Listening Lab: David Sanborn “Hobbies” from Another Hand (a Down-Home Blues in A)
This is a great example of blues-infused bebop (or bebop-infused blues) playing in a “basic I, IV, V blues” setting.
Using the Keyboard to Transcribe Harmony from a Pop Song (EWF “Sign On”)
This is on the intermediate to advanced side, but no reason not to start doing this even if it feels over your head currently. I can’t overstate how important it is to get to the keyboard to visualize harmony.
How I practice soloing over a 4-chord rock loop (Plus a transcription challenge)
Ever wonder how to go from just scales and chords to soloing? Here’s how I do it.
What is [that cool stuff] going on in this alto solo?!
Inside this solo is a great example of one of those “licks” you’d do well to learn in all 12 keys.
A Modern Sound on Minor II-Vs: Applying the Pentatonic Flat 3 Scale
This five-note scale type, applied to different parts of a chord progression, yields a really cool sound.
Transcription Challenge Review: John Coltrane – My Shining Hour
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Transcription Challenge: “Sign On” by Earth, Wind & Fire
This groove is so tight it just makes you wanna get up and dance!
Lower Neighboring Tones – an Example from John Coltrane’s Solo on My Shining Hour
By turning Coltrane’s phrase into an exercise, we can develop facility for playing more interesting (chromatically decorated) lines over chord changes.
10 Elegant Seconds of Charlie Parker on “East of the Sun” from Bird With Strings
Understanding the architecture behind what Bird plays here (not just learning the lick) will help you create similar things in your own way.
Practicing Cherokee in B (concert)
Practicing this way—even for a chorus—always leads me to something I can use to shed technical details.
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.
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.
A study in bluesy triplet-based playing: Stanley Turrentine’s solo on “Sugar”
This solo is FULL of great information on playing in a laid-back, blues-y, triplet feel kind of way.
Ideas for playing over Tune Up (and is it OK to steal ideas from other players?)
You’re working on a tune and get bored with your solos. What next? And should you feel bad for borrowing ideas from recorded solos?
Developing motifs over a funk groove (Michael Brecker’s solo over “Slang”)
This is a terrific example of a compositional funk solo. And these are some great techniques for practicing motivic development.
Taking It “Out” with Major Triads: Pat Metheny Solos over the Blues
Check out how guitarist Pat Metheny works his way outside the harmony on a blues, using nothing more than major triads.
You memorized a melody, but how do you make it sing?!
What do you do AFTER you can play a melody accurately and in time, with nothing but a metronome backing you up on 2 & 4?
Transcribing in Real Time: Hot House
Probably one of the most-quoted bebop melodies of all time—and a perfect compliment to the recent lessons on minor II Vs.
Using “Anthropology” (rhythm changes) as a launchpad for practicing improvisation [7 lessons]
There’s a pile of great material to unlock in this Charlie Parker classic (based on “Rhythm” Changes).
Deconstructing the Theory and Rhythm Behind “Outlier” by Snarky Puppy
Connect non-traditional chord changes using common tones, guide tones, and simplified scales.
Theory Analysis: Cannonball’s solo on “Straight, No Chaser”
Learn about motivic development, implied harmonic superimposition, and applying the altered scale in the blues, from 5 brilliant measures of Cannonball’s solo.