The essence of what Joe Pass and Louis Armstrong did. Use the melody as a jumping off point for creating solos. When in doubt,start with the head. Love your work. Shally
Thank you Tim, I stayed up till 4 this morning amazed with this technique utilizing it with a little harmonic minor melody and appropriate diatonic chords.. This information really made a huge difference
This make sooooo much sense on the double bass solos!!! In this way you can play beatifull melodies without making the "notes mud" trying to somehow keep the changes going...thank you❤
Thanks Tim! I love how you explain things. I briefly studied counterpoint at university and step-wise motion is what we were taught to use most of the time. We were also taught to write step-wise motion in the opposite direction after jumping notes.
Well presented, Tim! Indeed, solos have to make melodic sense, and phrases need to relate to one another in order to create cohesive feeling or mood. The alternative is to play a series of fast, unrelated licks over the chord changes that don't make any sort of sense.
Good idea on the logic lines. My approach lately (trying to play solo) is to work with a motif that comes from the original tune (for example think the first three notes of Misty), but I think this can be combined with the logic lines. Thanks!
Such a fantastic video Tim. This year's assignment for me is improvising from the melody, and it's always been a bit of a mysterious concept for me, but you illuminated it and made me see clearly things that - I know already from experience - work for me and make me a better improviser. Bookmarked for inspiration and review. THANK YOU!
Hey Tim---- great video about "playing the song", which raises a question regarding the term "Guide Tones". From Day One we learn that the 3rd and the 7th are the harmonic "guide tones" of chords. But when we are playing a jazz standard and improvising ---- then the notes of the melody are also "Guide Tones". With that basic foundation in your head, you are free to go wherever you want to, rhythmically and harmonically. The "Guide Tones" of the melody will always resolve you back to the right place. I think all the greatest improvisers "play the song" this way.
Not wasting a note in a solo is where the magic happens. I’ve been dissecting a solo by Joe Cohn on a date with Harry Allen, “You’ve Got A Date with An Angel” and it’s astounding how much cohesion is in Joe’s solo, but plenty of complexity too. One can study mounds of theory but a gift with melody comes from the special place. Anyone have the address?
The guitar is an ES350P the pickup is made by Lindy Fralin he calls it a humbucking P90 alnico.. I will soon put the original P90 back in and use this pickup in another guitar.
@@TimLerchGuitar I own a Casino and a Washburn HB 35 , those 2 are my main ones for playing jazz in my Fender deluxe reverb, but your tome is way better, more transparent, might change pickups , thx
I put the accompaniment on my looper and used it throughout the video when it was needed. Just a simple waltz accompaniment using the changes to Someday my Price will Come. The short solo was played in realtime to the looper. Not sure what you are wondering about. Please if you have a specific question feel free to ask and I’ll try to elaborate. Thanks for listening.
@@TimLerchGuitarThanks I was rhymically confused or something on first listen to the mix and was thought something may be out of sync...thanks for letting me know what it was... Thank you for these videos and for your reply. I especially was struck with the hybrid pick/fingerstyle approach in one of your videos. I plan on spending more time with a pick in my playing. I have only kind of attempted stashing the pick.
If you wore a head mic I know I'd hear you singing your lines. I hear that Joe Pass continuity and flow when you're playing once you've established the theme, as always great lesson. Thanks
Hey Tim, as usual, awesome video. I have a question about measure 7. You referenced C7 which is what the old (and new) Real Book has, but every other source I've looked at has Cm7. I get the circle of fifths idea, vs a ii-V7. In practice though, what do most players play on the stand and why the discrepancy? Any thoughts?
Thank you for your insight. If you can play the melody, then you can start to embellish- and before you know it, you may have little solo ideas. I’m an idiot when it comes to theory, but I think I have good ears - from listening to the masters.
Theory is important to understand, but theory is the explanation for why something sounds good. Ultimately, you want to play as Chick Corea said 'with intention" or play what you pre-hear. A dissociative state is helpful. Melody, bass, harmony, and rhythm.
