• Lennie Tristano Method

August 1947Background informationBirth nameLeonard Joseph TristanoBorn( 1919-03-19)March 19, 1919, USDiedNovember 18, 1978 (1978-11-18) (aged 59), USGenres,Occupation(s)Musician, composer, arranger, music teacherInstrumentsPianoYears active1940s–1969Labels, JazzAssociated acts,Leonard Joseph Tristano (March 19, 1919 – November 18, 1978) was an American pianist, composer, arranger, and teacher of jazz improvisation.Tristano studied for bachelor's and master's degrees in music in Chicago before moving to New York City in 1946. He played with leading musicians and formed his own small bands, which soon displayed some of his early interests – interaction of instruments, harmonic flexibility, and rhythmic complexity. His quintet in 1949 recorded the first group improvisations. Tristano's innovations continued in 1951, with the first, improvised jazz recordings, and two years later, when he recorded an improvised solo piano piece that was based on the development of motifs rather than on harmonies. He developed further via polyrhythms and chromaticism into the 1960s, but was infrequently recorded.Tristano started teaching music, especially improvisation, in the early 1940s, and by the mid-1950s was concentrating on teaching in preference to performing. He taught in a structured and disciplined manner, which was unusual in jazz education when he began. His educational role over three decades meant that he exerted an influence on jazz through his students, including saxophonists and.Musicians and critics vary in their appraisal of Tristano as a musician.

Some describe his playing as cold and suggest that his innovations had little impact; others state that he was a bridge between bebop and later, freer forms of jazz, and assert that he is less appreciated than he should be because commentators found him hard to categorize and because he chose not to commercialize. , Lennie Tristano,. Pied Piper, New York City, c. September 1947Tristano first met saxophonist in 1947. They played together in bands that included musicians and later that year for radio broadcasts. The pianist reported that Parker enjoyed his playing, in part because it was different from what Parker was accustomed to and did not copy the saxophonist's style.

In 1948 Tristano played less often in clubs, and added Konitz and a drummer to his regular band, making it into a quintet. This band recorded the first sides for the New Jazz label, which later became. Later that year, another saxophonist student of Tristano's, was added to the group.Tristano's band had two recording sessions in 1949 that proved to be significant. The sextet recorded original compositions, including his 'Wow' and 'Crosscurrent', that were based on familiar harmonies; reviewers commented on the linearity of the playing and its departure from bebop.

Without a drummer, the other musicians also recorded the first improvisations by a group – ' and 'Digression'. For these tracks, the sequence in which the musicians would join in the ensemble playing, and the approximate timing of those entrances, were planned, but nothing else – harmony, key, time signature, tempo, melody or rhythm – was prepared or set. Instead, the five musicians were held together by contrapuntal interaction. Both tracks were praised by critics, although their release was delayed – 'Intuition' was released late in 1950, and 'Digression' not until 1954. Parker and composer were also impressed. Numerous other musicians of the time, however, thought Tristano's music too progressive and emotionally cold, and predicted that it would not be popular with the public.The sextet struggled to find enough work, but did play at 's opening night 'A Journey Through Jazz', a subsequent five-week engagement at that club, and at various other venues in the north-east of the US late in 1949. They performed free pieces in these concerts, as well as fugues, but found it difficult over time to continue to play with the freedom that they had initially felt.

1950s With occasional personnel changes, the sextet continued performing into 1951. In the same year, the location for Tristano's lessons shifted from his home in to a Manhattan loft property, part of which he had converted into a recording studio. This also served as the location for frequent with various invited musicians. The address became the title of one of his compositions – '317 East 32nd Street'. At around the same time, Tristano started a record label named Jazz Records. It released 'Ju-ju' and 'Pastime' on a 45 record in 1952, before Tristano abandoned the project because of time demands and distribution problems. The two tracks were from a trio session with bassist and drummer, and contained overdubbed second piano parts added later by Tristano.

Ind described them as the first improvised, overdubbed recordings in jazz. Early reviewers largely failed to realize that overdubbing had been used.

Tristano's recording studio remained in use, and was the scene of early sessions for, co-founded by Roach and bassist.In 1952 Tristano's band performed occasionally, including as a quintet in Toronto. In the summer of that year, Konitz joined 's band, breaking up the core of Tristano's long-standing quintet/sextet, although the saxophonist did on occasion play with Tristano again.Tristano's 1953 recording 'Descent into the Maelstrom' was another innovation. It was a musical portrayal of 's, and was an improvised solo piano piece that used multitracking and had no preconceived harmonic structure, being based instead on the development of motifs. Its anticipated the much later work of pianists such as and.In the following year Tristano's sextet played at the first.

