Honestly, that piece about the delayed resolution of F7 to Bb7 in 3rd bar of "Donna Lee"- was absolutely brilliant. That might be the best piece of musical analysis I've heard in a long time. Can you do a full analysis on "Donna Lee"! Jeff- that was 🔥
Disagree here....transcribing,analizing ..and learning fragments of a certain solo..is the ultimate tool to build up ur own style...try transcribing at least 5 or 6 of guitarists Scott Henderson, Frank Gambale and Allan Holdsworth and you'll find a way to fusion Nirvana.
Fr like small sections of inventions / arpeggios/ vocabulary is the main thing I like to extract then u can reuse ♻️ it for your own ideas and in other songs
Feel like this is still good advice for beginners such as myself. Before going to solo transcription, this is the prior step; an easier level so to speak
Transcribing can be very frustrating if you have not developed your ears sufficiently, especially if you insist on writing it down, including the rhythm; yes it is better to play it rather than insisting on writing it down first. You develop your ears when you can pick up any line from anywhere on your instrument after singing it, then playing it and singing it in every key, in the cycle of 4th(or 5h), 1/2 step, whole step, up, down; it is the earring “gymnastic” that will free you up, like when you learned to speak any language repeating after the adults. Afterwards, you realize/learn the “grammar” the logic of how the “system” is built/function. If you are a “non” breathing instrument (not brass or woodwind) singing is even more important, so you can “breathe”/ phrase your lines, and sound like a human that people (your listener) can relate to. As a wind player, insisting/correcting your intonation will only help yours on your instrument. I have done this for some time now, and it gives me great satisfaction when I am correct the first time, and the so-called “hard keys” have disappeared!!! Like James Moody (sax) used to say, “there is no hard key, only unfamiliar one”. Down the line , as an end result from all those efforts to make the connection between what you are hearing and what you need to do on your instrument to make those sounds, will come the freedom of playing what you imagine without thinking about the theory, which when you think about it, in fact came afterwards. I do this practically every day and it has helped me tremendously. Happy Practicing! Get those BIG ears, that ear around the corner, like Billy Strayhorn. Cheers
@@The8BitPianistAgree; start learning the melodies by ear, then move on to solos as your technical ability permits. You don’t have to learn an entire solo, either. Spending 15-20 minutes a day on learning melodies or phrases makes a big difference over time. Plus, it’s fun - I think of it like a game, sort of like doing a crossword puzzle with your ears instead of your eyes.
this really resonates with me. i like to compose "skeletunes" based on the originals that retain the fundamental features of the source melody but either leave room for improivised fills or adding a note here or there to clarify immediate harmonic context. All Of Me is great for this because of the descending guide tone line interspersed with P5 or #5 followed by M3. I like to retain the guide tone and come up with substitutes for the P5,#5 to M3 segments spontaneously and repeat whatever I start out with. For example, C-A-G B-A-G# A A G .... G F. I find approaching woodshedding tunes that way and then listening to some recordings helps to appreciate those soloists who have metabolized the melody and how the harmony relates to it and those who haven't
You should do both? Analyze melodies, and transcribe solos. Transcribing is really great for ear training and getting new lines under your fingers. Also to see how different musicians think about and approach improv.
In another video, you recommend improvising by singing a line two times before playing it. I think the same could apply here: When transcribing the melody, sing it two times after listening, then play it
Great video Jeff, couldn't agree more about transcribing melodies, vastly underrated. Certainly bebop melodies are curated soloing lines crafted into a comprehensive unit. But also the more simple melodies, grasping the ideas of all these great songbook melodies can give a better conceptual understanding of motif building. You've convinced me, I'll go into transcription rehab. Love your channel for a long time by the way. I use the D'Angelo Feels Like Makin Love video in my practical harmony classes with students, so good /Jorre
hey Jeff! if I may ask, What is the Realbook you use for this leadsheets in the video? they look Sharp!!! Thank You bro, Blessings Edit: Never mind I think I found it, I believe it+s the sixth edition!
Honestly, that piece about the delayed resolution of F7 to Bb7 in 3rd bar of "Donna Lee"- was absolutely brilliant. That might be the best piece of musical analysis I've heard in a long time. Can you do a full analysis on "Donna Lee"! Jeff- that was 🔥
Nursery rhymes are a good source of improv melody
… I literally just spent 2 days transcribing Jacob Collier. 😂
Worth while. If there was anyone to learn from, it’s him.
