Stage 5 | Lesson: 48 | Step 1 – (technique) Pop and rock licks are can be flashy or simple and they live mostly within pentatonic improvisation language. You won’t find bebop lines in rock and pop solos.
Stage 5 | Lesson: 47 | Step 1 – (technique) Straight feel licks tend to leave out all bebop language and use mostly pentatonic movements and patterns. The other prime component to straight feel improvisation is the use of 16th note rhythms.
Stage 5 | Lesson: 47 | Step 3 – (technique) Here is a nice improvisation line over the Trane reharmonizations. There is not much to this except for the fact it’s played over Trane’s brilliant progression.
Stage 5 | Lesson: 46 | Step #1 – (technique) R & B lines and improv will not be difficult from a theoretical stand point. The most important thing here is the groove. You want your lines to groove with what the drummer and bass player are doing. If they don’t, then it won’t matter what you’re playing.
Stage 5 | Lesson: 46 | Step 3 – (technique) The amazing part of this line is not the line itself but the brilliant Trane changes that it is played over.
Stage 5 | Lesson: 45 | Step 1 – (technique) The New Orleans style improvisation is very, VERY similar to jazz language. Almost identical. But…it’s the groove you need to be aware of. The drummer will not be playing a swing style, they’ll be playing a 2nd line style which has more of a bounce to it and is very “dancy”.
Stage 5 | Lesson: 45 | Step 3 – (technique) This Trane line really moves through the harmonies in the Coltrane progression. Take note of where the chord tones are landing.
Stage 5 | Lesson: 44 | Step 1 – (technique) Gospel lines have a very slight difference from jazz lines. At the same time you can use jazz extensions and colors in gospel and church lines but you just have to be careful because they can sound out of place at times.
Stage 5 | Lesson: 43 | Step 1 – (technique) This blues line is taken mostly from the mixolydian scale which produces more of a dry blues sound compared to a full blues scale.
Stage 5 | Lesson: 42 | Step 1 – (technique) The only difference between funk lines and jazz is they don’t swing. There is also less bebop language if any. All the blues elements can be put into the lines or any modern language you know.
Stage 5 | Lesson: 48 | Step 1 – (technique) Pop and rock licks are can be flashy or simple and they live mostly within pentatonic improvisation language. You won’t find bebop lines in rock and pop solos.
Stage 5 | Lesson: 47 | Step 1 – (technique) Straight feel licks tend to leave out all bebop language and use mostly pentatonic movements and patterns. The other prime component to straight feel improvisation is the use of 16th note rhythms.
Stage 5 | Lesson: 47 | Step 3 – (technique) Here is a nice improvisation line over the Trane reharmonizations. There is not much to this except for the fact it’s played over Trane’s brilliant progression.
Stage 5 | Lesson: 46 | Step #1 – (technique) R & B lines and improv will not be difficult from a theoretical stand point. The most important thing here is the groove. You want your lines to groove with what the drummer and bass player are doing. If they don’t, then it won’t matter what you’re playing.
Stage 5 | Lesson: 46 | Step 3 – (technique) The amazing part of this line is not the line itself but the brilliant Trane changes that it is played over.
Stage 5 | Lesson: 45 | Step 1 – (technique) The New Orleans style improvisation is very, VERY similar to jazz language. Almost identical. But…it’s the groove you need to be aware of. The drummer will not be playing a swing style, they’ll be playing a 2nd line style which has more of a bounce to it and is very “dancy”.
Stage 5 | Lesson: 45 | Step 3 – (technique) This Trane line really moves through the harmonies in the Coltrane progression. Take note of where the chord tones are landing.
Stage 5 | Lesson: 44 | Step 1 – (technique) Gospel lines have a very slight difference from jazz lines. At the same time you can use jazz extensions and colors in gospel and church lines but you just have to be careful because they can sound out of place at times.
Stage 5 | Lesson: 43 | Step 1 – (technique) This blues line is taken mostly from the mixolydian scale which produces more of a dry blues sound compared to a full blues scale.
Stage 5 | Lesson: 42 | Step 1 – (technique) The only difference between funk lines and jazz is they don’t swing. There is also less bebop language if any. All the blues elements can be put into the lines or any modern language you know.
