Robert Conti's Ticket To Improv

[Doublea A]

Hello All,


I am planning on starting up a Study Group in May 2017 based on Randy Vincent’s book “The Cellular Approach”. I figured that we could give everybody a month to check out the book and decide whether or not they would like to commit to the group. The book explores cellular improvisation. A cell is a four note group with at least 3 chord tones. It is meant to lead to building improvisations that are melodic and follow the chord changes logically.


The Introduction reads: “This book is a collection of things to practice on the guitar that will help to develop the vocabulary of jazz improvisation while simultaneously developing and maintaining single-note technique. . . . the focus will mainly be on “cellular” improvisation, which is using very short melodic cells strung together into longer lines. Once we get to the place where we are using strings of cells for “outside” and “free” playing we will move beyond the cellular concept and into some other approaches. I have included many lines and phrases transcribed from the recordings of several master guitarists to demonstrate the validity of the concepts behind the exercises given.”


There are 5 chapters in this book: Chapter 1 - Cycles and II-V Sequences (247 examples). Chapter 2 - Turnarounds (163 examples). Chapter 3 - Longer Progressions (192 examples). Chapter 4 Outside and Free Playing (113 examples). Chapter 5 - More Outside Lines - All Purpose Licks including Chromatic Intervals, Serial Tone Rows, and 23rd Chords (99 examples)


I have had this book on my shelf for the past 2 years but I have only played the first 5 pages. Maybe a group will help motivate me and others to incorporate this concept into my own playing.


The book does not come with a CD (at least my book didn’t). I use iRealPro for backing tracks.

1. My plan right now is to learn 10 examples a month. Each example is only 2 to four bars long. I have completed the first 12 with minimal effort. I would estimate that this is a 1 to 2 hour commitment per month. We may want to change this depending on the pace maintained by the group once it gets going, plus at that rate it would take us 6 years and 9 months to complete the book.
2. Discuss or post your performing of the examples.
3. Discuss or post where to play the “Cells” on the neck of the guitar. Even though Randy does give some indication where he would like the cells to be played, as we know they are always alternative fingerings.
4. Discuss or post the application of these “cells” into Jazz Standards. I think that this is the most vital part of the exercise. A concept is only a concept until it is made a reality (I just made that up. It is not a famous quote)
5. At some point, (maybe at the conclusion) I would combine this with Randy’s other famous book “Line Games” and see how it relates to the playing of great guitarists like Wes Montgomery, Jimmy Raney, Tal Farlow, Pat Martino and Joe Pass

I will be posting this on several threads so I apologize if you seeing this more than once.


Let me know what you think.

[andyb]

I have been looking at the lines in Satin doll, working out how I could use them on other tunes. I don't want to get in to theory or anything, no scales no modes, you know the drill.


Here is what I have found, perhaps I am saying what you already know, if so disregard this.


Quite a few of the ll V lines start on the A string e.g. Bar 9 + 10 D-7/ G 7 this starts on the 5 fret. And then, repeatedly instead of going to the l, C major we use the Vl which is the relative minor of C Major A minor ( pentatonic in this case ) on the 6th string at the again 5th fret. as in bar 15/16.


This is a nice easy thing to remember, I like the mix and match approach.


So I have recorded a backing loop D-7,G7,CM7. and played this over, then moved some of the other ll,V lines to the 5th fret, and played them over D-7,G7 then over the CM7, played the line in bar 15/16.

[lawson-stone]

The great thing about Satin Doll is that it's composed entirely of ii-V phrases. Cadences to cadences.

Here's another curiosity. You can improvise, though probably not brilliantly, over the entire tune using just the A Minor pentatonic or A Minor Blues scale, except in places where you'll need to do the Ab Minor Pentatonic scale.

In general, I enjoy experimenting with the idea that over any Major key center, you can play the ii Minor for "tension" lines (lines emphasizing the 4th) and iii Minor and vi Minor over stable or resolution lines.

