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Isaiah Kelly
Isaiah Kelly

Free Jazz Bass Improvisation Pdf File

Description: Wouldn't it be great to be able to just sit down by the piano and improvise great jazzy sounds??? Also, if you're a beginner!!! The best way to learn Music is by playing Music.So we'll dig right into it and create a simple but yet very thrilling freestyle 'playground' in which we can easily unfold our creativity.

Free Jazz Bass Improvisation Pdf File

  • Extra:PDF with all the jazz licks on sheet music

  • PDF above in French. Translated by subscriber Pierre Marzin - thanks a lot for your great work Pierre!!!

  • PDF above in Italian. Translated by subscriber Renato Bartolini - thanks a lot for your great work Renato!!!

  • The jazz licks as MIDI files

  • MP3 Drum & Bass backing track with the chord progression in Emi (as in the video), Dmi and Gmi The backing track also comes as a YouTube Video

  • This playlistis a collection of NewJazz lessons that all show different approaches on how to play and improvise over the very same chord progression as used in the lesson above (a standard sequence of fifths in Emi).

Description: This is a very simple and yet very powerful jazz improvisation lesson for the right hand.We walk through 10 easy steps. We do exercises and I give you some practical jazz tips on the road.A good lesson for beginners but I'm sure experts can be inspired as well...

Description:This lesson ended up pretty advanced - but only in theory!!! In practice we use only ONE simple hand grip!!! But we do not just play a single mode - we play POLY MODAL; we freely alter our sound and we blend different thrilling colors and flavors making our jazz improvisation organic and alive.

First we'll learn how we can quite easily improvise in any key. Then we'll learn to blend different musical scales; we'll play POLY MODAL and make our jazz improvisation both colorful and exciting - we'll gain a fantastic tonal freedom and tell a musical story! By the end we'll go further in depth about the IDEA and CONCEPT of the hand grip.

Description:We'll use only 3 fingers to do thrilling blues & jazz improvisation over the standard ii-V-I chord progression. We'll start out simple - then we'll gradually add more and more stuff - finally we'll add the pinkie to the party ;)

Description:We play chromatic notes and we use our first 3 and strongest fingers as a motor for our improvisation. We mix in a blues scale and chord arpeggios - and we learn to play a thrilling jazz solo over the ii-V-I chord progression.

Description: From HARD WORK doing useful exercises to FUN WORK creating and improvising jazz.First we do some simple and basic ARPEGGIO EXERCISES.Then we loosen up and with the exercises as a foundation we learn how to improvise an EASY JAZZ SOLO.Along the road we also learn to play a simple, allround and thrilling WALKING BASS to make the grounding for our exercises and improvisation.

Description: We make a very useful rhythmic exercise for jazz improvisation.The exercise functions as a kind of ever going 'motor'.The motor is based on some very simple ideas:we invent a piano "finger sequence" and we use a pentatonic "hand grip" and we make rhythm and phrases into a thrilling musical counterpoint!!!Our exercise is fundamental in many ways, if we want to be free to express ourselves when improvising Music.In particular the exercise will make us strong when combining rhythm and phrases in a free manner.Later on in the lesson we add the left hand chords to the exercise.The chords also make a thrilling counterpoint to the rhythm!!!With the "motor" exercise we automatically learn to put in the left hand chords on all the different sub beats just by following the patterns of the right hand phrases.Then we make different tonal flavors by moving our pentatonic hand grip to different positions on the keys.By the end of the lesson I inspire you to create and exercise your own favorite phrases and to add these to the 'motor' - the opportunities to form your own Music are endless...

Description: We use only 3 GRIPS to manage all the most common expanded left hand JAZZ CHORDS.With some simple EXERCISES we'll learn to play the jazz chords in every key.We also use the chords in PRACTICE and play along to a drum & bass BACKING TRACK over a very standard JAZZ CHORD PROGRESSION.

Description: We do NOT just play ONE MODE while improvising jazz. We play POLY MODAL. We constantly shape our sound into nice progressions and intertwined flavors by using the MELODIC MINOR MODES. The technique in use has a classical analogy and is inspired by pianist BÉLA BARTÓK and the term "POLYMODAL CHROMATICISM".Thank you so much to NIKOLAI NOREVIK MYKLEBUST from Norway for his great help making a modal drum&bass backing track in F. We use the backing track throughout the entire video to play along. And by the end of the video the backing track is running solo so you can try out the techniques without me interfering... Nikolai has the talent to create an open organic jazz sound - perfectly suited for us to live out our poly modal playground.

