The Sonoma Jazz Girlz have been meeting for nearly five months, and they have a good grasp of chord extentions and following chord changes. It didn’t really hit me until tonight, but they do.
What happened was that my daughter had a writing catastrophe right before class. Wattpad, where she writes her fiction, changed its layout and she accidentally deleted an entire prologue. This put her in a very bad mood.
We joked about taking it out on the music, and then, and I’m not kidding you, her solo went from her usual clean, inside, proper little melody to freaking Thelonius Monk. With her perfect pitch, she doesn’t realize that it’s not easy for everyone to play the melody in one hand and the melody in a different key in the other hand. She was playing trills as fast as her little fingers could go and waiting patiently and then striking a chord to scare the bejeezus out of you. I walked over to her during the next person’s solo and said “That was the most professional sounding solo you’ve ever played.” The funny thing is, she had no idea. I think she thought she was being downright disrespectful!
This led to my changing our listening time from what I had planned to an introduction to Thelonius Monk. Thanks to Youtube, I was able to pick Straight No Chaser so that they’d be able to hear familiar chords and know that the solo did not always stay within them. We talked about playing “outside” and how maybe they were good enough at “inside” to purposefully branch out. Some people might not take this route in jazz teaching, but that’s how I’ve gone about it. You have to know the rules before you break the rules. I just didn’t expect to make such a big leap yet. One of the trombone players, who usually sticks with the root or the melody, said she was going to try an E natural over a B flat chord, and I said “Go for it! See what you think.”
I didn’t ask her what she thought of the E natural, but I know she learned something tonight. And I hope my daughter learned that sometimes it’s not disrespect, it’s just jazz.