Reasons for that:

Dm-G7 is C Major, and you can play A Minor Pentatonic over C Major
Em-A7 can be seen as the iii-Vi of C Major, and A Minor Pentatonic can work over it
Am7 D7 Self Evident
Abm7 Db7 Here you have to do Ab Minor Pentatonic (note also that Abm7 Db7 is the flat-five sub for Dm7 G7)

Bridge:
Gm7 C7 F So here it's an F Major key center. As the iii of F Major, A Minor Pentatonic works here
Am7 D7 G A Minor Pentatonic works here for obvious reasons

[andyb]

You can improvise, though probably not brilliantly, over the entire tune using just the A Minor pentatonic or A Minor Blues scale, except in places where you'll need to do the Ab Minor Pentatonic scale.

I see what you are getting at, but I would struggle to come up with something that sounds even half good.

Mix and match, is the way to go for me.

I would love to hear you have a go though.

[lawson-stone]

I see what you are getting at, but I would struggle to come up with something that sounds even half good.

Mix and match, is the way to go for me.

I would love to hear you have a go though.

I think your mix-n-match idea is part of Conti's actual plan of instruction. He uses certain rhythmic figures over and over, in different settings, and he also is introducing a lot of ii-V expressions that are easily "ported" to different places and contexts.

I might try recording a chorus of Satin Doll using just the A Minor blues and Ab Minor blues. It wouldn't be very memorable, just evidence that a solo that does not create a train wreck (my first goal!) doesn't have to be complicated and hard.

[lawson-stone]

Okay so here is a very, very limited, actually, almost totally lame attempt to solo over Satin Doll using just the A and Ab blues scales. First I play the head because (a) I like getting the tune and changes in my ear before trying a solo and (b) I can actually play the head fairly nicely, which I cannot say for my soloing.

This exercise is a reminder that we don't need a lot of complicated ideas to solo. Someone who had a better ear, better technique, etc. than me could use these same 2 scales to much greater effect than I have, though I think I have a few moments in this take.

[Doublea A]

Hello,

Here is my contribution to the Satin Doll thread (albeit late) with a bossa Beat as promised

Robert Conti Study Group Satin Doll - Video Dailymotion

Let me know what you think

[MikeS]

Hello,

Here is my contribution to the Satin Doll thread (albeit late) with a bossa Beat as promised

Let me know what you think

I was waiting for you to do this one. Good job!! Did you use your new Zoom Q8 for this video. It looks pretty good.

Mike

[Doublea A]

Thanks.

Yes that is my new Zoom Q8

[Doublea A]

Here is my analysis of the Satin Doll solo.


I am focusing on devices that we can learn and then use elsewhere in out playing.


1. Bars 1 through 4. The first bar begins on an E. Had it been a D it would have clearly outlined a D-7. By starting on the E, Conti shows us right off the bat that we do not need to always start on a chord tone in order to outline the chord. Secondly the E acts as a leading tone to the F which the "real" starting point for the arpeggio. He ends the phrase with an Eb implying a D-7b9. A little hipper than ending on a D or an F.
Bar 3 starts off with same notes as bar 1 but then moves in a different direction. This reminds me of the classical technique known as Theme and Variation. I guess this is the Jazz version of that technique.
Bars 1 and 2 have almost the identical rhythm as bars 3 and 4, there is just one slight difference. Conti likes to use these rhythmic motives. They make the solo sound more coherent and much more melodic. The only rhythmic difference between these two phrases is that there is a quarter note at the end of bar 1 and there are 2 eighth notes at the end of bar 3. This emphasizes that Eb that we discussed earlier.
A lot of stuff there in the first four bars.


2. The triplets in bar 6. Another Conti device. He does a similar thing in bar 9 of "Green Dolphin Street". He plays an arpeggio in the form of a triplet and he approaches it via a semitone. This is something that can easily be transported into other songs


3. Bars 13 and 14. Wes Montgomery style chords. If you do a lot of this it sounds contrived, but by placing it in choice situations makes it stand out.


4. The Bridge. Beginning at Bar 17. The Bridge, structurally, is a different part of the song. Conti accentuates this by moving to a new location on the neck.


5. Bars 21 and 22 versus Bar 23 and 24. Another rhythmic motif. Essentially the same rhythm.


6. Bar 27. Triplets. Most of this song is based on eighth notes. The fact that Conti plays these as triplets indicates that he wants it to stand out. The fact that he is playing a chromatic lick also makes it stand out. He also used triplets in Bars 21 and 22 of Green Dolphin Street.


7. Bars 29 and 30. More Rock and Roll double stops. Something you expect to see in a Chuck Berry or Keith Richards solo. These double stops give Conti's solo "street cred". As he states in his video, he learned to play in the streets of Philadelphia not in the lecture rooms of Juliard. Bars 29 and 30 are evidence of that.


8. Bars 31 and 32. Combining double notes with single notes. Brilliant !!

[MikeS]

Here is my analysis of the Satin Doll solo.


I am focusing on devices that we can learn and then use elsewhere in out playing.


1. Bars 1 through 4. The first bar begins on an E. Had it been a D it would have clearly outlined a D-7. By starting on the E, Conti shows us right off the bat that we do not need to always start on a chord tone in order to outline the chord. Secondly the E acts as a leading tone to the F which the "real" starting point for the arpeggio. He ends the phrase with an Eb implying a D-7b9. A little hipper than ending on a D or an F.
Bar 3 starts off with same notes as bar 1 but then moves in a different direction. This reminds me of the classical technique known as Theme and Variation. I guess this is the Jazz version of that technique.
Bars 1 and 2 have almost the identical rhythm as bars 3 and 4, there is just one slight difference. Conti likes to use these rhythmic motives. They make the solo sound more coherent and much more melodic. The only rhythmic difference between these two phrases is that there is a quarter note at the end of bar 1 and there are 2 eighth notes at the end of bar 3. This emphasizes that Eb that we discussed earlier.
A lot of stuff there in the first four bars.


2. The triplets in bar 6. Another Conti device. He does a similar thing in bar 9 of "Green Dolphin Street". He plays an arpeggio in the form of a triplet and he approaches it via a semitone. This is something that can easily be transported into other songs


3. Bars 13 and 14. Wes Montgomery style chords. If you do a lot of this it sounds contrived, but by placing it in choice situations makes it stand out.


4. The Bridge. Beginning at Bar 17. The Bridge, structurally, is a different part of the song. Conti accentuates this by moving to a new location on the neck.


5. Bars 21 and 22 versus Bar 23 and 24. Another rhythmic motif. Essentially the same rhythm.


6. Bar 27. Triplets. Most of this song is based on eighth notes. The fact that Conti plays these as triplets indicates that he wants it to stand out. The fact that he is playing a chromatic lick also makes it stand out. He also used triplets in Bars 21 and 22 of Green Dolphin Street.


7. Bars 29 and 30. More Rock and Roll double stops. Something you expect to see in a Chuck Berry or Keith Richards solo. These double stops give Conti's solo "street cred". As he states in his video, he learned to play in the streets of Philadelphia not in the lecture rooms of Juliard. Bars 29 and 30 are evidence of that.


8. Bars 31 and 32. Combining double notes with single notes. Brilliant !!

Thanks for the analysis of Satin Doll. This will help me to see how Conti's lines relate to other of his solos.

Mike

[MarkRhodes]

Here is my analysis of the Satin Doll solo.


I am focusing on devices that we can learn and then use elsewhere in out playing.

Well done, and thank you!

[andyb]

We have just reached the end of volume 1 of Robert Conti Ticket to improv, I thought I would share my thoughts.