Description: In this music lesson we'll use only a few minutes to learn to play a modal funky rock & jazz solo on the piano.Then we'll hear the music performed in practice with Erik Frandsen on the Drums and "Tao" on the bass.I hope you will enjoy :)

first of all my congratulations for yours didactic skill: clear, learned, very to the pratice of the instrument but always connected with theory. Abut improvisation I would like to know if you consider in one of your lessons a main problem for who wants to start to improvise: the relationship of the phrases one plays with the rhythm and the meter, and how the phrases could be placed in or across the bars. Thank you very much again, I really appreciate your discipline and your progressiveness in teaching and the clearness of your verbal instructions, and naturally I appreciate most of all your precise, technically flawless and expressive bass playing, also in simple scales or exercises. Yours sincerely Paolo Cecchi from Venezia (Italy)

By PaulThe following set of live recordings feature either a quartet and quintet led by saxophonist/clarinetist Michael Moore. Playing up different qualities, each album showcases unique and exemplary group work.Michael Moore Quintet: Rotterdam (Ramboy, 2011) ****Recorded in 2008 at the Lantaren Theater in Rotterdam, the quintet recording starts off with Moore's saxophone and Eric Vloiman's trumpet shadowing each other through a delicate melody. Marc van Roon sprinkles in accompaniment at the right moments on the piano and delivers a solo that would not be out of place on say a classic post bop Blue Note recording. Tittlich is a light and full sounding introduction to a delicate, yet tough, album.Solstice begins with a certain solemnity and a gentle swing that feeds off its own restraint. As the song picks up, the tension that has built up reaches a pulsating apex with Eric Vloeimans' trumpet solo, and it's quite a pay off. A return to the more subdued head closes the song. After a collection of compositions along a more classic jazz vein, the tune Switz seems to switch into a group improvisation mode. Most of the interactions between the musicians seem generally unpremeditated, though there are some unison lines between the two horns that give the piece an anchor. It's an exciting late development in the album and sets the tone for the last couple tunes. This quintet here is: Michael Moore, alto saxophone, clarinet; Eric Vloeimans, trumpet; Marc van Roon, piano; Paul Berner, bass; and Owen Hart, Jr., drums.Michael Moore Quartet: Amsterdam (Ramboy, 2011) ****Recorded in 2010 at the Muziekgebouw in Amsterdam, the quartet featured here is comprised of Moore on alto saxophone, clarinet and bass clarinet; Harmen Fraanje on piano; Clemens van der Feen playing bass; and Michael Vatcher on drums and percussion.The concert starts out a little more raw and free than Rotterdam. The dialog between Moore and his group is high caliber and sections of the tunes feature syncopations, stops and starts that reward intensive listening. The opener, Round & Round, is full of exciting interactions and unanticipated concurrencies. Seven follows, which again features a free approach to the composition. Rapidly becoming my favorite track of the album, Moore's clarinet jumps through unanticipated intervals and delivers short melodic phrases while van der Feen's bass punctuates and propels. Throughout, the drums and piano are very economical and play just what is needed. A repeated theme that surfaces on occasion elevates the song a notch each time it appears. Other tunes like Lusty Bike have very beautiful moments that, while sometimes feel a bit whimsical, are also quite lyrical.A mix of free and composed pieces, the album seems to start off on the freer side and weaves back and forth between structured and free playing. Moore's tone on the woodwinds stretches and bends but never breaks, and his group at times delivers a gentle sophistication that pops up between more strident moments like a soothing ointment. Moore has a rounded, breathy tone, that is not without teeth. Edgier moments like the more experimental Creeley provide a great balance to the set.Michael Moore Quartet: Easter Sunday (Ramboy, 2011) ****Recorded on Easter Sunday at the Bimhuis in Amsterdam, the album starts off with Cool, Simmering. The tune begins with an uptempo skittering of percussion and light touches on the piano that invite Moore's sax to come skating in. The song has a feel like sliding over the frozen surface of a deep dark pool. The quartet is the same as on Amsterdam.Easter Sunday, like the name implies, is a quieter, reflective and spacious recording. Acceptance, which begins with a crash of percussion, soon sees Moore playing a longing and gentle melody that stretches over quiet but insistent brushwork. The woodwind on Suleika intertwines and shares intimate space with the piano, which gradually become more rhythmic but still restrained. In general, a quiet energy permeates. The playing has a lighter touch that keeps it floating along even as the piano picks up in intensity and slight bluesy figures drift through the atmosphere. My favorite is the classic It Might as Well Be Spring which closes the album. Played on clarinet, the melody is rendered with all it's fragile joy and swing intact.Gentle, but with a tenaciousness, this recording is the most consistent. However, all three albums contain different atmospheric and textural qualities and are high quality recordings of an utterly professional and accomplished group.Check out some clips from the albums at Ramboy RecordingsBuy from Instantjazz. PaulfixByline("regularpost559560664979932655");


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