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?
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.
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!
Love this explanation, i bought all Chad's pdf's.
THAT IS AO TRAAAAANE NEN....THE ARTICULATION IS LIKE SKIT.....LOL
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!
cool! references very important. congrats
You killing it.
Some good listening recommendations there
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
4:29 it’s funny that you put a flat sign in front of the 3 but not the 7.
Wooten Woods…☯️🎵🎶🎵🎷
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.