This may have been his only jazz festival appearance – he considered them to be too commercial. Marsh left the band in the summer of 1955.Tristano recorded his first album for in 1955; he was allowed control over the recording process and what to release. Included solo and trio tracks that contained further experiments with multitracking ('Requiem' and 'Turkish Mambo') and altered tape-speed ('Line Up' and 'East 32nd'). The use of overdubbing and tape manipulation was controversial with some critics and musicians at the time. 'Requiem', a tribute to Parker, who had died a short time earlier, has a deep blues feeling – a style not usually associated with Tristano. For 'Line Up' and 'East 32nd', Tristano's 'use of chromatic harmony.

Secures him a position of a pioneer in expanding the harmonic vocabulary of jazz improvisation', in biographer Eunmi Shim's words.By the mid-1950s Tristano focused his energies more on music education. In 1956 he had to leave his Manhattan studio; he established a new one in. Some of his core students moved to California after Tristano's base was relocated. This, coupled with a separation from his wife in the same year due to his infidelity, meant that he was physically more isolated from the New York music scene. He gave fewer concerts than earlier, but in 1958 he had the first of what were sometimes lengthy engagements at New York's, after the owners persuaded him to perform, in part by replacing their club's piano with a new of Tristano's choosing. They later reported that, in the late 1950s and early 1960s, the musicians who were the most popular at their club were, and Tristano: 'Coltrane brought in the masses, Zoot brought in the musicians and Lennie brought in the intellectuals.'

In 1959 Tristano's quintet again performed in Toronto, this time at the Famous Door. 1960s and 1970s Tristano's second album for Atlantic was recorded in 1961 and released the following year., as was stressed on the album cover, consisted entirely of piano solos and no overdubbing or tape-speed manipulation was employed. The tracks contain left-hand bass lines that provide structure to each performance as well as counterpoint for the right-hand playing; block chords, unclear harmonies and contrasting rhythms also appear. Other solo piano recordings that Tristano made in 1961 were not released until the 1970s.Tristano and his wife formally divorced in 1962. Their son, Steve, who was born in 1952, met his father only once after their initial 1956 separation.

Tristano married again in the early 1960s. His second wife was Carol Miller, one of his students. They had a son, Bud, and two daughters, Tania and Carol.

The couple divorced in 1964, and Tristano later lost a custody battle with his ex-wife over the children.In 1964 the pianist reformed his quintet with Konitz and Marsh for a two-month engagement at the Half Note and performances at the Coq D'Or in Toronto. The quartet, missing Konitz, played the Cellar Club in Toronto two years later. Tristano played on occasion at the Half Note Club until the mid-1960s, and toured Europe in 1965.

His European tour was mainly as a solo pianist, and the playing was in the style of his The New Tristano recordings. He performed with Ind and others in concerts in the UK in 1968; they were well received, and Tristano returned the following year. His last public performance in the US was in 1968.Tristano declined offers to perform in the 1970s; he explained that he did not like to travel, and that the requirement for a career-minded musician to play concerts was not something that he wanted to follow. He continued teaching, and helped to organize concerts for some of his students. Another album, Descent into the Maelstrom, was released in the 1970s; it consisted of recordings made between 1951 and 1966.Tristano had a series of illnesses in the 1970s, including eye pain and emphysema (he smoked for most of his life). On November 18, 1978 he died of a heart attack at home in.

Personality and views on music In Ind's view, Tristano 'was always so gentle, so charming and so quietly spoken that his directness could be unnerving.' This directness was noted by others, including bassist, who commented that Tristano had almost no tact and would not worry about being rude or making others feel incompetent. Some of his students described Tristano as domineering, but others indicated that this impression came from his demanding discipline in training and attitude to music.Writer commented in 1946 that Tristano 'was not content merely to feel something. He had to explore ideas, to experience them, to think them through carefully, thoroughly, logically until he could fully grasp them and then hold on to them.' Tristano criticized the free jazz that began in the 1960s for its lack of musical logic as well as its expression of negative emotions.

