Finally got a decent take. Nothing special, but I really wanted to contribute to the thread :)
Man, this is awesome :D
I sure am going to get started with this, some soloing and jazz practice is just what I wanted and needed!
I don't have any recording equipement, but I will be following the thread. :D
Don't mind me, just mumbling unintelligibly into my mic over your backing tracks.
Cool :)
The best approach and something that I strongly advice instrument players to do, is what uint did.
Sometimes an instrument player is soloing where "his hand goes" not where the melody or the "heart" goes. Best thing is to sing a solo and then try to play it on the instrument.
@uint
Great idea to sing it. As the opposite of my advice to instrument players, voice soling can get better if you try to imitate different instruments. Listening to Al Jarreau might give you some ideas. You can clearly see (watch his hands) what instruments he imagine while singing... or you can just mumble. Anyway, a good one.
@SineRider
1-Nice jazzy sound.
2-Nice phrasing on the theme.
3-Nice "swinging" rhythm.
Some of the solo elements are very good, the chromatic repeating motif (1:47-1:54) you could keep a bit more on this idea. Also, in some places I would go for minor pentatonic/ blues, not major.
There is clear that you were listening before playing over and your ear "goes" in the right place. It's a good thing that you don't jump into playing patterns that you learned/ overused, but instead you check everything "by ear".
@LogicalDefiance
I like how you also were listening and put your piano notes "in between" theme.
On the IV# you were having a bit of problems finding the right notes. I see that a slow tempo is a tricky thing to solo over.
---------------------------------
I would go with more diverse rhythm, using swinged 8ths, triplets, 4th triplets and "going wild" from time to time and make some 16th patterns.
At 10/7/10 09:10 AM, sorohanro wrote:
@LogicalDefiance
I like how you also were listening and put your piano notes "in between" theme.
On the IV# you were having a bit of problems finding the right notes. I see that a slow tempo is a tricky thing to solo over.
---------------------------------
I would go with more diverse rhythm, using swinged 8ths, triplets, 4th triplets and "going wild" from time to time and make some 16th patterns.
Good idea sir. I didn't even look at the music really, I just saw Bb and jumped on it. But yea I kept landing on the tonic even when it was a IV chord. I was just being lazy =/
I'll take another crack at it using the suggestions though; especially the rhythm ones. I LOVE triplets, i dont know why I didnt use any.
Try to sing the solo before playing it, that's a trick I've learned from better musicians than myself.
At 10/7/10 06:20 PM, sorohanro wrote: Try to sing the solo before playing it, that's a trick I've learned from better musicians than myself.
Well I'd say i'm not really good enough to solfege improvise yet. I hardly can solfege scales =/
I guess I could do the jazz version: "BAh bee do do dee DO BOP BOP. ba da dee la dee ba BOP bee BO"
That's what I'm talking. You improvise a solo by singing and then you try to "ear out" your solo and play it on instrument.
oh, great! I always wanted to make something in that genre.
...
Phase II :
C-Jam Blues
Notes here.
Together with working on it we will learn some new terms and techniques.
The theme, composed by Duke Ellington , is based on a simple riff.
Riff
Yes, riffs were used way before speed and thrash metal :)) The usage is similar to classical "ostinato" but with a bigger emphasis on the rhythmical pattern.
In music, a riff is an ostinato figure: a repeated chord progression, pattern, refrain or melodic figure, often played by the rhythm section instruments or solo instrument, that forms the basis or accompaniment of a musical composition. - more on Wikipedia
Four/ Four
I don't know the English official term for this one but it's usually known by jazz musicians as "four four" and to make it you just have to raise four fingers so the band can see you.
The main idea is the dialog between two or more instruments, each taking four bars of solo.
The tricky part is that every time the structure "fall" on different part or chord, so you'll have to pay attention and know EXACTLY where you are in the song.
Here's the backing track at 120 bpm:
Structure:
Intro (drum alone so you get the tempo and feel) - Theme (twice) - several circles for soloing/ improvising - two circles of "four four" - theme (once) - ending.
Soon I'll upload several wav version at different tempo, slower, for practice.
Now THERE's something to read, but not to take it too seriously.
Here, watch THIS version of C-Jam Blues with Duke Ellington himself. Awesome!
bump
When I'm not around, there are people bumping this thread and say it was forgoten, but when I'm here and put more stuff... well, nothing happens...
prove me wrong
For the last 4 post I'm sort of alone here. Quite disappointing.
Here, is the "C-Jam Blues" with solo, as an example for you.
