Trading Solos: Jazz
Автор: Henry Johnson
Инструментальная принадлежность: Гитара (стандартная нотация + табулатура)
Жанр: Джаз / Самоучитель
Год выпуска: 2019
Издательство:
TrueFire
Серия: Trading Solos
Язык: Английский
Формат: PDF
Качество: Изначально компьютерное (eBook)
Количество страниц: 48
Источник сканов: E-net
Аудиокодек: mp3
Битрейт аудио: 192 kbps
Формат видео: mp4
Битрейт видео: AVC, 960x540 (16:9), 29.970 fps, ~761 kb/s avg, 0.050 bit/pixel
Аудио: AAC, 174 kbps, 48000Hz, 2 ch
Описание: Интерактивный видео джем от Henry Johnson.
[Left-Hand Techniques • Right-Hand Techniques • Riffs • Performance • Chords • Licks • Techniques • Applied Theory • Rhythm • Melody • Chord Progressions • Comping • Improvisation • Soloing]
Содержание:
Track 1: Barron's Blues
”The first track that we're going to trade solos on is a 12-bar blues in C. If you listen to the track, one of the things you'll notice is that we're in half-time here. One of the comping approaches that I use all the time is feeding off the rhythm section. If they're playing on the 1, I'm trying to play right after. If the bass player plays a note, I'm playing right after them. With a piano player, I don't try to follow up with the whole chord - just using one or two of the lowest notes. If the bassist is playing a walking pattern (4/4 instead of half-time), we can play as if we're anticipating what the rhythm section is going to play. This will push the beat and create more movement - a great thing to add into your playing. In this example, all I'm really doing is moving our two-note answer to the bass part up and down. I'll show you something you can try out over the IV chord, and bebop lick, and a double stop lick that works great.”
Track 2: The Old Cedar Tree
”The second track that we'll trade solos over is a song that I wrote called "The Old Cedar Tree", and it’s in the key of F. Like our first track, we're in half-time on this one. We've got two different kinds of feels on this one. It's important to recognize this since it will change your comping techniques. First, we have a half-time feel. With this feel, we'll look at how to play the chords without the root notes. Then, we have a 4/4 feel. You're moving twice as fast (and so is the bass player), so you've got to stay out of their way. We'll take a look at some things you can do to accomplish this, as well as some rhythm variations so you're not just playing through the chords. I'll start things off by taking a solo. Then, I'll play rhythm, and you take a solo - either using some of the licks we went over in the previous lesson or some of your own ideas!”
Track 3: Gold Coast Waltz
”This next track that we're going to trade solos over is a minor 12-bar blues in G min. The first comping approach is something we've talked about before - not using the full chords. Instead, just playing two notes. Just using two notes gives us a lot of options for variation - different things we can add in to change the color, and suggest different parts of the chord. When the bassist starts playing a walking pattern, you have to change things up with your comping pattern as well. You can play more percussively, now adding in a third note. For our third approach, we'll go back to playing just two notes, but now we'll move them around to get a different color out of them. I’ll share three lick ideas for our minor 12-bar blues in G min. Our first one brings out all the different colors of the minor chord, then we have one to use over a ii-V that takes us back to the G min, and another ii-V lick after that.”
Track 4: Ipanema Happens
”This next track is an original, basically a Bossanova groove. We're in the key of Eb on this one. Like before, we're going to look at using just two notes instead of the full chord. This allows us to identify the chord and structure without playing the root. Then, we'll start adding in a third note that compliments our Bossanova progression. Our first lick will outline the shape of the ii chord, then I'll show you a lick you can use on any turnaround, and we'll wrap up with a lick that leads us into the tritone we're using (instead of the V) to get us back to the top. I'll start things off by taking a solo. Make sure you're backing me up - the comping ideas we went over earlier will all work here.”
Track 5: Chicago Samba
”This last track is an original tune of mine, a samba with a bright, happy feel in the key of D. Let's take a listen to it, and in the next few lessons we'll look at some comping and soloing approaches that we can use. A samba is Brazilian music, and Brazilian music is in "two". There aren't a lot of rhythms that you can use here because of this, but you can use more colors. We’ll take a look at a few lick ideas we can use on this samba in the key of D and then put them to use and trade some solos together! Make sure you're backing me up - the comping ideas we went over earlier will all work here. This is important, and will help you see the whole picture of playing with another guitarist.”
Примеры страниц (скриншоты)
