How To Find New Ideas For Your Solo ( in an organic way 🌱... )

[@giosuemazzei6019]

This is honestly such a good video! Even for more experienced players, it really highlights the importance of slowing down and zooming in on things without judging ourselves

[@tinajackel]

thank you so much Gio! hope you are doing well!

[@TheCompleteGuitarist]

When you are improvising you should be hearing your musical ideas. I don't mean a note for note phrase, but you should be hearing musical shapes. Am I going up, down, staying in the same place, am I creating tension or resolving an idea am I leading to the next chord or coming to the end of the song. Improvising is like speaking a language. We don't hear the words exactly until they appear in our mouth but we shape them, each subsequent word choice being implicity influenced by the previous one and retrieved intuitively from our expression/sound bank of ideas. The same more or less for music. If you hit a wrong note, just like you might momentarily choose a wrong word, you resolve it by going with it or changing it. Speaking and improvising music are the same act, come from the same part of the brain. Thanks for sharing your journey with us, as ever always interesting.

[@ramirointrocaso3578]

awesome

[@pkauppila]

Great stuff once again, thanks Tina!

[@tinajackel]

@@pkauppila thank you Pauli! have fun!

[@shankaraist]

Nice video. Agree with most what you say. When working with new jazz piece, on derives scales from names of chords i.e. in "Black Orpheus" by Louis Bonfa the initial sequence of chords is Am, Bm7b5, E7b9...etc symbols A,B,E suggest the scales (roughly) to begin with. Later, one modifies that to suit. I.e. CMaj7 chord I'd play in B locrian mode (-> B is Maj7 of C). Bm7b5 I'd play in B altered or B locrian etc

[@hejduke9060]

I appreciate what you're trying to teach. Lots of great take-aways here. Thank you.

[@MikeYousman]

P.S. I really like your videos a lot...It's as if I have a jazz guitar playing friend with some of the same issues I think about a lot. That's pretty rare in real life.

[@localpm]

Great Video Again Tina.

[@tinajackel]

Thanks again!

[@scottnipper7334]

I love how you just blurt it out. You show us your method of developing insights and how you think about your approach. Unrehearsed. Unfiltered. I dig it.

[@tinajackel]

thank you Scott!

[@Oscar_Dakota]

It’s very helpful to observe you practicing, something we never get to see. Great advice about using what you already know and working slowly..thanks Tina

[@tinajackel]

Glad it was helpful!

[@marcobaldassarre8797]

Lezione interessante grazie Tina

[@astorina]

Very nice démonstration of the process , I also think that some modes choices are more difficult to connect than others, and the "obvious " altered mode on A7 is maybe not appropriate in this specific example of 2 chords , I will investigate and come back later to my comment , thx

[@robertmitchell2178]

Good lesson, showing that 99% hard work portion of great improvisation.

[@jega157]

Yes, recording the chords is very important.

[@vspaulding1]

Very Nice:)

[@billwilkie6211]

Sound advice!

[@vspaulding1]

Im working on the Bridge to Vonetta by Earl Klugh, i will use your method thank you. If you learn Vonetta please post:)

[@matthewcasey892]

The hard part is the honesty of self evaluation

[@ziegunerweiser]

I like your idea play the first 2 chords for 10 minutes then play the second 2 chords for 10 minutes then play the first 4 chords for 10 minutes then move on to the next 4 chords find those target notes you want to land on

[@MikeYousman]

I like what you are doing here...but the only caveat I have is that it takes the chord change out of context. Maybe another approach would be to realize you have a ii/V of Dm followed immediately by a ii/V of Gmi; without actually resolving to the Dm. So you have 2 ii/V's a fourth apart...since the guitar is a "fourthy" instrument, you can "see" the corresponding ii/V's right there in the same position but up a string. Fingerings of the same phrase would differ slightly of course. That is just another way to look at it; your explorations are also great, just seem to somewhat lose the context of the changes in a way that this approach does not.

[@TheCompleteGuitarist]

What happens to the music if we start on the wrong scale, note or chord. Why not use that as a starting point, see how you can blend in all the wrong notes and bring that idea to fruition. Start outside and resolve. Start by screwing up and resolve rather than start inside and screw up.

[@markdeffebach8112]

Stella by Starlight

[@ziegunerweiser]

im working on so what / impressions and there will never be another you, am beginning to wonder if i ever will be good at being able to play them well ive beein giong slow - 2 chords at a time i like my tc electronics flashback looper, highly recommended bireli lagrene seems to own both saw a video from 99 with elvin jones and joey defrancesco was killin it im a socfield fan too its cool to turn so what into a funk jam add herbie hancock headhunters style rhythm, there is such an art form to comping, add james brown, hendrix and of course what would mccoy tyner do ? id be curious if you made a video of soloing ideas about them, maybe more of a how to play them tina jackel style scott mcgills video was especially useful especially the bit about pat martino, someone named rich sverson did a good jazz version tutorial of impressions with a gibson 175 or L4 my favorite guitars have always been gibson the way it feels in my hand im still a long way away from being able to improvise well over either of them yet but i made a playliszt of jazz skool backing traxx kzbin.info/www/bejne/eorPXo17lN6IpdE