All The Things You Are - Robert Conti-TTI V2 Project 3

**lawson-stone** · 10-23-2017, 12:01 PM

The Robert Conti study group working through his Ticket to Improv series is continuing on to the third project in Volume 2!

Our next solo is based on the changes to "All the Things You Are." We who have worked through the previous solos will be pressing on, but we also invite any who wish to join in this journey to feel welcome!

We've evolved a few basic guidelines that have helped us. These are based on the fact that most of us are either beginners in jazz improvisation or old hands who still feel like we haven't gotten a good grip on soloing yet. So, here's what we do:

We move at the pace of 8 measures per week, learning the exercise solo composed by Conti and transcribed in the digital transcription booklet on the DVD. Some get behind, some run a bit ahead, but generally 8 measures per week is the norm.
We post a video clip each week, typically on Tuesday, of ourselves playing the scheduled chunk.
We use any background track we like. Conti has one on the DVD, but many other sources exist, and we use whatever we want!
We don't do much critique, but sometimes do openly ask for advice. Mainly, we cheer, support, encourage, and empower each other. We don't offer criticism unless it's asked for, but positive advice is helpful.
We try to learn the solo as written and also to make it our own in phrasing and timing.
Some like to post a clip playing an arrangement of the "head" of the tune. That's fine, we enjoy it, but nobody is obligated or expected to do that.
We avoid detailed wrangling over theory, but seek to grow in the actual practice of playing.
We don't branch off much into other approaches to the tunes, other solos, other styles. We have succeeded so far because we stay focused!
We don't regard any of these guidelines as inflexible and we don't get in arguments about it!

Here is a proposed schedule for posting:

Nov 7: Measures 1-8
Nov 14: Measures 1-16
Nov 21: Measures 1-24
Nov 28: Measures 1-32

If you are planning to do this, please post a simple "I'm In!" or something like it reply.

Let the games begin! And really, when we practice, the odds are always in our favor!

**Doublea A** · 10-23-2017, 08:55 PM

I already started practicing !!

**rlrhett** · 10-23-2017, 10:41 PM

I’m working on the first measures too. I may not post videos every week, but I’m working along with you guys!

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**MikeS** · 10-24-2017, 01:54 PM

I'm going to pass on this one. I've learned seven solos following this program, but all I've done is memorize seven solos. Mr. Conti explains, play your instrument and everything will fall into place. I'm having a problem connecting the dots and it hasn't fallen into place yet. I understand where you can play a project line over a ii-V or another over a V-I, or a I-vi-ii-V, etc. This is where I fall short. I've memorized the solos, but haven't yet broken the code for applying the various lines to other solos and making them sound good.

I think what I need to do is go back, analyze the harmony and study how these lines are put together and applied rather than just memorizing rote lines. I know putting time on the instrument is important. I've put a lot of hours into these solos. I'm not giving up my goal for learning to improvise over jazz standards, I just need to strengthen the approach I'm already taking.

I want to thank all you guys for your help and encouragement. I'm not giving up. I'll be in the woodshed.

Mike

**rlrhett** · 10-24-2017, 02:13 PM

Originally Posted by MikeS

I'm going to pass on this one. I've learned seven solos following this program, but all I've done is memorize seven solos. Mr. Conti explains, play your instrument and everything will fall into place. I'm having a problem connecting the dots and it hasn't fallen into place yet. I understand where you can play a project line over a ii-V or another over a V-I, or a I-vi-ii-V, etc. This is where I fall short. I've memorized the solos, but haven't yet broken the code for applying the various lines to other solos and making them sound good.

I think what I need to do is go back, analyze the harmony and study how these lines are put together and applied rather than just memorizing rote lines. I know putting time on the instrument is important. I've put a lot of hours into these solos. I'm not giving up my goal for learning to improvise over jazz standards, I just need to strengthen the approach I'm already taking.

I want to thank all you guys for your help and encouragement. I'm not giving up. I'll be in the woodshed.

Mike

Mike, do you have the "Jazz Lines" book? I agree that the TTI books can be a little empty without it.

**MikeS** · 10-24-2017, 02:32 PM

Originally Posted by rlrhett

Mike, do you have the "Jazz Lines" book? I agree that the TTI books can be a little empty without it.

Yes I do. I've read it several times, watched the video two or three times and have gone through the lessons more than once. I keep going back to it for a reference and trying to apply the information to TTI.

Mike

**losaltosjoe** · 10-24-2017, 04:05 PM

Originally Posted by MikeS

I'm going to pass on this one. I've learned seven solos following this program, but all I've done is memorize seven solos. Mr. Conti explains, play your instrument and everything will fall into place. I'm having a problem connecting the dots and it hasn't fallen into place yet. I understand where you can play a project line over a ii-V or another over a V-I, or a I-vi-ii-V, etc. This is where I fall short. I've memorized the solos, but haven't yet broken the code for applying the various lines to other solos and making them sound good.

