This weird jazz improv tip instantly improves solos
Vložit
- čas přidán 12. 06. 2024
- Download the Autumn Leaves backing track: bit.ly/49FqLBw
Get "The Last Chord Scale Charts You'll Ever Need" (Free): bit.ly/get-the-charts
🍿 WATCH NEXT: The LAZY Way to an Awesome Solo: 3 Secrets From a Jazz Musician - • The LAZY Way to an Awe...
MY SOLOING COURSES:
The Soloing System: go.jeffschneidermusic.com/the...
Chord Tone Magic: go.jeffschneidermusic.com/cho...
Sick Licks: go.jeffschneidermusic.com/sic...
Solo with Soul: go.jeffschneidermusic.com/sol...
MY PIANO COURSES
Chord Theory for R&B Piano: go.jeffschneidermusic.com/cho...
Sick Chords Vol. 1: go.jeffschneidermusic.com/sic...
Stanky Loops: go.jeffschneidermusic.com/sta...
FOLLOW ME:
⭐️ Musical Truth Nuggets: JeffSchneiderMusic.com
📸 Instagram: / jeffschneidermusic
🙂 Facebook: / jschneidermusic
🐦 Twitter: / jschneidsmusic
---
0:00 Intro
0:35 The Thing About Your Solos That Sucks
1:57 Melody Matters
2:56 I Love You, My Darling
4:10 Rhythm First
4:55 Variations
5:32 Dare to Be Dull
6:31 Adding Pitches
7:09 Demo
8:10 The Approximation Trap
9:35 Making "Wrong" Notes Sound Right
10:20 Next Steps - Hudba
Bro I feel like Jeff Schneider’s living in my attic I swear everytime I’m struggling with a specific issue he immediately makes a video on it
So true 😅
@@schwarzweisskultur I think he’s in our walls
same here haha
It’s like that movie “The Lives Of Others”
I know right, I'm exactely in the same case
“Your target is a sound, not a letter or a number.” Brilliant.
This is what I needed, not scales over 2-5-1's, not enclosures and neighbor tones, but a good tool for creating melodies out of changes. Thanks again.
Aimee Nolte has a video like this. I dare say it's even better, but it's at least a very good complement to this.
@@marshwetland3808do you have a link?
I have played jazz and taught jazz for 50 years, both in schools and privately, and this approach is usable and effective up to a point. Singing as a means to connect to ideas is a tried and true technique that virtually every teacher I have ever had has employed to some extent. The mantra "Dare to be dull" is great advice for an excited young player who is trying to jam every trick into the first eight measures of a solo, but as a player matures, and as a solo cries out for development, it must be replaced by "Dare to venture." I guess in a word this method can be compared to the trend in music education known as audiation, which, again, is very usable to connect the ear, mind and fingers at a certain level, but that connection being made, needs to relegate itself to the background in ones mental process. The old adage, "Sound before symbol," comes to mind when thinking of this approach. As stated by Jeff, one needs to target a sound rather than the math of theory when improvising. Good advice, but moving on from "I love you my darling" will require a new scaffold to be put in place.
Jeffs demo gave me instant Chet Baker vibes, which is very telling given that he was all about that connection between his singing and playing.
I'm not a jazz musician, i'm an aspiring composer, but i feel like this exercise is pure gold and it can help me compose better, so thank you.
Agreed, rareangel. Composer or player - we're all part of the same brotherhood or sisterhood! If everyone on the planet played an instrument or sang, we wouldn't need armies or police.
This is surprisingly intuitive. Once again, connecting the music to my voice naturally gives me access to the music that already lives in me. Thanks, brotha.
This confirms what I've been experiencing in my head. I hear the sounds in my head but now I need to sing it and transfer it to my instrument. Thanks you so much !!!
Absolutely love the way you ended your sung solo line. Was expecting a simple resolution to the tonic based on the setup, but ending on 6/13 was so much spicier.
Really fascinating technique, I'm going to have to gice it a try in my own playing!
