You're Failing At The Blues Scale
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- čas přidán 24. 08. 2024
- People don't think about the blues scale in the right way, and it's ruining their jazz solos. Improvisation can't simply be thought of in terms of "a scale" and have imagination, soul and meaning.Try these things instead!
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Unbelievable. 45 years of playing guitar and a piano player gives me the best lesson of my life with three notes. (And I had a pretty good guitar teacher) I sat here with C Bb and G and played for an hour over a back track as you suggested. Never before have I realized that keeping to just a few choice notes relaxes the 'performer' part of of the mind and enables you to endlessly invert and break up phrases - concentrating on the sounds for once - rather than being distracted/ worrying about what your gonna play next - because you already know! Vale Aimee the extraordinaire!! chris Melbourne Oz
Cool video. Made me remember a composition class I took and we could only write with triad tones. Which we thought was so restrictive, but teacher told us about their teacher who studied with one of the classical composers so started him writing with only one note. Really made him dig into rhythm and orchestration to be interesting. He said he was limited to one note for weeks but had to write and write. Then when teacher finally said he could use two notes his mind was blown with the possibilities of two notes and all the rhythms and orchestration sounds they discovered with one note. Restriction is a great way to learn.
The problem you describe applies to other scales as well. Scales are good exercises to master technical aspects of an instrument. Scales are not good for learning to improvise. Even great classical composers often make the mistake of using too many scale passages. I think it is partially due to the habit of mainly playing scales every day for a long time. It becomes part of the way you speak musically, which is to be avoided.
Great classical composers knew exactly what they were doing, you probably just don't understand their language and form so well. None of them (Mozart, Haydn, Beethoven etc.) used scales excessively anywhere; "runs" were used for embellishment, to hit a "target note" or to establish/emphasize a key or character. Also you have to remember the period keyboard instruments had almost no sustain so more subsequent notes were often used to "hold harmony" (don't really know how to explain this in words). I agree with the rest of your comment though.
@@wolfpsx6210 I studied classical guitar and I also play baroque music on the viola da gamba. So it might be possible that I know and even understand something about it. Yes, scale runs are used to fill a larger melodic interval with scale notes, to create certain effects etc. ... . But too much cream on the pie isn't good for the digestion. If, during a concert, you hear someone playing a piece that sounds like a student doing his daily technical exercises, something is wrong. Also, if you need scale passages to clarify the key you're in, your counterpoint or harmony is poor. I could give you many examples. Just one: have a look at Schubert Piano Sonata in A Major D 664, part 3 (allegro). It's fast, so this hides somewhat what is going on. I have this from a pianist who was a bit disappointed while studying the work. I love Schubert, but I guess he had a bad day.
@@mer1red Yes, Schubert's piano sonatas are often disappointing and it pains me to say it. Coming from a pianist who also loves Schubert.
The problem isn't using a scale, you're always picking notes from a scale anyway. It's just that the way we learn scales, as you say, then gets us used to playing them up and down stepwise. Scales are very important for improvisation (altho I think arpeggios are really the most important tool), you just have to learn good intuition for melodic lines by paying attention to other aspects such as rhythm, melodic structure and melodic "rhymes", dynamics, etc
You just made me happy listening to you groove in that final solo. This is what its all about. As a bass player, I love playing those "left hand" grooves, but it just makes me happy hearing those inspiring solos. This just made me want to pick up my sax again...
Thank you,Maestro Aimee ⭐🌹⭐
I'm Alan, a 57 year old guitar player. But I recently bought a cheap Casio keyboard and I'm applying what I know of scales and modes and chords and etc to this little red piano. Your videos are very helpful. There are some things that I just don't think about anymore. And that's always a mistake. Rethinking these basic things that you teach, and sometimes not so basic, it's helping me on the keyboard, but also refreshing my guitar playing. And a lot of it is really mental. So I really appreciate your videos.
So good - you're tips are so specific and clear with great examples. Anyone can give general guidance, but only the best teachers can spell it out so that people at all levels can gain from it. The takeaway for me from this lesson is to always have a goal and some plan in mind when improvising - some sort of a structure to decorate and work with, and not be afraid of working within limits. Thanks Amy!
Wow. This really opened my eyes.
