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Can't you or don't you want to? :-)
Originally Posted by Christian Miller
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08-30-2024 08:04 AM
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Yes Originally Posted by frabarmus
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So mess them up. It's called groovy jazz syncopation
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The temporal/rythmic equivalent of (dis)tempered octaves? Originally Posted by ragman1
So mess them up. It's called groovy jazz syncopation
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Syncopation is lame. A cheap effect from lesser players. Monk taught me this. Originally Posted by ragman1
So mess them up. It's called groovy jazz syncopation
Blah blah blah blah skronk!
Also straight quavers. Straight and square. Just do it over a really swinging rhythm section haha
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I was going to say, you'd be no good at Monk then, he's very strict.
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My improv is inconsistent. I have days where I can play exactly what I want, and days where I can't play right over tunes that I've known for years. Some days I warm up before a jam and feel great, and get to the jam and suck, and vice versa. Haven't cracked the code on why that is yet.
Also I don't like my comping. Working on it.
Also I haven't spent enough time on the blues. I think I've picked up blues-y elements as a guitarist who started playing rock, but it's so deep, and I don't feel like I've given it it's proper due.
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Oh I feel the same. Originally Posted by BreckerFan
Otoh part of the deal with real improv beyond joining licks together or playing a practiced solo and so on is that it can be inconsistent. That’s as much a feature as a bug.
That said stuff I thought I had dialled in can be elusive… eg bebop heads. Grrrr.
As a general question/ How much have you assimilated the stuff you’ve transcribed into your playing? What are your processes for doing it?
I can see that you can play the solos brilliantly all the way through. How do you make use of them?
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Mainly failings, but my biggest one as far as I'm concerned was my implacably string-hopping right-hand plectrum mis-technique (if I'm allowed to coin a neologism). So now I am working on my right-hand finger picking chops through playing classical guitar. If I'm able to develop this in a few years, I may return to jazz guitar - but for now I am hedging my bets somewhat by studying classical harmony & theory and composing, in addition to classical guitar. Just practising on its own classical guitar doesn't offer enough scope for creativity, so I like to compose; one of the things I like about jazz guitar is that it integrates performance and composition.
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Oh Jesus, yeah … comping. Want to know how big of a weakness that one is for me? So big I didn’t even think of it.
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He is! Originally Posted by ragman1
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Why not work on improvisation on classical guitar? There are people who do it. Preluding is a good gateway into it. Originally Posted by James W
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Do you mean like Partimento, or something like this guy? - Originally Posted by Christian Miller
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Yeah the real time reaction and having an awareness of what you've played, what you want to play, and how it fits together is a different skill entirely than playing anything predetermined. I practice with playalongs, but it's very up and down. I just got the Moises app based on you mentioning it in another thread, very excited to spend time with it, it seems like a game changer. Also I recently started to try singing while improvising, which I've found very very helpful so far. Originally Posted by Christian Miller
As for transcribing, I mainly just learn the solo and play with the record. It often takes months for me to get something up to speed, at which point I feel like I've absorbed a lot of the time or language concepts that I want in my playing. If there's specific language that I want, I'll write etudes that incorporate it. But I've found that practicing a whole solo enough to play it with the record really gets it internalized, and then it seeps out into your playing, including when working on new language.
That said, I'm working on a Brecker solo at the moment, and it's so dense that I want to spend more time applying the language. I still have a way to go getting it up to speed, but I'm hoping to do a video series on applying the language once I do and I have some more time. It'll force me to dig more deeply into it.
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Yeah man, I'm coming to the opinion that it's just as hard or harder than improvising a solo, I haven't started really thinking about it until relatively recently. You have to listen to the rest of the rhythm section, listen to the soloist, and play something cool at the same time lol. Originally Posted by pamosmusic
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You don’t have to play something cool at the same time. Thats the part everyone screws up. Comping isn’t about you, it’s about everyone else. Originally Posted by BreckerFan
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Cool video. Originally Posted by James W
Depends what you want to do. In terms of doing something historical, you could improvise a prelude from a partimento. Or not. I know Rob doesn’t really like partimento for example.
Could be baroque style, romantic, post-tonal or more modern like that video (like it btw)….
It’s up to you. But as a simple way of turning a set of harmonies or a voiceleading exercise into a piece of music, the figuration prelude is one of the most straightforward and guitaristic ways to do it.
Formally for a baroque figuration prelude I’d explore taking a pattern through a step wise bass and practice modulating into near keys. There’s a few classic moves…. En Blanc Et Noir has some good resources and videos that adapt well to guitar for baroque and romantic stuff.
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Sure cool can be Charleston, or Freddie green, or less, or more. But you have to know the difference, which is the hard part haha Originally Posted by AllanAllen
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You have to feel it. Originally Posted by BreckerFan
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My personal shortcoming is that I should expand my repertoire (meaning knowing tunes inside out by rote -- melody, lyrics and changes) faster than I do ATM.
Was it Jim Hall or Lee Konitz who said if you learn one tune per week you know 52 tunes after one year?
On the other hand I already know some more complex tunes like 'Round Midnight (Monk changes) or Born To Be Blue.
And I realize at sessions that it pays practicing comping my own singing more than soloing.
EDIT: Regarding complex tunes: I do not know why folks make such a fuzz about Cherokee.
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Absolutely does have to be cool. Just cool in context. Context being key. Originally Posted by AllanAllen
Herbie is very cool. Ed Bickert is very cool. Also Red Garland is cool and Freddie Green is cool.
Being interesting and ?vibing with everyone around you is the height of cool.
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Grant Green at his finest! One of his best solos i think, around 250 bpm
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Comping is the fun bit haha Originally Posted by BreckerFan
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Controversial opinion:
Maybe we take the whole “simple is best” thing with comping a little too far? Maybe because we’d rather not work on it?
I think we usually mean to say that simple VOICINGS are better. And maybe that playing sparse is good. But there’s a lot of rhythmic complexity and interest in good comping. A lot of nice voice leading in, say, Freddie Greens that might qualify as “complex.”
I don’t know.
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I think Grant Green is extremely old fashioned in his comping. In most of the tunes he comps based on four fours or around one chord phrase for the whole tune, so you can call him more "traditional" than most of the other well known players of his time, who use more complicated "bebop era" comping. I think he is great both in his soloing and comping, and a great way for non jazz guitarists to be introduced to jazz.
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