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  1. #101

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    Quote Originally Posted by jtaylor2714 View Post
    Just transcribed and notated the whole solo of Herb Ellis on Sweetheart Blues from "Ellis In Wonderland" today. Looking forward to breaking this apart and analyzing it and isolating some of the lines. In the beginning anyways, he is using F major pentatonic/blues over a blues in F-I caught onto that as I was transcribing it. There's a few arpeggios and a really nice slidey chromatic line that I might nick off of here.
    Nice! We're on a traditional roll ATM! So much to gain from so called "simplicity"!

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  3. #102

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    Quote Originally Posted by yaclaus View Post
    Did a chorus of Lester Young. Sorry for all the "self-promotion", whatever videos (It's not self-promotion if they're not good though )

    When Lester plays it it sounds juicy, sexy almost vulgar - wow
    Awesome yaclaus! I could listen to Lester for days.......
    Check out my new book, Essential Skills for the Guitarist on Amazon.

  4. #103

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    Nobody's ever learned to play jazz from a book.

    There, I said it. Nobody.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  5. #104

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    All of my teachers are telling that the only way to learn how to improvise is to listen to jazz, transcribing it, writing it down, making an analization of it, and making that line yours to use it in musical situations.

    My opinion about this is that if we observe the nature itself, we can find out that every learning process in the world goes through by observing. The baby is observing to his/her parents and after a while he/she begins speaking.
    Talking about music the cave man in the prehistorical period observed the birds's singing, the foot stomp of the elephants, sounding his bow, etc... and the first instruments were born (flutes, drums, string instruments).
    How else could we "absorb" anything we like if not this way?! This is the "natural" mode of learning, and I like this, I am learning much more from this than anyhting before doing/hearing/writing/analysing the solos of others...

    Just my 2 cents...

  6. #105

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    Quote Originally Posted by mrblues View Post
    All of my teachers are telling that the only way to learn how to improvise is to listen to jazz, transcribing it, writing it down, making an analization of it, and making that line yours to use it in musical situations.

    My opinion about this is that if we observe the nature itself, we can find out that every learning process in the world goes through by observing. The baby is observing to his/her parents and after a while he/she begins speaking.
    Talking about music the cave man in the prehistorical period observed the birds's singing, the foot stomp of the elephants, sounding his bow, etc... and the first instruments were born (flutes, drums, string instruments).
    How else could we "absorb" anything we like if not this way?! This is the "natural" mode of learning, and I like this, I am learning much more from this than anyhting before doing/hearing/writing/analysing the solos of others...

    Just my 2 cents...
    Exactly. You become what you surround yourself with.

    Even if you dont write it down or analyze it, transcribing really sharpens ones ear and playing along with the recordings or even just playing the lines by yourself will do wonders for your technique.

  7. #106

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    Several posts have been deleted from this thread. (Some because they contained quotes of deleted posts.)

    This thread is about transcribing and sharing one's transcriptions (and commenting on the transcriptions other have shared).

    It is NOT the place to dispute whether transcription is helpful. Those who wish to do that are free to start a thread called "Transcription is a waste of time" (or "Transcription is overrated.") Have at it. But you can't turn THIS thread into THAT one because you have nothing to contribute to this one.

    And those who overreacted to the off-topic posts, well, that's not helping.

    Carry on!
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  8. #107

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    There are pedagogy, andragogy, sytematic aproach, trial and error, music schools, gigs, professionalism, amateurism, hobbies, jobs ...

    If you are a kid who showed some talent in music, ie. ability to sing back music "by ear", ie. transcribe, likely you will go to music school, where they will teach you to do so on an instrument, presented in systematic manner. Basics, theory, concepts, technique, ear training ... schemes, cliches ... important examples ... from simpler to harder ... so after a while you will come out of school trained in your job, which is to play, improvise and transcribe.

    On the other hand, you can hack your way through, using your natural abilities and limited set of skills to learn from experience, move into directions, acquire new skills along the way and proceed further .

    Guess that is what Jonzo is talking about.
    ^ ^ ^
    <<< My BlogSpot Page >>>
    v v v

  9. #108

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    Yesterday was Herb Ellis, today Im working on Kenny Burrell's solo from "Dear Old Stockholm" found on Paul Chambers' album "Bass On Top" from 1956.

    What I've been doing lately is I play through the whole solo with the record, write it down in notation, then start going phrase by phrase until I find something challenging or interesting, analyze what is happening in relation to the chords then I put it in my lick book and drill it in all keys with a metronome and also play it over blues changes or whatever tune I'm working on.

    During my morning practice I go through all of my backlog of licks from transcriptions, sometimes repeating them ad nauseum in different keys or sometimes I'll add stuff to them or change them slightly off the top of my head. I'll spend more time on the phrases I am not totally comfortable with.

  10. #109

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    I would shy away a little bit from fetishising playing solos perfectly with the record (although enjoyed doing it that one time, and it can be a great thing to watch and listen to) simply because I know some great pro players who say they never bothered to learn solos all the way through...

    In the words of the great Dave Cliff though, 'you need to use your lugs (ears.)'

    I think as long as you get you ears into the picture, and listen to music in an active, focussed way, the exact methodology is not so important. I've found my ability to cop licks and melodies by ear has improved a lot since I've been working regularly on relative pitch ear training exercises. But you could hone your ear purely by listening to and copying music.