Specifically:
1. I'm over-complicating my LH bass patterns
2. I need to set more limitations for my practice sessions.
3. I need to play with iRealPro more.
4. I need to sing and play at the same time more.
Aside from the content which is great, I really liked the way the video was done with the front video over the piano keys. Really well done
Great video. Yes! -Aside from just the blues harmonies and scale tones referred to, the rhythmic qualities of the solo used (vibe, feel, swing ) which Aimee here relates as ‘space and rests’ make all the difference between a good, emotional performance and a bland one. Love this video!
WOW…EXCELLENT!!! Teach, what an amazing lesson….exactly what I want to learn in the blues. You are amazing, only you could make “1” note sound so good! I must practice this…. You are a GREAT teacher!
I've been listening to CZcams videos about music for many years now and I swear you are the only teacher I have ever seen that really conveys some insight about melody. It's like everyone has a mental block about melody but you cracked it
Great lesson Aimee, I just love that left hand bass line and even your bad blues at the beginning didn't sound too bad to me. An interesting idea to limit yourself to just 1,2 or 3 notes and this obviously prevents just running up and down the scale. You are a good teacher Aimee and I never get bored with your lessons.
yes ! I agreed with you !
Agreed I'd pay to be her student if she had the time. And I had mobile time. Aimee!!!
So glad to hear you say, right away, that that was a bad example. I had been thinking, "Good grief, Aimee, that's awful". Now I am relieved.
Aimee, I think the most important thing to learning the scale is just listening to how it's played musically. Listening and playing along with other people and paying attention to how they articulate the scale is what's mostly important.
That's why your videos are so good for learning music. Just listening to your demonstrations and trying to play along with you gives me a lot of inspiration and good ideas to play.
i love,love,love the way you teach! you are massively talented. thank you for sharing your wonderful gift.
Ill never forget being in New Orleans and im walking down burban st with my alto sax, I was only playing about six months (had just finished a four year intensive program with Makanda "Ken" Mcintyre and Warren Smith in NY. The band playing is Wallace Davenport (Count Baise Trumpet Player) the drummer sees me walking up with my horn and says, "You want to come up and sit in on a tune" of course im like "hell yeah, thats why I came to NawOrleans.... When I get up on the stage I say to Mr Davenport, "thank you sir..." before I can get it out, he says, "boy, shut up and play your damn horn" he asked me what song I wanted to play, I say, "C Jam Blues" we get to my chorus and I just take a one note solo.... :) he looks over at me and nods in my second chorus I just added the fifth and play a two note solo. We finish and he looks up from his stool and says, "you want to play another tune" :) Big smiles I say humbly "yes sir" I hope people get what your trying to teach because its right on, its not the amount of notes, its the concept and execution.
Love it Aimee. The silly note game is something I’ve never seen before. Such a good idea.
Loved this. So simple and fun! This compliments the online “Jazz Piano Beginners” course I am taking with Peter Martin at Open Studio. We are working on improvisations over his PM (C) Blues. Thank you Aimee!
Yes another great guitar lesson. The phrasing, and also the point of silly rules, repeating notes is great way to ear train as well. Thanks Aimee.
Love your lessons just started with you…and love the blues and jazz and funky blues jazz styles…I’m simply a beginner to intermediate player who is just getting started with blues and jazz improvisation…can’t seem to find any lessons with slow deliberate instruction along with ideas on runs and licks that tie together…I really like your view of the keyboard and the speed that you show being slow enough to learn and follow…Look forward to seeing as much of your teaching in these regards…thanks Jeff🙏🎹
What a great idea for an instructional video. Thank you, Aimee.
You're onto something! Very interesting and original teaching approach
Wow Aimee, you have really upped the production quality of your videos. Audio, perfect, lighting, perfect, creative two camera shots, editing, picture in a picture, I think you have raised the bar for all other youtubers, thank you, Oh, and the lesson was pretty good too. Thank You.
Wonderful lesson Aimee, that example you gave in the intro was exactly how I play the blues lol, now I know how to practice and improve :)
3:10 listen Monks solo on Bags Groove 1, he's doing literally this, btw, the hole piece is a school of breaks and building with motifs (every solos), very tasteful school of blues and improvisation general.
For the first part, my 2 cents: It's a great opportunity to pay attention to the parts of the music whats classical musicans working with (where the notes and the rhythm are fix) color, and micro rhythmic accents. Chet Baker did this so good.
Yes. Spaces and graces.
This was incredible Aimee.
Loved this lesson,. Thanks.
