Soloing - It Isn't What You Think It Is
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- Опубликовано: 2 май 2022
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1) I signed up to Nebula IMMEDIATELY upon viewing your video. Your motifs were SICK yet beautifully simple, and I want to be able to solo with that combination of creativity and simplicity, almost Miles Davis-like. I can't believe they were all off the cuff, but I know that they were. All tasty!
2) Is it me, or is your son getting BIG?!
3) I would have loved to have met you in person- Come back to New York!
4) I hope not to see your epitaph for a looooooooooooong time- but that is a great one!
5) You've been teaching for a while now, congrats on doing it via this new platform. You've got MY support.
****EDIT**** I just applied your motif in choosing five notes and played over the chords of 'My One and Only Love' on flugelhorn. No scales and no licks. I played the first pure improvised solo in my life and it was simple and BEAUTIFUL, and it was all mine, from my brain. THANK YOU for giving me an AHA moment with your video!
I can’t thank you enough for that. I’m so glad.
@@AimeeNolte I can’t thank YOU enough! I’ve learned much from your videos, but this one REALLY resonated with me and I hope will be a seminal moment in my development as a jazz musician. I’m indebted to you.
I noticed a long time ago that jazz piano players are often humming along quietly with their solos. I was like "why are they doing that?" I started to figure it when I tried the same. My solos became more lyrical, less mechanical. Muscle memory is important but it makes solos sound like they come from the fingers only.
That's why I love George Benson so much. He's basically just scatting all the time while soloing and then you gotta breathe at some point, way more natural way to create lines.
"Find a motive, see it trough till the end" - Aimee Nolte. That's so brilliant, love the two meanings that derive from this. Existencial e musical.
motif. But motive works too.
see it *through* but trough works too
Im brazilian. Motif spells motivo in portuguese. Thanks for the correction
@@psi.jacquescohen1411dont you love the spelling police! So helpful! 🤓😉
@@ApartmentKing66 say it in Portuguese now... jeez, give bilinguals some slack.
How did I learn more about improvising in this video than in my entire jazz degree!? 🥳😮
🙏🏼🙌🏼♥️
That’s why those degrees are worthless
This video is so true. So many improvisers need to learn to stop their fingers running around scales etc - just to fill in the gaps (as impressive as this skill is) - and instead concentrate on finding notes and phrases that mean something on a human/artistic level rather than just what our shared understanding of the geometry of music theory points to, and as Aimee stresses, bring it together into a sort of narrative that has its own internal sense - eg seeing it through to the end.
Probably the best lesspn on entire youtube
Such wise words. The bit with Charlie nearly made me cry it was so beautiful. 😥.
Kenny Burrell is a master of playing simple thematic solos, using lots of space and well-timed phrasing. You don't have to be a guitarist to learn from him. Check out his album Midnight Blue. Stanley Turrentine plays great bluesy solos on the record too. And you can hear the changes even though there's no piano (sorry Aimee!).
"with the courage to hold onto it" rings true in the classical world too. Play a note and let it settle into the ensemble. Musical truth!
Thank goodness for someone who so deeply understands the difference between just being skilled and being truly musical. Thank goodness for Aimee.
Aimee, this is so helpful. I used to think that I didn't like jazz and it was because the solos sounded much like your first examples of using modes and scales where you could not hum or sing back what the soloist played. The melodic solos are my favorite and once I knew that they could be played that way, I found that I love jazz after all. Thank you for verifying that they can be played this way too.
I’m so glad it resonated, Rachel. Thanks for your continued support. ♥️
I loved what Aimee showed in this super video, but in fairness, you can cite people like Oscar Peterson, Pat Martino, Joe Pass, Clarence White, where you would struggle to hum, etc what they did because the music is just so notey; but the soul and development are in there, even in a very linear approach. That's because those people have something to say. If they play a long scale passage in 16th notes, it MEANS something. It's not just running a scale. Listening to Aimee's examples. I'm afraid she can't keep the meaning out of her scale running examples, no matter how hard she tries, because she can't stop saying something. Regretably this is not true of a lot of people who adopt that approach.
