Take Five

Tbirdjazzguitar · #1 06-22-2010, 03:19 PM

new vid

musicjohnny · #2 06-22-2010, 08:14 PM

I didn't really like it man, you didn't outline the changes. Didn't groove, nothing really appealed to me. Keep working on it, transcribe the solos of the greats, and keep playing over it; You'll get it.

jseaberry · #3 06-22-2010, 09:03 PM

You have a very nice sound. To me, however, it sounded like a book that read,"He ran towards her. The storekeeper scowled as the cop bit into an apple. She cried as they left. As the plane circled, he could see her farm. Relentless rain fell." Would you read a book like that, all disjointed sentences? I doubt it. In the same way, your solo seems to have no theme and development, just lines with no flow, no direction, no build-up, no let-down. I suggest take the melody itself; take a piece of it, and see what those few notes say; turn them around, backward, stretch them out, shorten them up; you'll find solos then that say something about the MELODY you are playing and not just lines over chords. But most of all, have fun. It looks like you were.

derek · #4 06-23-2010, 09:50 AM

You are getting a good sound, and I heard some good ideas in there, just wished you had developed some of them, rather than moving on to the next one. Keep up the good work

mr. beaumont · #5 06-23-2010, 09:57 AM

Quote:

Originally Posted by musicjohnny

I didn't really like it man, you didn't outline the changes. Didn't groove, nothing really appealed to me. Keep working on it, transcribe the solos of the greats, and keep playing over it; You'll get it.

I can't see the video here, but what "changes?" most folks just improvise over the Ebm-Bbm section, right? Or did he take on the bridge too?

musicjohnny, it'd definitely be worth taking a look at what paul desmond did on the original...the guy is a master class in taste and melodic playing.

Tbirdjazzguitar · #6 06-23-2010, 11:53 AM

I'm gonna be honest, I kno i need to work on building up longer lines but im not really sure how to yet. My teacher has been teaching me with the triad method, so I've been trying to work on making longer connections but its hard when its not nescesarely chromatic.

Tbirdjazzguitar · #7 06-23-2010, 11:54 AM

Quote:

Originally Posted by mr. beaumont

I can't see the video here, but what "changes?" most folks just improvise over the Ebm-Bbm section, right? Or did he take on the bridge too?

musicjohnny, it'd definitely be worth taking a look at what paul desmond did on the original...the guy is a master class in taste and melodic playing.

I just vamped over the ebm-bm7 section

jseaberry · #8 06-23-2010, 12:38 PM

It's not necessarily "longer" lines, but coherent, connected lines that tell stories.. Stick with your teacher's ideas; triads are a great way to learn the fingerboard and how to build STORIES in your solos.

lkmuller · #9 07-05-2010, 02:12 AM

Hey, it's a great start and you're on the right path. Enjoy the journey!

Reg · #10 07-05-2010, 09:14 AM

Hey Tbirdjazzguitar... good start.. Try and play the tune with out background tract. You'll see and hear what your really playing. I would work on simpler tunes, playing in 5/4 is pretty difficult. But if you dig tune... play the bridge with out background tract, (over and over) you'll get the feel of the 3-2 break down off this version of 5/4. A standard way of soloing is call and answer, the call is short melodic idea and the answer is a response or different melodic idea which follows. There usually same length. In 5/4 you can phrase using same style or form for organizing your solo. And you can break it down even more by using the 3 - 2 breakdown of each bar. A phrase of 3/4 followed by phrase of 2/4 in your "call" or 1st melodic idea followed by your "answer" your 2nd melodic idea. You can make 1st idea simple and 2nd idea busy or change it around. There's a general rule (in life), play something twice change it and move on. Best Reg

ejwhite09 · #11 07-30-2010, 12:28 PM

Like for instance, on minute 1:30-1:34 you start a great idea and then you just drop it. I think thats the best example of your mistake. That being said, you should only feel good that people are telling you that you just didn't give them enough of the good stuff. That means you have a tone and voice and you just have to overcome that whole, 'let me show people i know a lot about guitar' mentality.

woyvel · #12 07-31-2010, 07:50 PM

I think what some are trying to say is that the phrasing has some good licks within, but those licks aren't being developed lyrically into a solo "idea", a solo that makes that "statement".

Lengthen things out with some repeats that re-state the lick, add a held note here or there between phrases. Think about how George Benson (for example) re-states a lick and then expands upon it, then throws in a bluesy hold.

Most of all, don't worry about it. You're on the way. It's not as if you've been playing this tune at gigs for a solid year or 40. Most often, when you hear somebody's solo that really smokes it's on a song they've known and played a long time.

Tbirdjazzguitar · #13 08-01-2010, 07:30 PM

Thanks for the positive vibes guys. I enjoy reading all the helpfull comments. I will say this is a month or so ago. and id like to think ive improved a decent amount. So im planning on posting a new vid some time soon

Henry Mars · #14 08-04-2010, 01:55 PM

If you play the chord scales to the changes all over the neck using the harmonic line of the tune as your starting point for each scale iteration it will give you the feel of where you are going and then allow you to go where ever you want with the improv.
At first do this with even eighth notes .... helps you find the cadences within the changes.

mr. beaumont · #15 08-04-2010, 02:18 PM

okay, I'll ask again--what changes? He's soloing over a minor vamp.

bruceXedwards · #16 08-04-2010, 10:39 PM

Hey TBirdJazzGuitar I appreciate that you just learned the melody the day of filming your solo. It's a nice solo. I'd like to see your video when you do this solo again after you've been playing it longer, because already you were presenting some good ideas in your solo.

Henry Mars · #17 08-08-2010, 06:05 PM

Quote:

Originally Posted by mr. beaumont

okay, I'll ask again--what changes? He's soloing over a minor vamp.

Ebm Bbm
/ / / / /

It is a vamp but you can build a harmonic line, and then use that harmonic line to build tension and release. You then use the notes in that harmonic line to build scales to improvise off of. It a very simple technique that can help build some excitement in something that can be very boring.

There are some things that can be done using synthetic modes here but the method I just outlined is a very effective tool that I have used with my students.
The harmonic line approach helps the student visualize different harmonic cadences within the structure of a tune.
I can't answer your question beyond what I have just explained.