You’re an amazing teacher. Thank you for this video.
Has not been a week yet since I got Nebula, and I feel like I am craming for a final. Good Vibs Aimee
I’m so glad. Something big is coming next week too!🙌🏼
When I go to music instructional vids I try to pick out at least one idea I like m
And your rhythmic limitation idea, I really like. Thanks
Aimee you are an absolute joy! Admittedly I'm finding it harder to consider myself "self-taught" at this point 😂
You are wonderful Teacher...
Great lesson.
New to your videos, and you’re such an authentic, down to earth, inspiring teacher. A breath of fresh air. The musicality is often lost in how improvisation is taught/practiced.
Totally inspiring. Thanks 😎
Great lesson! Thanks for all you do! 🎵✌️
ha, silly me, when I first glanced at this I thought:" those are the longest keys I've ever seen", then I realized it was a reflection. Love your vids.
I find it strange that we teach kids not to ever use the Major 7 in the blues scale when we all use it as a passing tone or leading tone back to the tonic. When I was young, my teacher showed me how to use the Major 7 and how not to use it in context with the Blues. I have had students tell me that note is "not allowed" in the Blues because their band teacher said so. Aimee used it several times accidentally in this video and she used it in the same manner I would use it when playing a Blues, so I think it's a note that should be included with an asterisk. Perhaps it isn't taught in the beginning because some of the students are not even slightly interested in learning the theory needed to understand when a note doesn't work?
Anyway, great video, Aimee! Thanks!
Mama Nolte knows best.
Thank you for sharing this! My son plays jazz piano and LOVES Oscar Peterson and your videos are a BIG help to him.
Exquisite explanation
This is a fantastic way to think about soloing in general. I would love to hear you think about doing this through changes.
That's very relevant. I started to play more interesting rhythm and dynamics when I solo by first becoming really comfortable at comping. It's exactly the thing that you show when you do the scat singing.
A couple of suggestions I wish I had gotten early on. Before you try to play the blues, listen to a lot of the masters, and not just on your instrument. Players like BB King, Buddy Guy , Robert Cray get a lot from just four notes. The groove is more important than the notes. A solo has to have something to say, if you wouldn't sing it don't play it.
I love your way of teaching. All your lessons are so inspiring, thanks for each and every video you post. May I make you a request? I would love to hear your opinion about Barry Harris. He was such a great musician and an unparalleled teacher too.
Good video (Toni ) is the female version of Tony so I can stop thinking you made this video for me :) lol I would like to see a follow up teaching the left hand. How about chords in the left hand in place of the walking bass that takes much more Independence. ( at least for me) I did enjoy this video very much. Thanks !!!
I didn't know what to think the first 30 seconds- I thought you lost your touch 🤣🤣🤣
Yeah…sorry about that 😭
Thanx, Maestra 🌹🌹🌹
full notes just for making noice ! some of them for music ! you'r the best
Your vocal microphone sound great.
Your blues impro at the end is really enjoyable. And I will add that playing on an acoustic piano also adds to the feeling: the sound comes from this instrument, with its own resonance, the frequencies mix together in a certain way that is unique. Unlike a stupid keyboard (mine) :( where you get sick of hearing the same exact timbre, and it cannot connect as much with the player. I know some people don't care much about it, but for having had an old acoustic piano at some point (not anymore), it makes a huge difference for me.
Good job, Aimee. But as a dude who's been playing blues piano since my days in the mid 60's on the Southside and Westside of Chicago, I'll make a suggestion to you all. Do NOT be afraid of the Maj iii and the vi of whatever chord you happen to be on at the moment.
Heck yeah
Example?
This is a great lesson and applies to what I’m trying to learn. I have to figure out that left hand, though. Thank you.
That was Fantastic!!
Awesome stuff. Goosebumps included.
thank you for this video!! such helpful techniques to incorporate into my practice as a beginner improviser :)
D*** oh I like this sooo much. Oh yeah. Limit then expand. Great Aimee! Strong rhythm was particularly arresting. B. B. King was a great reference.
Eres maravillosa!!🎹
I watch and study all her stuff...lots of fun.,enjoyable learning.
‘Great lesson, and I’m happy for some unknown reason that that you used “Tony.”
this is the one
Love these vids!!
Very Basie-esque at the beginning 😊😊😊
Haha, it took a while for you to get into it, but it was worth it. Simple melodic motifs (9:06) are surprisingly powerful. Liszt’s gigantic Bmin sonata only consists of about three simple motifs altogether!
