1.從最基礎在II-V-I終止式上即興，到12小節布魯斯曲式即興，打好底基內化功能譜 – 爵士最大特點是沒譜子，只有和弦譜，你最後能練成對著一頁譜子拉10幾分鐘，不想停還能繼續拉。旋律弦樂需要1年左右練習功能譜。功能譜練法一：拿小提琴當吉他，直接拉根-3-7和弦來拉功能譜上的和聲行進。美國前伯克利教授Cristian Howes, 出過一本教材，裡邊有大量拿小提琴當和聲樂器的思維訓練，乾貨滿滿，這種練法比較顛覆，需要同步學習一定的爵士樂理，技術上通過拉雙音/三音來提升.
3.功能譜練習三：最近銜接法則 – 每小節交界處，用下個小節離的最近的和弦音和本小節最後一個音銜接。練10首左右就可以反應過來了。節奏練習 – 爵士的節奏初看簡單，但是當扒爵士小提琴大師的solo，或其它樂器你喜歡的solo, 一開始音都扒下來了但小節線就是畫不對，因為爵士即興語句語彙，和古典大相庭徑。而且每個音樂家的“口音”都風格迥異扒5-6首就差不多破解了。節奏的滲透需要半年左右才會讓你被真正的爵士圈接納，很多專業人士也都說節奏內化是專業和門外漢的分水嶺。
句法：練熟Charlie Parker（帕克Bebop鼻祖）和John Coltrane的Omni book，這本書已經扒好的這兩位管樂大師 Bebop波普樂的即興。回歸Bebop語彙，買Omni book然後從頭到尾跟錄音所有歌拉一遍。Bebop語彙爵士是近現代爵士的底基，句子的停頓代表的是一種氣息，其實是管樂手開始需要呼吸的地方，後來變成了句法。
1.爵士小提琴弓法一 – 以Stephane Grappelli的錄音吉普賽弓法為例，節拍與連線，對著節拍器研究。尤其是Grappelli的弓法。
2.爵士小提琴弓法二 – 不像古典那種特別注重表達的長弓，爵士小提琴用的弓子非常短，集中在某一小段，而且換弓時會加一些力度打造音頭。
3.爵士小提琴弓法三 – 飄弓，注重聽Didier Lockwood和彭飛的爵士小提琴，弓子是漂浮在琴上的，打造出酒館昏暗燈光下薩克斯管那種幽幽的意境，而且因為飄有五光十色泛音感，這是現當代爵士演奏法弓法中的流派之一。
Music is the sound of thinking.
One. The two paths of jazz violin learning
Learning jazz violin is a very long process. You must tell your teacher clearly whether you want to play a finished piece of written music or learn to improvise, because these are two completely different paths.
One is to find a finished score, that is, a jazz-style violin piece that has been written. In addition, there are many Disney, Hollywood, Broadway and other jazz style finished products. 2.
The second type belongs to the jazz circle, the ability to come up and improvise, and to interact with unknown musicians on stage without rehearsing and grabbing the instrument, ""improvisation"" is in fact very common among classical violinists in the early classical period. At the end of a movement, there is often an improvised flashy cadanza sequence (Paganini, Ernst, they were also the first to improvise), but later the classical violin technique and music processing became more and more complex, requiring the composer to write down to the score for practice, classical musicians slowly lost this skill.
II. Jazz Violin "Functional Score" ——- Improvisation Training
The following is a summary of some of the dry goods to help learners.
From the most basic improvisation on II-V-I termination, to 12 bars of Bruce improvisation, to build a good foundation to internalize the functional score – the biggest characteristic of jazz is that there is no score, only the chord score, you can finally practice to play a page of score for 10 minutes or so, do not want to stop and can continue to play. Melodic strings need about 1 year to practice functional music. The first method is to use a violin as a guitar and play the root-3-7 chords directly to play the harmonic progressions in the functional score. Cristian Howes, a former professor at Berklee, has published a textbook with a lot of training on how to use the violin as a harmonic instrument, which is full of dry goods.
2. Functional score practice method two: practice arpeggio, three chords, three chord inversions, through the arpeggio way to express the harmonic progression. If you practice triads well, you will not be afraid to go anywhere. I began to put on I-real pro (accompaniment app) with practice, familiar with the sound off after practice, there will be a stage from the auditory mode instantly back to the finger counting mode, after 5 you will be able to see the rapid progress, in the absence of anything in the brain automatically generated response mode (like learning the language of children to see more English version of Paige suddenly one day out of the English are London accent.)
3. Functional score exercise 3: the nearest articulation rule – at the junction of each bar, use the nearest chord tone of the next bar to articulate with the last tone of the bar. Practice this for about 10 songs and you will be able to respond. Rhythm practice – Jazz rhythm seems simple at first, but when picking up the solo of a jazz violinist, or any other instrument you like, the opening notes are all picked up but the bar line is not drawn correctly, because jazz improvisation vocabulary is very different from classical. And each musician's "accent" are very different styles pick 5-6 songs will almost crack. It takes about half a year for the rhythm to penetrate before you are accepted into the real jazz scene, and many professionals say that rhythm internalization is a watershed for professionals and laymen.
Syntax: Practice Charlie Parker's (the originator of Bebop) and John Coltrane's Omni book, which has been picked up by these two wind masters of Bebop improvisation. Back to the Bebop vocabulary, buy the Omni book and pull through all the songs from start to finish with the recordings.
Bebop vocabulary jazz is the foundation of modern jazz, the pause in the phrase represents a breath, in fact it is where the wind player starts to breathe, later it becomes syntax.
III. Jazz violin bowing
Jazz violin bowing I – Take Stephane Grappelli's recording gypsy bowing for example, the beat and the connection, and study it against the metronome. Especially Grappelli's bowing.
2. Jazz Violin Bowing II – Unlike the long bows of the classical style, which are particularly expressive, jazz violin bows are very short and focused on a small section, and the bow changes will add some strength to create a tone.
3. Jazz violin bowing method 3 – floating bow, focus on Didier Lockwood and Peng Fei's jazz violin, the bow is floating on the instrument, to create a dark mood of the saxophone in the dim light of the pub, and because the floating has a sense of colorful overtones, this is one of the contemporary jazz performance bowing method in the genre.
Translated with www.DeepL.com/Translator (free version)