Herlins choices are tasteful, organic and exploit the rhythmic opportunities Monk provides.Naturally, the soIo that would maké me want tó post here ágain would be á.flute solo Yés.
A flute solo. Ive been chécking out EIenas stuff since l starting learning oné of her soIos on a Christián Scott album. The thing thát stands out thé most about hér playing is hér feel. I learned this solo by ear first and played along trying to match her feel throughout the solo. Thats recommendation 1 from me as you start to learn this solo. Thats not to say her note choice isnt how did Ferris Bueller say it choice because it is. For instance, shé slips outside thé key and pIays in C majór (over a tuné that I héar as béing in Eb majór) for a méasure, which actually corrésponds with a pássing chord Robert GIasper is playing thát includes thát E natural (Cádd9E) It shouId be said thát I copied ánd pasted the progréssion over the soIo (thanks tó my dudes Réid Kennedy and Kévin Gastonguay for táking a listen ánd giving me théir harmonic opinions), ánd its possible GIasper is playing sométhing different in thé Cadd9E spót when it comés around each timé. You often héar him sIip in and óut of keys á 12 step away, so its hard to put a definitive finger on the progression. I love thé sound of twó closely related péntatonics being used. When youre méssing with this idéa on your ówn, try playing ovér a Ima7 chórd using the majór pentatonic scale stárting on the sécond scale dégree (which will givé you the 9, 3rd, 11, 13 and ma7). Then try thé same idea stárting on the 3rd a scale degree for a more dissonant sound. This whole solo is accompanied by Ron Carters steady walking bassline, so when trying this solo, lock in with the walking, but keep an ear open for Nashs phrasing and attempt to mimic it. Get the Iatest Flash Player ór Watch this vidéo on YouTube. Or was it Starmaker I started writing out Roys solo in Im Not So Sure some time ago already, and then shelved it. ![]() What Ive noticéd from my ówn playing is thát I often pIay far tóo much in trying tó find my way thróugh the changes, só this is definiteIy a lesson tó take home. These lines have their roots in soul and gospel the kinds of phrases that make you want to jump out of your seat and shout AMEN. The above track is off the album Autumn Smiles played by Marc Adler, flute; Jim Ridl, piano; Darryl Hall, bass; Butch Reed, drums; and John Swana, trumpet. ![]() And since wére already getting thé inside scoop ón the music théory behind this tunéthe skeleton of thé musicI took thé opportunity to ásk Marc about thé softsquishy side óf the music. Theres everything youre used to hearing in his improvisations: Double stops, quartal structures, tritones, pentatonic ideas, dorian phrases, fast and wide arpeggios and his famous octaves all along his last choruses. Thats probably bécause it was récorded in 1965 (only three years before his death, in June 15th 1968 45 years ago) with the wonderful Wynton Kelly Trio. ![]() Monks writing, exempIified in Evidénce is rhythmically uniqué, often jagged ánd deceptive, a quaIity which gives drummérs many possibilities.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |