Hey guys. I play tuba in a little combo called Squeeze-bot in Louisville, KY. I'd like a little feedback, information, and some advice.
Here's the website for the feedback: www.myspace.com/squeezebot
If anyone can give me some information about the jazz competition at ITEC that would be great. Especially with regard to format, judging.... well, really anything.
And, I need some advice about improving my soloing. You'll notice that on the band webpage I don't take any solos. I take some in our live performances, but only on the tunes that I feel most comfortable with, and that's not to say that in my opinion they're any good. But that's another story for another time. So, how do I get better? Yes, scales and trying new things in rehersals, but what are some other perspectives?
Oh yeah, we've got a video on YouTube too if you're interested: http://www.youtube.com/watch?v=D9B6Q3_fY-Q
It's a lot of questions and stuff, but thanks.
Tuba Jazz Questions
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paco1013
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Davy
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Stefan Kac
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Put on a metronome; pick a phrase (could be a nursery rhyme, bass line, head, tone row, or anything else); play that phrase in all transpositions, in time, without writing it out.
As for the ITEC competition, I can only speak about my impressions of the last one, in 2006. They asked for what I consider very "straight ahead" jazz stuff (i.e. swing-bebop-hard bop). The repertoire is pretty much prescribed, but you can do your own thing with it as far as tempos, feels, etc. (and the rhythm section will be professional and flexible enough to facilitate that; what a luxury!)
As for the ITEC competition, I can only speak about my impressions of the last one, in 2006. They asked for what I consider very "straight ahead" jazz stuff (i.e. swing-bebop-hard bop). The repertoire is pretty much prescribed, but you can do your own thing with it as far as tempos, feels, etc. (and the rhythm section will be professional and flexible enough to facilitate that; what a luxury!)
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Udi
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I like your bass playing, it's rhythmic, light and clear.
I hear you about taking solos, it's always a challenge, and it's a bigger challenge with a bass instrument.
Do you feel comfortable improvising with your voice? If you do, try recording a vocal improvised solo and copy it on your horn. Don't just copy the notes, though - dynamics and rhythmic feel are a lot of what makes a good solo, and when singing we're sometimes more free in our use of them. You can also do this without recording by singing and immediately playing your ideas. I do it all the time.
Another good thing is transcribing or learning by ear a great solo (preferably on the tune you're working on) and copying every detail of it in your playing. I suggest starting with simple, beautiful solos, not something that will be too hard and frustrating. You can also learn just a chorus or two from a solo for starters.
Than use the ideas you got from these recording, even if it's hard. Decide you'll be starting your solo with that phrase and use that other one on those two bars, etc. That's really important, making a connection between what you practice and what you really play on stage.
Good luck!
If you find these ideas useful I can PM you a few more. This has been too long anyway
I hear you about taking solos, it's always a challenge, and it's a bigger challenge with a bass instrument.
Do you feel comfortable improvising with your voice? If you do, try recording a vocal improvised solo and copy it on your horn. Don't just copy the notes, though - dynamics and rhythmic feel are a lot of what makes a good solo, and when singing we're sometimes more free in our use of them. You can also do this without recording by singing and immediately playing your ideas. I do it all the time.
Another good thing is transcribing or learning by ear a great solo (preferably on the tune you're working on) and copying every detail of it in your playing. I suggest starting with simple, beautiful solos, not something that will be too hard and frustrating. You can also learn just a chorus or two from a solo for starters.
Than use the ideas you got from these recording, even if it's hard. Decide you'll be starting your solo with that phrase and use that other one on those two bars, etc. That's really important, making a connection between what you practice and what you really play on stage.
Good luck!
If you find these ideas useful I can PM you a few more. This has been too long anyway
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adam0408
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There are a few different approaches to improvising, and only one of them has been mentioned thus far.
1. Play the tune/some other tune from another song in the right key (of course) and embellish it.
It helps to get a fake book and learn the standard melodies in all keys. if you don't have one, you can get fake books here: http://www.hickeys.com/ It will help your reading skills immensely. For instance, learn "take the a train" in all the keys. Then you can play that melody over a large variety of chord changes.
