A Short Guide to Playing Lead on Bass

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Polyphony and Storytelling: A Conversation with Nate Wooley on Solo Improvisation — NewMusicBox – NewMusicBox

As a listener,

I’ve long found myself seeking musical experiences

that generate a kind of sustained ecstatic energy

from a foundation of rigorous thought and technique.

Gaining access to that plane as a solo improviser

is a particularly challenging task.

It takes a special type of artist who

engages deeply with the details of sound,…

via Polyphony and Storytelling: A Conversation with Nate Wooley on Solo Improvisation — NewMusicBox – NewMusicBox

Alma Deutsher: Piano improvisation

 

Darren Kilgariff

Published on Sep 8, 2017

SUBSCRIBE 540

Astonishing Piano improvisation by 12 year old Alma Deutsher for Alan Yentob for BBC imagine.

Bass+Flute Improvisation

Ivan Smirnov

Published on Jan 17, 2017

SUBSCRIBE 31

Roman Bezinovsky and Antonina Tochiltsyna play bass & flute improvisation. Hope you like it! Tech specs: Bass guitar is recorded with DI-box; The guitar itself is made by Alexander Sirota; The flute is recorded with AKG C414; Mixed with Universal Audio 4-710D; At Gaity Records, Sergiev Posad, Russia. Guitar – Roman Bezinovsky (https://vk.com/roma_in_roma) Flute – Antonina Tochiltsyna (https://vk.com/siflo)

Chris Harrington – 12 Bar Blues improvisation

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Chris Harrington

 

Improvising Over Chromatic Passing Chords

It’s tough choosing a tonality when chords move by half step. Here is a method that gives good results.

via Improvising Over Chromatic Passing Chords —

Keith Jarrett – Paris Concert Live

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Keith Jarrett – The Art of Improvisation

Charlie Albright – Listen to this Incredable Improvisation – Isabella Stewart Gardner Museum

Charlie Albright, Pianist – Improviser

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Improvisation

Artist: Charlie Albright
Genre: Solo keyboard
Period: 21st century

Download

 

 

Chord Tone Improvisation – Exercise #10 – Eighth Note Improvisation – Jazz Piano Lesson

tjjazzpiano

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Visit my website at http://www.tjjazzpiano.com to view the sheet music for this lesson. Please consider taking a second to “like” this video. It’s the easiest way to support the channel and help me keep making videos. Thanks for watching.

Embellishing basic triads and seventh chords is the foundation for all Bebop and modern jazz playing. In this new series of 10-part lessons we will look at basic/advanced chromatic embellishment of these chords. Dedicated practice of these exercises will greatly improve your ability to hear and improvise creative melodies.

Over the next couple of weeks we will cover the following topics in jazz improvisation.

1) Ascending Chromatic Embellishment
2) Descending Chromatic Embellishment
3) Ascending Chromatic ii-V
4) Descending Chromatic ii-V
5) Cycle Practice
6) The Jazz Blues Form
7) Ascending Chromatic over Jazz Blues
8) Descending Chromatic over Jazz Blues
9) Non-Root Chromatics
10) Endless Eighth Notes

Follow me:
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Welcome to one of my many YouTube series dedicated to helping you (and me!) become a better jazz pianist and improvisor. In these videos of lessons, exercises, patterns and transcriptions we will work on concepts that I’ve developed in my own practice routine. Dedicated weekly practice of these lessons will greatly improve your ability to listen and hear improvised jazz melodies.

Topics covered:
Voicings, Improvisation, Chromaticism, Bebop, Pentatonics, Diminished, Scale Theory, Modes, Patterns, Learning Tunes, Chords, Rhythm, Re-Harmonizing, Sequencing, Ear Training, Singing, Transcription and much more.

I love modern jazz piano. I owe so much to great pianists like Bud Powell, Keith Jarrett, Herbie Hancock, Thelonious Monk, Bill Evans, McCoy Tyner, Lennie Tristano, Art Tatum and many more (most of which I’ve transcribed) for pushing the limits of the music. I’d like to give a little back to the community by making these educational jazz videos.

Freestyle Improvisation 23 – Complicated Heart

bobblewobblesqueeg

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Did some theme exploration tonight. Tried to capture a melodic concept in many different forms. I think there are a couple ideas here I could adapt into a composition later. Thanks for listening!

