scareer.Asanexample,hewantedstudentstostudyLester’searlierrecords,whenheplayedwithBillieHoliday,CountBasie.Lennieletthestudentschoosethesolostheywantedtostudy,butofcoursehegavehissuggestions,andthefirstsolowashischoice.

DuringTristano’searlyperiod,heworkedalotwithCharlieParker’ssolos.Ofcourseintheearlierdaysitwasmoredifficulttostudysolos,thosepeopledidn’thaveanyportablemusicplayers,loopstations,slow‐downprograms,sotheprocesstookmuchlongernormally.Forme,ifIrealizethatthewholesoloistoolongtomemorizeitin“one”,Icutitintoparts.Ilooplet’ssay1or2choruses(dependingonthecontextofthelinesandphrases)andIdon’tneedtotouchanybuttonsagainuntilIhavethosechorusesinmyheadandIcansingthem.Mycomputerplaysitoverandover.Ifinditreallyhandy.ButofcourseontheotherhandpeoplecouldsaythatIdon’tneedtofocusthatmuchthisway.Well,thereisagreatchancethatmostpeoplegettoocomfortable,andtheydon’tputthatmucheffortinpayingattentiontothesolo,becausetheyknowthatinacoupleofsecondsitplaysagain.ButIrealizedthatfocusandconcentrationisreallyoneofthemostimportantelementsofstudyingmusic(orapparentlywhateverwedo,wehavetodoitwithallofourfocus...itdoesn’tonlyapplytomusic).ThereforeIusethemoderntechnologytomakemystudyfasterbutnotmorecomfortable.SowhenIamstudyingtosingasolo,Iamconcentratingwithallmyenergyonthemusic,tillthepointIcansingthechosenpart.AndwhenIcandothat,Imighttaketen‐fifteenminutesbreakandthengetintothenextoneortwochoruses.AndofcourseifIknowthatIhaveoneweektostudyasolo,thenIfirstlistenverycarefullytothesolo,soIhaveageneralpictureofit.Iknowwherethedifficultpartsaregonnacome,wherearethemoremelodicpartsthatareeasierformetomemorize.ThenIhaveageneralideaofthesoloasawhole.SonowIcanmakeaschedulehowIamgoingtostudytosingthesolo.ForexampleIstudyeverydayachorus...Anyway,mypointisthatittakessometime,especiallywhenyouwanttogoreallydeepintothesolo.HowSalMoscasaid,thathedidn’tconsiderhimselfaquicklearner,ittookhimoneandahalfyeartobeabletosinghisfirstsolo,whichwasfromCharlieParker,ScrapplefromtheApple‘.Thenanothersix

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monthstobeabletoplayitonthepiano.50EastonsaidthatLenniealsofocusedalotonLesterYoung,whomheconsidereda„completemusicaloriginal“.CappellosaidthatLenniealsorecommendedtolistentoLester’salternatetakes,onthesametunes.„Hesaid:‚listentoPres.Listentohoweachwayhedoesitdifferently.You’llfindsomeelementsthatheliked,butheneverreliedonthem.’....IthinkhereallywantedtostressPresmorethananything....SoIwasjustlikemoppingupallthesedifferentalternatetakesand...prettymucheveryweekIwouldgoinwithanewsoloandjustsingit.“51LennieexpressedtoLarryMeyerhisadmirationofcoherenceinLesterYoung’sandCharlieChristian’ssolos:„Hewouldsay,‘ListentoPres.Hetakesaperfectchorus.It’sonechorusandit’sdone.Hesaiditall.CharlieChristian,onechorusandit’sdone.Letmeseeyoudothat.‘“52Drummersalsoneededtosingsolos.ChattinrecalledthathealsohadtosingLesterYoung’ssolos,buthedidn’tneedtoknowtheparticulartuneorthechordchanges.WhythecaseofChattinisoutstandingasadrummer,becausehehadbeentoldthathewastone‐deaf,andhethoughtthathecannotsing.Tristanohelpedhimoutofthismatter:„Oneofthegreatthingshe[Lennie]didformewassaying,‘You’renottone‐deaf.Youjustdon’tknowhowtoreproducewhatyouhear.Nobody’stone‐deaf.Thereisnosuchthing.Ifyouhearlowandhigh,thenyou’renottonedeaf.It’sjustamatteroflearninghowtomimicthatsoundinyourownvoice.‘[....]Istillhavethetape...inmycarandIstillsingwithLesterYoungsolobecauseofLennie.“53 Learningasoloincludedthreesteps.Firstthestudentshadtobeabletolearnthesolobyear.Thentheyhadtosingitwiththerecordonthelesson.Thenextstepwastosingthesolowithouttherecord.Andwhenthestudentscoulddothesestepsperfectly,thentheycouldstarttolearnthesoloontheirinstrument.AccordingtoEaston:„AftersingingwithLesterYoungsolos...hewouldsay,‘Rightnowtrytosingthiswithout[therecord],justsingitalone.‘Andthenafteryoucoulddothattohissatisfaction....andonlythendidhethinkitwasagoodideatotryandplayitonyourinstrument.“54 Lenniereallywantedtoavoidclichés.Heknewthatit’sveryeasytojustfollowyourfingers,withoutbeingconsciousaboutthenotes.Hereallywantedtoavoidplayingonlybymotoricmovements,justbecauseyouhaveitinyourfingers.Thatisthereasonwhyhedidn’tletstudentstoplaythesolosearlierwiththeirinstrument,becausehewasafraidthatthestudentswillnotbeawareofthenotesandthelines,onlytheirfingersaregoingtoreproducethesolowithoutthinkingandhearingthenotes.LennietoldAzzarello:„Onceyourfingersforgotthosenotes,youhavenorecollectionofwhatitwasabout“unlessitis„reallyinyourhead.“AsTedBrownwasexplaining:„Hewasmoreinterestedinjustpeoplegettingtheconceptofthesolo....Hetalkedabout...notlettingyourfingersgetintocertainrunsofthingsthatyou’vepracticedorpickeduponrecords...inordertokeepitasfreshandspontaneousasyoucanandnotfallintoclichés.“55 Tosomestudentstolearnthesolosontheinstrumentdidn’ttakealotoftime,becauseaccordingtoCappello:theveryintensiveprocessoflearningtosingthesoloenabledhimto„prettymuchjustpickitupandplayitforthefirsttimeonyourinstrument.“Ialsohaveverysimilarexperiencesaboutthismatter.Alotoftimesithappensthatwhileyouaresingingthesolo,somephrasesbecomeclearhowtoplaythemontheinstrument.Igetasortofpictureinmyheadhowthephrasewouldlooklikeontheneckoftheguitar,andwhenyougrabtheinstrument,itcomesoutrightaway.Ibelievethatyoucandevelopthisabilitytoaveryhighleveluntilyoucanvisualizetheweirdest,mostunexpectedmelodiesalsoonyourinstrument.IntheendthiswasthegoalofLennieTristano,tobeabletoplayonyourinstrumentwhateveryouhearatthemoment.