@@robertnewell5057 This. This exactly. And I love your choice of words, you didn't just say it's because Aimee is "just that good" (which she is). When you are so finely attuned to what you like, how it makes you feel, and how to convey it effortlessly through something like the piano as Aimee can, it's hard to purposefully "mess up" or play in a way that is not as satisfying to you.
From a pedagogical perspective, this is the tiniest of tiny criticisms, Aimee. I still got your point, it just took a bit. Still wonderfully done.
Your channel helps me make sense of the influx of info I receive and channel it into improvisation that is relaxed and natural, if a bit simple for now.
At first, my problem with improvisation was threefold:
1. lack of confidence.
2. teacher who dumped scary-looking charts in front of me without explaining how to approach them
3. an overwhelming dichotomy between how good of a listener and how bad of a doer I am.
And after a couple years of jazzing (mostly drumset), I have quite nearly conquered the first one (will any of us truly overcome this?), I am making steady progress on the second one (with the help of people like Aimee and our fellow RUclips commenter Robert), and I frequently stagnate on the third point. I watch awesome guides, take the best notes I can take, and listen with my full attention to every slice of good music I can get my hands on, but the one thing I lack is the initiative and discipline to apply what I learn and really get it under my fingers, Consistently! And this is an ADHD thing (in part), but the more daunting the task or expansive the possibilities (ahem, it's jazz we're talking about), the more overwhelmed I get and the less likely I am to make progress. It's my own mental roadblock to truly developing. I have the knowledge in my head brain noggin thing. At least, all I feel I need to know for now. My fingers just need reps. Patient, steady, true, intentional, exercises that can be broken into manageable chunks.
I'd love more advice on this. Or more videos. Or a solo I should go transcribe and arrange into some tasty big band chart or something.
Best,
a college student
Exactly! My husband says he doesnt like “ modern jazz”, but that’s what he’s thinking of. They are just a academic “jazz Hanon studies”, …. abstract, non melodic, not beautiful or meaningful. Just a technical excercise , blech
I'm halfway through Aimee's course at Nebula on improvising. Really wonderful and so accessible. The instruction comes from HER HEART and flows effortlessly into the listener--whether the listener (me) wants it to be that easy or not. Why? Because of how clear Aimee is that I can do improve, I now can't have my favorite pity-party about not being able to improvise. Seriously, Aimee, I've been following you for the moment you came onto RUclips and severe rheumatoid arthritis has prevented me from playing piano like I want. But using the same song of "Take The "A" Train through each teaching technique and showing simple voicings that I can manage on the piano, made it so clear that great improvisation is within my capability. I'm very grateful.
I’m so glad it’s working for you Lonnie! Thank you so much for coming up over to RUclips and leaving this comment. Big high-fives from California!
You *have* been in music classes for over 11 years
What is it called? I’m on Nebula but not finding her courses. I see some posts on things but not lessons.
@lisahansen6014 click the “classes” tab! 🙌🏼🙌🏼
@@AimeeNolte thank you!
Hands down one of the best music educators on RUclips.
Aimee, your son blends so perfectly and naturally with your singing! A delight for that alone, and then we get some great jazz on top of that!
i always watch your vids when im having a difficult time staying motivated to practice. it never fails to renew my urge to get on the piano again!
Thanks Parkour Chris!
I agree with everything you said Aimee. The improvisation I hear from students coming out of one of the best Jazz colleges in UK is very technical and over engineered. They seem to struggle to be able to play anything relatable to a listening audience as their studied knowledge has gone way beyond most people’s appreciation and understanding.
ornette coleman and don cherry were masters of this melodic, motivic approach, and they don't get enough credit for it!
What a lesson. The best theory teacher on YT!
WOW! Just WOW...speaking Truth and spreading Beauty in a world that needs it...melting hearts, opening minds, building character...all as an expression of your most authentic self. Go you!
Hearts. Lots of hearts. FEELING outside the box! Wonderful observations on how emotion of Jazz so often gets lost in the technical presentation and displays of virtuosity.
The bit with your son was so beautiful. And what a quick learner he is - caught on to that modulation in All The Things You Are right away!