'If you feel angry with somebody you hit him on the nose – not try to play angry music', he commented; 'Express all that is positive. Beauty is a positive thing.' He expanded on this by distinguishing emotion from feeling, and suggested that playing a particular emotion was egotistical and lacking in feeling.Tristano also complained about the commercialization of jazz and what he perceived to be the requirement to abandon the artistic part of playing in order to earn a living from performing. Later commentators have suggested that these complaints ignored the freedom that he was given by Atlantic and blamed others for what in many cases were the outcomes of his own career decisions.

Influences and playing style Saxophonists Parker and were important influences on Tristano's development. Another major figure was pianist: Tristano practiced solo Tatum pieces early in his career, before gradually moving away from this influence in search of his own style. Bebopper also affected Tristano's playing and teaching, as he admired the younger pianist's articulation and expression.Tristano's advanced grasp of harmony pushed his music beyond the complexities of the contemporary bebop movement: from his early recordings, he sought to develop the use of harmonies that were unusual for that period. His playing has been labeled ', but this fails to capture the range of his playing. Eunmi Shim summarized the changes in Tristano's playing during his career:The trio recordings of 1946 show a novel approach in the linear interaction between piano and guitar, resulting in counterpoint, polyrhythm, and superimposed harmonies.

The sextet recordings of 1949 are notable for coherent ensemble playing and soloing, and the free group improvisations based on spontaneous group interactions and the contrapuntal principle. In the 1950s Tristano employed an advanced concept in jazz improvisation called side-slipping, or, which creates a form of temporary bitonality when chromatic harmony is superimposed over the standard harmonic progressions. Tristano intensified his use of counterpoint, polyrhythm, and chromaticism in the 1960s.commented on some aspects of Tristano's style that were different from most modern jazz: 'Rather than the irregular accents of bop, Tristano preferred an even rhythmic background against which to concentrate on line and focus his complex changes of time signature. Typically, his solos consisted of extraordinarily long, angular strings of almost even quavers provided with subtle rhythmic deviations and abrasive polytonal effects. He was particularly adept in his use of different levels of double time and was a master of the block-chord style'.Fellow piano player asserted that, 'As a pianist, Tristano was in the top tier of technical accomplishment.

He was born a prodigy and worked tirelessly to get better.' Tristano 'had seemingly small but extremely flexible hands, which could expand to a phenomenal degree', allowing him to reach large intervals. Teaching. For Tristano's notable students, see.Tristano is regarded as one of the first to teach jazz, particularly improvisation, in a structured way. He taught musicians irrespective of their instrument and structured lessons to meet the needs of each individual. Lessons were typically 15–20 minutes in length.

He did not teach the reading of music or the characteristics of different styles of jazz, instead challenging students in ways that would allow them to find and express their own musical feelings, or style.Foundational elements for a student's learning were having a concept of (principally ) as music and a basis for harmony. One of the teaching tools often used by Tristano, including for scales, was the. The student set the metronome at or near its slowest setting initially, and gradually increased its speed, allowing a sense of time to develop, along with confidence in placing each note.Tristano encouraged his students to learn the melodies of by singing them, then playing them, before working on playing them in all keys. He also often had his students learn to sing and play the improvised solos of some of the best-known names in jazz, including Parker and Young. Some students first sang solos from a recording slowed to half the normal speed; eventually they learned to sing and play them at normal speed. Tristano stressed that the student was not learning to imitate the artist, but should use the experience to gain insight into the musical feeling conveyed.

Such activities stressed the value of, and the idea of feeling being fundamental to musical expression. All of this preceded having the opportunity to improvise during lessons. Legacy Critics disagree on Tristano's importance in jazz history. Max Harrison indicated that the pianist had limited influence outside his own group of affiliated musicians;, who pointed out that only one of Tristano's albums was in print at the time of his death, suggested that he was pivotal in the change from 1940s modern jazz to the freer styles of subsequent decades; and Thomas Albright similarly believed that his improvising prepared and developed new ground in the history of the music.Elements of Tristano's early playing – counterpoint, reharmonizing, and strict time – influenced ', and the playing of saxophonist and pianist. Tristano's early, more feelings-based performances also influenced the style of pianist, who also used overdubbing and multitracking in his own recordings after Tristano had experimented with the techniques. Avant garde musician has often mentioned Tristano and some of his students as influences.Pianist commented that Tristano and Powell 'were the founders of modern piano playing, since nearly everyone was influenced by one or the other of them.'

