The funny thing about this video is I have heard and briefly prioritized these 3 secrets, and I knew what the last 2 were once you started talking about them.... but I keep forgetting! I'm going to print them out and tape them above my piano.
I think I would probably have given quite the same advices if I was asked, probably not in the same order but I think the order in this video is better than my intuitive one. However, even knowing these tricks, in situation, I tend to panic and I forget to make space, use repetitions, build a melody. Knowing is a thing but practicing is very important to gain enough confidence and ease to use these tricks in context.
These are very useful lessons. Online teachers often teach scales and modes as if that's all you need to know. Turning them into something musical requires a lot more. It's great to hear you talk about some of that.
best advice I ever got was make it musical in your head and land it in time. wrong notes can be fixed and turned into leading tones is another good one
Great advice-tyvm. This is the message that comes first, isn't talked about enough: rhythm-put the notes to the rhythm. Don't get lost in scales and lose site of the rhythm. Repeat yourself is also so important. People like to identify patterns and the secret to this is repeat yourself. Call and response is a great way to build on this concept. Finally start small, build energy. Concept is king. All and all great advice!
Wow! Very consistent approach, that makes too much sense. Despite simple, it will be a true help to me, too many times so lost and insecure on exploring improvisations. Thank you!! Hugs from Brazil!
Great video, Jeff! Really great, important tips! Thanks so much!... Just FYI, not that it matters much, but @ 7:17, the piano solo music should be b-flat at bar 5 on the triplets...
Great tutorial! 👌 I recognized that Miles Davis, in many cases, also plays solos with lots of space and rhythm. But even when it is sparse, it always makes total sense and, has a good memorizable pattern and creates the perfect mood! 🔥
I like the video! Do you have any suggestions on better solos on things that don't swing? What is your opinion on Bruce Hornsby's "The Way it is" solo? It sounds pretty busy to me but still enjoyable. And he certainly had a lot of success with it. I have to play this on a gig soon and I'm not sure what approach to use. I think I'll try starting small like you suggest. And focussing on rhythm.
This is great stuff. I’ve never heard of you before now, but you sound like someone who’s studied some composition, and spent a good bit of time applying it. I remember a little picture of Dizzy Gillespie on the bulletin board of one of David Baker’s Associate Instructors in the 90s with the caption, “Think of a rhythm, and put a note on it.” That always stuck. Nice little vid here for the young jazz player!
Wonderfully honest, previous and straight forward information. I wish you played some short examples for the 2 first secrets to give us the feeling meanwhile. Great video!
Great tips, Thank-you. Anyone have some better references for the rhythm part? I’m a little confused with that one. I’ll think I’ll take the course too.
I'm a classical pianist, slowly expanding into the jazz world. Except for my earliest years, I've never bothered with scales/exercises/etc. in all the keys (or any of the keys). It's more important to think of the structure of a scale or chord or key in relative terms. A major scale is WWHWWWH. A progression is V/VI/II or something (not G/A/D). And unless you need to transpose live, I wouldn't bother with lots of different keys. Just the ones for the pieces I'm working on. I learn the key and scales that I come across in the piece I'm working on. No more. No less. And then to master whatever sequences and fingerings are necessary for the "problem at hand". What you said about "space" is more profound than you made out. My music only started to improve when I paid more attention to the space *between* the notes than the notes themselves. I took time to jump from one note to a faraway note (and after a while it somehow didn't seem so far away anymore). Space is where music breathes. And what I tend to do now is create an image of where I'm going with the music... it's usually a moving image, or a dream journey, and the image could be emotional (rather than visual). And then to play the same piece, but with a different image. And, even with classical pieces by the Grand Master, I sometimes change the notes just for the fun of it. (Of course, they improvised all the time, so I'm probably not doing anything different from how they performed their own pieces. Saying that, they're not masterful composers for nothing. No matter how much I try to change the music, their written version nearly always sounds the best!) 😂
Great tips, thanks 🙏. But the thing that really amazed me is that you have Kerplunk 😃! I played that as a kid growing up in the UK in the 70s - very unexpected 😂.
Thanks for sharing this. The first two were quite helpful, as I am just getting started in playing jazz. Third point though, I was confused by. When you played the two different solos, I found the second to be boring, and the first super engaging. So I was surprised when you actually said number two was the better one. So...I clearly am missing something in your point there!
