Press on "buy now" or on "add to cart" (if you want to buy more items: discounts are available if you reach 16$). You will be brought to Paypal. After the payment click the button on Paypal that will bring you back to the seller's site(don't press the back-button on the browser). You will be sent to a page containing the download links. Now your file(s) are ready to be downloaded. Be sure and check the email that you have associated with PayPal. The link for the downloads will be sent to your mail too. It may take ten minutes. If the link you recive is not clickable, just copy and paste it in a browser. Remember to check your spam folder also.PLEASE CHECK YOUR SPAM FOLDER You still cannot download the files? Write me or Aimee.
I have always loved “Pure Imagination” since I was a kid. I decided to improvise over its changes for 24 minutes today (over a backing track from the ireal app) and wanted you to share it with you. My mindset was pretty much, just to try and have the melody in the back of my mind the whole time and to play what I heard over the top of it, without thinking too much about anything else except what sounds true and beautiful to me in the moment.
Compare and contrast my two transcriptions of Bill Evans' recordings of Leonard Bernstein's "Lucky To Be Me" with me. One is the Riverside recording on the album, Everybody Digs Bill Evans, and the other is from a recording someone sent me about 18 years ago, that I cannot identify, unfortunately. Recorded using Earthworks SV33 Earthworks PM40 5'3 Hallet Davis Baby Grand
Another extended practice (I have a whole playlist if you're interested) session video for you! I use a backing track from the iReal Pro app (this time with "Rhodes 2", accoustic bass and very little reverb - and try to develop my ideas as I play 25 choruses! I hope you enjoy it!
It's time for some feel good requests to celebrate my DANG BIRTHDAY! Thanks for the fun hang, everyone. Stick around till the end to hear a pretty fun "My Favorite Things." If you'd like to contribute to my channel and music-making efforts, please click here: https://paypal.me/aimn
From 1979-2018, Steve Call taught tuba, euphonium, jazz piano, jazz improv, and jazz history/studies at Brigham Young University. When I came to BYU to audition in 1995, Steve is the one who heard me and decided to let me in to the school with a partial scholarship. He directed The Jazz Legacy Dixieland Band combo that I was a part of for 3 years, and taught me so much about what kind of musician I wanted to be. I owe so much of what I am today to Steve.
It's not really NEW, but it might be new to YOU. A contemporary rhythmic addition to your playing; the all-syncopated straight 8th style which originates from the Brazilian Polka style of guitar playing. Have fun with it and let me know if it was helpful to you!
Ever wish you could play piano while you sing? Maybe you wish you could play for your students or other vocalists, or instrumentalists. In this series, I teach you all of the important steps to start to be REALLY good at it! Walking bass lines, voicings, rhythms, styles...it's all right here.
In this video, I teach about times when a flat nine occurs in the melody, over a dominant seventh chord. Learn how to play triad extensions to increase your harmonic vocabulary with me!
The wonderful, swinging, Rebecca Kilgore is in town and hanging out with me for a few hours before her concert! We will take your requests and answer any questions you might have for us!
I know I preach a lot of information about improvisation. I'm not sure that I follow it all in this performance of Harold Arlen's "Let's Fall In Love," but sometimes, I don't know...you just gotta go for it. Improvising in harmony with myself is something I work on quite a bit, but I rarely show it. I hope that will change as I practice more. Recorded using Earthworks SV33 Earthworks PM40 5'3 Hallet Davis Baby Grand Panasonic Lumix G85 - Details on Aimee's Gear
I layed down this track and sent it to my friend, Justin over in Atlanta and he worked his magic with those brushes, just like I knew he would. I've always loved this song; this portrait of a street performer who had seen better days. I hope you enjoy it.
On July 11, 2018 in Bluffton, South Carolina at a great listening space/bar called "The Roasting Room," I got to perform with one of my favorite people on the planet. Hope you enjoy it!
Footage and audio from my gig at The Blue Whale in Los Angeles on November 18, 2019 Guitar: Mike Scott Bass: Bruce Lett Drums: James Yoshizawa Audio mixed and recorded by Jonny Maia Video recorded by my husband, John.
Recorded at 2:00am on July 1, 2017 by my sweet new friends, Dominique and Ty Walker from Chicago at The Green Mill. The wonderfully musical and lyrical Eric Shneider ran the jam and invited me to play and then to sing a few tunes. It was an honor to share the stage with this man who has toured with Earl Fatha Hines and Count Basie, as well as to meet and play with the house pianist, Dennis Luxion and some energetic kids who were there to sharpen their skills. It's always an amazing feeling to drive into a new city and immediately have new friends to make music with. Magical.
Personnel:Aimee Nolte (piano vocal) Mike Scott (guitar) Bruce Lett (bass) Kendall Kay (drums) Tracks: So In Love, Moon River, If I Should Lose You, Stars Fell On Alabama, I Remember You. Filmed on a Panasonic Lumix GH8 Recording mic mounted on camera: Rode Videomicro Compact Aimee's vocal mic: American Audio VPS-80 If you'd like to support me, you can do so here: https:paypal.me/aimn
This video is about Aimee Nolte Live At The Roasting Room (With Taylor Roberts And Justin Varnes) July 2018 Bluffton, South Carolina. I’d like to let you know I got the audio from the house mix at the Roasting Room. Unfortunately, the guitar level in the house was low and distorting at times. It wasn’t that way in the monitors that night...but anyway I’m sorry about the distortion. Also, the video switches about half way through to a worse camera and angle but it’s the best I could do. I was also borrowing a keyboard that was new to me and making me feel uncomfortable all night...but when you are traveling and gigging you get what you get sometimes. Hope you all enjoy it. It was a fun night!