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Togetthefeelandthetimingofthesoloist,youreallyneedtoslowdowntherecordingtohalftimeandliterallybreathtogetherwiththesoloist.ForexampleithappenedtomethatIwasstudyingBillieHoliday–Whenyou’resmiling.(TheversionwhereLesterplaysasolo.)BillieHolidayhasaveryunpredictabletiming.Shesingsveryveryfreeandoverthebarlines,butsomehowstillverymuchinthetempo.TherewasapointinthesecondverseinthelyricswhereIwasconstantlyrushing.Iplayeditoverandover,Ilistenedverycarefully,Irecordedmyselfanditstilldidn’twork,Istillcouldn’tcatchexactlytherightmomentofstartingthenotetogetherwithBillieHoliday.Butallofthesudden,whenIsloweditdown,Irealized,thatIbreatheontotallydifferentplacesthenBillie.SoIcheckedtheplaceswhenshetakesabreath,IcopiedthatandmytimingwasexactlylikeBillie’s.AndthenIwasthinkingaboutitalot,howcomethatsuchalittlenuancecanchangetheentiretimingofaphrase.IrealizedthatsinceIamaguitar‐player,Ineverexperiencedtheproblemofbreathinginmusic,it’spossibletoplayacontinuouslineovermanychoruses,becauseIdon’tneedtostoptobreathe.(Thisisageneralproblemofguitar‐players.)ThereforeIdidn’tpayattentiontoBillie’sbreathingbecauseIwasnotawareofthat.Butataslowertempoitbecameimmediatelyclear,thatbreathingispartofmusic.Youcan’ttalkeitherforalongtime,youhavetostopeveryonceinawhiletotakeabreath.Andthatmakesmusicalive.SincethatmomentI‘mworkingonbeingconsciousaboutbreathingonmyinstrument.WhatalsohelpsalotwhenIstudyasaxophonesolo,Ifeellikebeingasaxophonist.Itrytoimitatethatwithmyplaying.Iamtryingtousetheseelements,whatSilvermanstudiedfromLennie:„Hisemphasiswasnotonlyonopeningupmyear,butgettingmetobreatheandtofeelthewaythatthehornplayerwasbreathingandfeeling,sothattherewasanabsolutesynonymitybetweenmyselfandthehornplayer.AndhealsosuggestedthatIstandwhenIwassinging...soIcouldgetthefeelingifbeingahornplayer,andtobreathelikeahornplayer.[...]Thathadprofoundeffectsonmeasapianoplayer,because...IfeltlikeasmuchasahornplayerasIwasapianoplayer.“56 SingingthesoloswasamajorbreakthroughinTristano’steachingcareer.Thesedaysithasbecomeaverycommonpracticeinstudyingjazz,butforTristano’slessonyoucouldn’tuseanynotationofthesolos.Soyouhadtopickitupbyear.Theintentionbehindwasnottocopyit,buttobuilditinoursystemandusetheideaorthestructureofitsoyouareabletoreproducesomethingonyourownthatsoundsinthatstyle.Youweredevelopingthelanguagebasically.IcanprovethisthoughtwithJoeMuranyi’sreminisce:„themostimportantpedagogicaltechniquehehad“:„Whenworkingwithrecordsitwasreality....Wewerenottousethisasapartoftrickandrattleitoffonthehornortocopy,buttogetanideaoftheplayingandwhatit’sabout....Ofcourseitseemedlikeanobviousthing,buttodoittothatextent,toapplyhisintensitytoit,tosingandplayalongtherecordwasagreattechnique.“57

