all the things you are
Vložit
- čas přidán 13. 04. 2020
- The first installment of a book of composed solos that i am working on.
I tried to use different techniques to come up with a solo that i wish i could improvise. Fine tuning each idea into phrases and organizing phrases to create flow. Instead of practicing mechanical patterns too much or scales all the time I like to develop my playing in the most musically enriching way. You can download the individual solos (pdf's and mp3's) from my website.
www.seamusblake.com/downloads - Hudba
Wow there's some seriously difficult licks in here and you executed them with ease
Wow! Oh man! That was good!
Beautiful Seamus
Cool Seamus!
Well, then there’s this. Great.
SICK!!!!🔥🔥🔥
this man is a god on saxophone
Killer!
Good Lord Seamus! That's some sick........stuff. ;-) Hope you're doing well!
Unbelievably pretty and amazing Seamus. Inspiring, but also makes me want to quit playing! Haha, I won't quit, I don't know how to do anything else...
Wow
Upon hearing your 1st phrase, I suddenly froze -- until your last note -- when I almost fell off my chair!
very nice lines over the barlines. :)
i like to think in 7/4 when i play over 7/8 at times. or even 4/4 until it resolves, i guess you so that too?
Anyway beautiful stuff beautifully played. :)
May I please ask, are these tracks and PDFs still available? They don't appear to be on the downloads section to purchase.
Fantastic - love that tone as well. Is that the Ted Klum?
Fantastic!...what is your set up?
Nice Job! Is pdf available in concert pitch?
Yes
Lupifaro sax?
Is this a study that you wrote?
Any chance you can add the cord changes? I own the Ralph Moore one which I use all the time.
chord changes are in the pdf that you can download
there is a Russian composer - Nikolai Kapustin - Eight Concert Etudes, Op. 40 - czcams.com/video/RrpjWM8JT7k/video.html
sounds like something herbie and chick could have improvised together (sorta but not really) - but it is all composed and performed as written. why shouldn't the improviser explore the melodic and rhythmic directions made possible by a compositional approach impossible under the constraints of real-time performance? did you build this solo purely in a sequencer, at the piano, on your horn, all of the above? at half tempo? can you describe your process for this kind of composed solo? and are composed harmonic/rhythmic figures (7note groupings, intervallic novelty, etc.) things you use as études for application in performance? your group playing is always inspiring - thx for this grt post!
its an art to play it but it tells nothing.