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Great stuff guys, option B it is, pick your own tune and do your own thing, using the Conti lines from TTI V1 in the solo. I think it will be fun.
When we get there, should we continue with a weekly update?
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06-01-2017 12:36 AM
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I would love a weekly update myself. In traveling, I won't have good time to work on lines, but I'll be able to log onto the forum and burn with envy over you guys being able to do it!
I'll also have to slip out of the Jimmy Raney group, too, which is also breaking my heart.
Consolation: I'll be playing the archaeologist in Israel for real! Pretty hard to beat.
My alternate identity June 11-July 22:
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Originally Posted by lawson-stone
Is anyone taking over the Raney group while you are gone ?
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Originally Posted by lawson-stone
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Originally Posted by Doublea A
All it needs is somebody to copy-paste the current OP in the present thread, change the name of the solo, adjust the dates for the next 16 week period, and it's done.
I hope to try and catch up when I return. I usually work about 16 measures at a time. It still takes me 4 weeks, but I'm working with the whole section the whole month. I hope I will be able to fold back in when late July rolls around.
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Here's my post for Conti TTI: Take The A Train -- Bars 1-16.
Note: In measure 16, I substituted one of his double stop lines from a previous project. I may go back to the original line in the next post.
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Originally Posted by losaltosjoe
Sounds like the riff at the end of Satin Doll showing up there in 15-16 too!
We're already swapping lines around, which I think is the idea!
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I hope it's not irritating that I'm running ahead here, but I leave the country for 6 weeks a week from tomorrow and I want to finish this solo before I leave.
So I can hack this through to about measure 28, so this is mm. 1-28. Also, I've shamelessly hi-jacked losaltosjoe's transposition of mm 9-10 up an octave. That's just too, too, good not to adopt! Thanks Joe!
Problem I'm having with this is that while I know each line, the "logic" of the solo escapes me. For the most part, this feels like what it is: a collage of lines. I can't discern much flow between the phrases, although listening to the clip, I suspect a listener would think it sounds fine. I just find at the end of a line, sometimes I proceed to change over to playing the other solo using that line! Or I just freeze and can't remember what comes next. Possibly age-related!
An experienced musician might think it didn't develop a concept, maybe not. I do think the double-stop section helps to accelerate the solo toward the final A section, and m. 25-26 is very similar to 23-24, perhaps creating a since of unity and building toward a high point.
I notice also the figure E-F-A-C-E for starting an idea repeats 3 times in the solo, m. 17, 23, 31, but over different changes. M. 17 puts it over the Fmaj7, 23 over the Dm7 (not much different of course) then in 31 over the C6. I recall from Satin Doll also this was used over the Dm7-G7 and again over the Em7-A7 in the first A section. Clearly we have some little nugget of improvisational savvy here, a bit of complex theory rolled into a bite-sized chunk. It's also in two different fingerings, which is cool.
Anyhow, I hope I'll be able to take a standard and create a solo from our lines, but I might have to settle for enjoying yours and envying you while I'm having an entirely different kind of fun!
Last edited by lawson-stone; 06-03-2017 at 10:22 PM.
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Originally Posted by lawson-stone
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Originally Posted by losaltosjoe
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Originally Posted by lawson-stone
So I can hack this through to about measure 28, so this is mm. 1-28.
Problem I'm having with this is that while I know each line, the "logic" of the solo escapes me. For the most part, this feels like what it is: a collage of lines. I can't discern much flow between the phrases, although listening to the clip, I suspect a listener would think it sounds fine. I just find at the end of a line, sometimes I proceed to change over to playing the other solo using that line! Or I just freeze and can't remember what comes next. Possibly age-related!
I notice also the figure E-F-A-C-E for starting an idea repeats 3 times in the solo, m. 17, 23, 31, but over different changes.
Lastly, I really enjoyed your take on bars 1-28. You have the chops to make these solos sound very musical.
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Originally Posted by losaltosjoe
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Hello people, this is my first post here. I was lucky enough to meet Andy B last week as he bought the Epiphone Elitist Broadway he was playing in an earlier clip from me. I hope he is enjoying playing it, it is a lovely guitar, but I can't keep too many unfortunately. Anyway he suggested I try this study group so I have had a go at the first 8 bars. I'm struggling with the tempo as I only have an old Aebersold backing track so the timing is a little scrappy but here goes, don't laugh!
Last edited by plasticpigeon; 06-04-2017 at 08:16 AM.
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Originally Posted by plasticpigeon
I am enjoying the Broadway thanks, she is a beauty.
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Originally Posted by plasticpigeon
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A-Train Improvisation
Bars 1-16
Mike
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Originally Posted by plasticpigeon
Mike
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Originally Posted by MikeS
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Originally Posted by losaltosjoe
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Originally Posted by lawson-stone
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Originally Posted by lawson-stone
You are correct about that nugget on bars 17, 23 and 31. It can be used over many chords as we have seen E-F-A-C-E contains an Fmaj7, Dmin9, Amin, C6 as well as Cmaj7.
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Originally Posted by plasticpigeon
I import the Aebersold and other backing tracks into "Capo!" and then slow them down to a doable pace. That software does a nice job with changing the speeds. There are others too, but Capo! works for me.
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Here's Adam Hinchliffe's solo on A-Train that we are currently doing. After playing the initial solo, he shows what can be done using Robert Conti's lessons in reusing the lines and making the solo his own. This is something I'm having a problem with. Adam's solo is a good example of what can be done studying this material. I'm going back to the woodshed.
Mike
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Originally Posted by MikeS
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Originally Posted by andyb
Good job on your solo!!
Mike
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