Anyway, I have always instinctively played what I hear in the moment as beautiful, even if it’s not technically impressive. Still, as I’ve been becoming more competent in jazz and bebop, I’ve felt a pressure to get flashy. At a certain point I realize that whatever happens to be expressive and organic is what matters.. if flashiness happens, then wonderful! If not, then wonderful! it’s best not to let one’s ego push oneself around. The best music comes from somewhere other than the one who wants to look impressive. :)
He remembered me young Chet Baker voice and expression. Thanks for this great lesson. Cheers
Really interesting, Chris. Your comments are so true, but instantly made me whistle the first solo on Miles's 'So What'. OK, I've heard it many times, but there's hardly any notes in it and it's recognisable after a couple of notes and memorable forever. No pressure, as they say.
That’s a moment I cover in the nebula class, ironically enough. One of the greatest solos of all time! Good call. :)
Yep, epic cameo, Charlie :)
“Draw your audience into what you’re doing..” Difference between watching someone soloing versus being on a musical journey with them. Actually feeling, even if unconsciously, that you are a part of the musically creative experience. Thanks for this. This was very enlightening.
Hi Aimee. I love your approach to improvisation. As a 40 year career classical trumpet player who played "jazz" in college (my idol - Clark Terry), this really speaks to me. I'm tired of hearing jazz solos that, first they go up, then they go down, then they go up, etc etc etc. As you say, there's a time and place for that but.... I once told Warren Vaché that I loved his solos because he didn't just play scales up and down ad nauseum. He appreciated the compliment and the observation. Anyway, I'm gonna sign up for your Nebula thing. Can't wait to get started.
This is perfect timing. Whenever it’s time for me to solo I tend to get anxiety and my mind is no longer at ease but starts to run a million miles a minute. So much so that I can’t even think of what I want to play. More often than not I feel most of my solos aren’t me but just the skill and talent if that makes sense. So listening to your approach on soloing seems like something I can definitely use to help me start my solos and go from there and even solo from a authentic place vs a place of nerves and anxiety.
Those of us who took classical music lesson first - now need this kind of therapy.
The best part about this is that it's literally one of the chapters in the first half of a classical theory textbook I have from when i first learned theory in colleges. This is why Bach and Beethoven are great, but modernized and jazzed up. But everyone already knows this without realizing they know it.
Love it.
Excellent, thanks from Vancouver!
Bill Evans illustrated this concept in a very similar way in his interview with his brother. Can’t remember what the film was called but he used the tune ‘how about you,’ to say more or less exactly the same thing. His angle was slightly different in that he was saying you need to be honest about your saying and learn to walk before you can run.
All this made perfect sense
Love this....concentrate on emotion (motifs) rather than intellect (scales)!
I love your tenderness, thats the most meaningful thing for me in a teacher
That Autumn Leaves example hit me deep down. one is just notes following the progression and the other is using notes to evoke the feeling of a song
Winner winner...like all things great and beautiful; simplicity!
1:20 is such a profound and beautiful truth to me, and i come back to the video since watching it the first time just to remind myself. of course the greater lesson of the video is something a little beyond this anecdote, but "they always do" is really the root of it i think. i don't think i'll ever forget this lesson for the rest of my life!
This is real music.. Beautiful lesson,..kind of reminds me of what Scott Henderson has said and Kenny Werner is doing...thank you for this Aimee.. GREAT
I loved watching and listening to Charlie. That was fun and touching.
Thanks for sharing this video and for featuring Charlie again.
Wonderful - it’s awesome that you can play that scalar, arpeggiated style (that admittedly always sounds bookish to me) to put your more melodic, musical motifs into context. It seems some folks are compelled to fill every bar with as many notes as they can stuff in there - your more gracious and elegant shapes are so much more pleasing to me that I am glad you are making the point of legitimizing lyrical play.
Find a motif, and see it through to the end. This is an endless possibility of melodies and originality. Thanks Aimee!❤
I love your motif idea. I have been wondering why I rebelled against so much jazz and it's because the solos I heard were often mere gymnastics and not for the listener. The motif idea is why Miles Davis is sooooo cool. Thank you for making music so accessible.
