Kick ass lesson as usual. I think Wynton is a great example of someone who sounds like himself but you can hear Louis Armstrong, Dizzy, Clifford, Miles, Freddie, and others in his playing since he's done the hard work of learning the vocabulary of those who came before him. Well done.
Excellent explanation of balance. Borders on the philosophical at times, but really describes improvisation in a unique and "Charlie Porter-ish" way. I'm not sure how someone could dislike this video, but then again, there are some folks who just "don't get it."
Brilliant tips and sound advice as always!.Going to put some air through my old cornet again and think about these nuggets of great Free information !. Thank you Charlie
I suspect a lot of us do some of these things unconsciously, but approaching improvisation with this kind of structure will certainly help. I've never heard a better or more useful explanation.
staying within a box and setting a limitation actually sets you free. Thats a great philosophy of life itself. Today there are so many ideas that say to cast of restraint and the result has been disastrous. Great thoughts Charlie and awesome lesson. Could I ask? How do you get that almost flugel sound from your trumpet? what size mouthpiece do you use. Love your tone
I'm in Mt 2nd year of band and already doing improvision and im slowly getting better awaking vool rhythms using patterns at the start and going off that
Good tips here! Thanks for this. I’m a fellow creative here (designer) and aspiring trumpet player. The word you’re looking for is, I think, “constraints”. That’s what we use in my line of work. They are the bounds and limitations that help us be creative and make decisions.
Charlie you are super! Thank you for being so giving. I appreciate the emphatic trumpet playing tips, which are especially helpful to comeback horn players.
Good video 100% agree, but i have to point out that this is what stravinsky talked about in “poetics of music”. I think of these as “ideas”, and more valuable than the idea of “licks”
some real food for thought here. I play in a ska punk band and try to keep it simple stupid haha but there's places for jazz imrov solos and I'll definitely be thinking of your advice here at the next practice
Glad to hear your thoughts on transcribing; I’m with you. You mention ‘improvised music’, not in this context, but I wish people (again, not you) would not use that phrase to describe free or open music. I understand Ornette’s objection to the word ‘free’ to imply that it is without forethought or craftsmanship (his album title is largely responsible for the term, but evidently it was not his choice), yet it seems to imply that jazz which adheres to established language is something other than improvised. Oh well, arguing over semantics has been a part of the jazz tradition since Jelly Roll Morton and the Original Dixieland Jass Band.
Great video! I like to watch these even tough its very frustrating for me. What i mean is that i cant get the music theory to stay in my head. And it isnt that i havent tried. Played with scales and i used only sheets altough i had to number every note by fingering for over two years Still cant understand or even remember any scale. But by ear i have learned few songs and even played few gigs in a funk band. Its just that every time i start to practise over time i find my self playing the same dark eyes or my favorite things. And for that i havent been playing so much lately. Do you have any tips for my situation, or should i just keep playing with my ear even that means im never gonna be a real musician?
Blueslad, A couple things if you haven't already . Memorize just the bare bones of : " The Second Line ( Joe Avery Blues ) " in concert Bd. [ That's C on the trumpet ] Also play along with Aaron Washington through his Bd Blues videos. Don't worry about the names of the chords, don't worry about how they apply, just relax and get the feel of the flow. Eyes wide open at first then eyes closed just doing your own thing , free easy and relaxed with each grouping . Don't try to analyze it , don't even try to understand stand it, your ear knows what it wants to hear . Go with the flow . Your learning the muscle memory to the 12 bar blues in concert Bd [ C on thetrumpet ] Allow your self that foundation { just that alone is enough to play along in a Concert Bd , R and B / rock band ( and there are more than a few of those 🃏🎯🃏) or jam with any jazz muscian that can play the 12 bar blues in the key of Concert Bd which is about everybody that plays a wind instrument and most that play guitar} That accomplished the rest will start making a lot more sense.
Hi Charlie, when soloing I tendence repite use of melodi selection, so I think Im not ready to do longer longer lines yet, working be better! Tnx Johnny
Good stuff - thank you. however, I have trouble hearing the exact notes in fast passages, and fast runs are what I like ( and can usually do technically ), Any suggestions on transcribing aurally with this limitation? I suppose I could put solo into a program and have it slowed down artificially…feels like cheating, but whatever it takes. Also cant seem to find a book of Latin solo transcriptions like from Cuban jazz, Im not opposed to learning the written notes first as it i proves the ear also. Also, I dont like traditonal jazz much, I improvise over Latin Hoise tracks and EDM. I know this is modal, aand hear licks in my head I can workout, but am working on getting idea from head to horn instantly.
