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Originally Posted by lawson-stone
Try to sing heads and try to improvise using your voice.
Good Luck
Kris
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11-30-2021 05:07 AM
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Originally Posted by kris
I am pretty sure of that, beat variations, some mistakes, some screams, they are the best ones... But sometimes it's difficult to follow them very well.
They love rushing during the solo parts.
It sounds like live recording without the soloist.
I should work on my own backing track... But it becomes more a musical piece than an improvisation.
I like MrSunnybass, it's good and human.
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Originally Posted by Lionelsax
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Originally Posted by EastwoodMike
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Originally Posted by Lionelsax
NEW Play Along CD - JodyJazz
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Keep in mind--repeating yourself isn't always bad...just do it INTENTIONALLY.
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Originally Posted by EastwoodMike
It might have been more like; Why do another take when the first one was good enough and you are trying to record three albums in a day.
It's doubtful that Charlie Parker thought every solo he recorded would be scrutinized for the next 100 years. It probably never entered his mind, just cut it and move on.
These records were a race against the clock get X songs done 2 hours, nothing like how things are recorded now.
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Originally Posted by EastwoodMike
What I'm saying is that you'll hear even the best players take solos with a lot of similarities from take to take. This doesn't mean they weren't improvised, but players had ideas of how they want their solo to "shape up" and didn't completely start from scratch with each take.
Because they understood, in the end, the goal was to sound good.
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I try to bring a lot of truly improvised material into my solos. Of course that means it's not always successful, or better said, perfectly optimized, but it's probably more interesting, and always more fulfilling to play.
My general approach is to impose some structure, which ironically leads to more improvisation, because you can't use your licks in the following scenarios I often utilize:
1. pick a short phrase and work it through the progression, moving as little as possible
2. pick a "direction" and play within that. Like low to high and back. Or alternating between low and high
I think the Wayne Krantz book covered some of these ideas. Maybe?
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The best part of improv is when you end up playing something you hadn't planned on at all.
First take is the best? Probably a myth.
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Originally Posted by Peter C
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Originally Posted by Peter C
As long as professional musicians are concerned.
Professionals are most often very well prepared before entering a recording studio.
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Originally Posted by kris
Professional players bring it at a consistently high level every time.
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Originally Posted by lawson-stone
It might not always be a "high level" performance to their ears, but they don't let the group down with a clamfest either. That's part of being a pro, in my opinion...keeping things afloat even when you're not comfortable.
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It is important for both amateurs and professionals to familiarize themselves with the music material well.
I think it helps a lot to keep the music material in the concerts before entering the recording studio.
I recorded one of my records like this ... all the first takes were good.
That was the opinion of other musicians.
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There are plenty of great comments here to follow for guidance. I believe there are two camps on this question, one camp highlighting the fundamentals of music approach (scales, arps) The other camp focusing on the language and the licks from the great players. I think either way you will succeed, but no one has really sites one major factor.
improvised music whether it be jazz or otherwise, can only be crafted successfully by improvising with other people. So your approach really doesn’t matter, what matters is that you get in a room with other people and have that musical conversation. Any video that you post of yourself with a backing track may sound fantastic, but try to improvise the same way with real people behind you and it will not come out the same at all. There is the Internet improviser, and the live improviser which is the type we basically reference because of the recording history. These are my views
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Originally Posted by lawson-stone
i am an amateur and i am able to play consistently at my highest level. i am not bragging about the level, but about the consistently i am.
a pro is simply someone who is able to make money with the guitar.
a good player knows his or her level and plays material accordingly. if people want to pay for it, you might become a pro.
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Originally Posted by Marcel_A
When it comes to jazz, I know amateurs who earn money.
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I'm a pro !
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I am a pro, Wes Montgomery was just a welder.
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Originally Posted by Lobomov
Since I'm not making a lot of money playing guitar lately, I'm an amateur.
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Originally Posted by Lionelsax
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A large group of musicians cannot find a job - they must be amateurs.
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Originally Posted by kris
Do I deserve it ?
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I have the same impression as Lawson. One of the skills that separates the pro from the amateur is the ability to sound good when the planets aren't in alignment.
So, bad sound, bad stage plot, a weak player, a player who doesn't show up, a pianist playing his own idiosyncratic harmony to a standard, a singer losing the roadmap, a wedding guest singing in a random key, a badly written chart, the regular guys are playing an arrangement that isn't written down, a correct chart that's damn hard to play, the leader naming a tune you've never heard of and then saying "you'll hear it" etc etc etc.
I've noticed that every setting is a different skill set. So it's one thing to play at home. Another with friends in a jam. Another in a public jam with strangers. Another with a piano. Other instrument configurations. Charts or not? Single page or 6 pages? Hard page turns? Players being really loud. With a PA. With monitors and a soundman. Big room, big audience or small. Concert vs background music. No time to set up. No soundcheck etc etc. Every time I've played in a setting different from my usual, I had to learn something, often the hard way.
The pro makes it work no matter what.
Billy Strayhorn voicings - VIDEO
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