    Basically - to everyone who posted here, well done. Do what interests you. Here's my offering, posted it a while back... Doesn't play everywhere...

    Last edited by christianm77; 06-05-2016 at 04:52 PM.

  11. #110

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    christianm77 your video is blocked in Australia
    “When you’re creating your own ...., man, even the sky ain’t the limit.”
    Miles Davis

  12. #111

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    Quote Originally Posted by gggomez View Post
    christianm77 your video is blocked in Australia
    Yup

  13. #112

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    It's blocked in Denmark as well

    I did another rhythm changes chorus, this time by Chris Potter.
    It raises a question I have for you:

    What do you do when something simply seems completely out of comprehension? He plays very triadic, but I can't see any relation to the original changes and somehow it still sounds kind of inside somehow. It freaks me out a bit

    Last edited by yaclaus; 06-13-2016 at 08:13 AM.

  14. #113

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    I was the one that posted about Joe Puma over in the Players section of this forum this past week. Over the weekend I did a few transcriptions of Joe Puma's solos from Herbie Mann's "Flamingo" album from 1955. I might end up transcribing all the solos as they are really fun to play thus far. Chords might not be accurate, as its difficult to tell in spots (I'm basing my chords on the bass notes and notes Joe is playing, since there's no accompaniment).
    https://www.instagram.com/p/BGftzFiB...by=jtaylor2714
    https://www.instagram.com/p/BGhomiMh...by=jtaylor2714
    https://www.instagram.com/p/BGke7T5h...by=jtaylor2714
    https://www.instagram.com/p/BGkudxnh...by=jtaylor2714

  15. #114

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    Quote Originally Posted by jtaylor2714 View Post
    I was the one that posted about Joe Puma over in the Players section of this forum this past week. Over the weekend I did a few transcriptions of Joe Puma's solos from Herbie Mann's "Flamingo" album from 1955. I might end up transcribing all the solos as they are really fun to play thus far. Chords might not be accurate, as its difficult to tell in spots (I'm basing my chords on the bass notes and notes Joe is playing, since there's no accompaniment).
    https://www.instagram.com/p/BGftzFiB...by=jtaylor2714
    https://www.instagram.com/p/BGhomiMh...by=jtaylor2714
    https://www.instagram.com/p/BGke7T5h...by=jtaylor2714
    https://www.instagram.com/p/BGkudxnh...by=jtaylor2714
    Funny, put mine on instagram as well - not so much for reading purposes though.
    https://www.instagram.com/p/BGl9FSOK...-by=clausstrom

  16. #115

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    Quote Originally Posted by yaclaus View Post
    Funny, put mine on instagram as well - not so much for reading purposes though.
    https://www.instagram.com/p/BGl9FSOK...-by=clausstrom
    Yeah haha It would be quite difficult to read although I must admit your handwriting is neater than mine.

    Instagram, it sort of makes me accountable to actually complete a transcription. I think of it in terms of when I get better I can look back and see everything I did that led up to that. I try to transcribe a little every day at least-even if its just a few bars of music.

  17. #116

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    Well,Jerry Bergonzi quote Hal Crook in his book.

    I,ve have a friend who is theacher and study jerry bergonzi books...

    Nobody learn to play jazz with books,that,s ok,but nobody learn music in general with books but there is a lot of clones in music thanks to tanscription..

    I Know them,3 teachers...

    Books,are perfect for who like study...

    My brother is teacher but not in music,and he studied with teachers and books.

    A lot of people,a lot of teachers they give pages of books in their clasroom and them said the same of your post,transcription,

    I am not very avanced.I think I am a begginer seriously,but I Know teachers,and very good musicians that never learn wtih books,and know them,but always learn with teachers,and I am not talking of a jazz musician...

    I am talking about a musician very dificult to meet...
    thear are books very good,and in music,not only is jazz jazz and jazz...

    It,s ok that the forum is jazz guitar but all jazzmen,interest for other styles as many musicians...

    Charly bird play samba,classical,flamenco,study with the roots,thats the point,the roots.

    Sorry for my English.
    Last edited by Stangetz; 06-13-2016 at 01:57 PM.

  18. #117

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    Repeat post,sorry
    Last edited by Stangetz; 06-13-2016 at 01:55 PM.

  19. #118

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    todays practise...Wes 4 0n 6 ,Gone with the wind Wes and zoot sims transcriptions...bernies tune wardell grey transcription...angel eyes pat metheny transcription..a foggy day sonny stitt transcription..how high the moon sonny again..is Mount Everest being conquered...im just having fun..serious fun
    Last edited by voxss; 06-14-2016 at 02:57 AM.

  20. #119

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    I've been working on the Hot House head for a quite a while. Straight away allow me to confess that this is not a pure transcription. The recording quality on the versions I reference isn't the best quality, so I had to cheat in a couple of spots. So this is a mix and match of both a Tadd Dameron version and the version recorded by "The Quintet" at Massey Hall, with a dash of Real Book to help me in the trouble spots. I am at the point now where I'm trying to improve articulation, timing, and of course, getting it up to a faster tempo!

    Last edited by wzpgsr; 06-27-2016 at 09:45 AM.