So funny, as you went into your second point about repetition, my first thought was Sonny Rollins’ solo in “St. Thomas,” and sure enough that was your example 😂
there is one thing to master even before rhythm: I know so many soloing beginners who do not meet the form, they don't know where they are in the chorus. This problem must be solved before anything else.
yea def, rhythm is everything, like kinda literally, even pitch is rhythm, its hertz which is rhythm, and its kinda of the bases of all physical matter too kinda but maybe not a convo for this vid haha but yea rhythm is kind of all that there is
Putting my own pedagogical vocabulary to this excellent video: “lyrical”. Focus on soloing lyrically, with space, melodic phrases, and a narrative arc, and you’ll instantly sound better
I was playing the other night, on my strat - with JJazzlab for the progressions, and found that my admittedly poor solos followed the rhythm styles I was playing over… so rhythm is definitely important - and having a basic solo that gets embellished as you go on is what I’ve now heard from several sources. Maybe I’ll really get ‘it’ one day - and those solos will flow whatever instrument I’m playing!
seems like a long pitch sale. old info repackaged. It’s too bad musicians have to earn money this way. It seems like it should all be free at this point, instead of being resold over and over for decades, but i suppose that’s how music teaching has always been
The St Thomas solo may be typical, but I can"t come to enjoy it, even if it's from a Master. I just dont like these repetitions. I'm struggling to improvise, currently learning St Thomas :) I'm a bass and double bass player. I'm trying to learn soloing, but I don't enjoy it at all. It always "degenerates" into grooves. I can improvise a groovy bass line, but I'm getting lost and bored when trying to solo.
Bravo for the courage to confess that you don't care for a "master-work"". I feel the same way about some iconic jazz, despite what the "jazz police" say!.
"I can improvise a groovy bass line, but I'm getting lost and bored when trying to solo.". So, why not be yourself and go for what you enjoy and can do ? Because "I'm trying to learn soloing, but I don't enjoy it at all" is not a groovy statement, don't hurt yourself man and develop what you are good at, enjoy ! It don't mean you are fixed where you are, maybe one day you get into the soloing thing, naturally and then also go for it, no need to hurt one self. One more thing : being able to improvise a groovy bass line is a great skill ! One more thing : being able to play a good bass line over chord changes is a very useful tool related to soloing. i can recognize any standard that i know or have heard just by hearing the bass line, provided the bass player is good ! Fondation man ! Chord tones and smooth connections between chords (voice leading), etc...
@@davidgerber9317 Yes, i do to. Even with great masters that i have great respect for. It's a matter of taste and feel. So what ? In the classical music world it's no problem to appreciate or less appreciate great composers, but they are great anyhow ! As long as we respect and are conscious about craft and talent, genius it's OK i feel. What is not so OK is to deny great musicians, because then it means that one has no "ear",i mean "inner musical ear". Too bad for this kind of people.
@@anneonym7346 I'm in a jazz band so I'm trying to improvise like my bandmates. But fortunately I don't have to and our teacher understood that I much prefer grooving/walking (on double bass and electric bass)
The funny thing about this video is I have heard and briefly prioritized these 3 secrets, and I knew what the last 2 were once you started talking about them.... but I keep forgetting! I'm going to print them out and tape them above my piano.
hahaaahhahhah
I think I would probably have given quite the same advices if I was asked, probably not in the same order but I think the order in this video is better than my intuitive one.
However, even knowing these tricks, in situation, I tend to panic and I forget to make space, use repetitions, build a melody. Knowing is a thing but practicing is very important to gain enough confidence and ease to use these tricks in context.
Same here
These are very useful lessons. Online teachers often teach scales and modes as if that's all you need to know. Turning them into something musical requires a lot more. It's great to hear you talk about some of that.
best advice I ever got was make it musical in your head and land it in time. wrong notes can be fixed and turned into leading tones is another good one
Great teacher
From another great teacher.
I've seen many many lessons and had many teachers, but noone told me to prioritize rythm over notes. It makes so much sense... Thank u!
This is gold ! Thx it is really useful 🙏🏻
Thanks again mate
Great points here Jeff, especially the first about rhythm. Love your videos.
Great advice-tyvm. This is the message that comes first, isn't talked about enough: rhythm-put the notes to the rhythm. Don't get lost in scales and lose site of the rhythm. Repeat yourself is also so important. People like to identify patterns and the secret to this is repeat yourself. Call and response is a great way to build on this concept. Finally start small, build energy. Concept is king. All and all great advice!
This is an incredibly useful advice for me. Thanks!!
Wow! Very consistent approach, that makes too much sense. Despite simple, it will be a true help to me, too many times so lost and insecure on exploring improvisations. Thank you!! Hugs from Brazil!
This video is pure gold! 🎶
Very worthwhile video, thanks!
Great video!
Best advice, plain simple and effective. Very grateful, thank you🙏
Thanks!