Loved this video, I'm starting to enjoy listening to jazz so a bit clueless. Would it be bad form in jazz circles to occasionally play a well known vocal melody, over those lovely colourful chords, then improvise off that, then off through the chord tones? It's common to return to an occasional nod to the vocal line now and then. Non jazz buffs (me) would find that sort of melodic facility very impressive. :) For meaningful melody lines I really love your minute of blues shorts, struggling with the more advanced melodic ideas but they'll fall into place I'm sure. Thanks beautiful playing.
That’s a great way to navigate through the changes! How do you avoid clashes between solo and accompaniment? Like, you want to play a #5, but in the changes played there’s a normal 5? Is it the job of the soloist to avoid these clashes, or that of the accompanist?
That was beautiful Timothy. Thanks for the lesson. It reminds me of when I was learning to play and my dad used to tell me, "If it doesn't have a melody you ain't got nothing." Hey, what's the little wraps you have on the strings down at the bridge?
Fantastic lesson, thank you! Just a "tech" question: what are those three little rubber o-rings at the end of strings near the tailpiece? They remind me of shock absorbers for tennis players...😄
Hi Tim, love your playing and approaches.Is that an L-7 ? Thats beautiful and wonderful tone. I have 1963 sunburst color L-7. I'm getting ready to install a P- 90 Lindy fralin pickup in it. Could you please tell me the measurement space from the neck to the P-90 for the cut out on the guitar? It looks like about 1" or so. Thank you so much ,keep up the great work and the teachings you give us...
Hi Kenny, this guitar is an ES350P. The pickup placement is important for the tone. On 25 1/2 inch scale Gibsons the leading edge (fingerboard side) of pole pieces are at the octave harmonic.
When you say “stepwise,” you mean the nearest adjacent (either up or down) non-root chord tone or extension tone? As opposed to skipping over an adjacent tone? Is it generally in that linear fashion?
Stepwise means one fret or sometimes two if necessary to make it sound good. You can move in either direction. Larger skips are ok too as long as the resulting melody is sensible and memorable.
@@TimLerchGuitarif you are soloing (less thinking top notes of voicing) same concept could be applied “laterally” (as opposed to “vertically”) in the various scale positions as well, yes?
Don’t despair, the theory is only necessary to explain/demonstrate. All of this stuff is available to everyone if they listen carefully. Trust your ears as much as you can.
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It's like the guitar does not even exist when Sir Timothy plays it, only pure supremely sweet music is present. Incredible!
The essence of what Joe Pass and Louis Armstrong did. Use the melody as a jumping off point for creating solos. When in doubt,start with the head. Love your work. Shally
Great insights from one who knows and does . 🙏
Thank you Tim, I stayed up till 4 this morning amazed with this technique utilizing it with a little harmonic minor melody and appropriate diatonic chords.. This information really made a huge difference
That’s fantastic Hunter. So glad to give you something that you can benefit from.
This make sooooo much sense on the double bass solos!!! In this way you can play beatifull melodies without making the "notes mud" trying to somehow keep the changes going...thank you❤
You are a brilliant teacher
Thank you
Oh man, this lesson is so great.. I think it will help my playing significantly. Thanks, Tim, for sharing
love that vintage guitar
Thanks, I love your channel SOLO GUITAR SENSEI on True Fire 🔥
Total sense. Thanks.
Thanks Tim! I love how you explain things.
I briefly studied counterpoint at university and step-wise motion is what we were taught to use most of the time.
We were also taught to write step-wise motion in the opposite direction after jumping notes.
Powerful, pragmatic advice that my lines could desperately benefit from. Thanks!
Well presented, Tim! Indeed, solos have to make melodic sense, and phrases need to relate to one another in order to create cohesive feeling or mood. The alternative is to play a series of fast, unrelated licks over the chord changes that don't make any sort of sense.
Good idea on the logic lines. My approach lately (trying to play solo) is to work with a motif that comes from the original tune (for example think the first three notes of Misty), but I think this can be combined with the logic lines. Thanks!
