all-levels

plenty to do here.

• Put the chords in Ireal
• Transcribe my solo
• Make sure you can play and comp rootless voicings through out this for 4 choruses.
• Play my solo
• put my solo into Bb
• play my solo followed by your solo. Try and make it similer in nature
• do it in Bb and other keys.

If you click right below here on Bags Groove it should ask you to open up Ireal pro and should import this.

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Probably one of the best things about our instrument is that, when all hell is breaking loose around us, we can retreat to an instrument that is capable of playing very peaceful and soothing tones. It's one of those nights over here and this is one of my mother in law's favorite Christmas tunes, "Mary's Boy Child" by Harry Belafonte.

Thought I'd share it. Been working on some new recording technique for very soft playing as well.

This is the first part in my phrasing series, where I'll hit my main thoughts on dampening, pedaling, sticking, and articulation. This video is on sticking.

I'm finding all these ways to work out with Ireal Pro. And you know it, it's fun and it's cool. Not like a real band however.....

This is way hipper than using a metronome.

Here are some scale solos to transcribe. I could write them out, but you should work on transcribing them. You can post them here and one of us can check them.

Do you see all the things I can do with scales? Can you do them? I think they are very important and simply seeing all the notes light up are crucial for playing solos. Repetition of scale studies will really help you.

The toolkit are all the things I think you need to know to play a tune.

Can you nail the 7th and the 9th of all the chords in Blue Bossa? I can, and you with practice you can also. It's a skill to instantly know where everything is in a chord. The only way you can learn is through repetition. So transcribe these solos, based on the 7ths and 9ths of each chord.

The toolkit are all the things I think you need to know to play a tune.

When I think about it. These are things any good pro can do. So if you can't do it, think about that. Get these skills together and you move a little closer to some great player, to whom all this is second nature.

This solo is harder than Toolkit-1. But it's still fairly simple.
The toolkit are all the things I think you need to know to play a tune.

When I think about it. These are things any good pro can do. So if you can't do it, think about that. Get these skills together and you move a little closer to some great player, to whom all this is second nature.

You need to know how to transcribe other peoples solos. Here is a simple solo for you to transcribe.

The toolkit are all the things I think you need to know to play a tune.

When I think about it. These are things any good pro can do. So if you can't do it, think about that. Get these skills together and you move a little closer to some great player, to whom all this is second nature.

You need to know how to transcribe other peoples solos. Here is a simple solo for you to transcribe.

• Transcribe it. Memorize it, maybe don't write it down.
• Play it with Ireal in different keys
• Play the chords and the solo even if rubato

In the linked video, I noticed the very different sound development due to the different playing styles of Oliver and Tony.

Oliver uses the dampimg significantly less than Tony. The damper bar also seems to press harder against the bars. His tone is therefore extremely percussive, but also dry and with almost no sonority.

In contrast, Tony gives the tones more opportunity to develop sonority by adjusting the damper pedal almost constantly while playing.