Albright cited Tristano as an influence on the pianists, and Taylor. After Tristano's death, jazz piano increasingly adopted aspects of his early playing, in 's view: 'younger players were coming to these same end points not because they had listened to Tristano. But because these developments were logical extensions of the modern jazz idiom.'

In Ind's opinion, Tristano's legacy 'is what he added technically to the jazz vocabulary and his vision of jazz as a serious musical craft'. Grove Music 's summary is that 'Tristano's influence is felt most strongly in the work of his best pupils. And in his example of high-mindedness and perfectionism, characteristics which presupposed for jazz the highest standards of music as art.' Shim too identified his teaching as part of his legacy: parts of his approach to teaching jazz have become standard practice; and 'the sheer number of students he taught, which may easily exceed a thousand', tied to some of them going on to employ what they learned in their own playing and pedagogy, illustrate his influence.

Tristano's teaching also affected the art of painter, who had music lessons with the pianist: Ryman's 'technique not only parallels music in general but shares the principles of kinesthetic and multisensorial attention to detail that characterized the teaching of Lennie Tristano.' Shim suggested that the common under-appreciation of Tristano is attributable in part to his style being unusual and too difficult for jazz commentators to categorize. Ind also believed that Tristano's reputation became less than was deserved – 'He stuck with his convictions and would not commercialize. His dedication, plus the lack of general appreciation by many jazz critics, led inevitably to his being sidelined.' Awards Tristano was Metronome 's musician of the year in 1947. He was elected to Down Beat 's Hall of Fame in 1979.

In 2013 Tristano was inducted into the for, an album of recordings from 1949. He was added to the Ertegun Hall of Fame in 2015. Discography Only albums are listed.As leader/co-leader Year recordedTitleLabelNotes1945–49Live at Birdland 1949JazzSome tracks solo piano; some tracks quintet, with (tenor sax), (guitar), (bass), Jeff Morton (drums); in concert; released in 19791949Some tracks quartet, with (guitar), (bass), Harold Granowsky (drums); some tracks sextet, with (tenor sax), (alto sax) added; some tracks sextet, with (drums) replacing Granowsky; some tracks quintet, without drums; released with recordings by in 1972c., p. 98.

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Oxford Music Online. Oxford University Press, retrieved September 9, 2014., p. 32., p. 250., p. 40., p. 41., p. 42., p. 46., p. 47., p. 48., pp. 48–49., p. 49., pp. 50, 178–179. ^, p. 50. Harrison, Max (1991). P., p. 52., pp. 53–54., pp. 56–58., pp. 60–62., p. 61., p. 54., p. 71., pp. 77–78., p. 32., pp. 33–34., p. 78., pp. 78–79. ^, p. 35., p. 81., p. 36., pp. 81–82., p. 83., pp. 83–84., pp. 84–85.

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Creativity in its most basic form is simply the act of taking something old and making it new. Whether you’re a novelist, an architect, an engineer or an improviser, artistic creation stems from a desire to make something new within the existing confines of your craft. To put a personal stamp on your art form and to have your voice heard in some way.

For musicians this revolves around our personal interpretation of the fundamentals of music: sound, melody, rhythm, and harmony.However, creative inspiration doesn’t just appear out of the blue like a bolt of lightning, instead it slowly reveals itself through the diligent study of previous generations and the mastery of established skills. Schools of thinking must be studied, styles are to be imitated, and techniques will need to be ingrained.“Creativity is knowing how to hide your sources.”Albert EinsteinThe study of jazz improvisation is a perfect example of the progression of creating the new from the old. This idea of continual reinvention and self expression is prevalent throughout the history of this music and you’d be hard pressed to find a lasting piece of music or style that didn’t have a direct line back to the creative work that came before it.Take the process of transcribing a solo for instance: starting with the musical language from a previous generation, learning it slowly and eventually making it your own. An old musical language ingrained and interpreted into new musical language.However, this concept of musical reinvention and adaptation isn’t only limited to the practice of learning solos, creativity can also be applied to the Great American Songbook.Below we’ll look at two common techniques utilized by the greatest improvisers in expressing their inner creativity through the popular songbook: the Contrafactand Reharmonization. Jazz ContrafactsA contrafact is a new melodic composition written over the chord progression to a preexisting tune.For example, Charlie Parker’s tune Ornithology is a contrafact of the standard How High the Moon – a new melody composed over an existing chord progression. The contrafact stems from a desire to create something new, a creative inclination to take a different approach within an existing framework.However, the contrafact is not an exclusively jazz phenomenon, the tradition of taking an existing song and altering it started in the 16th century.