Learn tunes that everybody knows, like the simpsons theme, mario bros, etc. Know your audience. If they are jazz savvy, then play more standards. Autumn leaves is good because most people know it. A lot of duke ellington stuff is also really well known.
2. Play by scale/key
Learn the blues scale, wholetone scale, and pentatonic (at the very least) in all keys. Other interesting modes to think about would be perhaps mixolydian and maybe phrygian..... Modes help. Take a solo section, figure out what key its in by analyzing the changes. Then play a scale from that key over those changes.
3. Play by chord
This gets a little tricky sometimes, especially when the chords change every bar or twice a bar. You need to have all the improv methods in your bag of tricks for situations where you aren't sure what to do.
Use notes from the chord or corresponding scale to make an interesting melody or rhythm. It is really easy to do a solo simply by arpeggiating chords. (i dont know if I said that right)
**remember, you can make an average solo sound interesting by playing key notes (such as the accidentals in the blues scale) on weak beats vs. strong beats**
There are other methods you can use, but these are the ones that I feel are most important to have down pat. Learn to solo over a twelve bar blues form.
It helps to learn common changes so that when you run across them later it won't be so scary soloing over them. Remember much of jazz is based in a I-IV-V progression or some variant of that. The "I got rhythm" changes are very commonly used throughout standard jazz rep. A lot of bebop tunes use it if I am not mistaken.
Listen to great jazz players: Miles Davis, John Coltrane, Maynard Ferguson, wynton marsalis, and others of course. Transcribe their solos and analyze what they did. That will help you understand the steps needed to perform a great solo.
I am sorry if I dumbed it down too much. I am also sorry if I confused you. If you have any questions don't hesitate to pm me.
HOW COULD I FORGET! Get some of the Jamie Abersold cds. I am not sure if they are available to purchase anymore but you may be able to get them through inter library loan. They are recordings of a rhythm section playing changes to standards just for the purpose of learning to solo. This is by far the most effective method of improving how you solo.
1. Play the tune/some other tune from another song in the right key (of course) and embellish it.
It helps to get a fake book and learn the standard melodies in all keys. if you don't have one, you can get fake books here: http://www.hickeys.com/ It will help your reading skills immensely. For instance, learn "take the a train" in all the keys. Then you can play that melody over a large variety of chord changes.
Learn tunes that everybody knows, like the simpsons theme, mario bros, etc. Know your audience. If they are jazz savvy, then play more standards. Autumn leaves is good because most people know it. A lot of duke ellington stuff is also really well known.
2. Play by scale/key
Learn the blues scale, wholetone scale, and pentatonic (at the very least) in all keys. Other interesting modes to think about would be perhaps mixolydian and maybe phrygian..... Modes help. Take a solo section, figure out what key its in by analyzing the changes. Then play a scale from that key over those changes.
3. Play by chord
This gets a little tricky sometimes, especially when the chords change every bar or twice a bar. You need to have all the improv methods in your bag of tricks for situations where you aren't sure what to do.
Use notes from the chord or corresponding scale to make an interesting melody or rhythm. It is really easy to do a solo simply by arpeggiating chords. (i dont know if I said that right)
**remember, you can make an average solo sound interesting by playing key notes (such as the accidentals in the blues scale) on weak beats vs. strong beats**
There are other methods you can use, but these are the ones that I feel are most important to have down pat. Learn to solo over a twelve bar blues form.
It helps to learn common changes so that when you run across them later it won't be so scary soloing over them. Remember much of jazz is based in a I-IV-V progression or some variant of that. The "I got rhythm" changes are very commonly used throughout standard jazz rep. A lot of bebop tunes use it if I am not mistaken.
Listen to great jazz players: Miles Davis, John Coltrane, Maynard Ferguson, wynton marsalis, and others of course. Transcribe their solos and analyze what they did. That will help you understand the steps needed to perform a great solo.
I am sorry if I dumbed it down too much. I am also sorry if I confused you. If you have any questions don't hesitate to pm me.
HOW COULD I FORGET! Get some of the Jamie Abersold cds. I am not sure if they are available to purchase anymore but you may be able to get them through inter library loan. They are recordings of a rhythm section playing changes to standards just for the purpose of learning to solo. This is by far the most effective method of improving how you solo.