Rhythm:

WecanhearitinLennie’smusicthatrhythmhasaveryimportantrole.Thelines,goingoverthebarlines,allkindsofgroupings,crossrhythms.Lenniewastryingtoteachthestudentstobeabletofeeltwoormoredifferenttimesignaturessimultaneously.Hehaddifferentexercisestodevelopit.Fromthebasicslikeoneagainsttwo,oneagainstthree,oneagainstfour,oneagainstfive,oneagainstsix,oneagainstseven.Youhadtobeabletotapitwithyourhandsandlegs.(Lateronlyhands.)Thenofcoursehetaughtpolyrhythm.„Polyrhythmisatermgenerallydenotingdifferent

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rhythmsperformedsimultaneously,aswhensuperimposingphrasesinoddmeters,suchas5/4or7/8,over4/4.Itincludescrossrhythminwhichadifferentrhythmicorganizationissuperimposedoverthebasicone,butbothoccupyingthesameduration,forexamplequarter‐notetripletsagainsttwoquarternotesin4/4meter.“58 Withcrossrhythm,theexercisesinthebeginningwereabitmoredifficultthanthelaterperiodofLennie’steaching.Youhadtobeabletotaptwodifferentmetersatthesametime.Forexample:twoagainstthree,twoagainstfive,threeagainstfour,threeagainstfive,andfouragainstfive.Youcoulddivideitmanywaysbetweenyourlimbs.59Moscalearnedhowtotaptherhythmsfirstwithtwohandsandthenwithtwofeet.60Thenhehadtousehandsagainstthefeet,likelefthandandfootagainsttherighthandandfoot,orlefthandandrightfootagainstrighthandandleftfoot.LaterTristanomadetheseexercisessimpler,studentsonlyneededtotapwiththeirhands. Forpianostudents,thesetappingexerciseswereabitmorecomplexed.Pianostudentshadtocombinetherhythmswiththescales,intwohands.Youcouldplaythescalesincontraryorparallelmotion.Therewasatool,thatcouldhelpthestudentsplaythedifferentcrossrhythms,andthatwasthefingering.Let’ssaytheexerciseisplayingtwoagainstthree.Weareplayingthemajorscale.Twoisintherighthand,andwearemovingupthescale,threeisinthelefthandandwearemovingdownthescale.Thefingeringfortherighthandisthumbandindexfinger.Forthelefthandisthumb,indexfingerandmiddlefinger.DonEdmondsfeltthatthefingeringsfacilitatedthelearningprocess:„Iwasplaying¾timeinthelefthandand4/4intherighthandwithoutevenrealizingit.“61Theseexercisesreallyhelpedstudentstomaketheirhandsindependent.

Ontheguitarthisisalittlebittrickier,butit’spossible.RightnowIcouldn’treallyintegratethismaterialintomyplaying,becauseatthisstateit’senoughtotrytoplayonegreatmelody.Twowouldbeawesomebutittakessometimetodevelopthatfeature,thatthinking,becausethat’snotverycommonontheguitarinjazz.Buttheideaisalreadygreattoplaytwoseparatelinesinakindofcrossrhythmthatitarrivesattheone(orsomewhereelse)atthesametime!Justforthesakeofcuriosity,Itriedittogetapicturewhatwouldittaketoreallygetintoit.Firstofall,Iwouldonlystartwiththerighthand.Iwoulddividethecertaincrossrhythmbetweenmyfingers,inallkindofpossibilities.Let’ssay,justasanexample.Twoagainstthree,Iputthetwointhethumbandthethreeintheotherfingers,onebyone,sothumb‐index‐,thumb‐middle‐,thumb‐ring‐,thumb‐little‐finger.ThenIwouldchangethethumbtotheindexfinger,anddoallthepossibilities,followingthissystem.ThenIwouldaddasimplefingerexercise,like,G‐string5thposition,||:1‐2‐3:||,thesearethethrees,andD‐string5thposition||:1‐2:||

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andthesearetwos.Istartwiththe1stfinger.Weknowthattheonesarealwayscomingtogether.ThenIwoulddothesamewiththreeagainstfour,bothinparallelandcontrarymotion.Thenextstepwouldbetoapplythistoascale,bothinparallelandcontrarymotion.ThenImostprobablywouldcomposesomelinesoveraII‐V‐Ichordprogressionandtrytoplaytheminarealsituation,thenhopefullyIwillhavesomematerialinmyheadwhereIcanjustmakeupmyownspontaneouslinesatthemoment. BacktoTristano,hecreatedanothertypeofpolyrhythm,throughinflection,sobyaccentingcertainnotes,you’regonnasuperimposedifferentmetricpatterns.Asanexample,ifweputtheaccentoneverythirdnoteofthescale,thenwearecreating3/8phrasesover4/4.Youcanreallymaketheseexercisescomplexanddifficultbygoingstepbystep.Let’scombinetheaccentswithcrossrhythm.Sowearein4/4.Let’susethreeagainstfour.Thethreesarethescale,foursarethemetronome,andweaccentevery3thnoteofthescale.Thenwecanchange,themetronomeisgoinginthespeedofthethrees,andthescaleisonthefours,andthenaccenteverythirdnote.Formethat’sabitmoredifficult.Thenextstepwouldbethatweimprovetheexercisemelody‐wise.TheseexerciseshelpedTedBrowninternalizerhythmicflexibility:“Thewholepointwastobecomesofamiliarwithitthatyoudon’thavetothinkaboutit….Butinthebeginningyouhadtoworkitoutorwriteoutitoutsometimes.”62Drummerhadtofocusontheseexercisesmorethanotherinstrumentalists.