This is great, very clear explanation, however if you transcribe something and can’t find the chords/ find it difficult to work them out. How do you go about that?
Sam Ward I was told once that you should listen to the bass line to get an idea of the chords. I guess that combined with what the soloist and piano player plays will give you a good idea of what the chords are. I’m not an expert but maybe that will help
Listening to the bass lines, the melody and the chord voicings is definitely a great way to analyze what the chords might be. Take your best shot at figuring them out and then compare them to a lead sheet. You will learn a lot by doing this!
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Space - is the most important tip in this video. The space between the notes are equally important as the notes.
Kick ass lesson as usual. I think Wynton is a great example of someone who sounds like himself but you can hear Louis Armstrong, Dizzy, Clifford, Miles, Freddie, and others in his playing since he's done the hard work of learning the vocabulary of those who came before him. Well done.
Thank you for sharing this very valid info
Very poignant bruh. I’ve been doing this for 27 years, since I was 13...and your insight still offers a wealth of knowledge to me. Thank you.
How does this video have thumbs down?! There's knowledge in this video. Thanks Charlie!
As beginner to trumpeting this very helpful for when I get better.
Still trying to master the scales .
Excellent explanation of balance. Borders on the philosophical at times, but really describes improvisation in a unique and "Charlie Porter-ish" way. I'm not sure how someone could dislike this video, but then again, there are some folks who just "don't get it."
Take you for this! As a below average trumpeter this is invaluable.
Brilliant tips and sound advice as always!.Going to put some air through my old cornet again and think about these nuggets of great Free information !.
Thank you
Charlie
I suspect a lot of us do some of these things unconsciously, but approaching improvisation with this kind of structure will certainly help. I've never heard a better or more useful explanation.
Great video Charlie! A good reminder to myself to keep my improv practice interesting and focused
Breaking through limitations is making limitations 😮 mind freaking blown
Thank you so much for the great information, its extemely helpful!!!
Charlie great information! 🎺
As always, Charlie, your videos are full of great tips. Thanks.
staying within a box and setting a limitation actually sets you free. Thats a great philosophy of life itself. Today there are so many ideas that say to cast of restraint and the result has been disastrous. Great thoughts Charlie and awesome lesson. Could I ask? How do you get that almost flugel sound from your trumpet? what size mouthpiece do you use. Love your tone
genius. better than any other video on this topic
Excellent. Couldn't have watched this at a better time.
You're great, Charlie, how you share your knowhow. My name is Pe-ter-Knech-tli, same syllable as Char-ly-Por-ter. I'll start practicing now ...
That's incredible that information. Thanks I'm enjoy every lesson
I'm in Mt 2nd year of band and already doing improvision and im slowly getting better awaking vool rhythms using patterns at the start and going off that
Well done, Charlie! Well constructed advice!
Good tips here! Thanks for this.
I’m a fellow creative here (designer) and aspiring trumpet player. The word you’re looking for is, I think, “constraints”. That’s what we use in my line of work. They are the bounds and limitations that help us be creative and make decisions.
You've got a new subscriber! Greeting from Chile.
Thank you so much. You have helped me so much over the past few years. Bless you.
Thank you so much!!!
Very clear explanation!
Thank you so much! This really helps give me a starting point with improv. Which is a fantastic relief.
Charlie you are super! Thank you for being so giving. I appreciate the emphatic trumpet playing tips, which are especially helpful to comeback horn players.
Good video 100% agree, but i have to point out that this is what stravinsky talked about in “poetics of music”. I think of these as “ideas”, and more valuable than the idea of “licks”
Wow this was the best advice ever like literally this video is fire
thanks Charlie. I really appreciate your way to explain and it is definitely helpful. Thanks
Great and very inspiring video ! I can wait to work with this method, merci beaucoup, thanks a lot!
Best teacher-Ever
you’re in the zone
Great lesson. You mapped out months of practice. Great stuff!