Jeff, just ANOTHER reason while I love your instruction. You know from giving me private online lessons long ago that as a music theorist I tend to concentrate too much on the scales and chord progressions. Lately I have finally become more comfortable on standards I know In focusing on improvising a good melody and good rhythmic licks (not from some lick book) and it is working. My improv sounds much more natural and I'm enjoying it. One thing that I found that helps me is to start my improv by playing the first part of the song's melodic phrase right at the beginning and then taking off with improv from there. Sometimes I will also do that when I get to the chorus. It helps me keep track where I am in the changes and I think it helps the listener follow along too. THANK YOU for all your great instruction. You ROCK!
Jeff… that was fantastic! What an awesome idea
This works just as much for composers, especially any time a specific character is involved. This is very well used in the videogame industry, especially if you look back to some of the greats like Nobuo Uematsu who did the Final Fantasy series when things were just bleeps and bloops. His melodies encapsulated ideas that represented characters, and more so - when I was a kid - I could swear that the characters were singing to me through their songs. So any time you need to make up a melody, whether it is something YOU want to say, or an idea someone else wants to say, its all about representing a message, and repeating it to the audience over and over rephrasing it slightly each time until they hear you and remember you. That's what makes amazing melodic lines. They don't just hear you, they remember what you said. And it doesn't have to be words.
This is great. It adds instant phrasing that makes musical sense. Very early jazz soloing was literally just embellishment of an existing melody which of course was all about the lyric. Lyrics = lyrical solos. So obvious and so easy to forget.
Thank you, Jeff ! You have confirmed what I feel I want to do instinctively but get confused and lost when tutors and workshops want you to follow the chord tones or modes! All of which are important but for improvising on new tunes, singing an improvised tune has always made sense to me.
It's taken me a LONG time to get to this same conclusion. Good job!
Great tip, Jeff. This is an also wonderful way to break the cycle of playing the same licks all the time. I sometimes struggle with trying not to sound the same, all the time. I going to use this, and write out a few other lyrics as well, to give myself even more choices for rhythmic nuances. Thanks so much!
I love your videos Jeff and this one strikes home because lately I've been thinking about endless student syndrome. I feel all I'm doing is learning more music more music theory more licks trying to pick up more tips, when the goal is to be actually playing the instrument I just want to play the piano for myself and others. So many people get lost on the other side of the CZcams event horizon. Just play
What a great exercise. I used to do something similar but just singing any improvised melody (without words), and although it's helpful in the same way, the "I love you my darling" forces you to stick to short phrases. It's more restricted, the building blocks are simpler, so it's probably more useful to get started.
This is a great explanation, JS. Your demo of the idea was fantastic. Super helpful!
dude you're making amazing videos, love your tips
I cannot wait to try this today. Thank you!
I love you Jeff Schneider !! Great exercice bravo !!!
The best advice I ever got. Thanx a lot!!!!!
Excellent video. Singing lyrics is a wonderful part of being a musician. As you say, you don't need to have a fantastic voice. You just need to hear pitches and rhythms and translate them into your own expression. Another part of singing lyrics is that it's an excellent way of remembering the melodies of songs, especially the great jazz standards. I find that the best way to remember a song, is to sing the first couple of lines and right away you'll have it. "You are the promised kiss of springtime" and "Look at me I'm as helpless as a kitten up a tree" and "Cigarette holder which wigs me" and "There will be many other nights like this" and "Lover, one lovely day, Love came, planning to stay" are just a few examples.
To give you feedback: I did as you explained and I was successful. I can truly say I improvised without once thinking about what chord I was on or what scale I was in. I've been what I called "in the zone" before in rock or blues - but never in jazz. Hopefully this, along with some traditional style ornamentations will assist me with my gypsy jazz soloing.
Great stuff, man!
this is so good, thank you!
Thank you, Jeff!
Great video. Thanks
Cool lesson Jeff! Good stuff
This is a wonderful tip - thank you!
Very cool, thanks!
Thanks!
If I could be bold enough to suggest a pre requisite to this approach. A lot of instrumentalists don’t listen to vocalists enough. If you start listening to more singers this exercise will come much more naturally. At least that is what I found for me. Great video Jeff!
Beautiful
It’s really The Way to think, thanks a lot for sharing this!
Woooow, I’ve been awaiting this 👌👌
Best advice ever!!