During this time the lyrics for secular songs were often replaced with religious text. In doing so the harmonic backdrop was preserved while a more “meaningful” text was applied.This technique was adopted by and especially suited for the improvising musicians of the 1940’s. These musicians started exploring and performing a collection of popular tunes that we still play today.In informal jam sessions and club dates these pop tunes were used as “proving grounds” for new musical ideas. Musicians like Parker and Dizzy Gillespie were not dealing with lyrics, but instead simple pop melodies that they replaced with their own creative inventions.“I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I’d been hearing.”Charlie ParkerParker expresses this musical sentiment referring to his experimentation over Ray Noble’s standard Cherokee. Take a listen to Parker’s contrafact KoKo on Cherokee. Check out this for a little more insight.Tunes like Ornithology, Koko and Donna Lee were the natural result of the experimentation and study of these standards.It’s important to keep in mind though, that an effective contrafact is not just another blues head or rhythm changes tune or haphazard melody over a familiar progression. For the greatest improvisers, the contrafact was a way to explore a new harmonic, melodic, or rhythmic concept – to instantaneously stick with tradition and move it forward.Here are a few common jazz contrafacts that you’re probably encountered:.

What is this thing Called Love = Hot House. How High the Moon = Ornithology. Indiana = Donna Lee. Sweet Georgia Brown = Dig. You Stepped out of a Dream = Chick’s Tune.

Just You, Just Me (Just Us - Justice) = Evidence. Lady Bird = Half Nelson. All the Things You Are = Prince Albert.

Charlie Parker ContrafactsCharlie Parker is without a doubt one of the most important innovators in American music.Even today many of his tunes continue to be studied and performed by improvisers around the world. However the majority of these tunes aren’t free standing through composed musical pieces, they are contrafacts or “head charts” written on top of blues changes and rhythm changes and other popular standards.Bird used the popular standards of his time as a vehicle for his musical vision, a way to bring to life the musical ideas he was hearing in his head. ReharmonizationThe second technique of reinventing the standard songbook used by improvisers is reharmonization – altering a chord or sequence of chords in a song’s progression while retaining the original melody and structural outline of the tune.After experimenting with altering the melody through the contrafact, the next logical step is to actually change the chord progression of a tune – reharmonization.

For example, take a look at the normal 12 bar blues progression and Bird’s reharmonization of the blues:12 Bar BluesBird BluesCertain chords have been altered or substituted to create a more dense harmonic motion, yet the overall form of the tune remains the same. You can also check out this article, for more on this concept.Here are a few common reharmonizations that you’ll probably encounter at some point in your musical journey:Blues = Blues for AliceRhythm Changes = Eternal TriangleHow High the Moon = SatelliteRosetta = Yardbird Suite Coltrane Reharmonizations“I’ve found you’ve got to look back at the old things and see them in a new light.”John ColtraneIn the late fifties John Coltrane began to experiment with reharmonization and the concept of non-diatonic or chromatic third relationships. Below is an example of this reharmonization technique he created on a ii-V7-I in the key of C.In Coltrane’s reharmonization of the standard ii-V7 -I progression shown above, the new key centers are Ab, E and C.

The basic outline is still D-7 to G7 to C, but he doubles the harmonic motion and introduces new key centers moving by chromatic thirds.Additionally, related dominant chord (V7) is then placed before each of the key centers to accentuate its arrival. Below is a list of tunes that Coltrane tunes and reharmonizations that utilize the above chord relationship:.

Body and Soul. But not for Me. Fifth House = Hot House. Countdown = Tune Up.

Spring is Here. Satellite = How High the Moon. 26-2 = ConfirmationAn evolving standardPerhaps the best way to illustrate the use of contrafacts and reharmonization is to take one standard and look at how different musicians have played it. Let’s take Cole Porter’s song “ What is this thing called love.”What is this thing Called Love: Cole Porter, 1930Here is the Clifford Brown and Max Roach arrangement of What is This Thing Called Love. Below is an excerpt from Coltrane’s notebook showing his reharmonization Fifth House.

Here you can clearly see the chromatic 3rd relationships he’s implying in his solo over the ostinato bass line in the A section and again the same reharmonization on the bridge.All four of the above tunes are based on that original Cole Porter chord progression and melody.