Thanks
This is such an efficient example of good advice!
Excellent lesson!
Absolutely genius..thks so much
Great video! Thank you. I must say that I am now waiting for a specific video on rhythmic patterns for improvising...
Excellent reminder of real strong fundamentals, cool !
Great advice thanks
Great video, Jeff! Really great, important tips! Thanks so much!... Just FYI, not that it matters much, but @ 7:17, the piano solo music should be b-flat at bar 5 on the triplets...
First video that really make sense to me on solo. Thanks a lot.
Great tutorial! 👌 I recognized that Miles Davis, in many cases, also plays solos with lots of space and rhythm. But even when it is sparse, it always makes total sense and, has a good memorizable pattern and creates the perfect mood! 🔥
Love the first tip! Rhythm over pitches
Splendid advice! Big thanks!
Wow thank you this is super helpful!
Great advice thank you!
🤯 thank you! 🙏 🙏🙏
I played one of your big band charts "The Way Home" a few years ago, it was really beautiful
This is something to remember,great video thanks a lot!
Well put! Thank you 🙏
I like the video! Do you have any suggestions on better solos on things that don't swing? What is your opinion on Bruce Hornsby's "The Way it is" solo? It sounds pretty busy to me but still enjoyable. And he certainly had a lot of success with it. I have to play this on a gig soon and I'm not sure what approach to use. I think I'll try starting small like you suggest. And focussing on rhythm.
This is great stuff. I’ve never heard of you before now, but you sound like someone who’s studied some composition, and spent a good bit of time applying it. I remember a little picture of Dizzy Gillespie on the bulletin board of one of David Baker’s Associate Instructors in the 90s with the caption, “Think of a rhythm, and put a note on it.” That always stuck.
Nice little vid here for the young jazz player!
insightful !!
Gold tips I knew but amazingly presented
Wonderfully honest, previous and straight forward information. I wish you played some short examples for the 2 first secrets to give us the feeling meanwhile. Great video!
Great tips, Thank-you. Anyone have some better references for the rhythm part? I’m a little confused with that one. I’ll think I’ll take the course too.
Those are really good and solid advices, explained in a clear, accessible and respectful way. Well done!
Great job!!!
Great life lessons
I'm a classical pianist, slowly expanding into the jazz world.
Except for my earliest years, I've never bothered with scales/exercises/etc. in all the keys (or any of the keys). It's more important to think of the structure of a scale or chord or key in relative terms. A major scale is WWHWWWH. A progression is V/VI/II or something (not G/A/D).
And unless you need to transpose live, I wouldn't bother with lots of different keys. Just the ones for the pieces I'm working on. I learn the key and scales that I come across in the piece I'm working on. No more. No less.
And then to master whatever sequences and fingerings are necessary for the "problem at hand".
What you said about "space" is more profound than you made out. My music only started to improve when I paid more attention to the space *between* the notes than the notes themselves. I took time to jump from one note to a faraway note (and after a while it somehow didn't seem so far away anymore). Space is where music breathes.
And what I tend to do now is create an image of where I'm going with the music... it's usually a moving image, or a dream journey, and the image could be emotional (rather than visual). And then to play the same piece, but with a different image. And, even with classical pieces by the Grand Master, I sometimes change the notes just for the fun of it.
(Of course, they improvised all the time, so I'm probably not doing anything different from how they performed their own pieces. Saying that, they're not masterful composers for nothing. No matter how much I try to change the music, their written version nearly always sounds the best!)
😂
Wow ! What are you on man ? 😂
Great tips, thanks 🙏. But the thing that really amazed me is that you have Kerplunk 😃! I played that as a kid growing up in the UK in the 70s - very unexpected 😂.
'very good. Best regards.
Good advice Jeff. Keep it coming! 🎶
7:16 The contrast is fascinating and instructive. I'm sold! 🎹
The guy on the left hand side of the big band image is doing pretty well to hold down his spot considering he only has one arm and no instrument.
Absolutely superb content Jeff-added & saved to my favourites list. Thank you so much for posting this great content cheers
Love the AI artwork 3:26 😆
Good content as usual lol 💖
Thanks for sharing this. The first two were quite helpful, as I am just getting started in playing jazz. Third point though, I was confused by. When you played the two different solos, I found the second to be boring, and the first super engaging. So I was surprised when you actually said number two was the better one. So...I clearly am missing something in your point there!