Disagree here....transcribing,analizing ..and learning fragments of a certain solo..is the ultimate tool to build up ur own style...try transcribing at least 5 or 6 of guitarists Scott Henderson, Frank Gambale and Allan Holdsworth and you'll find a way to fusion Nirvana.
Fr like small sections of inventions / arpeggios/ vocabulary is the main thing I like to extract then u can reuse ♻️ it for your own ideas and in other songs
Feel like this is still good advice for beginners such as myself. Before going to solo transcription, this is the prior step; an easier level so to speak
Transcribing can be very frustrating if you have not developed your ears sufficiently, especially if you insist on writing it down, including the rhythm; yes it is better to play it rather than insisting on writing it down first. You develop your ears when you can pick up any line from anywhere on your instrument after singing it, then playing it and singing it in every key, in the cycle of 4th(or 5h), 1/2 step, whole step, up, down; it is the earring “gymnastic” that will free you up, like when you learned to speak any language repeating after the adults. Afterwards, you realize/learn the “grammar” the logic of how the “system” is built/function. If you are a “non” breathing instrument (not brass or woodwind) singing is even more important, so you can “breathe”/ phrase your lines, and sound like a human that people (your listener) can relate to. As a wind player, insisting/correcting your intonation will only help yours on your instrument. I have done this for some time now, and it gives me great satisfaction when I am correct the first time, and the so-called “hard keys” have disappeared!!! Like James Moody (sax) used to say, “there is no hard key, only unfamiliar one”. Down the line , as an end result from all those efforts to make the connection between what you are hearing and what you need to do on your instrument to make those sounds, will come the freedom of playing what you imagine without thinking about the theory, which when you think about it, in fact came afterwards. I do this practically every day and it has helped me tremendously. Happy Practicing! Get those BIG ears, that ear around the corner, like Billy Strayhorn. Cheers
@@The8BitPianistAgree; start learning the melodies by ear, then move on to solos as your technical ability permits. You don’t have to learn an entire solo, either. Spending 15-20 minutes a day on learning melodies or phrases makes a big difference over time. Plus, it’s fun - I think of it like a game, sort of like doing a crossword puzzle with your ears instead of your eyes.
this really resonates with me. i like to compose "skeletunes" based on the originals that retain the fundamental features of the source melody but either leave room for improivised fills or adding a note here or there to clarify immediate harmonic context. All Of Me is great for this because of the descending guide tone line interspersed with P5 or #5 followed by M3. I like to retain the guide tone and come up with substitutes for the P5,#5 to M3 segments spontaneously and repeat whatever I start out with. For example, C-A-G B-A-G# A A G .... G F. I find approaching woodshedding tunes that way and then listening to some recordings helps to appreciate those soloists who have metabolized the melody and how the harmony relates to it and those who haven't
Jeff these videos are such gems. Thank you so much for making them!
You should do both? Analyze melodies, and transcribe solos. Transcribing is really great for ear training and getting new lines under your fingers. Also to see how different musicians think about and approach improv.
In another video, you recommend improvising by singing a line two times before playing it. I think the same could apply here: When transcribing the melody, sing it two times after listening, then play it
Im trying the solo over Reincarnation of a Lovebird in the acustic guitar
Great approach - thanks
Great video Jeff, couldn't agree more about transcribing melodies, vastly underrated. Certainly bebop melodies are curated soloing lines crafted into a comprehensive unit. But also the more simple melodies, grasping the ideas of all these great songbook melodies can give a better conceptual understanding of motif building.
You've convinced me, I'll go into transcription rehab.
Love your channel for a long time by the way. I use the D'Angelo Feels Like Makin Love video in my practical harmony classes with students, so good
/Jorre
hey Jeff! if I may ask, What is the Realbook you use for this leadsheets in the video? they look Sharp!!! Thank You bro, Blessings
Edit: Never mind I think I found it, I believe it+s the sixth edition!
Thanks for showing a bridge to get to the more complex stuff!
great advice
The best lesson on improvisation on youtube, it’s the foundation of soloing. Thank you for this video!
Gotta learn how to walk, before u can crawl lol ! 😂
Unspoken truth. Thanks
great thoughts Jeff!
Thanks for the "heads up" 😄
very clear
YES! One of the most important videos on improvisation!
Is there a way to have some kind of sample of your course? @JeffSchneiderMusic
Second
First.
I’ve never transcribed the solo in my life. I use my ears pretty easy to hear if you have ears.
well Mr ears!, sheeeesh, not everyone has ears tho
You can transcribe and use your ears.