Mixed meters: Thatmeansthatwearenotonlygonnausethescale,butwe’llmakecertainsmallermelodicfragments.Thesefigurescangooverthebarlines,sothephraseisin5/4andweplayitover4/4.Thesephraseshadtobeplayedthroughthescale,diatonically.Ifweplaythesephrasescorrectlythenthephrasedidn’tcoincidewiththebarlines,butitarchedaboveit,inaratherunpredictableorder.(Theoneofthephraseandofthemeasurecometogetheragainafter20bars.)

Studentswrotetheseexercisesout,toseetheordertheycreatedagainstthebackgroundof4/4.OnoneofthefirstlessonsofTedBrownwithLennie,hegottheexerciseto“takeupanddownallthescalesthroughallthekeys”,andthenaskedhimtofigureouthisownexercises.IttookmonthsforTedBrowntogothroughallthemajor

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andminorkeys,“Sometimesevenseeinghowthatlittlepatterncouldfitonacertainsetofchordchanges”63:Irememberdoingsomethingon‘I’llrememberApril’foralongstretch…a7/8figure….Hewasshowingmehowtoplayitagainstarealtune,likeacertainsectionofatune.Hesaidthatmightgogoodhere,because…there’dbeconsonantandthenmaybedissonantforacoupleofnotes,andcomingback.”TedBrownexplainedfurther:“Imightjustwriteoutoneortwoorthreephrases…toseehowtheywouldrepeat,becausetheywereusuallyodd‐timefigureslikegroupsofthreesorfivesorsevensorcombinationsofthreesandtwos….Mainlyyoujustwriteitdowntorememberit,andthenjusthavetoworkitoutinallthekeyswithoutwritingitdown.Hejustwantedyoutodoitontheinstrumentandnottrytoreadit”64TedBrownnoticedthatTristanohadaverygoodabilitytovisualizealltheasymmetricfigures,andfollowitmathematically,whichnotesaregoingtofallonthebeatandwhicharen’t.“Justthefactthathewasblind,hehadtobecomeorganizedjusttosurviveandalsoonthekeyboardhecouldvisualizethat.Andhecouldalsovisualizethebarlinesandwherethenoteswouldfallonwhatbeatofthebar.[…]Hewasalsoveryfoodmathematically.Sohe’dsay,okay,ifyouplaythat7/8phrasefourtimes,that’sgoingtobetwenty‐eight,eighthnotes.So…tomakeitcomeoutlikethirty‐twoeighthnotes,whichwouldbefourbars….Youhavetoeithercompletethatgroupofbarsbyleavingrestsorknowthatthenextphrasewasgoingtostartaheadoftimeintothenextsegment.”65 ThepolyrhythmicfigureswereveryessentialinLennie’splaying.Alsointhecomposedlines,composedmelodies,andintheimprovisedsoloswecanhearalotofsuperimposedmetersover4/4. WarneMarshsaidaboutavoidingconstrainsofbarlines,thatis“togoaround”them.“WhenIimprovise,thereisnothingvisualinmyhead.Inthebackofmymind,IhaveasketchofthesongI’mplaying,andIalsoholdontoitsmoodandfeeling….Mymindworksaheadabarortwo,althoughIdon’tthinkintermsofbars.Fromthefirst,Tristanotaughtustogoaroundthebarlinesandtoimposeothermetersonthefour‐fourtime”66.Marshsaidfurther:“Toacertainextentthelengthofaphraseiscontrolledbyinstinctiveknowledge.SowhenIbeginaphraseIdon’thavetheleastnotionwhereitwillend….Iwanttostructureeverythingintermsofpolyphonyandpolyrhythms–thekindofcounterpointthatwedidwithLennieTristanothirtyyearsagoandthathasbeendonealltoorarelysince.”67

Melodic Fragments: LaterTristanodidn’tteachanymorethepolyrhythmicexercisestothestudents,hestartedtofocusonteachingmelodicfragments.Thesewereshortmelodicphrasesmoveddiatonicallyandsequentially,inalltwelvekeys.Soyoucouldplayonephrasechromaticallythroughallthekeys,oryoucouldplayonephraseanddiatonicallymovethroughthecertainscalethroughallthedegrees.Andthenyoucanmoveittoallthekeys. Thisisaverycomplexexercise;youareworkingonalotofdetailsatthesametime.Youaregainingcontroloverthewholeinstrument,becauseyoumovethemelodicfragmentchromaticallyanddiatonicallyinallkeys,whichshouldcovertheinstrument…youarealsoworkingontheconceptofdevelopingamusicalidea,byplayingtheideaonthedifferentdegrees.Youcanplaythesameideainadifferentscalealso.(Forexampletheharmonicminorandthemelodicminor,orthemoll‐durscale.)Sointheendyou