So funny, as you went into your second point about repetition, my first thought was Sonny Rollins’ solo in “St. Thomas,” and sure enough that was your example 😂
Great lesson!! But man, that A.I. art is weird. That picture at 3:29, most of the musicians are missing arms or have two rights. Just creepy. 🤨
Nice
Super helpful. Thanks, you hit my weak point:-)
Is that a small electronic keyboard you are holding at the beginning of this video? Do you have the link to it?
Fairly sure it’s a melodica
I loved everything about this video except the super bright light in the background!
that guy that u talked abt in the second secret was literally just playing "backburner" arranged by carl strommen
Barnaby Dickenson has a good video about this. He is a trombonist in UK.
Regarding rhythm: More than once I've played a bar or two of un-pitched ghost notes because I was lost, and got away with it because it was in time.
there is one thing to master even before rhythm: I know so many soloing beginners who do not meet the form, they don't know where they are in the chorus. This problem must be solved before anything else.
Pitches get stitches.
yea def, rhythm is everything, like kinda literally, even pitch is rhythm, its hertz which is rhythm, and its kinda of the bases of all physical matter too kinda but maybe not a convo for this vid haha but yea rhythm is kind of all that there is
0. Play in all keys, know your chord tones 0:24
1. Put notes to rhythm 1:27
2. Motivic development 3:17
3. Start small (more space) 6:57
Putting my own pedagogical vocabulary to this excellent video: “lyrical”. Focus on soloing lyrically, with space, melodic phrases, and a narrative arc, and you’ll instantly sound better
RE: #1 Rhythm first... In other words "It don't mean a thing if it ain't got that swing"
Repetition legitimizes
Repetition legitimizes
Repetition legitimizes
I was playing the other night, on my strat - with JJazzlab for the progressions, and found that my admittedly poor solos followed the rhythm styles I was playing over… so rhythm is definitely important - and having a basic solo that gets embellished as you go on is what I’ve now heard from several sources. Maybe I’ll really get ‘it’ one day - and those solos will flow whatever instrument I’m playing!
It's true. It's one of Pat Metheny' s secrets: strong rythm patterns, repetitions .
lol third secret I guess before the notes showed that it was pauses
#2 - my first thought: yeah, you don't have a rhythm without repetition. For sure.
Who is buried under the flag in the background?
Not "lazy" at all. Tasteful self-restraint is hard.
Repetition legitimizes.
Repetition legitimizes.
You can play the wrong note at the right time, but you cannot play the right not at the wrong time!
The best solo is the one you don't play - A random guy
Who let you have a child 😂
Great video, but AI images suck.
I heard you left the smashing pumpkins, a real shame
seems like a long pitch sale. old info repackaged. It’s too bad musicians have to earn money this way. It seems like it should all be free at this point, instead of being resold over and over for decades, but i suppose that’s how music teaching has always been
The St Thomas solo may be typical, but I can"t come to enjoy it, even if it's from a Master. I just dont like these repetitions. I'm struggling to improvise, currently learning St Thomas :) I'm a bass and double bass player. I'm trying to learn soloing, but I don't enjoy it at all. It always "degenerates" into grooves. I can improvise a groovy bass line, but I'm getting lost and bored when trying to solo.
Bravo for the courage to confess that you don't care for a "master-work"". I feel the same way about some iconic jazz, despite what the "jazz police" say!.
"I can improvise a groovy bass line, but I'm getting lost and bored when trying to solo.". So, why not be yourself and go for what you enjoy and can do ? Because "I'm trying to learn soloing, but I don't enjoy it at all" is not a groovy statement, don't hurt yourself man and develop what you are good at, enjoy ! It don't mean you are fixed where you are, maybe one day you get into the soloing thing, naturally and then also go for it, no need to hurt one self. One more thing : being able to improvise a groovy bass line is a great skill ! One more thing : being able to play a good bass line over chord changes is a very useful tool related to soloing. i can recognize any standard that i know or have heard just by hearing the bass line, provided the bass player is good ! Fondation man ! Chord tones and smooth connections between chords (voice leading), etc...
@@davidgerber9317 Yes, i do to. Even with great masters that i have great respect for. It's a matter of taste
and feel. So what ? In the classical music world it's no problem to appreciate or less appreciate great composers, but they are great anyhow ! As long as we respect and are conscious about craft and talent, genius it's OK i feel. What is not so OK is to deny great musicians, because then it means that one has no "ear",i mean "inner musical ear". Too bad for this kind of people.
@@anneonym7346 I'm in a jazz band so I'm trying to improvise like my bandmates. But fortunately I don't have to and our teacher understood that I much prefer grooving/walking (on double bass and electric bass)
@@pgrvloik So that's OK. Hope your teacher can be wise enough to tell you the connection between bass line and impro.
Great video!
Great stuff!