Using famous solos by Eddie Van Halen, Mark Knopfler, George Harrison, and Slash, we look at what it takes to actually "take a solo." What goes on behind the solo, what is in the mind of the performer - the chords, the form of the song, and the confines and freedoms that go into soloing.
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How is your knowledge of the blues? Do you think you can recognize these obscure blueses - and can I fool you with a couple that aren't anywhere close to being blueses? We'll talk form, music theory, style, meter and have a bunch of fun while we play this game or sorts.
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Let's look at this killer sixteenth note blues lick that I transcribed from Dizzy Gillespie and how I went about teaching myself to use it everywhere possible as I work on my jazz improv.
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Download MelodEar here: http://melodear-app.com/melodear and start a new way of hearing harmony, a new way of approaching melody, a new way of practicing and a new method of ear training.
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Get my Nebula Class here: https://nebulaclasses.com/aimeenolte $80 for the year or $8 per month for all Nebula content + Nebula Classes If you already have Nebula, use the same link and get Classes added on for just $5 a month!
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Let's slowly go over Sunny Side Of The Street and talk about 3rds and 7s, reference my jazz bible, add the more colorful 9 and 13 and sometimes altered tones and move from chord to chord with ease.
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The subtlety of the swing feel is a very tricky thing to learn. Listening to the great jazz players and soaking up what you hear is the best way to absorb and ultimately develop your own swing feel, but there are some things I can teach concretely and this is one of them. Practice these comping rhythms with me and let's get to work!
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People don't think about the blues scale in the right way, and it's ruining their jazz solos. Improvisation can't simply be thought of in terms of "a scale" and have imagination, soul and meaning.Try these things instead!
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