I think what I need to do is go back, analyze the harmony and study how these lines are put together and applied rather than just memorizing rote lines. I know putting time on the instrument is important. I've put a lot of hours into these solos. I'm not giving up my goal for learning to improvise over jazz standards, I just need to strengthen the approach I'm already taking.

I want to thank all you guys for your help and encouragement. I'm not giving up. I'll be in the woodshed.

Mike

Hi Mike,

FWIW, I'm also having some problems "connecting the dots" and haven't yet broken the code for applying the various lines to other solos. However, I'm much further along than before I joined this study group.

Also my technique has really improved. Working through the solos requires serious practice (for me) and they are much more musical than just playing scales. My wife and kids are starting to think I can play jazz...

I'm sure after completing all 4 TTI volumes, I will review them again (along with his Jazz Lines DVDs) with an emphasis on learning the theory and application, rather than just getting the lines under my fingers.

Good luck in the shed! I hope to see you around the Forum. Cheers.

**losaltosjoe** · 10-24-2017, 04:06 PM

Thanks Lawson for kicking off Volume 2, Project #3. I'm ready to go!

**MikeS** · 10-24-2017, 05:15 PM

Originally Posted by losaltosjoe

Hi Mike,

FWIW, I'm also having some problems "connecting the dots" and haven't yet broken the code for applying the various lines to other solos. However, I'm much further along than before I joined this study group.

Also my technique has really improved. Working through the solos requires serious practice (for me) and they are much more musical than just playing scales. My wife and kids are starting to think I can play jazz...

I'm sure after completing all 4 TTI volumes, I will review them again (along with his Jazz Lines DVDs) with an emphasis on learning the theory and application, rather than just getting the lines under my fingers.

Good luck in the shed! I hope to see you around the Forum. Cheers.

Joe,

I agree. This study group has played a big part in working out the solos with accountability being a big factor.

Serious practice is right! I probably put in a couple hours during the day and another couple at night. My wife has all of the solos memorized from hearing me play them over and over.

I'm going to review the Jazz Lines DVD again and hopefully pick up some more pointers. I want to do more than just get the solos under my fingers.

Thanks again,

Mike

**lawson-stone** · 10-24-2017, 05:46 PM

Mike
You are one of the founders, guy. We'll miss you. We all also get that different stages require different commitments. Hope you'll check in with us sometime down the road.

**MikeS** · 10-24-2017, 06:09 PM

Lawson,

I'll still be around. Thanks for your insight through the projects.

Mike

**losaltosjoe** · 10-28-2017, 01:26 PM

I know it's a week early, but here's my take on bars 1-8:

Note: I generally follow Mr. Conti's fingering to the letter but in bar 6, beat 4, I slide into the G on the 3rd string, 12th fret.

**lawson-stone** · 10-28-2017, 01:49 PM

Originally Posted by losaltosjoe

I know it's a week early, but here's my take on bars 1-8:

Note: I generally follow Mr. Conti's fingering to the letter but in bar 6, beat 4, I slide into the G on the 3rd string, 12th fret.

Sounds nice! I need to get on this.

I still wonder why so many of Conti's phrases end with "doo-dee-DUH-DUH." I was playing the "Another You" solo the other night and even my wife noticed it.

I have a feeling it's some kind of pedagogic hook that will become important later on?

**MikeS** · 10-30-2017, 05:45 PM

Originally Posted by CliveR

Once you have the solos under your fingers apply the licks to other tunes. They work really well.
Look at the way he uses IVmaj7 arpeggios over the II-V7 and use that. Experement with it.
Check out the use of mMaj7 arpeggios.

Work slowly through the Jazz Lines book and apply the licks to tunes.

I used Tune Up and Afternoon in Paris as well as Satin Doll and Autumn Leaves (in Em and Gm) as practice tracks slowed down until I had them right.

I'm going through Jazz Lines and the videos again. Treating everything as a one is starting to make some sense. Back to the woodshed.

Thanks for your input.

Mike

**lawson-stone** · 11-02-2017, 06:23 PM

Here's my week 1, Mm. 1-8, two tempos, 110 and 140, twice through on each. I am playing it (I think) correctly but the time does not feel right to me. I think actually I may have an internal "bug" that gets jazz tempo phrasing wrong at certain points, and Conti is likely right and it's clashing with my internalized "un-hip" tempo feel. I hope to have it feeling more natural eventually.

This is an L5ces, played into a Polytone Minibrute, with the Pre-amp direct out used for recording.