Great advice. I love this. Thank you Jeff! It makes it so simple and definitely something I can do and try. I know my solos aren't that melodic, especially compared to someone like Martin Taylor, but now I have the tool to work on that :)
Awesome video and concept. This codifies some of my frustration around jazz instruction. There's a lot of overcomplicating and theorizing. I learned how to compose and improvise (at a very basic level) with no theory- just by letting my ears make the decisions. The ear is everything! Trust it even when your brain disagrees.
Another thing my teacher told me was, "A whole rest has notes too. You just don't hear them." Don't be afraid to put lots of space in a solo. Two good examples of players who do that are Ray Charles and David Foster. It's amazing what these two geniuses DON'T play.
You are a genius!
Sounds like a brilliant idea….well presented. I’ll try it….thanks
For me this is easy because I’ve always been drawn to melodies and exploring those avenues. Singing along with the lead lines is a great way to get to where your soulful sound lives within you and it is game changing for your musicality/playability.
Metal musician/classically trained, some jazz experience, but never felt i was a good improviser. This exercise just clicks for me. Can't wait to try it out!
Great idea.
Wow, as so many others have said, a new approach to improvising….
👏👏👏
looking forward to fleshing this out
Ps
( maybe “new approach” isn’t quite the description, but a different way of explaining an old approach )
Yo… this is awesome. I’m definitely going to be using this
this is good advice
hilariously effective thumbnail picture, I just clicked...
Amazing, Jeff! I've always tried to hum a solo before figuring it out on the piano but thought it was the wrong approach. I'm an ear trained musician with excellent relative pitch abilities. My piano teacher did a whole lesson on ear training. He played 30 different interval notes. I got 29 of them correct. You just let me off the hook for doing something right that I thought I was doing wrong. Thanks!!
I usually practice be doing a round of humming followed by trying to play what I just hummed on the following round. Will try adding words to see if it adds another dimension.
I wonder if people without an inner dialogue struggle to improvise the most.
Great video and thanks for promoting playing melodically. I feel like so many people just want to play licks rather than melodies. Btw, I totally fall into the thinker category.
Thanks for the video Jeff!!
I unfortunately have the opposite problem where I am so into the melodies in my head that I sometimes forget where the hell I am ,in terms of chord progressions etc.
It’s so difficult to do both but I’m working on it.
I ah e to constantly tell myself what the key center is and where I’m going.
Thanks again and be well.
GREAT! THANKS! I love you my darling!
Great exercise. Never come across this before but it makes immediate sense. I just wish every tune was as forgiving as Autumn Leaves.
That is the true essence.
great! I wonder if you have any suggestions for developing a better ear, kind of a step before this lesson?
Dare to be dull....words to live by.
If I could push three times the like button I would! Thanks!
A mí me suena a gloria... Creo que habia un acabado en envejecido mate, tipo deslacado, superbonito tambien...
it all clicks at 7 mins in!
Practice aural imagination as well. Thanks for sharing
I swear Jeff is watching me, have been away without my instrument looking for ways to practice
Nice Cory wong voice. Haha I think we’ll be hearing lots of I love you my darlings at cocktail hours across the ny area in the near future. I know I’ll be trying it out this weekend!
It amazes me that musicians-of all types- still cling to this idea that there is some unique creative center in themselves. That we are special and just need to unlock our creativity. The rest of the creative world has gotten over this. Art is pastiche and collage. You just build on previous ideas. Doesn’t matter if you’re singing or playing trombone or writing or painting or sculpting. In music the idea that we have a creative soul and it exists somewhere in our head still persists but creativity is action. It’s doing the thing you do. And that might be singing but it’s not a gateway to some inner you.
Hey, total side question I know, but...do those X-Ray Specs actually work?
i'll never forget 13 yo me watching the pencil on gooseneck video 😂 it helped me ngl
I....l o o o ve.....you Jeff.
Hey everyone, watch this video ! 🎹
Please get to it
Jeff, I agree. Don't wanna be a button-pusher. I taught myself to sight read piano maybe Grade 6 level. I taught myself to play guitar and self-accompany, but without my cheat cards, I will make mistakes. I know the damn songs rather well in my head, but my fingers don't always cooperate. I;ll get one verse right, goof up the next one. Apart from just keeping at it, like everything else I've ever done, is there some way to ramp up focus and results? I exactly want to play what I hear in my head, always have. And also hear better. Is it possible, when we aren't learning it from early childhood? I sang, but I had no instruments.
