Marina Albero Session 4 – Song – Marina, Michael Glynn and Dan Greenblatt --https://youtu.be/rRMh9C6-ONo
Marina Presentation Session 4 – Part 1 and Part 2
https://youtu.be/jOsUlJeHcNQ
Kyle Gaul - Greenblatt Perdido Combo ....
We played the Blues Étude to remind ourselves that we all have to learn it better, paying special attention to the triplet phrases. We then looked at the head for Cattin' and tried transposing parts of the head, in order to absorb them into our vocabulary. Lines of melody are useful information and may be used in improvisation to fuel ideas. We then worked on Perdido, similarly dissecting the melody and using it as fodder for other ideas to be used in soloing. We reviewed more C Harmonic minor licks to play over the "turnaround to 2" in Perdido. We practiced each taking a chorus and placing the new licks exactly on that measure. The Perdido Étude is coming along as well. Make sure to FIND and LISTEN to these tunes (YouTube is a great resource). Find a recording you like and STEAL from it! Everyone is improving so let's keep the fire a'blaze into our gig on the 2nd and melt some faces!
Ken Weller's summary of Paul Gabrielson's Get Out of Town Combo
We played through our tunes, Four and Little Sunflower to further cement them in our heads. E.J and Mr. Gabrielson came up with an ending for performance. We play the ending up to the last note and then give the drummer a bar and some beats of a drum solo and come in with the final note on the & of 2. If this is confusing, We'll work on it next week.
I encourage all students to, when practicing improvisation or exercises, to play with a sense of conviction and confidence. It's easy to say, but improvising is a lot less scary when you play with a sense of purpose. This purpose is like what we've been talking about in sessions. The idea of improvising being like a conversation is one that I feel makes it easier to not be afraid of improvisation.
Joel Steinke summary of The Little Sunflower Combo
We refined our charts and continued to explore soloing on both tunes. We added an intro to Jared's arrangement, finalized our key changes for solos
and ran the chart four or so times. Lead sheets were handed out for Natalie's contrafact; everyone will learn this for next week with trombone playing the written original contrafact, and trumpet and sax
playing the harmony. Drums is practicing the time change of the quarter note triplet.
Max Bennett provided this for The Joe Henderson Combo
We only had two folks in attendance last time. However, we had the good fortune of having two guests with us on guitar and bass - Jack Roben and Jackson Mindt. We worked on Night and Day, the solo section to Professor Dissendadt, and a blues. We talked a lot about "contrast" in our solos. For the soloist themselves, this contrast can be achieved by varying the dynamics within a phrase or a line - horn players can do this much easier than the bass or piano. Furthermore, we talked about contrast in the rhythm section. There are lots of ways to switch things up: starting more "open", being more "busy", being loud or soft, doing different hits, changing "feels".
Jack Hillman submitted this ...
Trombone Sectional:
Along with the usual warm up routines, this lesson was focused on how to practice and really learn scales. This included playing scales in multiple octaves, learning scales fluidly both down and up, step-wise patterns, and intervallic patterns. We also talked about the importance of learning the corresponding chords to scales, and patterns to better learn those.
Barbados Combo:
The group received an arrangement of Saint Thomas and began improvising over the chord changes. Strategies that were discussed were focusing on the home key of the song, which can roughly be used as a baseline to improvise over the whole tune. The group also solidified the melody on Walkin', and continued to practice using the F minor blues scale to solo over the tune. Finally, the group discussed ways to keep the form while soloing, which included going through the melody in your head and listening to the rhythm section to hear the changes.
Mason Fagan submitted this ....
Jory Tindall's - Barbados Combo
We worked on phrasing and rhythm. We did an exercise where we limited our solos to one or two rhythms, and used that to show the students how they can show their creativity in their solos. We then discussed how we could develop this creativity by making up rhythms of our own to play off of. The students showed immediate improvement!
The Real McCoy Combo with Michael Glynn - 7/18 (summary by Dylan Allrud-Faltisco)
Our set for the first show: Work Song and Listen Here
Michael brought in his arrangements of Work Song, Listen Here, and All the Things You Are, and he brought up some concepts for students to focus on when building a musically and melodically meaningful solo. We gave each student time to explore solo building with these concepts…
Keeping your solo simple at the start. Playing short and spaced out phrases. Work Song is a great example of this sort of build,because of its sparser call-and-response melody. Each phrase is catchy and “responds” to the previous phrase in the head. You can add more to each phrase going forward to build a more complex solo while keeping it more diverse than a bunch of fast lines. Simple phrases with rhythmic conviction and musicality are powerful. If you need inspiration the start off your solo, try sampling the melody.
- Cannonball Adderley - Work Song (original 1960 release)
- Eddie Harris - Listen Here (original 1967 release)
- https://www.youtube.com/watch?
v=CsHtO_i4qzM
— Dylan Allrud-Faltisco | Faltisco Sound (425) 248-0308 da.faltisco@icloud.com https://www.linkedin.com/in/dylanfaltisco/
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