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haveendlesspossibilitieswithcreatingnewandnewmelodiesandmovingthemthroughallthescales,degrees,andtonalities.Now,inthisstateofmindthatIhave,Ijustthinkit’simpossibletodoallofthem.ButIbelievethatbydoingitalotandcreatingalways‐newexercises,itwillcomeoutspontaneouslywhileimprovising,andwe’llbeabletobringtheideathroughthesongandasfaraspossible.Meyer,aguitarstudent,explainedthat“itreallyexpandedyouinaverymusicalfashion”:“Asyouworkthosephrasesupanddowntheneckandinallthekeysandinallthemodes,itjustreallydevelopedyourearandyourknowledgeandyourplayingability.Sothenwhenyouwanttoimproviseperhapsifyou‘replayinganidea,youwouldbeabletotakethatideaandmodulateitintoanotherplaceontheneckoranotherkeyoranotherchord.”68

Structure of the solo: AsIwroteitearlierintheshortbiographyofLennie,hehadabigclassicalbackgroundandknowledge.ThereforeLennie’s‘earlier’approachtowardsjazzimprovisationwasaffectedbyclassicalmusic. Lennieencouragedstudentstowriteoutachorus,thatsoundslikeanimprovisation.Sowhatnotes,linestheywould’vewantedtohearonstage,whentheydon’thavethetimetofixthewrongnotes.Thisenhancedtheawarenessofthestructureofthechorusofthesong.“Lenniewouldaskmetowriteoutanimprovisedsolo,ifyouforgivetheoxymoronicaspectofit,andIwouldwritesuchasoloandIwouldplayitforhim,andhewouldsay,‘Well,that’sgoodbutyoucanusemorerestshereandthere.Well,you‘regettingtoyourclimaxoremotionalpeaktoosoonortoolate,’andthatwasaveryinterestingprocesstocompositionandimprovisation.”69

ForTristanoclimaxmeant:“acquiredthroughhighnotes,increaseofvolume,increaseofrhythmincreaseofdensity.”70 TedBrownremembered,thatLennietoldhim:“Trytowritesomethingasthoughitwasachorusthatyou’dwanttoplayifyoucouldplaythechorus”71TedBrownthoughtaboutitasawayof“developingaconceptofagoodjazzsolo”:“Healsotriedtogettheideaacrossthatit’slikeactuallytellingashortstory.Eventhoughit’sonethirty‐two‐bartune,thereshouldbeagoodbeginningandagoodmiddlesectionwhichislikethebridge,andthentowardsthelasteight[measures]youwouldcometosomesortofclimaxandthenthatwouldendsomehow.Soitwasanoverallmelodicconcept.”72 TedBrownalsotalkedabouttheplacesinthechorus,wherethesoloshouldintroduceachange.Themiddleorlaterpartofthetune,especiallythebridgeisanimportantplacetobuildupsometension,interest:“[Tristano]wouldsay,thisisagoodplacetomakeachange…agoodplacetoopenupthemelodiclinemaybetomakeitmorevertical….Itmighthavebeenafairlyhorizontalshapeuptothatpoint….Youmight

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trystretchingoutwiththemelodiclinebytakingmoreleapsuptothetopofthehornanddowntothebottom….Justverygeneralsuggestionstowardtheshapeoftheline.”73Studentshadtoplaythewrittensolobyheartandwiththiscompositionalapproachtowardsjazzimprovisationtheyweresupposedtounderstandandcreatestrongercoherentstatementsinthesolos.74 Iwroteaboveamongthe“elements”thatstudentshadtocomposenewmelodies.Thosewrittensolosbecamealotoftimesthenewmelodiesofsomesongs.TedBrown:“That’susuallyhowtheyhappened….IknowIwentthroughthatandsodidLeeandWarne,because…Lenniehadthethreeofusdoingthatonaregularbasis….99percentofthemendedupinthetrashbin,butafewofthemweregoodenoughtotrytoworkoutasagroup.”75 WritingoutlinesresultedahigherlevelofintensityinsoloingofLeeKonitz.“Towriteanidealsoloandtoplaysomethingsimilarwasverydifficult.Butthatwasagoaltoaspireto.Playing‘AllTheThingsYouAre’withthetheme,thelevelmightbehere[gesturingapoint]forthebandtostart.Playingawrittentheme,thelevelmightstarthere[gesturingahigherpoint].[…]Bydefinition,toplayallthosenotes,intensitygoesup,soyouhavetostartsoloingatthislevelinsteadofdownhere.Veryfrequentlyweplayedthelineandthenthesolowouldstarthere[alowerpoint],soitwouldbeacomedown.”76Ingeneral,aboutwritingthesolosdown,thefocuswasonthestructure.Butlaterhealsoabandonedthisexercise.

