3 Effective Techniques for One Chord Solos
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- čas přidán 14. 06. 2024
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Ryan Devlin, a student of Chad LB for 3 years, is a 26 year old saxophonist and private woodwind instructor living in Boston, MA. Ryan started his musical journey with his father Scott Devlin who was the leader of the Walt Disney World Sax Quartet. Ryan completed his Masters degree in Jazz Performance at The New England Conservatory in Boston, MA under the instruction of saxophonist Jerry Bergonzi in 2023.
Ryan has been a member and featured soloist in ensembles such as The Florida All State Jazz band, The Orlando Philharmonic Orchestra, The Orlando Jazz Orchestra. Ryan has toured a majority of the United States playing at famous jazz clubs like Smalls in NYC, Chris’ Jazz Cafe in Philly, Timucua Arts Foundation in Orlando FL and Rudy’s Jazz Room in Nashville. He is also the 2017 winner of the Central Florida Jazz Society scholarship competition and was runner up in 2017 Bob Washington Jazz scholarship competition.
Ryan also has also taken lessons with world class musicians Jerry Bergonzi, Chad Lefkowitz-Brown, Alain Bradette, Lucas Pino and Airmen of Note saxophonist Tedd Baker. Ryan has also performed with world class musicians like pianist Davis Whitfield Jr, pianist Mike Bond, Saxophonist Chad Lefkowitz Brown, saxophonist Steve Kortyka, saxophonist Dave Pollack, bassist Gene Perla, drummer Adam Nussbaum drummer Ulysses Owens Jr. just to name a few!
0:00 Intro
1:10 Melodic Cells
3:47 Outside Pentatonics
6:26 Implying Substitutions
8:57 Outro
#jazz #improvisation #saxophone
Use code RD5 for $5 off an instant download of Chad LB's "68 Phrases on One Chord Vamps" PDF resource!
www.jazzlessonvideos.com/downloads
Learning the melodic cells is cool, but the phrasing is even more important to make the cells really meaningful.
And how to resolve it
BRAVO!!! Very clear explanation for using alternative approachs to enrich a one chord harmony! Thank you!
cool! references very important. congrats
Love this explanation, i bought all Chad's pdf's.
You killing it.
Some good listening recommendations there
This is such a great video, wealths of knowledge in here and all expertly explained, but i feel like i've watched a lot of "one chord solo" videos like this teaching ways to play "more" like superimposition/subsitutions, which i seriously need to work on but i've barely seen any discussion about the conventional wisdom side of it like motific playing (which in my rookie opinion is a big part of what modal tunes enable and compliment) or starting a solo with simpler, less intense lines to leave room to develop, in the first chorus of Trane's impressions solo on the 63' release most of the lines are "in". I'll be in the shed working on melodic cells though!
Skip and a step : Jerry Bergonzi! The last technique is like playing the Tritone sub of the related dominate of the m7 chord, great idea! Fantastic Trane tone - what sax are you playing?
I think this guy actually studied with Jerry
em n eb7 sounds like cool idea sounds like an A7?
Is this approach good for alto?I never here alto players using Brecker chops
Mate, I'm going to be trying this on guitar!
Just learn a Bird solo, or Art Tatum. Analyze how Tatum uses his harmonies. It's not random.
BORING! Playing on one chord isn't much different that playing the same note for several measures. It isn't satisfying. It's like listening to rock. It doesn't stimulate. You need chords to make music interesting.
It’s actually harder to play something interesting on one chord. You need more rhythm, more technique, more musical intuition and more emotional intensity to play something interesting on one chord.. Listen to George Benson on On Broadway Live 100 times. Then come back share what you have learned.
Wow, I think you may have missed the entire point of this video/concept.