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Hi all,
It's been 3 years since I started over on jazz guitar, nom i'm here, playing Stompin' at the Savoy:
I've followed some constructive critics from people of this forum and it helped me pretty well (playing through the entire neck etc).
Please comment and give me some feedback about what seems important to work to improve my playing.
thks
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11-14-2010 09:26 AM
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Wow! I really like it. I wish I could improv 1/2 as good as that. Keep it up.
I'm sure someone around here will be able to give you some good advice.
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Well done. One of favorite tunes.
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i think that you have some good things going on with your soloing. sounds like you got a little out of sync with the changes at a one or two points along the way but no major issues. you had some good melodic ideas too.
i would say a couple of things:
1. play the melody more clearly and precisely and make some punctuations with it. that is, whether you play it straight or play around it, make a statement with it. try to go for a little more strength and clarity but don't overdo.
2. (i listened just once and did not make note with regards to how many chorus' you played, but it seemd like 4 or more. if i'm wrong then you can ignore the following). Practice just the number of chorus' you think you would really play on a bandstand. Make your strongest story telling last that long. Playing more than 2-3 chorus is a good skill too, but master 2-3 first.
just my two cents.
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Overall, great playing. I wished I'd played that well after 3 years.
I agree with fumble. On the melody, is that the correct melody for bars 3 and 4 of the bridge? It sounds good, but I don't think that it is what Goodman wrote. I think it is supposed to go G# F# B A G# F#, with the same rhythm as the first two bars. But you know how jazz is - someone may have played that way at one point and it's become OK.
On fumble's 2nd point, I also agree. He calls it "telling a story", I call it the "intensity arc", but it's basically the same thing. You need to start out a little more sparse and less intense and then build through the solo - it needs to go somewhere. I wrote a more complete explanation in the thread "Making a coherent solo statement.. or not" so you can read it there if you want.
Other than that it is really good. I might have wanted a bit more use of dissonance - there was some and it was well used, but I thought there were times when you were just running through the mixolydian. There was a little more towards the end, but I thought that you could have taken a few more chances.
But overall, great job.
Peace,
Kevin
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Thanks for the comments guys;
yes you're right about the floating melody i can make it more clear and straight.
good point for me is the "story-telling" thing. I must admit that i'm very proud to be that far in my music to consider statements and things like that.
@Ksjazzguitar : your post on the "making a statement..." thread is quite inspiring. Even if I already heard such consideration, i'm begining to have the maturity to think about it while playing.
I can easily folow Fumblefingers advice and force me to stick to 3 choruses.
Thaks again for the help
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Yeah, there have been many pieces of advice that I've heard and not been ready for. And then one day I hear it for the 50th time and suddenly a bell goes off - I'm just finally ready to understand it.
Originally Posted by jeffroi
Peace,
Kevin
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Great playin man... your close to really diggin in. You have a feel that usually takes one much more time to develop. Once you know the tune, which sounds like you do... play with out backing track... you can really hear what your implying. That will get rid of the famous..." guitar noddle effect".... that random playing of scales sound, you'll start to play what you hear, rather than what happens. Nice use of both arpeggios and scales. Was great to hear your chordal licks... There's a few ways of approaching soloing, one being to have a statement and keep improving what your trying to say each time through each chorus... by development or through variation...obviously the other is the methodology of connecting different ideas in some organizational system. It takes quite a bit of time to develop reactive, instinctive personal organizational systems for structuring your solos... which is the art of improvisation... So begin with a plan, pre-think of your solo form and try an pull it off. I don't get into personal choices of material... were all different. I would mention that Stompin is a pretty bluesy tune... As far as the melody, it was close enough for me. Try and not let your skill level control how you play the melody, again have a plan of what and how you want the melody to be heard. Again I totally dug your feel... your on the way . Best Reg
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Nice work! I like your melodic lines/ideas as well as your rhythm, you kept swinging through the whole song.
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I hate this place.
Guys that have been playing jazz 3 years shame me!
Well constructed solo from my perspective. I liked it all!
You play better than 90% of the guys in this town who try to pass themselves off as jazz guitarists (including me)! And there are a LOT of them here (Santa Cruz, CA).
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Hey Backliner... I have a couple gigs after holidays in Santa Cruz, with one of my old buds.. Delbert Bump... It's a B-3 trio...we are about as live as it gets... we simply take off burnin... I think one is at the Kuumbwa... I'll gladly get you tickets... it's one of my favorite guitar settings.... Best Reg
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OOO!
Loves me some B-3 trio!
Tentatively I'd be honored and grateful. I caretake my wife (cancer) so hopefully there won't be a crisis that night.