Learning the Melody of the Tunes: Tristanostressedaprofound,deepknowledgeofthemelodyofthestandards.Regardlessoftheinstrumentofthestudent,everybodyhadtoplaythemelodyinaslowtempowiththemetronome,withoutharmonicaccompaniment.Alotofstudentsrealizedthatthisprocesshelpedthemtobemorecreativecomingupwiththeirownmelodies,wheretheoriginalmelodybecamethesourceoftheimprovisation.WarneMarshteacheshisstudentsfollowingthismethod:“OneofthefirstthingsIexpectthem[students]tobeabletodoistopresentamelodyinaconvincingmanner.Thenextstepislearningtoimproviseonthatmelody,anditbecomesnecessarytogetintotheothernotes–theharmony‐butitallproceedsfromthemelody.”77 Eastonwasexplainingthattheharmonicandrhythmicelementsofthemelodyconveytheessenceofthetune:“Playamelody.Thatmeantlearnamelodytoastandardtuneandjustreallygetdeepintoit….Thedeeperyougetintothemelody…thefreeryourimprovisationbecomes….Theideaisthatthemelodyandtheharmony,andtherhythm,itallbecomessomuchjustasecond‐naturepartofyouthatyoudon’teverhavetothinkaboutit.”78 Lenniedidn’tlethisstudentstoimprovisebeforetheypracticedthroughaveryseveretrainingofstudyingthemelodiesandcombiningthemwithothersimpleexercises.WoodyMannspentawholeyearonlystudyingthemelodiesat60bpm(quarternotes)heaskedLennie:“‘Lennie,whenamIgoingtostartimprovising?’Hesaid,‘Someday’,sohereallykeptputtingitoff….[Later]hesaid,‘Okay,nowimprovise’,Isaid,‘How?’‘Justimprovise.’Itwasn’taboutconnectingscalesandmodes…soIstartedimprovising.Itwasgreat.Ihadplayed…andsungalong,IknewBirdsolos,Ihadideasinmyhead.”79 Lenniegavetheexercisetosomestudents,toplaythemelodyindifferentkeys,inordertodeveloptheirearsandhearing.HesaidtoHarveyDiamond:“Justtakeamelody,

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justdropyourhand,closeyoureyes,justplayfromthereandletyourearguideyoufromintervaltointerval,[…]takeeverytuneyouknow,justpickonekeyandplayeverything.”80ThelargefocusonthemelodyprovesthatTristanohadaverylinearconceptionofimprovising.HealwaysusedthesolosofLesterYoungasprimeexamplestoshowthehorizontalapproach.Ifwearesoloingonlyoverthechanges,thatbecomesveryverticalandthatcanbeveryuninterestingfora‘linearthinker.’

10 step method by Lee Konitz: Hereisaperfectexamplehowtousetheoriginalmelodyofthetune,asourceofideasforimprovisation:

“Thegoalofhavingtounfoldacompletelynewmelodyonthespotandappraiseitasyougothecloseryoulookatit,canbefrightening!SoIthinkthatfirstandforemostyouhavetoadheretothesongforamuch,muchlongerperiodoftime.Youhavetofindoutthemeaningofembellishmentbeforegoingontotrytocreatenewmelodies.Ibelievethatthesecurityofthesongitselfcanrelievemuchoftheanxietyofjumpingintotheunknown.

Isuggestthekindsofcompositionaldevicesthatareavailable:atrill,apassingtone,anappoggiaturathatcanbridgeonemelodynotetoanother.Thepointis,you'restillplayingthemelody,butyou'redoingsomethingtoitnow.Andtherearemanylevelsofthisprocessbeforeyougetanywherenearcreatingnewmelodymaterial.”81

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Technique: Afewimportantwordsabouttechnique:forLennie,techniquewasonestepbetweentheinstrumentandhisfeelings,hismind. ForLennietechniquedidn’tonlymeanthefingerexercises.Italsoinvolvedconcentration,awarenessofthesound,timing,volume,intensity,andbeing‘practical’withthefingeringsandnotperfectaccordingtotheclassicaltechnique.IcouldprovethetruthofthisstatementwithAlanBroadbent’swords:“WhatIrememberLennietalkingaboutwasthatit’sadifferenttechnique.Its…thetechniqueofconcentration‐exactplacementofthenoteonthemetronome,andintentionofsound,ofhavingthesound….andeachonewiththesameintensity…eachonefullandrich.[…]Aclassicalmusicianmightnotnormallyputhisthumbonablacknote….Ajazzmusicianishearingthisphraseandhedoesn’thavethetimetothinkaboutthat.Histhumb…isthere,it’sgottobeused.Soit’satechniqueofhavingyourfingersavailableatalltimes.Forthemusic.”82 Thewholeaimbehindtechniquewasto“prepareyoutoplaywhatyouhearatthetimeyouhearit.” BudPowellmoreandmoreinfluencedalsothetechniqueofLenniefromthe1940s.Ashesaid:“IplayedoppositeBudalot.Itbegantogetintomyownfeelingandmyownapproachtothekeyboard,whichistosaythatyounotonlytransmitwhatyouhearbutwhatyoufeelonthemostprofoundlevel.Whichmeans,yourfinerhavetoreproducenotonlysoundsbutfeelings.”83Lennie’sapproachalsochanged:“[B]eforeIheardBudIcouldsockafewnotesintherebecauseIalreadymadesomerecordsandIwasintoalotofthings.ButBudgavemeanidea.Igotitfromjustlisteningtohim.Youcouldmakeyourfingersreproduceexactlywhatyoufeltifyoureallyworkedatit,whichBuddid…byspendingpracticallyallhislifeatthekeyboard.”84

