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SOTM March. Left right left right....Once in a while

Ok, all one take. I've taken on board the concept of an A, another A, a B and a final A as described by Colin and others. Not saying this has improved the final output, but it has made it a lot clearer when playing, in terms of understanding where I am sorta thing and how the B fits in with the rest. Far from perfect, some obvious mistakes and for some reason tone seems a bit harsh today. Also hit a harmonic going to D2, I know that one, and doesn't usually cause a problem, but did this time. neway, teacher here tomorrow, so will get some idea to practice.

https://dl.dropboxusercontent.com/u/97346875/Once in a While20170303.mp3
 
trimmy said:
Always a pleasure listening to you play on SAT (haven't heard bari)
You should do a cd....seriously :)
Click to expand...
Thank you!
I doubt I've played bari for more than an hour in the last couple of years but, as a result of Kev posting a link to a bari player I'd not come across and me remembering the existence of the wonderful; Celine Bonachina, I decided to post a couple of choruses of blues on bari on the Blues of the Month thread. It's a bit crap cos I'm seriously out of practise on bari. I need some gigs on it to kick me into action.
A cd? :rofl:
That's very kind of you but I don't have my own band so it'd be me backed by a motley selection of Aebersold, Hal Leonard, etc backing tracks.
Actually, now I come to think of it, a mate pointed me in the direction of some ambienty piano tracks he'd done and asked my opinion. I responded by smothering them in soprano. At least it's original. This is one of them:
https://soundcloud.com/nicksax%2Fthis-was-my-silence-v
You want bari? I've got bari.
At the risk of derailing the thread further and exposing myself to cries of "silly pretentious twaddle!" I offer this thing. 'Twas a college (as a very mature student studying instrument making) project on graphic scores from some years ago (8, apparently - doesn't time fly?). The idea is you improvise, taking inspiration from the pictures. It's not exactly Colin Stetson. Solo baritone.
 
Nick Wyver said:
You want bari? I've got bari.
At the risk of derailing the thread further and exposing myself to cries of "silly pretentious twaddle!" I offer this thing. 'Twas a college (as a very mature student studying instrument making) project on graphic scores from some years ago (8, apparently - doesn't time fly?). The idea is you improvise, taking inspiration from the pictures. It's not exactly Colin Stetson. Solo baritone.
Click to expand...
Listening to this one first as I was intrigued by your description. I love it!
 
Ok, now that I've got the 'locations' of the A and B sections in my mind I've taken on board comments from Colin. This time, rather than just random twiddling using the relative keys of the A and B section, I've played a fairly constant motif in the solo sections (2nd and 3rd play through). The motif is based loosely on the melody, but thumbed up an octave (it's not exact, but based on). The B sections are still weak and need more practice (not that it isn't all 'weak'...but relative :))

https://dl.dropboxusercontent.com/u/97346875/Once in a While20170306.mp3
 
Had a bit of time for another go. Similar to last time, but trying to develop the ideas. Last time I came up with a riff for the soloing, but I think I over-used it as I repeated it pretty much every time, this time I've tried to vary things a bit. Also...sorry....I've strayed into the palm keys (D only), I don't play these much so it's a very weak part of my playing (not that nething else isn't weak like, just weakester part maybe). Unless I stare at the tuner when I'm playing the D, it comes out a bit flat, it's ok if I stare at the tuner when I'm playing it :)

Oh, I think I bumped into the mic when I was playing, I need to practice standing still when I'm playing...

I'm enjoying it, but I seriously wonder if I'll ever get this improvisation business, sometimes you think you almost have it, then it kinda slips out your grasp. The closest I got was playing this, where a few times, I 'heard' the riff in my head before I played it and my fingers moved to the sound of the riff, not to the 'F/G/E' keys. Sadly, then, in my mind, I heard nothing for the next bit :)

https://dl.dropboxusercontent.com/u/97346875/Once in a While170312.wav
 
The melody is definitely getting better.

The more you try this sort of thing, the simpler it becomes. It's never easy and some tunes will always elude some players.

Improvisation in general needs more work than a melody. Trying to find another pleasant way through an accompaniment isn't easy. Theory can help point the way. I like to think of the chords/arpeggios of a piece as the bones. It needs fleshing out and covering with skin.

By learning first the tones of the basic chord structure and then the extensions 7 , 6, etc and then sticking to these notes will give a flavour that may inspire. Adding further extensions 9, 11, 13, etc help to decorate and add interest harmonically. All this needs to be played in a rhythmic fashion, sympathetic to the style, feel and tempo of the accompaniment.

Scale practice is essential to obtain fluidity in the fingers. For basic jazz Eb, Bb and F should be fluent. A chromatic scale from top to bottom should be part of your practice regime. It helps with muscle memory to lock into the fingers where all the notes are. The blues scale is a handy tool. Sort of a "Get out of Gaol Free card" for when you're stuck for ideas.

It's always a work in progress. We think, when we get to that certain level we'll be happy. No. We remain as unhappy as the day we started but with changing goals. It's never good enough.
 

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