Local vs Global improvisation concepts for better soloing

[@quezquez3084]

Fabulous video that establishes some structural logic on the caos of improvisation skills.

[@pabloochoa5455]

I really love the 3rd way!!!

[@rickjensen2717]

Excellent - the best is the most musical: the third in my opinion.

[@irawardofficial]

This is amazing stuff! I definitely like the chromatic passing tones LOL.

[@steelplayer118]

This is great! Thank you.

[@stephenbrophy836]

The most difficult part of these exercises are the rhythms and playing with that swing feel. That said, i am thoroughly enjoying them. Thank you so much

[@tioliak]

Agreed

[@austin8499]

I appreciate you, man, all these chops, superb.

[@pickinstone]

Barry Harris simplifies Rhythm Changes to I V I V Idom IVdom I V. Easier to layer in all the half step rules, diminished, family of dominants, pivots, substitutions... if you work from a harmonic layering approach. I wish that I learned how to improvise over RC like that in college. BH also simplified playing over blues changes, and how to approach turn arounds and other common chord changes--like the importance of moving from the I to the IV. If you get stuck in the weeds by trying to outline every chord, then your lines might lack cohesion and rhythmic nuance. Barry Harris was a genius educator, and it's well worth it to find disciples of his craft to learn from--that's helped me grow A LOT as a student of this music.

[@JazzDuets]

GREAT! But he is just one guy. What about Trane, Bird, and Stitt, they did´nt simplify.

[@pickinstone]

@@JazzDuets Neither did Barry Harris in his playing--the final product. Barry played with Stitt a lot--and they riffed off each other. I was referring to laying the complex on top of the simple, instead of diving straight into the complex harmony and forcing it to work. Coltrane knew how to play simple, especially since he was a R&B devotee (while checking out Bird during his military service) like many of our saxophone heroes. Bird himself could play the hell outta a simple blues--especially since he was brought up on that Jay McShann sound. My critique was about the traditional music school approach. That simple = beginner and a pathway to be pruned asap. That hip is always complex, and if we want to play hip--we gotta learn Coltrane changes ASAP. I don't think that's how the greats played music--the foundation, the simple, was always present. Laying into the V I or the I IV--the bedrock of most harmony. Different strokes for different folks.

[@benignoantonioquinteromora9325]

Muchísimas gracias maestro por compartir desinteresadamente su genialidad como músico, como académico y como el gran ser humano que le caracteriza en cada uno de sus videos y tutorías. Un fuerte abrazo desde Panamá.

[@kramermckee9968]

Amazing analysis and helped a lot 👍 I’ll start with the chord tonnes but want to build towards the 🌍 Thanks brother.

[@joshcharlat850]

Nick, I appreciate all three approaches. So much work to do!!!!!

[@DavidThackerMusic]

as a self taught player of mostly contemporary nonjazz music. I just naturally learned to solo globally, but love the explanation of the chord and chromatic chord approach. this give me a whole knew way to think about how to solo over jazz changes.

[@freedompunk1739]

😅

[@LalitMadhava]

Dear Nick, very clear class, thank you again 🌺

[@gotofourths933]

In a progression all chords related each other and if you achieve to meander with enclosures and chromatics around tonality that would be greatest way to improvise. Local improvise requires every chord to be cared separately but in fact you can pick only one or two notes from the actual chord and these would be a chord tone or a approach tone for fast pieces so thinking I and V and focusing the enclosures and chromatics is the best to me. "Play whatever you want as long as you don't lose the tonality" Thank you for the idea.👍🙌👏🎷))

[@eulipion1]

I find the Global with the soul scale most appealing

[@andyquinn1125]

Very nice Nick. Time for your long overdue visit to New Orleans. I'll meet you there, brother.

[@stephenclark7013]

So many ways to approach RC it’s a case of what suits you the best the easiest way is to just play the Bflat pentatonic over the first eight bars and add the minor third for flavour. No wonder jazz players attack Rhythm changes with gusto once you work out the 1 to 5 changes it’s carte Blanche ..Great starting point Nick Holmes

[@DavidThackerMusic]

I just wanna say love your videos and your style of teaching

[@normanfreund]

I liked the global approach best for your selection of music. Gets really interesting when you have the chords or some backing riff in one tuning scale (none equal division of the octave) and then improvise on top of that using another tuning scale say 12EDO :) .

[@МультфильмыМультсериалы-с5х]

Thank you could you take video about different scales and a lot of jazz licks❤❤😊

[@ulfsvensson9710]

I usualy use number two, but when i hear you play, the last one is more interresting.

[@johnjones4129]

Thanks so much for the video….every concept well explained and I love the way you illustrate how the different concepts sound against each other….a graded lesson for players new to jazz.

[@faisletoismeme]

Very interesting, Thanks. I feel the «soul scale» though sounds very bluesy. It might not fit well over the feel of other progressions of common jazz tunes. I'll have to try over Autumn Leaves, for example. This is definitively something to practice.

[@quezquez3084]

This is true. That's why, on the examples, the I chord is always notated as a I6 instead of a IMaj7.

[@juanvieira8876]

The third is better sounding for me. For me is difficult to change scales all the time. And just using one scale and sound beautiful is the best for me

[@ЮрийМакогон-э9ж]

👍

[@chuck6812]

2 and 3 sounded more interesting. If in 2 chromatic weren't used all the time, but more phrasing used, it would sound even better.

[@normalizedaudio2481]

This is Joe Viola stuff. I do the global; but, other players say I am a "skater" and they point fingers at me.