If this thread will get some feedback I will go on with it, if not, what's the point ?
At 10/15/10 10:57 AM, sorohanro wrote: For the last 4 post I'm sort of alone here. Quite disappointing.
Here, is the "C-Jam Blues" with solo, as an example for you.
http://www.newgrounds.com/audio/listen/3 69275
If this thread will get some feedback I will go on with it, if not, what's the point ?
No worries, I'll sure try something again once I get some time. I was planning to do it on Sunday. I'm still very interested in this thread, it's just I'm a bit busy.
At 10/6/10 09:25 AM, CosmicAlfonzo wrote: Most of your beefs with my words result from you not understanding what I'm trying to say.
There really isn't anything to debate =p
Oh. I hate when that happens ;)
At 10/15/10 10:57 AM, sorohanro wrote: For the last 4 post I'm sort of alone here. Quite disappointing.
Here, is the "C-Jam Blues" with solo, as an example for you.
http://www.newgrounds.com/audio/listen/3 69275
If this thread will get some feedback I will go on with it, if not, what's the point ?
Please do continue with this thread, its helpful. I played along with the Blue Monk track you posted.
I would upload stuff, but I have no way to record. Although I just purchased a Fender Mustang amplifier yesterday, but I cant get the Fender audio interface to work.
Given the nature of this thread, you probably should expect slow responses sorohanro. That's not to say its being under appreciated though.
Aw man I hate codas. I've never actually seen a D.C. al coda, but I see D.S. al coda all the time in our school ensemble. So just to make sure I got the roadmap right, it gets to the de capo, then goes back to beginning, then skips to the second cadence excluding the parts in between the coda signs right?
I work on a solo this weekend.
Cheers!
The backing track is in 2/4 timing though, in case thats throwing anyone else off. Or am I crazy? If its 4/4 timing then I'm hearing this over 2 bars instead of four:
|-ONE-E-------THREE-E---FOUR-E--|
|-ONE---UH-----------||
as apposed to :
|-ONE--AND-------------|
|-ONE--AND------THREE--AND-----|
|-ONE-------AND----------|
|----------------||
So I got my software to work, and I finally got to recording some ideas over the Blue Monk track. The C-Jam Blues sounds like lots of fun, I'll hit that next when I get the chance. Look forward to the next lesson! Thanks
I see that this topic is not dead, and that because of the users :)
I'm glad that you still find is useful. there will be more stuff coming soon.
@CosmicAlfonzo
Yes, the main idea was an invitation to soloing, but with theme cut out it's somehow out of the context, it's a collab without the collab parts. Wouldn't be nicer if you can have a track that sound like you're soloing over a whole band with brass section ?
As for soloing, it's nice, very Zappa style. Keep doing what you do.
I've heard that you had a bit of trouble finding the right notes on the diminished chord. You can go there with an arpeggio using the same notes as the chord (it's an F# diminished) or with the semitone-tone scale (semitone-tone-semitone-tone-semitone-to ne and so on, goes same position all over guitar).
I look forward to your next track :)
Prepare for a more" guitaristic" track. Will be a shuffle blues in A, probably the most typical thing for guitar :))
I tried soloing over the cjam blues but theres two things that are getting me...
1 - It's pretty fast.
2 - There is a chord that makes no sense to me: A+7(#4)? I cant tell what it says but if its says A+7 then I'm guessing that's some kind of weird version of saying a major triad with an octave above added since a raised M7 is just a P8 enharmonically, but whats the 4 that I am supposed to be sharping? Is it supposed to be inverted? Like a 4/3 or 4/2 inversion?
Hi
There are no augmented or diminished in "C-Jam Blues", there is just one (quite simple substitution, VI instead of I and a II instead of IV, both just minor chords).
The structure goes like:
||: I | IV | I | I |
IV |IV | I | VI|
II | V | I-VI| II-V:||
That in C major translate to:
||: C | F | C | C |
F | F | C | A-min|
D-min| G7 | C A-min D-minG7:||
Also I kind of put a 7th almost on every chord, just for good luck. Hope that helps.
Hai gaiz.
Did a solo over Blue Monk. Sits promptly in the blues/jazz area.
How do ye do that fancy embedding thing?
At 10/30/10 06:52 PM, Chris-V2 wrote: Hai gaiz.
Did a solo over Blue Monk. Sits promptly in the blues/jazz area.
Looky looky loo
How do ye do that fancy embedding thing?
Let me help you out there
got the recording problem fixed... so should be uploading a remix of this track soon...