The learning material comes on a DVD, there are files with the music and tab, there is also a backing track for all the tunes.
Each tune is demonstrated by Mr Conti, he then goes through each tune bar by bar showing you how to play the lines. The great thing is he adds lots of extra information as he goes through the lines, things like how to make the lines sound different, or about how the line is constructed, he calls this “off the sheet tips” and I think really gives extra value to the product.
There are four tunes per DVD three tunes with new lines to learn, and the fourth tune is constructed from the lines already used in the first three tunes. The idea being, you get some lines under your fingers, and eventually become adept in working them in to a improvised solo.


The Study Group works like this, we work through each tune together, each week learning 8 bars, we then post up a video of us playing the 8 bars we have learnt, so that each week extending the solo by 8 bars. It's not essential but sometimes it's nice to learn the melody and play that, plus the solo, at the end.
I find recording the lines a great way to keep me on track, I also like that there are a few of us going through the material together, and the is a mix of abilities. I also think we are a kind group, very supportive of each other, there is a little constructive criticism but on the whole it's a encouraging atmosphere.


To sum up, I was at the point where I had learnt lots of scales and theory, but could not play anything that sounded the way I wanted to sound. I had zero jazz language, and had given up on improvising. So I had decided to learn solo guitar tunes.
Mr Conti teaches you the Jazz Language, it is well presented and the study group is a great way to work through it.
I think after we have gone through all four DVDs I will have learnt enough to play a nice solo or two at a jazz jam, or be able to add some soloing lines to a chord melody.
I would like to thank the other guys for there support through the first volume, I am really looking forward to starting TTI V2 the first tune is “One note samba”.




We would like you to join us. If you have read all of my ramblings and would like to have a go at joining the Study Group we would love to have you on board. We will be starting volume 2 in August.






If you would like to join us in this study group, and don't yet own Ticket To Improv, you can order at www.RobertConti.com or call 888-JAZZ-DVD (529-9383)


Coupon code: TTISTUDY25 This coupon will allow members of the study group to save 25% on any single volume, or up to three volumes of Ticket To Improv in a single purchase.


Coupon code: TTISTUDY25FREESHIP This coupon will allow members of the study group to save 25% on all four volumes of Ticket To Improv (plus any other products they may wish to purchase at the same time), plus they will receive free shipping on their order, no matter where in the world they're located.

[MikeS]

We have just reached the end of volume 1 of Robert Conti Ticket to improv, I thought I would share my thoughts.


We would like you to join us. If you have read all of my ramblings and would like to have a go at joining the Study Group we would love to have you on board. We will be starting volume 2 in August.

The main reasons I joined this Study Group was for accountability purposes and to focus on the lessons. When learning by yourself it's easy to lose concentration and get side tracked. The Robert Conti Study Group has a weekly schedule to complete eight measures from the selected solo. The schedule is pretty flexible if you can't stick to it, but if you do you will have learned a complete solo in as little as a month. The solos can be played against a backing track provided in the DVD. Robert Conti teaches the solos measure by measure. It's like having a private instructor.

If you are new to jazz like I am and want to learn some jazz lines from actual solos to popular jazz standards, come and join us. We are a friendly group and the members are willing to answer questions and help each other out. We will start the Ticket to Improve, Volume Two in August. Volume One is not a prerequisite for starting Volume Two.

Mike

[Doublea A]

I am not new to jazz. I have been playing professionally for 25 years but I still find that there are new things to learn. Study groups like this focus your practice and make you accountable. I feel that Jazz Musicians are a kin to Golfers. We are always trying new gear and seeking out new learning methods. Always tweaking and learning from others.

These Study groups are reminiscent of my University days. It helps to feel like you are practicing with a purpose. You need to prepare material to show your classmates and/or professor. Along the way you learn something that you can take with you.


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[Doublea A]

Having fairly strong feelings in regard to golf and having recently heard a local radio commentator describe golf as "the banjo of the sporting world" I am troubled by this comparison!

That's funny. I always thought that jazz guitarists and golfers had a lot in common but now I may need to find a new analogy.


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