Very good lesson, thank you. I think this aspect often gets overshadowed 😊
thanks for all the teaching. wanted to show you some love. 😊
Thank you! Be like Arlo!
Truly great lesson. Way better than the theory of "Play Anything And Argue Its Free Jazz".
The old joke, “feel something in Bb M**ther F**cker
Reminds me of a one time teacher. “Jazz is a bunch of licks, so learn those jazz licks.” . . . well thanks.
This is exactly what I’m NOT saying !
Great lesson! First we learn to hear the roots, then the guide tones, then voice leading.
Beautiful playing as usual
Great lesson, Tim! Melody is king.
yep!
Splendid lesson
I love the concept of logic lines! (Beautiful playing, as always👏)😁
Thanks!
P90 is just right as well. Butter.
Such a fantastic video Tim. This year's assignment for me is improvising from the melody, and it's always been a bit of a mysterious concept for me, but you illuminated it and made me see clearly things that - I know already from experience - work for me and make me a better improviser. Bookmarked for inspiration and review. THANK YOU!
Excellent as always Tim.
Thank you Jeff.
Hey Tim---- great video about "playing the song", which raises a question regarding the term "Guide Tones". From Day One we learn that the 3rd and the 7th are the harmonic "guide tones" of chords. But when we are playing a jazz standard and improvising ---- then the notes of the melody are also "Guide Tones". With that basic foundation in your head, you are free to go wherever you want to, rhythmically and harmonically. The "Guide Tones" of the melody will always resolve you back to the right place. I think all the greatest improvisers "play the song" this way.
That’s why I came up with the term “Logic Lines” seems to encompass the harmony and the melody as an organic whole .
Not wasting a note in a solo is where the magic happens. I’ve been dissecting a solo by Joe Cohn on a date with Harry Allen, “You’ve Got A Date with An Angel” and it’s astounding how much cohesion is in Joe’s solo, but plenty of complexity too. One can study mounds of theory but a gift with melody comes from the special place. Anyone have the address?
That Mike Lull Tele is your best sounding guitar man. Love it.
Merci!
your sound is amazing,and the comprehension of your tutorials, will be back for more 🙏🏼
Thank you
The guitar is an ES350P the pickup is made by Lindy Fralin he calls it a humbucking P90 alnico.. I will soon put the original P90 back in and use this pickup in another guitar.
@@TimLerchGuitar I own a Casino and a Washburn HB 35 , those 2 are my main ones for playing jazz in my Fender deluxe reverb, but your tome is way better, more transparent, might change pickups , thx
The intro...could you comment on the 2 tracks there? Thanks.
I put the accompaniment on my looper and used it throughout the video when it was needed. Just a simple waltz accompaniment using the changes to Someday my Price will Come. The short solo was played in realtime to the looper. Not sure what you are wondering about. Please if you have a specific question feel free to ask and I’ll try to elaborate. Thanks for listening.
@@TimLerchGuitarThanks I was rhymically confused or something on first listen to the mix and was thought something may be out of sync...thanks for letting me know what it was... Thank you for these videos and for your reply.
I especially was struck with the hybrid pick/fingerstyle approach in one of your videos. I plan on spending more time with a pick in my playing. I have only kind of attempted stashing the pick.
If you wore a head mic I know I'd hear you singing your lines. I hear that Joe Pass continuity and flow when you're playing once you've established the theme, as always great lesson. Thanks
Hey Tim, as usual, awesome video. I have a question about measure 7. You referenced C7 which is what the old (and new) Real Book has, but every other source I've looked at has Cm7. I get the circle of fifths idea, vs a ii-V7. In practice though, what do most players play on the stand and why the discrepancy? Any thoughts?
I've seen it both ways, I learned C7 from Ted Greene and find it a bit more juicy, but I'll use Cmin7 sometimes as well just depends on what you like.
