What’s the best way to hold the soprano so it plays easy (yeah, right!) but doesn’t kill your right arm/hand?
What Do You Think about When You Want to Rip Over a Static Funk Groove? (+ Branford Marsalis on “The Road You Choose”)
Improvising over one chord—or a few that repeat—is more difficult than you might think.
Stan Getz’s beautiful Lydian riff over Moonlight In Vermont
A couple really nice sounds—and the theory behind them—from a gorgeous Stan Getz solo. Try using this!
What is Chris Potter playing in this insane lick on “Lingus?” (Plus, why practice one song to prepare for another)
Wondering what all that “cool stuff”—the stuff that doesn’t “fit” with the chords—your modern heroes are playing is?
Add More Grease to Your Groove Playing (by Practicing This)
A (conceptually) simple way to get to the next level when playing over static, repetitive, or loop-based chord sequences.
Dealing with Identical chords a half step apart
What makes this kind of thing work is intervallic movement, contrary motion and solid connection between chords.
Playing Across the Barline & Through the Form [Advanced]
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.
Minor II-V, Tritone Sub, and the Harmonic Minor Scale: the Last 4 Bars of “Sugar”
Brian asked a great question in the Forum about some of the harmonic features in “Sugar.” I want to address one of the harmonic moves he mentioned.
Working the altered dominant scale – Tubby Hayes’ solo on Pint of Bitter
A very blues-y (almost Stanley Turrentine-esque) tenor solo with some great altered scale action.
- « Previous Page
- 1
- …
- 26
- 27
- 28
- 29
- 30
- …
- 54
- Next Page »