Some fun excerpts from my performance at the Sea Pines country club in Hilton Head, SC with local musicians, Jackson Evans (guitar), Brett Belanger (bass), and Justin Varnes (drums). It was a great way to wrap up the week! Unfortunate lighting, but I was glad for what we got. Thanks to James Berry for running the camera for me.
This was my video for Jam Of The Week on Facebook this week to celebrate one of my hero's birthdays...Mr. John Coltrane. I didn't have much time so I stopped and got a little crazy with this!
Aimee, Mike Scott (guitar), Roger Shew (bass), and Sean Fitzpatrick (drums) play Aimee's arrangement of "Light My Fire" at The Hip Kitty. February 5, 2015
Once in a while, I suppose I might rant a little bit. This is something that has been troubling me, and I needed to say what I am feeling about it. I think the future of vocal jazz is in trouble, unless we remember the importance of improvisation.
This is a sampling of my 7 video bebop series for instrumentalists and vocalists. Using the blues, the bebop scale, classic licks from Bird and Diz, and much more, learn how to become a great bebop soloist and let's have some fun while we do it!
All The Things You Are: Jazz Improvisation Lesson - For instrumentalists and singers: A very detailed look at the first 8 bars of the popular standard. Discussion includes a very melodic and "ears" approach, modes to use, chord tones to aim for, bebop lines and how to create them, and rhythmic placement of lines to add an element of surprise to your solo.
This is my practice routine for getting altered dominant (#5, #9 chords specifically) rootless closed-voicing chords, and diminished whole-tone scales (sometimes referred to as the 7th mode of the melodic minor scale) under my fingers and in my brain. You can get such a hip sound in your playing if you understand how these notes function in each key.
Purchase the worksheet from the videos below[PDF - 5.00 $]
Gianna's father contacted me and asked if I had room for his daughter to take some lessons. After hearing her play, you'll know why I jumped at the chance. We are having a blast together, and she's working so hard, I just had to share it with you.
The bebop scale is a descending major scale, with a flatted seventh added that is typically used over a dominant or V7 chord when improvising. Let's make sure we know how to finger it.
Purchase the worksheet from the videos below[5.00 $]
Take a look at my collection of transcriptions with me, Sound of Love - My Man’s Gone Now - Nardis - How Deep is the Ocean - Lucky to be me - Danny Boy - Blue in Green - Israel - Milestone - People... and more...
Choosing which altered dominant chord to play during a minor 2 5 1 can be a daunting task, but using a popular holiday classic, I attempt to demystify the process for you and make something beautiful. Recorded using Earthworks SV33 Earthworks PM40 5'3 Hallet Davis Baby Grand
If you'd like to donate to my channel, please do so here: https://paypal.me/aimn
Phrasing is everything. Learn some iconic phrases from jazz greats with me and practice articulating the phrase with precision! Buy the pdf with licks written out with syllables.
Some ideas about how to comp on this classic jazz standard, as well as a fun idea at the end of the video based on montuno rhythms. If you'd like the worksheet for that final idea: Comping On Sonny Rollins' "St. Thomas"
Now that you can walk a bass line, and know which notes to play for a nice 4-note voicing sound with your right hand, let's talk about rhythm and give you something to practice!
Now that you can walk a bass line, and know which notes to play for a nice 4-note voicing sound with your right hand, let's talk about rhythm and give you something to practice!
Purchase the worksheet from the videos below[PDF - 5.00 $]
Temporary modulations to the mediant and submediant are very common in jazz and popular music. It's important to learn to recognize them when they occur, hear the difference between them and know how to predict them when playing chords by ear.
Can you tell the difference between these iconic jazz vocalists? Let's listen very carefully and notice the subtle nuances as well as major stylistic choices that put each of these singers in a league of their own.
In this video, we pick apart Bill's 1962 recording of Danny Boy from the album Empathy that he made with Shelly Manne and Monty Budwig. We uncover some important elements of his solo piano playing, as well as some insight into his trio playing. The most important element of this recording in my opinion is the way he makes you...........wait for it.
Using Mr. Tyner's playing from "My Favorite Things," this video looks at what a tempered, patient, calculated player he can be, and at the same time invent timeless melodies and demonstrate amazing technical prowess. I hope this video makes you an even bigger fan than you already were! Lesson available: Discovering McCoy Tyner worksheet
Using Mr. Tyner's playing from "My Favorite Things," this video looks at what a tempered, patient, calculated player he can be, and at the same time invent timeless melodies and demonstrate amazing technical prowess. I hope this video makes you an even bigger fan than you already were!
This PDF is ONLY page 6 of the transcription. Not the entirety.
"Do You Know What It Means to Miss New Orleans" is a song written by Eddie DeLange and Louis Alter, which was first heard in the movie New Orleans in 1947, where it was performed by Louis Armstrong and sung by Billie Holiday.
This is my new friend, Donaldo who stopped by for a lesson on his trip to Los Angeles. He's visiting from Nicaragua and he's trying to learn how to build a jazz solo. I was so happy to help! If you'd like to support my channel, you can donate here: https://paypal.me/aimn
This is an exercise that takes you through all 12 keys, using a minor ii V i lick, that will help you to be able to hear an altered dominant extension...a triad, based on the flat five of the dominant chord. I like this one because it's melodic and pretty and can be easily used in improvisation while soloing over tunes.