Time and Metronome: LeeKonitzremembered:“Themetronomeisaveryuniquetool.Thereisnowayyou’regonnagetmoreequalsubdivisions,andhe[Tristano]wasveryintentonsubdividingaccurately,becauseofallthoseveryrhythmicpermutations.”85 InLennie’swayofteachingmetronomewasveryimportant,endespeciallytopracticeintheslowestpossibletempos.Hewantedstudentstobeableto“handle”thesongsintherighttempoaccordingtotheirdevelopment.Thenyoucouldreallygetdeepandthoroughintheexerciseoratune,butthatrequiredanenormouslevelofconcentration.StanFortunagavealittleexplanationforthereasontopracticeslow:“Youactuallyworkedongettingslowerandslower….Ittookmealongtimetogetthroughasonglikethatplayingquarternotesonthebass.Butwhatthatdidthough,boy,onceIgotthroughit,itopeneduptheworldIneverpracticedplayingfast.Thenextthingallofthesudden…wasIcouldjustplayasfastasIwantedtoplay.”86

Visualization and Practicing Away from the Instrument:

Theotherimportantstepbetweentheinstrumentandthemindandfeelings:visualizing.Thismeanswearepracticingawayfromtheinstrument.Weeithervisualize

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theinstrumentorthemusic.TedBrownreminiscedaboutLennie:“Heusedtotellmethat…practicingthescales,especiallyveryslowly…afterhedoesthatfortenorfifteenminutes…thewholekeyboardwouldlightup.Thatwas,hecouldreallygraspwherethethingwasandnothavetostumblearound.[…]Heusedto…alsodosilentpracticinghimselfonakeyboardthatmadenosounds,especiallywhenhelivedinFlushinginanapartment…whichmeansyoureallygottaknowwhatnotesyou’replaying,becauseyoucan’thearanything.”87

Studentsreporteddifferentwaysofvisualizing.SalMoscaneededtoseethekeyboardofthepianoorthescoreinhishead.Andersonhadtoimaginethechordsandthescalesawayfromthepiano,visualizinghisfingersplayingthem.Amongsaxophoneplayeritwasalsodifferent;VictorLesserhadtovisualizethesaxophonekeys,TedBrownneededtopracticesilentlyonhisinstrumentandalsoawayfromit,onlyinthemind.Brownsaid:“…Sowhenitcametotimetoplayitafterdoingthat…it’slikeyou’vebeenpracticingitforayear,likeyoureallyknowit.”88

Mannremembered:“Itwasn’tjustabouthearingnotes.ThenIrealizedwithLennie,afterawhile,itwasaboutjustplaying.Youcouldplayslow,youcouldplayout…aslongasitwashonest.”89

Relaxation and Posture: Lenniebelievedthatanytensioninthebodywouldinterferewithcreativeactivity.89Lennierecommendedsomeloosening,relaxingexercisesjustasmakingcircularmotionwiththehips,pressingonthemuscles,droptheshoulders,takedeepbreathswiththeentirebody.

Playing sessions: TristanowasalsohostingasessioninhisManhattanstudio,inthebeginningofthe1950s.Asinger,SheilaJordanrecalled:“havingaplaceforhisstudentstocomeandplayandtotryouttheirideas,andmaybefallontheirface…andthehewouldpickyouup.[…]itwasfabulous,becausetherewasnodrinkingthere,therewasnodrugs….Andnobodytalkedexceptinbetweentunes…”90

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Conclusion Asithappenedtomanystudentsbefore,IalsobecamemoreandmoreenthusiasticaboutthesubjectwhileIwasworkingonit;andwritingthethesisreallywidenedtheboarderofmythoughtsofmusic.BygettingclosertothelastpagesLenniestartedtobecomemygoodfriend.

Withalltheexercisesmentionedabove,Iexperienceitasanever‐endingsubject.Itisdefinitelygoingtotakesomeyearstoreallygetdeepintothismaterial.NotevenmentioninghowfarWarneMarshdevelopedit.Again,Ionlywriteaboutthebasicideaofthisdirectionofmusic,afterthatitwouldbenecessarytomakearesearchonWarneMarsh’smusic,becausehewastheonlyonewhoreallycarriedonthestyle.Butmostofthe“jazzgiants”hadsomekindofconnectionwithLennie.CharlieParkerplayedwithhiminthe40s,BillEvanswashisstudentandsubstitutedLenniealso…eventherockguitaristJoeSatrianitooklessonsfromLennie.IsawavideoofRobertGlasperplayingfragmentsfromLennie’ssolocalled“LineUp”onhisconcert.Intheendhehadabigeffectonjazzmusic,sincehewasthefirstonetoteachjazz,withaclearstructure,method. IneedtomentionthatonpurposeIdidn’twriteanymeanornegativestoriesaboutLennieandhisrelationshipwithhisstudents.Hewasalsoahuman,withmistakes,butwithinthesecoupleofpagesIdidn’tfinditwisetodestroythemomentumofthetrainofthought.

IwishIcould’vewrittenalsoabouthislinearimprovisations:LineUpandEast32ndStreet,butIamgoingtouseLineUpformythesispresentation,definitely.

IhopethisthesisalsoinspiredYoutocheckdeeperthesubjectandmadeyoufeel

likelisteningtosomeoftherecordingstheymade.AlsothedocumentariesandbooksImentionedcouldhelpyoutogetmoredetailedinformation.

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Quotes:1:BarryUlanov:MasterintheMakingMetronome,Aigist1949.