Liking the inserts.
some real food for thought here. I play in a ska punk band and try to keep it simple stupid haha but there's places for jazz imrov solos and I'll definitely be thinking of your advice here at the next practice
im so glad i found this videi
Explained so clearly
wise words
Obrigado Charlie, muito bom!
Glad to hear your thoughts on transcribing; I’m with you. You mention ‘improvised music’, not in this context, but I wish people (again, not you) would not use that phrase to describe free or open music. I understand Ornette’s objection to the word ‘free’ to imply that it is without forethought or craftsmanship (his album title is largely responsible for the term, but evidently it was not his choice), yet it seems to imply that jazz which adheres to established language is something other than improvised. Oh well, arguing over semantics has been a part of the jazz tradition since Jelly Roll Morton and the Original Dixieland Jass Band.
3:11 sounds like the intro to my favorite things, doesnt it?
Really inspiring, thanks!
Really, really, really thanks! That's material for the next three years probably. Do you offer some classes, somewhere, somehow?
Check the description
Great teacher!
Great video! I like to watch these even tough its very frustrating for me. What i mean is that i cant get the music theory to stay in my head. And it isnt that i havent tried. Played with scales and i used only sheets altough i had to number every note by fingering for over two years
Still cant understand or even remember any scale. But by ear i have learned few songs and even played few gigs in a funk band. Its just that every time i start to practise over time i find my self playing the same dark eyes or my favorite things. And for that i havent been playing so much lately.
Do you have any tips for my situation, or should i just keep playing with my ear even that means im never gonna be a real musician?
Blueslad, A couple things if you haven't already .
Memorize just the bare bones of :
" The Second Line
( Joe Avery Blues ) "
in concert Bd.
[ That's C on the trumpet ]
Also play along with Aaron Washington through his Bd Blues videos.
Don't worry about the names of the chords, don't worry about how they apply, just relax and get the feel of the flow. Eyes wide open at first then eyes closed just doing your own thing , free easy and relaxed with each grouping .
Don't try to analyze it , don't even try to understand stand it, your ear knows what it wants to hear .
Go with the flow .
Your learning the muscle memory to the 12 bar blues in concert Bd [ C on thetrumpet ]
Allow your self that foundation { just that alone is enough to play along in a Concert Bd , R and B / rock band ( and there are more than a few of those
🃏🎯🃏) or jam with any jazz muscian that can play the 12 bar blues in the key of Concert Bd which is about everybody that plays a wind instrument and most that play guitar}
That accomplished the rest will start making a lot more sense.
@@danieloleary1782 Awesome! Thank you so much! I start doing this ASAP :) 5/5 pro tip! 🎺
Nice 🎶✨🙏🏾
Great
Hi Charlie, when soloing I tendence repite use of melodi selection, so I think Im not ready to do longer
longer lines yet, working be better! Tnx Johnny
Good stuff - thank you. however, I have trouble hearing the exact notes in fast passages, and fast runs are what I like ( and can usually do technically ), Any suggestions on transcribing aurally with this limitation? I suppose I could put solo into a program and have it slowed down artificially…feels like cheating, but whatever it takes. Also cant seem to find a book of Latin solo transcriptions like from Cuban jazz, Im not opposed to learning the written notes first as it i proves the ear also. Also, I dont like traditonal jazz much, I improvise over Latin Hoise tracks and EDM. I know this is modal, aand hear licks in my head I can workout, but am working on getting idea from head to horn instantly.
Took me a while to understand why these advice for improv theatre only made partial sense. ;-)
WONDERFUL
"AH-HA" moment right here.
What type of mouthpiece are you using?
This is great, very clear explanation, however if you transcribe something and can’t find the chords/ find it difficult to work them out.
How do you go about that?
Sam Ward I was told once that you should listen to the bass line to get an idea of the chords. I guess that combined with what the soloist and piano player plays will give you a good idea of what the chords are. I’m not an expert but maybe that will help
Listening to the bass lines, the melody and the chord voicings is definitely a great way to analyze what the chords might be. Take your best shot at figuring them out and then compare them to a lead sheet. You will learn a lot by doing this!
Are you still in DC? Gigging or hanging at all?
Charlie Porter thank you, this has been really helpful!
I like to have a private online class with you sir.
"Ad nauseum" 😅😅😅