Diminished Whole Tone Concept" (c) 2006
the Methodology employed by those 'Giants', who launched
necessity; to impart the real 'meat' and essence of this Music.
by which, to really 'open up' ones' playing.
is a Method which 'reveals' itself through doing.....
as indeed it was conceived.....by doing.
to the Real Essence & Culture; the language of 'Be-bop'.
Original Improvisatory Method
'World-Class' Bass Player";
A 'Maverick' Protagonist for the
Bass; "Everything in
Music, Harmonically, and therefore in
Jazz Improvisation exists in divisions of twelve.....The Rhythm? is the
'Time'.....the spaces where everything occurs.....The formula is of
course, one thing....knowing how,
when, and where
to use it ?
Is, of course, quite another......
"In the true Tradition of the Jazz vernacular, that has been passed down through the generations; this Curriculum offers an opportunity for a Composer to shape his Music, in a very personal style."
Dr. Billy Taylor.
Mickey Bass: "I
truly and sincerely know that students will benefit from this; My
Concept, and have seen as much in many of my former students, who
include; Wallace Roney, Eric Allen, Antoine Roney, Winard
& Phillip Harper."
"One of the most
'simplistic' forms of this Music, which we call "Jazz", is "The Blues";
which many consider to be the 'back-bone' of Jazz.....
is, basically; a I7, IV7, V7 chord progression.
A good example of this
progression would be the chord progressions to John Coltrane's
composition; "Equinox". Within this composition are prime examples of
how a variation can be 'worked'. He 'substitutes' chords; instead of
the normal II-7(b5), or "D-Minor"7(b5) chord, he chooses, in this
instance to 'substitute' with an "Ab"7, rather than a "D-Minor"7(b5).
makes this choice by means of the tri-tone substitution, that we spoke
about briefly, here, in a previous paragraph. Now these truths come to
"The total concept, of my
Jazz Improvisatorial Method, called; "The Diminished Whole Tone
Concept", is designed to enhance the development of students' ability;
through practical, tangible 'means', by which they can truly expand
their awareness...and their ability to 'conceptualize', into developing
unique, individual voice."
"In Jazz? It is the Harmony that
determines the Melody.....not vice
"All of the Harmony that we
use in Music is derived from the Major scale; that the natural Minor
occurs on the 'sixth' degree of the Major scale, is a useful insight,
in as much as it enables the student to develop a greater insight, and
appreciation, of the relationship between the two modes; Major and
essential factor in Improvisation, is to know the chord 'changes' The
chord progressions, or 'changes' as they are commonly called are the
'road-map', alluding to the construction of the composition."
one sees a Dominant 'seventh' chord? One 'selects'....that is the point
of this Method."
"This course of study,
any other, deals with the major principals of the Jazz vernacular;
through the use of practical examples, to exemplify the given
This Method came about; was formulated by
Mickey Bass, as a result of an idea that occurred to him, and Musically
became a revelation to him; just as Mary Lou Williams revealed her
'inner-workings' of 'Be-bop' to Thelonious Monk, Charlie Parker and Bud
Mickey Bass has
taught his Original Improvisatorial Method at;
"The Ellington School of
The Arts", and at
"Hartt College of Music", University of Hartford;
where he was invited to teach this, his Original Method by;
Chairman of The Jazz Department; Jackie McLean. Whilst he was at "Hartt
Mickeys' Method became 'Accredited', as a 2 year College
Mickeys' Curriculum has recently been adopted as the 'model' for other
Teachers to follow at "Jazz-Mobile, Inc." in New York City.
Excerpts of that Curriculum; copywrited in 2006,
'formula' is, of course, one thing.....Knowing how, when, and where to use it?
of course, quite
available, for Workshops and Seminars, and
Diminished Whole Tone Concept" (c) 2006 is available
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