2:Shim:LennieTristano,hislifeinmusic.pg7.

3:Ulanov:MasterintheMaking,32.F.G.MeyersfromtheIllinoisSchoolfortheBlindwrotearecommendationletterforTristano,

datedSept.5.1938

4:RonOffen,„LennieTristano“,LiteraryTimes,July‐August1964

5:GudrunEndress,“LennietristanoTalkstoGudrunEndress”JazzMonthly,February1966,pg.25.

6:Tristano,interviewbyIrvSchenkler,August31,1973;WKCR‐FM,NewYork.

7:Rodolfo’sthesis

8:Ibid.TristanoreminiscedaboutthesameincidentinRobertReisner,Bird:TheLegendofCharlieParker(NewYork:Bonanza

Books.1962)

9:Tristano,InterviewbySchenkler

10:Mckinney,pg12.

11:Shim:„LennieTristano–Hislifeinmusic“,pg.156

12:Ibid,pg152

13:Ulanov:MasterintheMaking33.

14:Gitler,JazzMasters230.

15:Tristano,interviewbyJonEaston,ca.1976.

16:Ibid

17:RossanaBuono,„VisitaLennieTristano“,musicaJazz,January1978.

18:Surpin,„LennieTristano:Feelingisbasic“30.

19:Coss,„LennieTristanoSpeaksOut“21.

20:Endress,„TristanoTalks“,22.

21:VictorLesser,Tristano’sstudent

22:Coss,„LennieTristanoSpeaksOut“21.

23:Shim:„LennieTristano–Hislifeinmusic“125.

24:Baggenaes,„WarneMarshInterview:,3.and5.MarshstatedthathestudiedforfouryearswithTristano,andintermittentlyfor

threeyearsafterthat“(AlunMorgan.WarneMarsh“,JazzMonthly,June1961,7).

25:Gitler,JazzMasters241.

26:Surpin,„LennieTristano:Feelingisbasic“30.

27:MarshcloselyfollowedTristano’stenetthroughouthiscareer(Chamberlain,AnUnsungCat,3).Thisstanceshowsachangefrom

theviewheheldinChicagoaccordingtoBecker,whichvaluedtheimportanceofexperiencingthefullgamutofprofessionalmusical

life.










37:Ronzello,„Marsh:AconversationwithRobertRonzello“16.

38:Ibid17.


40:JayBergmanexperiencedasimilarreactionfromTristano:„Hedidn’twantyoutolearnalotofchordchangesandextende

harmonies,allthatstuffthathedoes.He’dratherhaveyouplayascaleandplaytwonotesright.”Shim:„LennieTristano–Hislifein

music“134.

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41:Balliett,„Jazz:ATrueImproviser,“117.

42:Balliett,„Jazz:ATrueImproviser,“117.


44:Tristano,Foreword,datedDecember1958,inhisJazzLines(Albertson,NYWilliamH.Bauer,1995).





49:AccordingtoLiebmanTristanorecommendedparticularrecordingsbySinatra,thosewiththebigbandaccompanimentarranged

byNelsonRiddle.

50:Moscaattributedtheslowprocesstobeingself‐consciousaboutsinging.









59:TappingdifferentmetersatthesametimewasalsotaughtbyJimChapininAdvancedTechniquesfortheModernDrummer(New

York:JimChapin,1948),andinPaulHindemith’sElementaryTrainingforMusicians(NewYork:AssociatedMusicPublishers,1946).

60:TristanogaveTomRunyanspecificinstructionstolearntotap2against3:“Inthelefthandyou’redoingquarternotes.Inthe

righthandyou’redoingeighthnotetriplets.Andthenafteryoudothatwiththerighthandyoudotaponlyinthefirst,third,fifthof

thosesixtriplets,andthatgivesyou3against2intheotherhand.”(Shim:„LennieTristano–Hislifeinmusic“283.)


62:BrownnotedthatTristano’ssenseoftimewasbasically4/4,withotherfeelingsimposedthroughpolyrhythm.(Shim:„Lennie

Tristano–Hislifeinmusic“140.and283.)




66:Balliett,“Jazz:ATrueImproviser”,117.






72:TedBrownmentionedthatthispracticemadehimgainathoroughknowledgeoftheharmonicstructureofthetunes.Konitzand

PhilWoodsalsoworkedonthisaspectdurinrstudiesinthelate1940s.(Shim:„LennieTristano–Hislifeinmusic“283.)

73:Theelementofcontrastwouldreflectthechangeoftheharmonyinthebridge,i.e.,thepenultimatephraseofthefour‐phrase

structureofmanyjazzstandards.(Shim:„LennieTristano–Hislifeinmusic“283.)

74:TedBrownexplained:“Soeventuallyyoubegantowriteandhearthingsthatyoucouldreallyplayontheinstrument….[I]tmade

youthinkmoreoriginallyinsteadoftryingtoplaylikesomebodyelse.”(Shim:„LennieTristano–Hislifeinmusic“283.)



77:Davis,“WarneMarsh’sInnerMelody,”27.




81:http://melmartin.com/html_pages/Interviews/konitz.html(includingthepictures)

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82:Shim:„LennieTristano–Hislifeinmusic“

83:Tristano,InterviewbyEaston








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Lennie Tristano's teaching method, followed with a guitar