How do you get that sound that’s kind of articulated, kind of not? The one you hear in so much bebop?
I shot this mid-practice session to show you exactly how I use SSS at 60 to iron out a problem.
This is an exercise you want to be able to do with any/every scale. It really opens up your options as an improviser.
What’s the best way to hold the soprano so it plays easy (yeah, right!) but doesn’t kill your right arm/hand?
Improvising over one chord—or a few that repeat—is more difficult than you might think.
A couple really nice sounds—and the theory behind them—from a gorgeous Stan Getz solo. Try using this!
Wondering what all that “cool stuff”—the stuff that doesn’t “fit” with the chords—your modern heroes are playing is?
A (conceptually) simple way to get to the next level when playing over static, repetitive, or loop-based chord sequences.
What makes this kind of thing work is intervallic movement, contrary motion and solid connection between chords.
Feel boxed-in by chord changes? Do your lines mostly start and end on downbeats or “obvious” places? Try these specific restrictions to help you practice “floating” over barlines.