TUTORiAL | 893.89 MB
Interactive Video Jam Session with a Top TrueFire Artist
In Frank Vignola’s Jazz Standard edition of Trading Solos, you’ll trade solos with Frank over five popular jazz standard progressions, in a variety of keys and feels. Frank kicks off the course sharing some of his tone tips to help you get a great jazz sound. And then for each of the five progressions, Frank will show you a collection of jazz phrases and comping approaches. You’ll then take turns applying those ideas, trading solos, and comping for each other over all of the tracks.
”The best way to get become a better player is to play with others! That’s where the real learning happens, but for many folks, finding good players to play with can be a challenge. But that’s not the case here… I have a great bassist and drummer for us to jam with because it’s important to play with solid rhythm sections that really groove. I’ll share a few of my favorite licks on these jazz standard chord progressions with a solid palette of voicings, grooving comping rhythms and we’ll have a blast jamming together!”
For each of the five jazz standard progression jam tracks, Frank will show you a handful of licks and comping approaches that you can use over the tracks as you trade solos with Frank. Then, you’ll take turns applying those ideas, trading solos and comping for each other.
Track 1: Autumn Changes
”The first track that we’ll trade solos over is an 8 measure progression which is the first 8 bars of the classic standard, Autumn Leaves. It’s in the key of G major. It starts with a ii-V7-I in the key of G and then a ii-V7-i in the key of E minor. I’ll discuss 3 comping techniques: chord fragments, using a descending counter line with chords and using a common tone on top of each of the chords. I’ll also show you 3 lick ideas that can be used over this classic progression. The first is a classic style bebop lick, and the second lick is based on octaves. Octaves were used and mastered by the great Wes Montgomery, so it’s important to touch on this sound. The third lick idea is based on the diminished over the dominant sound, which I first heard Charlie Parker use so fluently and musically. I’ll comp for you when you’re soloing and you’ll comp for me when I’m soloing. Let’s dig in!”
Track 2: Bossa Changes
”In this second trading solos track, we’ll jam over the classic chord progression for Blue Bossa. It’s in the key of C minor and is a hip, cool progression to solo over. I’ll discuss three rhythm approaches that you can use. The first is a simple 8th note strumming pattern. The second approach is to use that same rhythm pattern with different inversions to spice it up a bit from chorus to chorus. The third approach is a more staccato rhythm-based pattern. I’ll also show you three lick ideas that you can experiment with. The first is using the flat nine sound over the Dm7(b5) to G7 progression and using some expressions such as bends and vibrato. The second lick idea is sliding up to the note and repeating a two-note phrase on different parts of the beat. The third lick idea is using the blues over the G7 to the C minor. The blues is so important in jazz! I’ll comp for you when you’re soloing and you’ll comp for me when I’m soloing. Let’s dig in!”
Track 3: Impressions Changes
”This third track is based on the song progression of Impressions, which is simply a Dm for 16 measures, an Ebm for 8 measures and back to the Dm for the last 8 measures of this 32 measure classic bebop jazz form. I’ll demonstrate three rhythm approaches that you can use for this quick tempo modal jam. The first is using the chord in 4ths, which is a very cool and hip bop sound. The second is using the interval of a third or just two notes. We don’t always have to use big full chords. This approach is very common in this style and leaves a lot of room for the soloist to experiment. The third approach is using chord stabs or thinking like a big band horn section using staccato chord hits. I’ll also show you three lick ideas to experiment with: The first is digging into the minor 9 sound. The second is applying a 3 note descending pattern within the Dorian sound. The third is a neat, experimental way to approach a solo using an open string and pull-offs. Three very fun lick ideas to use! I’ll comp for you when you’re soloing and you’ll comp for me when I’m soloing. Let’s dig in!”
Track 4: Misty Changes
”These are the chord changes for the first 8 measures of that classic ballad, Misty. It’s in the key of Eb. We’ll work on three comping approaches that can be used for this classic ballad progression. The first is the old school, Freddie Green approach which is playing each beat as quarter notes using 2 and 3 note chords on the lower strings. The second approach is to use big-sounding lush chords underneath the soloist. The third approach is to use chord clusters or closely voiced chords, á la Johnny Smith. I’ll show three lick ideas that can be used in this classic ballad progression: The first idea is using the melody line to create your own soloing ideas, the second approach is to use a long scalar style run and the third approach is using the blues. I’ll comp for you when you’re soloing and you’ll comp for me when I’m soloing. Let’s dig in!”
Track 5: Sweet Georgia Changes
”In this last jam, we use the chord progression for the jazz classic, Sweet Georgia Brown. We go through the complete 32 measure form.
We’ll work on three comping approaches that can be used for this classic progression. The first is the old school approach playing each quarter note but this time we will concentrate on accenting beats 2 and 4. The second approach is using two notes only using a consistent rhythm pattern. The third approach is to use the same consistent rhythmic pattern but with big full sounding chords. Then you’ll learn three lick ideas that can be used for this classic progression. The first is to look ahead and target the Ab chord – when I get to the Ab chord, I’m going to use a bluesy Charlie Christian style lick. The second lick idea is using upper extensions of the chords moving through the progression. The third idea is using double stops. I’ll comp for you when you’re soloing and you’ll comp for me when I’m soloing. Let’s dig in!”
Frank will explain and demonstrate all of the key concepts and approaches along the way. You’ll get standard notation and tabs for all of the key examples and performances. Plus, you’ll be able to use TrueFire’s learning tool to sync the tab and notation to the video and can also loop or slow down the videos so that you can work with the lessons at your own pace. All the backing tracks are included to work with on your own as well.
Grab your guitar and let’s trade solos with Frank Vignola!
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