So I have college jazz combo auditions this Sunday, and the requirements are that I play 4 assigned tunes from memory and the auditions are in groups, essentially it's like a jam session with assigned tunes. So I memorized the changes and memories, and I feel pretty comfortable walking on the tunes but my problem is that I can't come up with good solo ideas based on the changes. When I solo I get too stuck on remembering the chord progression that I end up just slopping on through the changes. I'm more comfortable soloing when I have the changes in front of me, which is odd because I don't seem to have the same problem with my walking (which is obviously more important and what really counts in a bass player, but I don't want to come off as a bad soloist, especially since I'm a freshman) So I would appreciate any advice.
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Double Bass Audition Woes......
- Thread starter JavierBass
- Start date
Your most likely better at soloing with the changes in front of you because you practice with the changes in front of you. Try practicing without them.
- Jun 25, 2007
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- Artist:TC Electronic RH450 bass system (original test-pilot)
Howdy. I've been in your situation (I think all of us have). From my experience, I can recommend the following:
1. Play what your heart says.
2. If you play through a change, resolve it at the next change and let it be. Don't dwell on it because your thinking of the past moment and not the current or future moment.
3. If you make a "mistake", do it twice. It then becomes "sylistic". People may question it, but doing it twice makes them consider the possibilities.
4.You don't need lots of notes to make a "musical statement" (see point #1).
Good luck! Have fun with it!
Rhino
1. Play what your heart says.
2. If you play through a change, resolve it at the next change and let it be. Don't dwell on it because your thinking of the past moment and not the current or future moment.
3. If you make a "mistake", do it twice. It then becomes "sylistic". People may question it, but doing it twice makes them consider the possibilities.
4.You don't need lots of notes to make a "musical statement" (see point #1).
Good luck! Have fun with it!
Rhino
- Jun 25, 2007
- 4,531
- 135
- 63
- Disclosures
- Artist:TC Electronic RH450 bass system (original test-pilot)
- Jun 25, 2007
- 4,531
- 135
- 63
- Disclosures
- Artist:TC Electronic RH450 bass system (original test-pilot)
+1. Especially at the start and end of the solo. State the melody.
Try to avoid starting each measure with the root of the chord. Pick the 3rd, or 5th.
Phrase across the bar lines, and think beyond one measure at a time. Lyrical lines that sing and are simply stated are more important (to me) than a flurry of notes.
It's okay, preferable even, to rest, pause, breathe in between phrases, as long as it's not a pregnant pause. Similarly, it's okay to not play on some of the downbeats of certain measures. Leave some space.
Wanna get really slick? Quote parts of a head from another well known jazz standard within your solo, so long as it fits. The head to 'Blue Monk' works over just about any tune based on a basic 12-bar blues pattern.
You did ask for any advice.
Good luck.
- Jun 25, 2007
- 4,531
- 135
- 63
- Disclosures
- Artist:TC Electronic RH450 bass system (original test-pilot)
I also have my ensemble auditions coming up, though theres only one tune we need to play, based on the East of the Sun changes. (The program director wrote a new head.) I'm also going into 1st year.
When I'm soloing, to be honest I don't really think 'I'm on Gmaj7, now C7+11, now...'. I do at first, but once I know the changes really well I can let my ear guide me. I think if you think about the changes too much it becomes too technical. So big +1 on play what your heart says.
Also, +1 on bolo's advice, especially on pauses. To quote Miles Davis, 'the notes you don't play are as important as the notes you do play.'
When I'm soloing, to be honest I don't really think 'I'm on Gmaj7, now C7+11, now...'. I do at first, but once I know the changes really well I can let my ear guide me. I think if you think about the changes too much it becomes too technical. So big +1 on play what your heart says.
Also, +1 on bolo's advice, especially on pauses. To quote Miles Davis, 'the notes you don't play are as important as the notes you do play.'
East of the Sun is nice and definitely has some non-standard chord movement. You might could listen to Diana Krall's versions (live and studio). Cop some of the solo ideas and make 'em your own. She works w/ top shelf musicians, and obviously has world class credentials in her own rite.
If you quote your program director's new head in your solo, four stars.
If you quote your program director's new head in your solo, four stars.
+1. Especially at the start and end of the solo. State the melody.
Try to avoid starting each measure with the root of the chord. Pick the 3rd, or 5th.
Phrase across the bar lines, and think beyond one measure at a time. Lyrical lines that sing and are simply stated are more important (to me) than a flurry of notes.
It's okay, preferable even, to rest, pause, breathe in between phrases, as long as it's not a pregnant pause. Similarly, it's okay to not play on some of the downbeats of certain measures. Leave some space.
Wanna get really slick? Quote parts of a head from another well known jazz standard within your solo, so long as it fits. The head to 'Blue Monk' works over just about any tune based on a basic 12-bar blues pattern.
You did ask for any advice.
My improv prof used to say (primarily of guitar players) - "Don't forget jazz is a vocal tradition. You're playing like saxophone players would if they could run a hose up their ass for air".
Personally I found one of the benefits of transcribing and analyzing solos was discovering how many "wrong" notes the masters play. Its all about resolution and knowing where the phrase is going. If you know where you're going with a phrase just about any path to get there will "work". And no amount of chord and scale tones will "work" if you don't know where you're going.
Listen to as many recorded versions of those songs as possible, repeatedly. Doesn't matter who by. The DNA of the songs will get into you that way. Limit the note range rather than trying to impress by flying up and down all over the place. Also, relaxation and confidence is crucial.