Love this Aimee! Really solid advice, and I love the way you demonstrate so many motifs over the tunes. Keep up the great work 👍
Thank you sooo much for your comment. It’s so overwhelming and disheartening to hear all these great musicians on RUclips and be intimidated by their solos and try to catch up. Now I’ll play what I can and what I feel without feeling the need for so many notes. I do admire musicians like you that can do it all though. Thanks.👍
Thank you algorithm.... I can learn many things from her. Loving the intuitive vibe
Charlie singing like Chet!! haha thats so awesome!
This old sax player thinks that this video has the best advice I've heard in years! Thanks, Aimee.
Thank you, Fred
I am a long time guitar player finally dipping my toe into learning the piano.
The artists that always grabbed my attention early on were Nat King Cole, Vince Guaraldi & Dave Brubeck.
I subbed to your channel a few months ago & really love your easy to understand explanations & teaching style.
Thank you! ❤🎹🎶
Aimee, I love you! You have just allowed me to let go of the guilt that I don’t have a savant’s ability with ripping out scales/modes/arpeggios, etc. My composition style is very much like the heartfelt generation of melody/harmony that arises rather than drawing on my theoretical knowledge. In my improv settings I am really just doing it by instinct - and mostly it works well. Celebrating my own voice rather than trying to sound like someone else is liberating and affirming. Thank you, thank you (tearing up).
Great lesson and insight Aimee!
Charlie killed it!
Miles Davis does it right. Little phrases and motifs are key. Don't be afraid to have pauses or silence for a bit. It's like speaking in a presentation. You make a statement, then pause to let it sink in. Then make another statement. Emphasizing certain words with volume. Don't play like an auctioneer.
Damn, you're such an inspiration.
In my experience, jazz was all about athletic performance (how fast...) and I never heard the word "beauty" in 5 years. I left it behind me but then came back with the harmonic and chordal knowledge, and started playing as if I were singing it and visa versa and suddenly it all changed for me. Excited to see Aimee going this direction.
My first instrument was a harmonica.
I learned there were safe places I could always return to to tie it all back together.
No matter what instrument I pick up I look for the safe places.
Also her ideas about leading the listener is compelling to me.
I once was improvising on a banjo and the steel guitar player was playing with me note for note. I always wondered how until this lady explained it.
Also , that player, Paul DiMaggio is one of the best Musicians in Northern British Columbia and our town is home to Eric Ashdown the Metis fiddle champion
Gosh that moment you had with Charlie there
That is passion . Cheers from Belgium
yeaaaasss. I'm so happy with your new class. I've already signed nebula to watch your other videos, but now I'm happier than ever
First time seeing anything of yours. What an inspiring and touching teacher you are.
I smiled so many times watching this lesson. Wow, Aimee! This is so helpful.
The use of scales, motives, patterns are facilities that allow one to create with wider expression.
Surely one of the most profound and encouraging videos on the essence of music and one‘s own playing.
Expressing melodic conversation with tonal moods is listening. Inspiring!
This is such great advice Amy, thank you! Your son has a lovely voice by the way!
Brilliant! So glad to catch your video, you've summed up something that's been whizzing around just above my head for years now, and seeing someone present a video like this has brought that idea down to within my grasp. It's so blummin' simple yet so, so important. Talk about engaging the audience! Excellent stuff, you're an inspiration.
This is hands down, the best video, lesson, masterclass on solo improv that I have ever seen, Aimee. Truly fantastic!
Aimee you are such a treasure thank you these incredible videos
Oh my. I had forgotten how much I enjoy you. I subscribed to you on my wood channel 2 or 3 years ago, but then my music channel took off and I had to spend time on it and without realizing it, I was not getting your notifications because I had not yet subscribed on this channel. So I was busy creating vids for my music channel and not listening as much. Now today, a couple of years later, you were on my recommendation page for this channel and I'm so glad! So I subbed on this channel as well. You are special!
You melodies are so BEAUTIFUL, Aimee! Your mind must be so full of beauty!
Love this advice, Aimee! I saw a video of yours a while back talking about what I think you called "pointing and singing" . I thought that was a great exercise for connecting with the inner ear, aiding to follow motifs through and express them through whichever instrument. Thanks again.
