Intonation is much less of a concern in the jazz world than in the classical world. It’s the soloist’s voice that makes the music unique, whereas in classical music a good piece played by a less-than-stellar musician can lead to at least an intellectually interesting, if not aesthetically satisfying result, much more often than a less-than-stellar piece played by a great musician can. I’ve seen classical musicians listen to Coltrane from his quartet period, for example, and actually burst out laughing at the intonation. This project marks a high-water mark in my work of genre blending, and offers an occasion to reflect on the differences and similarities between these two ways of making music. So to a jazz musician, the classical musician’s sense of rhythm can seem bafflingly substandard. Classical musicians simply look at rhythm differently. Classical musicians process Rhythm in a highly sensitive way, thats fluid and adjust to every inclination of intent. The overall dynamic of jazz is much louder than that of classical music, at least at the chamber music level. How is the soloist’s sound? Since the Renaissance, the history of classical music is usually divided into baroque, classical, Romantic, modern, and post-modern eras. Rhythm. Finger technique for both genres can be extremely difficult. Rhythm. Classical musicians also displayed far less openness to new experiences than jazz or folk musicians in that study. PO Box 370550 What is the level of interaction between soloist and rhythm section? Rhythmic feel plays a vital part in both classical and jazz music. There is no more marked area of difference between classically trained players and players trained in jazz than the domain of rhythm. I am feeling slightly overwhelmed at the thought of immersing myself in the feel of jazz. There’s the tradition of classical musicians tuning before the concert begins; many jazz musicians just hope to be in tune by the end. Copyright 2020 Leaf Group Ltd. All Rights Reserved. It’s like listening to music on a great home stereo vs. cheap computer speakers—the difference may be glaring to the sensitized few, but for the most part the music comes through. You can call this an orientation toward groove, or a metronomic approach—though, even if it begins from a principle of total evenness, it ultimately transcends the metronomic and goes to the realm of feel, that is to say each person’s own individualized approach to this evenness, to subdivision. Hallelujah Anyhow: The Premiere Recording of Alvin Singleton’s String Quartets, “THE RISE UP” FEATURING NEA JAZZ MASTER DAVE LIEBMAN, Musical Fund Society 200th Anniversary Concert, Live Streaming 102: Hosting, Preparing, and Advertising Your Live Stream, How the New Music Community is Coping with the COVID-19 Pandemic, Nathalie Joachim: Stepping Into My Own Identity. I hope the musicians of our future continue to explore the relationship between jazz and classical, as both are endlessly deep wells of musical inspiration. Classical orchestras feature woodwinds, brass, and percussion but also include bowed string instruments such as the violin, viola, and cello, which are rarely used in jazz. (The equally brilliant jazz bassist Scott Colley and percussionist Satoshi Takeishi round out the ensemble.) If practicing these two genres entails basic differences, there is also a fundamentally different way of listening to them. Classical music does have compound time signatures like 6, 9, and 12/8, but the feel of these is not an exact representation of what happens with swing in jazz. For Jazz Musicians, you do get form and specific styles to consider, but the way of explaining the harmonic movement is simply a different nomenclature and different system of analysis. Avoid personal attacks and defamatory language. If jazz musicians think fundamentally differently than classical musicians, it must be said that “fusion” jazz musicians think quite differently than “straight-ahead” or “avant-garde” jazz musicians. If I asked you to speak Chinese, you might try to do so with passion and vigor, but that wouldn’t really get you anywhere unless you studied it seriously for quite a while. The other thing that’s palpably different between jazz and classical musicians has to do with specific musical references. 0 0. This is why, while it may be very difficult to get classical players to groove, it’s equally challenging to get jazz players to effect a convincing rubato. And here is the opinion of a classical musician, my opinion. You have some interesting points here but as a pro jazz musician and a trained classical flautist ask a classical player to sing a lydian scale on any note? The composer George Gershwin, who was influenced by early jazz, wrote a famous clarinet glissando at the beginning of his Rhapsody in Blue that imitates the "dirty" sound of jazz. Whereas in classical music almost everything is written out for us. Classical players usually perform in more formal settings, such as a concert hall or amphitheater. Saved by Pender's Music Co. 7. Classical composers envy the melodic verve, spontaneity and open emotion of improvisation; jazz musicians look to the larger scale, the coloristic and … How are the ideas—are they original, are they spontaneous? You have to be in order to improvise changes on the fly. But really these are just manifestations of differences in brain structure, differences in training, and ultimately differences in culture. Jazz chord changes are also very complex and irregular compared to traditional classical piano pieces. It’s like a language. White jazz musicians appeared in the midwest and in other areas throughout the U.S. Papa Jack Laine, ... Brazilian jazz, such as bossa nova, is derived from samba, with influences from jazz and other 20th-century classical and popular music styles. Jazz harmony can be studied - but not the groove. For example, if we have Cmaj9-Ebmaj13#11-Abmaj7-Dbmaj6/9-Cmaj7, a Jazz Musician would say that Modal Interchange was used in which the Ebmaj13#11 and the Abmaj7 were borrowed from C Aeolian while … But she herself was the real thing, a jazz musician to the bone. Don’t worry though we can still learn jazz but we just need to learn in a slightly different way. Learn how to hear the music by your ear and gut feeling. Improvisation is not merely a set of rules or precepts, or even a feeling of freedom—it is, again, a specific culture. In jazz, by contrast, forms are based on the chaconne-like repetition of a series of chords, over which improvisations are played. No discussion of the differences between jazz and classical musicians would be complete without touching on their respective approaches to the written page. Accordion. to receive our email newsletters and get updates on news, events, articles, and opportunities. The irony here is that jazz musicians’ use of rhythm is in a way LESS expressive than that of classical musicians. The improvisations create the variation, and so in some sense the music is not travelling; it always comes back, again and again, to the same place. This is something that classical musicians struggle with or at least in my experience they have. Here are six areas in which classical and jazz musicians vividly differ: 1. Over time, though, jazz has increasingly moved into concert halls and other more formal settings as well. I’m very excited about the recording, which features Joshua Redman, one of today’s greatest working jazz musicians, as well as Brooklyn Rider, one of today’s most brilliant classical string quartets. So the problem of merging musicians from two genres that seem far apart is in fact a diplomatic challenge, not that different from the problem of merging sensibilities within any group. That expression is re-injected on the subtle level of feel—and indeed the best jazz soloists do make expressive use of time, by laying back against the beat or floating over it, but these effects work precisely because they create tension against an underlying pulse that is unchanging.