Thank you for your insight. If you can play the melody, then you can start to embellish- and before you know it, you may have little solo ideas. I’m an idiot when it comes to theory, but I think I have good ears - from listening to the masters.
Theory is important to understand, but theory is the explanation for why something sounds good. Ultimately, you want to play as Chick Corea said 'with intention" or play what you pre-hear. A dissociative state is helpful. Melody, bass, harmony, and rhythm.
Great lesson, thanks. (Side question, and unlikely, but... I wonder if you have a sister named Margaret? If so, she was my college roommate.)
Please what is the brand of that P-90 on that beautiful guitar?
Loved this video, I'm starting to enjoy listening to jazz so a bit clueless. Would it be bad form in jazz circles to occasionally play a well known vocal melody, over those lovely colourful chords, then improvise off that, then off through the chord tones? It's common to return to an occasional nod to the vocal line now and then. Non jazz buffs (me) would find that sort of melodic facility very impressive. :) For meaningful melody lines I really love your minute of blues shorts, struggling with the more advanced melodic ideas but they'll fall into place I'm sure. Thanks beautiful playing.
Melody is always good, for me it’s always just under the surface of every improvisation. Call me old fashioned but I like melodic playing.
That’s a great way to navigate through the changes! How do you avoid clashes between solo and accompaniment? Like, you want to play a #5, but in the changes played there’s a
normal 5? Is it the job of the soloist to avoid these clashes, or that of the accompanist?
Clashes are ok but it’s usually the accompanist responsibility to allow room for expansion by the soloist.
Very informative video. Love your tone, which amp are you running your guitar thorough btw?
Princeton reverb
That was beautiful Timothy. Thanks for the lesson. It reminds me of when I was learning to play and my dad used to tell me, "If it doesn't have a melody you ain't got nothing." Hey, what's the little wraps you have on the strings down at the bridge?
They’re grommets I get them from the hardware store it helps keep the strings from vibrating back there.
Fantastic lesson, thank you! Just a "tech" question: what are those three little rubber o-rings at the end of strings near the tailpiece? They remind me of shock absorbers for tennis players...😄
They are grommets to dampen string ring behind the bridge.
What s your favorite neck PU? On an archtop?
P 90
Hi Tim, love your playing and approaches.Is that an L-7 ? Thats beautiful and wonderful tone. I have 1963 sunburst color L-7. I'm getting ready to install a P- 90 Lindy fralin pickup in it. Could you please tell me the measurement space from the neck to the P-90 for the cut out on the guitar? It looks like about 1" or so. Thank you so much ,keep up the great work and the teachings you give us...
Hi Kenny, this guitar is an ES350P. The pickup placement is important for the tone. On 25 1/2 inch scale Gibsons the leading edge (fingerboard side) of pole pieces are at the octave harmonic.
@@TimLerchGuitar Thanks Tim, that should work on my L-7 also.. Keep up the great video"s !!! I'll be watching..... Kenny J.
Yup, but I was a trumpet player first. Helps.
When you say “stepwise,” you mean the nearest adjacent (either up or down) non-root chord tone or extension tone? As opposed to skipping over an adjacent tone? Is it generally in that linear fashion?
Stepwise means one fret or sometimes two if necessary to make it sound good. You can move in either direction. Larger skips are ok too as long as the resulting melody is sensible and memorable.
@@TimLerchGuitarif you are soloing (less thinking top notes of voicing) same concept could be applied “laterally” (as opposed to “vertically”) in the various scale positions as well, yes?
Yes I suppose but the main reason for doing this is to get a smooth “melody” that flows thru the changes( whatever the register is. )
@@TimLerchGuitar got it. Thanks So much.
I watched this and I realised that my understanding of musical theory is complete dogshit. For this to actually 'work' for me will take years.
Don’t despair, the theory is only necessary to explain/demonstrate. All of this stuff is available to everyone if they listen carefully. Trust your ears as much as you can.
What he doesn't metion is the countless hours he has spent to "hear" and learn the melodies. Practically a lifetime of practice.