You made me smile during this video. Love your wisdom and sincere enthusiasm
This actually helps alot! I always get so stuck on voicings and scatting over chords and trying to do the same runs and motions. As helpful as knowing how jazz voicings are played and sound, your process of thinking of improv as melodies is amazing! Love this vid and hope to see you at Mt. Sac again next year!
Aimee you are incredible! I have gained a lot from your teachings and just simply the way you explain things. It's all from the heart and I feel that so deeply.
I was already loving this video, but that moment with Charlie was *beautiful*. That was so special. Cheers to you both!
Love this. This is the reason I play - the motifs. And I forget that for great periods of time.
This is so good! I feel confident doing pop and rock keyboard solos, but I've always had trouble with jazz piano. Thank you for rekindling my enthusiasm for soloing in jazz contexts! "Find a motif; see it through 'til the end." I love it.
Thank you for sharing this, much love to you 💚
You hit on one of the big reasons some folks don't enjoy some (jazz or improvised) performances, they failed to provide: "ideas from the heart." While tour-de-force acrobatic performances show off technical prowess, they also can easily become a mind-numbing cacophony that lacks artistry.
Love this - thank you Aimee. 😊
This is such an incredible video and resource. Thank you!
6:04 - this short and simple impro gave me goosebumps. Maybe it's your voice but I think that part of this effect was the predictability of which you spoke earlier. It was as if you were singing what I was thinking ☺️
Thank you, Aimee! This is brilliant! 🎷🎷🎷
Keep going Aimee , enlightened me. Thanks.
As a bass player, I tend to implement this strategy into my basslines. I find there is a time and place to double the guitars, however, writing basslines for a verse section that color the chord tones and support the melody all while keeping a rhythmic structure....this is what defines being a great bassist!
That’s most of what defines the generalized role of a bassist for sure
This was really, really helpful. Thanks Aimee.
Thank you for brightening my mood today. And how fantastic to have your son drop in like that!!
You're the first musician to say out loud what I've thought for years. Everyone always gives scales FAR too much importance. It's surely all about listening, isn't it!! Following your ear, being melodic. Yes, scales are important, but knowing 'which ones to use over certain chords' is not going to make you create a good melody.
I didn't think I would smile again today. Thank you.
Yes! What a great lesson, Amy. This is crucial.
Aimee, this helps so much. I have been trying to come up with new ideas on how to teach improvisation to my guitar students who are interested in jazz, without overloading them with modes. It's a relatively easy thing for seasoned musicians to do this on the fly, but much more difficult for newer students of music. I am going to try your method with my students to see how well it works. Thank-you! Dave
Wow you and your family are beautiful. Bless you so much. Keep shining ✨️ love to you and your family. That was lovely to see you and your son Interact like that. There is goodness in the world and music helps spread it
Enjoying your new course, congratulations are in order!
this video! I absolutely love this philosophy. whenever I'm soloing or teaching somebody how, I always try to break all of the walls and gates to demystify the idea that you HAVE to know scale X or Y to start playing and making music. For music, instinct and ear is king. The rest comes later.
What a great technique! How could I have never heard of this? Charlie is a good sport.😊 Thanks!
Enjoying my Mother’s Day morning with another great Aimee Nolte educational video… thank you Aimee and enjoy your Mother’s Day with Love, Roxy
yassss! wonderful lesson Aimee!
Very clever that you actually played these examples of scale-based vs. melodic or motif-based improvisation. It is one thing to talk about it and a whole other thing to actually show the difference.
I also believe that the scale-based approach is just a shortcut to be able to sound like the pros. However, pros like Rollins or Coltrane always play melodically in a sense, even if they play fast. Never scales up and down, always intricate stuff.
Great stuff as always, Aimee 🙏✨
Aimee you are so gifted and beautiful. Your teaching is so clear coming from a musician.
Great lesson! You are such a gifted teacher and coach!
I find it part of the process..."you go to the theory, but creativity comes to you."
As a classical pianist who wants to learn jazz, this is so helpful. Thank you Aimee!
Thank you. Amazing as always
This is the only hope I have!