![]() ![]() If you read my blog post on my trip to New Orleans, you know that I had an exciting time while I was there. It’s their individual sounds, sometimes brittle, other times hypnotic, that make you go “No doubt about it, that’s Lee Morgan.” Continue reading → How can you tell when it’s Miles? It’s that sound. It might sound weird, but I truly believe that. Your sound is the #1 most important thing in your playing. Before all the licks, and all the “finger flapping” as Ambrose so humbly (he’s clearly full of it) calls it, you hear the sound. It’s always the first thing you hear, the sound of the instrument. ![]() Right when you think he’s lost you in a solo, he reels you back in with a sweet, warm melody, or just a straight up funky blues lick. Ambrose is the perfect mix of math and emotion. It took me months before I could remember his name “uhh…it’s this long name and starts with A, but he’s ridiculous!” but I’m sure I’ll never forget it. So I did!ĭownload the PDF: Bb, Concert, Alto, Bass, ClefĪmbrose. This semester my trumpet teacher Adam Rossmiller came across this solo of Blue Mitchell’s and told me to check it out and transcribe it. At school I try to transcribe as many solos as I can. I’m a young musician trying to study this music and hopefully begin to understand it a little bit more with everyday that goes by. With such ease and flow their language of be-bop, and blues just feeds the ears of our generation with so much substance that I feel we sometimes miss out on. With transcribing the jazz language I’ve always been fascinated with the process of figuring out what the great players of the 50’s and the 60’s played. Transcribed by Lukas Skrove, Spring 2012. Players on album: Blue Mitchell (trumpet), Joe Henderson (tenor saxophone), Herbie Hancock (piano), Gene Taylor (bass), Roy Brooks (drum set). You also need to have JavaScript enabled in your browser.īlue Mitchell’s Solo on “Bluesville” from the album Step Lightly (1963). These lines have their roots in soul and gospel – the kinds of phrases that make you want to jump out of your seat and shout “AMEN!”.Īudio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Writing out phrases such as bars 5, 21-22, 36 and 44 actually doesn’t do the solo justice, and they shouldn’t be taken too literally (as with most solos, I’d say). ![]() What I’ve noticed from my own playing is that I often play far too much in trying to find my way through the changes, so this is definitely a lesson to take home. What struck me immediately as I was writing out this solo was the sparsity of notes and delicacy of the phrases at the beginning, followed by sudden outbursts of expressive lines (like bars 21 and 31/34). I’ve finally got around to finishing it and digitizing it in MuseScore. Or was it “Starmaker”? I started writing out Roy’s solo in “I’m Not So Sure” some time ago already, and then shelved it. I still haven’t decided which is my favourite track on Roy Hargrove’s ‘Earfood’ – either “Strasbourg St. Get the latest Flash Player or Watch this video on YouTube. Including PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right – available exclusively from Hal Leonard.The Adobe Flash Player is required for video playback. The accompanying audio – available online for download or streaming – contains full-band demo tracks and accompaniment-only tracks for every trumpet solo in the book. This book/online audio access package provides solo transcriptions in standard notation, lessons on how to play them, biographies, instrument information, photos, history, and more. From Bix Beiderbecke and Louis Armstrong to Herb Alpert and Chuck Mangione, take a look at the genesis of pop trumpet. ![]()
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