Benjamin Cornelius-Bates – Organ Improvisation

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Benjamin Cornelius-Bates

Lead sheets and fake books – Tools for Improvising

Duane Shinn

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http://www.playpiano.com/101-tips/12-… ***For lots more good stuff on piano playing come on over to my website. It can be found at http://www.playpiano.com and sign up for the free newsletter on “Exciting Piano Chords & Sizzling Chord Progressions!”
You’ll learn piano chords galore and how to apply them when you play piano. Chords are the “missing link” in most piano lessons and you can learn them all easily. Learn piano playing and music theory at the same time – it will make your progress faster
and you will understand music like you never have before.

For a look at our online catalog of 200+ piano courses, please go to http://www.playpianocatalog.com

If you play the piano to some degree and can read simple music to some degree, you are invited to join my “Inner Circle”. It’s not for pure beginners and it’s not for advanced piano players, but for the 90% who are somewhere in the middle. Please come over to http://www.playpiano.com/musicalmap.htm and watch the 2-minute video to see if it would be helpful to you.

Piano improvisation: how do I know which notes I can play?

KEITH JARRETT – THE ART OF IMPROVISATION

Organist Benjamin Cornelius-Bates – Organs of Pittsburgh – Improvisation on HYFRYDOL

Pittsburgh Chapter, American Guild of Organists

Jazz Violin Masterclass

Rock Licks Guitar Tuition – Sweet Lady – Queen – Guitar Tutorial Lesson (Guitar Tab)

Rock Licks Guitar Tuition

How To Play Queen – Sweet Lady from the 1975 album A Night At The Opera

Guitar Tab Link : http://1drv.ms/1wXCRep

A truly great rock track and the inspiration behind the fast version of We Will Rock You (Live Killers Album)

I’ve added guitar tab as a guide.
The guitar tab is correct on chorus as a I made an error in my explanation. The first two bars are played 3 times as opposed to twice.

As the guitar outro solo is quite a explosion of overlapping licks played at the same time I’ve tried to give a brief look at the different bits used. Listening to the original record should make things clearer.

“Sweet Lady” is a distortion-driven fast rocker written by May. The song is an unusual rock style in 3/4 meter (which gives way to 4/4 at the bridge). Taylor remembers it as the most difficult drumming part he ever recorded.[attribution needed]

The backing track was probably recorded live as you can hear the snare wires on the snare drum of Taylor’s kit vibrating along with Deacon’s bass guitar riff.

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Chord Melody Phrases

Nathaniel Moore

Continuing with the idea of developing ideas for chord melody soloing here is a quick lesson with a really cool lick which I have harmonized in a ii – V – I progression. I think you will eally like this one!

creativeguitarstudio – IMPROVISATION – Improvisers Blueprint Approach

creativeguitarstudio

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MORE LESSONS: http://www.creativeguitarstudio.com/

Hundred’s of FREE lesson Handout PDF’s and MP3 Jams.
This Video: December 19, 2014 | Search Videos by Title/Date.

THIS VIDEOS TAB’s + LESSON PLAN available on:
Sunday December 21, 2014 at: http://www.andrewwasson.com/

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: I’m working on my improvising right now and was hoping for a suggestion from you on setting up an soloing approach for playing better lead. I’m getting really bored of playing lead the same ways over and over. Is there some kind of an “Improvising Blueprint” that you could suggest? Almost like a step by step improvisation method for building solos over chord progressions? I hope you can help me with this.
Eric – Chatham, ENGLAND

A: If we want to be able to play good guitar solos, we need to be able to understand all of the different types of chord progressions that might present themselves to us on a regular basis. This means we’ll need to have the skills for analyzing chord harmonies and to determine which; scales, arpeggios, pentatonics, and modes work the best. With the Blueprint strategy outlined in this lesson you’ll be using an approach that starts with. #1). Being clear on the tonality of the chord movements. #2). Being able to anticipate the rhythmic and harmonic push that will be effective to highlight that harmony. And, #3). Developing melodic lines that target the “Shift” between each harmonic movement. Once you can learn to apply this strategy, your solos are going to have a better connection to the music!

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