There are several ways to make your transcribing life easier. By doing them yourself you will be training your ears and probably get a much better understanding of the solo. Saxsolos com jazz transcriptions of the masters how to#The transcriptions and analyses will give you some ideas about what to look for and how to analyse saxophone solos: Transcribing Blues SolosĪt first this is quite a daunting task, but well worth doing your own transcriptions rather than buying them if you have the time (and cheaper). Of course, it’s useful to learn lots of licks and phrases, but best of all try to invent your own. tension & release leading to a satisfactory conclusion of the solo – exactly as if you are composing. You can learn some good jazz licks, but best of all, you must learn how to put them together in order to create interest, e.g. I have done simple analyses of some of the solos on these pages to show you how to approach understanding what makes a well structured solos. Then try to analyse what the player is doing or the way they are thinking. To get this kind of skill, probably the best thing you can do is to listen, learn and transcribe some solos. It can become easy to get into the habit of running up and down scales rather than finding interesting melodic phrases that can hold the listener’s interest by building up tension and releasing it, or by giving a solo a real musical shape. While this approach has some merits (you can gain confidence in soloing over a chord sequence quite quickly), the danger is that you miss the wider picture. Jazz and blues improvisation teaching is placing more & more emphasis on learning specific scales to fit a chord type. This can mean either repeating a phrase, or repeating it at a different pitch or with a few notes altered. Instead of stringing notes together you might think of them like a conversation (originally blues was a “call and response” vocal form). This means learning to play melodically or lyrically. Lee Allen & Herb Hardestyīut with blues improvisation, technique on its own won’t cut it, you need that extra magic that can make even an apparently simple solo sound somehow more relevant and memorable. Most of the great blues players knew their theory and practised hard to learn scales, arpeggios, patterns and licks (plenty of those on the saxophone lessons page) and how they fit around chord changes. It will sound OK and at least give you the confidence to stand up and solo in front of other musicians or an audience. Well, this approach can work when you are starting out. Some people think blues solos are easy: just learn a couple of minor blues scales and play them over the chords. How do you learn to play good blues solos?
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