**losaltosjoe** · 11-02-2017, 09:12 PM

Originally Posted by lawson-stone

Here's my week 1, Mm. 1-8, two tempos, 110 and 140, twice through on each. I am playing it (I think) correctly but the time does not feel right to me. I think actually I may have an internal "bug" that gets jazz tempo phrasing wrong at certain points, and Conti is likely right and it's clashing with my internalized "un-hip" tempo feel. I hope to have it feeling more natural eventually.

This is an L5ces, played into a Polytone Minibrute, with the Pre-amp direct out used for recording.

Well played Lawson! You kept it smooth even at the higher tempo. I've also struggled a bit with the time on this project but the more I play the lines, my feel is getting better.

Regarding your previous comment:
"I still wonder why so many of Conti's phrases end with "doo-dee-DUH-DUH." I was playing the "Another You" solo the other night and even my wife noticed it."

My uneducated guess is that Conti uses it to make sure we understand that each phrase should come to a definitive end. No run-on sentences, if you will...

**lawson-stone** · 11-09-2017, 12:43 PM

Here's week 2, MM. 1-16 at about 125 bpm. Conti's explanations on these measures have been very helpful to me.

Playing on 3 instruments, all 17" "L5ces" inspired models. First, a budget Korean/Peerless made Epiphone Broadway with a Seymour Duncan Seth Lover pickup replacing the originals. Then a Gibson 2016 L5ces, then the Aria Pro II PE180.

A few clams, but I'm not quitting my day-job anytime soon!

NB: I mistakenly refer to "John Conti" in my title slide--John Conti is of course the maker of very fine coffee, and Robert Conti is the maker of very fine jazz... since I love both products, I suppose they got confused in my mind!

**lawson-stone** · 11-10-2017, 05:29 PM

So a weird thing is happening here. Most of the time, if I can play a tune on the short-scale guitars (ES175 types) I have to work a little to make it happen on the longer scale (L5ces) types. This solo is totally reverse. I can really rip this solo, at least the first 16 lines, on the 25.5" scale guitar, but when i go to the 24.75" (the 16" archtops) I just get all fumble fingered. Also... the rather obvious beat on the iRealPro backing music is easier to play with than the human backing track from the Hal Leonard RealBook tracks.

So thought I'd post a couple times through, once with the 90's ES165 Herb Ellis and the other with the 2016 Figured Sunburst ES175.

**losaltosjoe** · 11-10-2017, 05:35 PM

Originally Posted by lawson-stone

Here's week 2, MM. 1-16 at about 125 bpm. Conti's explanations on these measures have been very helpful to me.

Playing on 3 instruments, all 17" "L5ces" inspired models. First, a budget Korean/Peerless made Epiphone Broadway with a Seymour Duncan Seth Lover pickup replacing the originals. Then a Gibson 2016 L5ces, then the Aria Pro II PE180.

A few clams, but I'm not quitting my day-job anytime soon!

Hi Lawson -- Your ability to get through these solos at a brisk tempo (~125 vs. 110 bpm) gives me something to shoot for! By comparison, my vids at 110 seem to drag. I'll be working on picking up the pace over the weekend. Cheers!

**lawson-stone** · 11-10-2017, 06:05 PM

Originally Posted by losaltosjoe

Hi Lawson -- You're ability to get through these solos at a brisk tempo (~125 vs. 110 bpm) gives me something to shoot for! By comparison, my vids at 110 seem to drag. I'll be working on picking up the pace over the weekend. Cheers!

I think working on the Jimmy Raney solos, where Raney is clicking along at 230 and I can barely make it to 180 or 190 has brought a higher "ceiling" for my pace on other things. I also like to play the head and find a tempo that the head sounds and feels good at, then set the solo at that tempo. ATTYA is typically played in ensembles at a pretty bright tempo. But this one has too much going on, phrases too close together, to feel smooth at even medium tempos.

**Doublea A** · 11-11-2017, 05:41 AM

Originally Posted by lawson-stone

So a weird thing is happening here. Most of the time, if I can play a tune on the short-scale guitars (ES175 types) I have to work a little to make it happen on the longer scale (L5ces) types. This solo is totally reverse. I can really rip this solo, at least the first 16 lines, on the 25.5" scale guitar, but when i go to the 24.75" (the 16" archtops) I just get all fumble fingered. Also... the rather obvious beat on the iRealPro backing music is easier to play with than the human backing track from the Hal Leonard RealBook tracks.

So thought I'd post a couple times through, once with the 90's ES165 Herb Ellis and the other with the 2016 Figured Sunburst ES175.

Sounds great Lawson,

I find that whichever Guitar I use to practice the song is usually the guitar that I perform best with. I am that someone smarter than me that explain why. Lately, I have been selecting one Guitar and practicing and performing with it for a couple of weeks. It seems to help the fumble finger phenomenon.

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