If You Were A Solo Instrumentalist(s)
alot of the time pianists translate the playing techniques of other instruments into their playing
1. lester young
2. paul chambers
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2 ashley judd
2. jennifer aniston
(ya beat me to ashley judd)
:)
jennifer aniston?...now she's got a backside
see that's exactly what i don't like about you 7
you run around picking up every instrument ever made like your'e the king of the world
well i got news for you
i'm jealous
clark terry
miles davis
pete christlieb
ray brown
herb alpert
pat metheny
there are so many instrumentalists that i absorb ideas and such from, it's hard to keep this list small, but that's all for now.
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by Scot Ranney on 07/02/2005, 12:22
the mandolin i had messed around with since i was 15 years old, the playing technique is not that much different from guitar (except it's tuned different) and harmonica is just something that i've always been able to do. the harp is a funny thing, at a gig i'll play my butt off on keys, guitar and sax but at the end of the night people will come up a say "duuuude, i love the harp!"
somebody dropped a decent fiddle in my lap one day and it just hung on the wall for ten years. then one day i had the whim to play it. after all, it's tuned the same as a mandolin, how hard could it be?
i soon realized that if i was ever going to master bowing technique that i needed professional help! so after a year of lessons and a thousand dollars, it became second nature. the fiddle is the only one of my instruments that i've ever kissed, and when playing i have the feeling now that i was born to play fiddle! i've never had that with any of the other instruments.
the bass i completely learned through the back door. since a pianist has to know as much about playing bass lines as any bassist i was well ahead there. plus most of the bands i worked with i was the only guy that could read and write, so it became my job to do the transcriptions. and of course when doing transcriptions, the first thing you have to do is transcribe the bass - so i learned literally thousands of bass lines off of recordings. of course the bass is tuned the same as the bottom four strings of guitar so that helps. the biggest problem with playing the bass is grappling with those big fat strings, and of course blisters (that's why i always carry super glue in my bass case). i much prefer 5-string to 4-string bass though.
so which instrument is the most difficult to master? every instrument has its challenges (and if there were no challenges it wouldn't be any fun would it?). but of all the instruments, i have to say unequivocally the most difficult for me was the voice. everything has to be shaped! the pitch, the volume, the nuances, the emotion, the consonants, the vowels, and on and on must all be carefully sculpted right down to the smallest minutae.
and now i'm taking weekly drum lessons. why? because it's fun. it's like a hobby. throughout my life i've never had a real hobby. everything i've ever studied i've done so with the intent to make money off of it (not that it has ever happened - but maybe someday). so now i've decided to take up drumming as a "hobby". i should have it mastered in a couple of years my teacher tells me.
so don't be jealous. anyone can do what i've done. all it takes is lots of time and energy.
and besides, yoda says that jealousy can lead to the dark side. you wouldn't want that would you, anakin?
Jazz Piano Notebook Series
Volume 1 of this educational jazz piano book contains 15 jazz piano exercises, tricks, and other interesting jazz piano techniques, voicings, grooves, and ideas Scot Ranney enjoys playing.
"Latinesque"
Volume 2 has 14 jazz piano exercises and tricks of the trade, and quite a bit of it is Calypso jazz piano related material, including some Monty Alexander and Michel Camilo style grooves. Jazz piano education is through the ears, but books like this can help.
Volume 3 contains 12 jazz piano exercises and explorations by the acclaimed jazz piano educator, pianist, author, and recording artist Tim Richards.
Tim wrote the well known "Exploring Jazz Piano" and "Improvising Blues Piano" books and has several others to his name.
Volume 4 is by Jeff Brent, a jazz pianist, composer, teacher, and author of "Modalogy" and other acclaimed jazz theory and education books. In this book Jeff shares detailed analysis of transcriptions of live performances. He covers everything from the shape of the songs to the tricks and licks he uses in improvised lines to the ideas behind his lush chord voicings.
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