Is Ornette hearing everything he plays?
Very cool concept--I'll pass it along to my k-12 music educator peeps. I love working on my ears! One aspect that many of us often neglect is that rhythm and pulse are a HUGE part of ear training. For instance, after 20 years of my own jazz studies, I've noticed that I still need to work on hearing each part of the measure as it's own separate entity. The most important sound of the measure is the downbeat--and I was getting so caught up with harmonic substitutions and melodic devices that I forgot about the DOWNBEAT. Sometimes, I wonder what would happen if we placed more emphasis on the fundamentals of rhythm and pulse--the way we internalize the count of the measure. What if we spent more time digesting the rhythmic and meter content than the scales themselves? Just a thought, but I wanted to stress that conceptualizing where you are in the measure is a HUGE part of ear training that is often neglected. Ain't mean a thing, if it ain't got that... you know ;)
Better be after that statement
What is under the American flag?
The bill of rights.
Well Jeff you are an odd fellow but you steam a good jazz
You definitely don’t understand the challenges I face with my voice.
playing melodic is the most important thing. Most musicians that connect with non musicians audiences just play simple melodies with beautiful tone. All the other things musicians care about regular people mostly don't care at all. Or even bothers them. Avoid making music for educated musicians. Most of the complexity in very good music that regular people like is not in the melody
I love you too, my darling. 😂👍
Fast forward to min 4 to get the advice -
Beautifully explained. IMO the chord/scale approach has been responsible for some of the worst jazz teaching (and playing) ever. It's shortly followed by the chord tone approach. This is a good deal better actually, because chords have some sort of melody built in. The problem with both is that they remove any spontenaity because the basically introduce formulae. Tunes, of course, do have formulae, but they aren't made up by following formulae - the formulae are imposed as an attempt to say what's going on. To solo, you need a vocabulary, and vocabulary is at the level of words and phrases, not letters. Pat Martino was asked if he thought in a linear way and he said 'Jazz doesn't work like that - there isn't time!' In my experience the two greatest examples of what Jeff is talking about are Pat on 'Sunny' and John Coltrane on 'My favorite things'. In both cases, they are basically playing off the lyrics over and over and over, but it's always fresh.
Hmm, I guess that if I want to make crude, sharp, painful, outside melodies, those words might need to be adjusted 🙂
Luckily, there are no buttons on my trombone. I’ll try not to be a slush pumper.
In 3 words: listen to Chet Baker
Sweet Jesús. Nearly 50‰ through and he hadn't given anything useful yet. I've left!
"I lost my train of thought... and gals!... I keep putting it off!..." Please. Respect your viewers' time.
Good advice. Very good advice. Let me add a little salt. When you play a song, do you see playing the melody, the tune, the head, as just something to get through so to get to the good stuff, your solo? Hmmm. I see. Well, there's a big part of your problem. How often I hear that! Perfunctory or out and out badly played tune renditions followed by some bland soloing. How will your solo measure up to Smoke Gets In Your Eyes beautifully played? It won't, is the honest answer. All the wisdom you need is in tunes. I know this'll fall on some deaf ears - that's okay. I'm as guilty as anyone in this regard. Eschew abstraction (like CST); embrace the visceral (like Ben Webster playing Stardust with Charlie Shavers). One last thing: all this is a bit easier to learn if you get out and play for an audience. Forget all things in all keys. Learn a few tunes and get out there. That's where the important stuff happens. And folks need music now more than ever.
What Did You DO??? The bass boost is WAY past ridiculous! WHY? You're supposed to be a musician - good at getting the right tone and timbre.
Jazz aside, my relationship with my wife has improved tremendously.
😂😂
There's tons of great content you have shared already, Jeff. But this is one of the best and most necessary messages to be shared. Just like guitar solos, Jazz improvisation has become a race to see who can play faster, more complicated transitions and licks. I know I sound like a resentful musician who needs to practice more. That's true, but not less true than the idea that the best solos in the History of solos are amazing (and often fairly simple) melodies.
Thanks!