We played Kuumba a couple months ago, but that band is mostly defunct now.
PM me when it gets closer?
Tks!
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yes your right, music comes out differently without the backing track, and it's good for rythm. Originally Posted by Reg
That make sense. Wes first come to mind. Thanks for your time Reg. Originally Posted by Reg
B-3 trio is the jazz guitar formula ! so much space and dark sounds, love it !
Backliner, next time I go to CA I'll check it out some jam session with you.
All the luck for you and your wife, don't give up.
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Nice tune!Nice playing! Nothing to say except that I'm jealous...I'm studying jazz i think 4 years now and I had a good musical background before I start and I can´t play nearly like you do.
Keep on the excelent work!
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Wow.Thats some mean playing man, i loved it sorry i cantgive you any advice as your miles ahead of me. But i would love it if you could tell me a little about your improv approach and how you practice etc.I found yourplaying very inspiring.If music truly is a reflection of the soul then you must have a good soul.Thanks FOR SHARING AND PEACE.
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Hi gingerjazz, thanks for the comment. Originally Posted by gingerjazz
Regarding my practice routines, for 3 years I mainly concentrate on:
Learning :
Year 1 & 2 :
- Technical exercices (1234-4321 etc ...)
- Major scale, Dorian and myxolydian
- Lyndian dominant scale
- Altered scale
- Main chords
Year 2 & 3
- Arpeggios (Maj7,m7,m7b5,Dim,7)
- Chords voicings (5 to 6 voicings on each type)
Pratice routine :
- Arpegiate standards with a metronome
Hope it helps !
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jeffroi, Originally Posted by jeffroi
It may seems like an obvious question but could you further describe in more detail how you do the above.
Are you taking a chord grip and arpeggiating it or some other form?
Thank you.
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I'd say just keep on keepin' on. You're definitely doing something right. I like your approach, and I'll leave it to your intuition to tackle the next phase you think is right for your development. You obviously have enough talent to utilize what you've put into the work. Your own style and voice has begun to develop I think. Originally Posted by jeffroi
...Please comment and give me some feedback about what seems important to work to improve my playing
thks
BTW, is that an L-4 or a really nice ES-175? Looks like an ebony fingerboard. Pretty sweet, whatever it is.
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Good evening, jeffroi... Originally Posted by jeffroi
My two pence worth...
3 years of jazz guitar (but you may have been playing other styles since a bit more..?); you're on the right road all right. Very nice. How to improve? May I humbly suggest that one doesn't have to play all the time, even during your solo. I would sometimes leave a break (a bar or two, usually at start or end of cycle, but not necessarily...), to enable the backing to come through. I realise that it's not the same with a backing track, but with 'live' backing, the others may have a 'punch' or short phrase that could 'open up' the solo, and allow a breath of fresh air in. I'm basically on drums, and it's a trick I use during a 'hot' solo from the others where I stop suddenly (at an appropriate moment, of course...) so that they may 'lift forward', then come back in to take them further on...
Just a thought (yes, I'm as jealous as the others, of course...)
Hope this helps...
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nice playing. My suggestions might have been stated, but so I'll re-enforce them.
1. You need to use more space
2. Play into the progressions more then starting your lines as they chords happen, anticipate the changes.
3. Technique wise, you should clear up your triplets as they are choppy compared to your 8th notes. Most people seem to focus a lot on 8th notes when they're learning bop improv, but the real juicy stuff is in the groups of 3. You're for the most part using them in the right place but you're flubbing them.
4. More alterations on your V7 to IMa7.
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Really nice playing! Would it be possible to get the backing track please?
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http://www.ralphpatt.com/Backing%20t...F%20%20150.mp3 Originally Posted by whippersnapper
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ok, i mean playing through the changes on a given area of the neck (let's say around the fifth fret) using arpeggios, in 8th notes, for example, behind a metronome setup on 2 and 4. Originally Posted by jeffroi
Here is an exemple where i do it with scales :
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Thks Backliner, it's a brand new 2009 175 which just start to open up Originally Posted by backliner
I'd say just keep on keepin' on. You're definitely doing something right. I like your approach, and I'll leave it to your intuition to tackle the next phase you think is right for your development. You obviously have enough talent to utilize what you've put into the work. Your own style and voice has begun to develop I think.
BTW, is that an L-4 or a really nice ES-175? Looks like an ebony fingerboard. Pretty sweet, whatever it is.
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Amen. You know .... every guitar player should work on it Originally Posted by Dad3353
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I mean .... your right, but .............. you're a drummer
Sorry for the easy joke, good advice though, thks
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