Super like 👍
Hahaha, this VERY MORNING I took another shot at the blues scale, played it exactly like your "Tony", and was like "why does this sound so bad?"
I noticed you don't use your left pinky much in the bass for this. That's very helpful to see also. #groovin
Oof. That first example sounds exactly like me. Minus the solid left hand. Edit: Oh wow, and you even called me out by name lol. This is surreal...
that 'automatic' LH would be nice for this year
WHERE'S YOUR OLD RHYTHM VIDEO!?
i looked through your old one's, and it didn't appear to be there... thanks!
Hey Amy. Such great tips! Thank you! Have you done another video about using relative minor/major blues scales? I need to grow in that area... :)
Search for my name and the word scales. I think a few things will come up. :-)
I think the reason its a good idea is that you force yourself to slow down then you have the space to come up with a new idea that you would not think of, flurries and fills within!
It's ALL about creatively....
And you have lot's of that .
Love it. You get the JOB.!
Can I play in your Band.
Tx. J.p.
Awesome video!
Aimee you're an amazing musician and teacher, i whish i could take some lessons but unfortunately i live way to far away in Amsterdam NL :(
In addition to C blues scale, they can also add the D ,9th and the A, the 6th.
It is impossible not to gravitate towards your advice
the left hand a bass arrangement l assume l would like to be able to play that also with the right hand
Do I want to play more notes? Maybe one or two ,... here and there,.. because I needed a rest from the song before, and I want to offer a very interesting song next, and so I get to ready myself,...
Your "bad" example beats my "good" one... :0
Also can you show the bass line that you are using with this lesson on failing the blues scale….Jazzy 👍
Aimee, .. yes, your first example of "playing all the notes" can be a problem, & not sound great, so as you suggest, to move on to some of form of constraint, or adhering to some rule. And, work with these enough, to get it into one's memory/subconscious, .. with it perhaps sounding better, or maybe it still needs help, yet? But, anyway, my guess is that the "masters" are those who apply different rule sets, in combination .. from their memories, .. and that it has more of a flow, .. which usually, is more fun to hear. Thanks, Aimee.
Imagine being in school and having your teacher say ‘Tony, play a blues solo in C’. That would be cool.
Hello Aimee. I'm a budding Jazz piano accompanist for a vocalist! I'm gigging, hanging on by my fingernails. And you're my new mentor. Thank you.
Comment - On this video, I just concentrate on your bass line. It's very solid. Recommend any good lessons for me to work on this skill? Thanks!!!
Check out my playlists and look at the How To Accompany Yourself one! That ought to do the trick!
Thank you for sharing your wealth of knowledge - do you have a recommended fingering for practicing Blues scales? I feel like it's important to practice in the same fingering so when I solo, the neighbor notes & runs are locked into muscle memory.
Tonny should watch this video
great work,i`ll be blue all night long
TIL - there are backing tracks on CZcams
Hi Aimee, I am pretty ok with the right hand but would love to learn how to walk the bass like you do.
I’ve got a couple walking bass line videos
OK, so I think I've got it. The blues scale is the only one we should use. Haha, jk. This is a great lesson though, thanks for breaking this into logical pieces. I've certainly tried solos that ended up just use the scale up and down, really appreciate the ideas you shared.
Nice connection to the your last video on walking bass lines. You've always been a one person multii-nstrument band. Anyone who can play a fugue is okay by me.
BB King mixes major and minor pentatonic, not just minor pent.
Someone once made up a whole samba based on a single note 😉
A common improvisation "rule" I have heard is to not play (or at least lay on it) the 4th scale degree of a given major/dominant chord because it's half step away from the major 3rd and it will "clash". However, in your first example when you played Bb throughout the chorus, that note didn't sound very "out" on the F7 (IV chord). Probably in the context of the blues progression, our ears hear that as more of a consonant rather than a dissonant?
Great drummers play amazing solos with a sound pallet that is restricted by comparison to players of melodic instruments. They have to use rhythm and dynamics right? We can too.
How do you pick ending chords on a whim like that? Ending chords sound so cool but I don't understand where all that stuff comes from!
Yeah, that one was a doozy!
What exactly was it? (I know I should suss it out myself) 🤗
You takin' to me?
Do you have the link to that video about jazz rhythms you mentioned?