Jazz performers and educators continue to search for shortcuts to improvisation. Unfortunately, there are no shortcuts. Hours and hours of work are required to produce a great jazz improvisor. A student interested in learning to improvise does not need to hear a great jazz player many times before the realization occurs that it is advisable to reduce the amount of time spent listening and begin woodshedding . In the early days of the big bands, the term woodshedding was introduced by jazz musicians to indicate log practice sessions in a private place where the musician could practice alone and undisturbed, as in a woodshed hideaway where in childhood he might have sneaked a secretive corncob pipe. Frank Tirro, in his book Jazz, A History states, "Woodshedding refers to practicing or rehearsing in private, in order to gain technical mastery of one.s instrument before going into a jam session." Woodshedding also means practicing as a group, practicing a new song in private, or practicing to get a part "down."
Many great jazz players have taken a period of time off from public performance and recording to practice alone and rethink improvisational techniques and create new material. In short, woodshedding is an self-imposed exile which any creative musician must endure to reach their true potential. The Woodshedding Sourcebook and the Polytonal Rhythm Series are a guide which presents a tried and proven approach to practicing and is, in essence, woodshedding in book form. Rehearsing with this method daily will improve your technique, reading ability, rhythmic and harmonic vocabulary, eye/finger coordination, endurance, range, theoretical knowledge, and listening skills - all which lead to superior improvisational skills, and most important of all, connecting your instrument to your ear and being able to play what your ear is hearing.
This book/CD package presents a new, comprehensive publication to The Polytonal Rhythm Series and is offered to aspiring players everywhere as an essential resource for improving musicianship. The CD can be used as a play along rhythm section by turning off one side of the balance.The Publisher
How to use this book
This book is intended to be played as one would read a novel or textbook. Read through a number of pages and mark the place where you decide to stop. In your next practice session, continue where you left off until the book is completed. Always use a metronome. This book can be played again many times, thus bringing the results that would take many years of playing experience to accomplish. Depending on students needs, teachers can assign lessons from different sections.
Using the Rhythms
Using the CD
Sample Pages with Audio: