My last concert
hello all,
just to let you know that i uploaded some mp3s of my last concert in quartet (5tet on one song) here : https://yannick.notheber.free.fr/
feel free to comment and criticize.
btw, three of us are non-professionals, so don't be too rude.
i didn't put all songs from the concert, because some of them were really too bad.
just to let you know that i uploaded some mp3s of my last concert in quartet (5tet on one song) here : https://yannick.notheber.free.fr/
feel free to comment and criticize.
btw, three of us are non-professionals, so don't be too rude.
i didn't put all songs from the concert, because some of them were really too bad.
There are 21 comments, leave a comment.
no comment ? is it so bad ?
i don't think anyone would be rude- whatever level you are at is the level you are at. what you try for is to work on stuff so you are better the next time you play. that's what we all do.
as for particulars of the concert, i'm not really a music reviewer, but i think it seemed a little stiff to me, like the players were trying to be careful not to make mistakes in the form, or arrangement, or in their playing.
but as you play more, the stiffness will start going away. overall i think what you're doing is on the right track. play more concerts and record them, as well as recording practice sessions and rehearsals, because there's nothing like listening to yourself play to help you get better.
as for particulars of the concert, i'm not really a music reviewer, but i think it seemed a little stiff to me, like the players were trying to be careful not to make mistakes in the form, or arrangement, or in their playing.
but as you play more, the stiffness will start going away. overall i think what you're doing is on the right track. play more concerts and record them, as well as recording practice sessions and rehearsals, because there's nothing like listening to yourself play to help you get better.
If I'm not back in 24 hours, call the president.
Scot is available for skype jazz piano lessons (and google hangouts, phone call, etc...)
Use the contact link at the top of the page.
Scot is available for skype jazz piano lessons (and google hangouts, phone call, etc...)
Use the contact link at the top of the page.
by Scot Ranney on 04/02/2006, 13:43
seemed maybe a little hesitant or tentative to me, but i still thought it was very easy to listen to and i enjoyed it. at several moments it seemed you all loosened up and i thought it was great then. i hope the next time i am in paris, i get the opportunity to see you perform live. :)
peace out!
peace out!
i listened to the first one and it was a lot of fun to listen to.
nice groove, very enjoyable.
nice groove, very enjoyable.
yes, scott, you're right, it's exactely the case : we were trying not to do mistakes, because the songs chosen were a little tricky. it was our choice to play difficult songs.
any advices for me to work ?
imho, my solos are too nervous. i'm not sufficiently relaxed when soloing.
any advices for me to work ?
imho, my solos are too nervous. i'm not sufficiently relaxed when soloing.
just listened to impressions...some very good bits, i thought i could make a few suggestions with your comping. some very nice herbie-esque moments, but try to add more melodic variety in your comps...treat it as another voice, as a long melodic line (counter-melody), with tensions, resolutions, etc. really hear the comping direction...i felt that it was too static, although you were rhythmically very alert and responsive.
a good idea might be to go back and listen to your playing over this tune, and see if you can hear some places where you could have been more melodic or repeated motifs / ideas...i could hear some places where this could have happened.
a good idea might be to go back and listen to your playing over this tune, and see if you can hear some places where you could have been more melodic or repeated motifs / ideas...i could hear some places where this could have happened.
thx pringe.
by being melodic, you mean, for example, to try some melodic lines with rh between the sax phrases ?
what means 'counter-melody' ?
you're right when you say that i was to static... i usually try to be "open", i always try to keep my ears open to react and interact with others, but during this gig (i don't know why) i was too concentrated on my hands on the piano.
by being melodic, you mean, for example, to try some melodic lines with rh between the sax phrases ?
what means 'counter-melody' ?
you're right when you say that i was to static... i usually try to be "open", i always try to keep my ears open to react and interact with others, but during this gig (i don't know why) i was too concentrated on my hands on the piano.
counter-melody is a term often used in classical music to describe a secondary melody, or a melody 'underneath' the main melody.
"you mean, for example, to try some melodic lines with rh between the sax phrases ?"
you could try this as one way of improving interaction, but i was really talking about listening to the notes in your voicings and trying to hear movement and direction, usually (but not always) with the uppermost note. listening carefully to any great jazz pianist will help, and one name that immediately springs to mind is brad mehldau, although that style may be a bit away from what you are aiming for. have you tried the old trick of limiting yourself to whole notes (semibreves) when improvising and trying to hear a really interesting phrase? with correct hearing of tension / resolution you can really turn out some great lines.
a modal tune such as this (imo) really needs strong melodic tension / resolution to avoid sounding too static, especially as the 8 bar sections of d minor join each other.
one last thing...try to vary your lh voicings when soloing, they are really just vocab so as you pick up more this will happen gradually but you can try your chords in different inversions to hear different dissonances.
i don't like talking about note theory too much but maybe experiment with the #7th note, a very powerful colour.
have you heard the version of this from the album "tribute to miles", featuring wallace roney, wayne shorter, herbie hancock, tony williams and ron carter? great solos from everyone, especially the end of wayne's and the beginning of herbie's (notice the development and variation of a single motif). the #7th colour is also prevalent in herbie's lh voicings and rh lines.
hope that gives you a few ideas,
steve
"you mean, for example, to try some melodic lines with rh between the sax phrases ?"
you could try this as one way of improving interaction, but i was really talking about listening to the notes in your voicings and trying to hear movement and direction, usually (but not always) with the uppermost note. listening carefully to any great jazz pianist will help, and one name that immediately springs to mind is brad mehldau, although that style may be a bit away from what you are aiming for. have you tried the old trick of limiting yourself to whole notes (semibreves) when improvising and trying to hear a really interesting phrase? with correct hearing of tension / resolution you can really turn out some great lines.
a modal tune such as this (imo) really needs strong melodic tension / resolution to avoid sounding too static, especially as the 8 bar sections of d minor join each other.
one last thing...try to vary your lh voicings when soloing, they are really just vocab so as you pick up more this will happen gradually but you can try your chords in different inversions to hear different dissonances.
i don't like talking about note theory too much but maybe experiment with the #7th note, a very powerful colour.
have you heard the version of this from the album "tribute to miles", featuring wallace roney, wayne shorter, herbie hancock, tony williams and ron carter? great solos from everyone, especially the end of wayne's and the beginning of herbie's (notice the development and variation of a single motif). the #7th colour is also prevalent in herbie's lh voicings and rh lines.
hope that gives you a few ideas,
steve
listening to sidewinder right now. i would like more tension/playing outside on the solo (piano solo).
yes it gives me a few ideas. i listened again my recording and can see what you mean, and it's even right for the other songs.
i tried some times the "old trick" you mention, but never really worked at it during many sessions... i often loose patience. i'll put it in my training session planning !
oh, yes, counter-melody is what we call contre-chant in french.
i heard "tribute to miles" at friend's home long time ago. i will try to catch it.
thanks a lot steve.
i tried some times the "old trick" you mention, but never really worked at it during many sessions... i often loose patience. i'll put it in my training session planning !
oh, yes, counter-melody is what we call contre-chant in french.
i heard "tribute to miles" at friend's home long time ago. i will try to catch it.
thanks a lot steve.
groyann,
i finally finished listening to all your mp3s.
they're nice and easy to listen to. in general i prefer to listen to something with a harder edge, but if you were hired to play mellow stuff - then that's what you play.
those guys that you are playing with have very good ideas and nice grooves going. listen intently to how they phrase stuff, ask them questions and take the answers to heart. that will definitely make you an even better player.
i finally finished listening to all your mp3s.
they're nice and easy to listen to. in general i prefer to listen to something with a harder edge, but if you were hired to play mellow stuff - then that's what you play.
those guys that you are playing with have very good ideas and nice grooves going. listen intently to how they phrase stuff, ask them questions and take the answers to heart. that will definitely make you an even better player.
gryoann,
sounds good to me, nice groove and some nice ideas, well done!
sounds good to me, nice groove and some nice ideas, well done!
i really enjoyed them. plenty of energy which is great. the clarinet (i think it's a clarinet) is a bit free jazz for my tastes but if that's his stuff then cool. sidewinders a great tune. keep it up.
no, it was not a clarinet, it's tenor sax. and the guest on sidewinder, a soprano saxo (it's our teacher).
7, it's encouraging to read that you appreciate.
what do you mean by "something with a harder edge" ?
what do you mean by "something with a harder edge" ?
yes i knwow, i 'd like too, but i need to work a lot to be able to play more exciting music. up tempos are very difficult for me (technically, and to keep tempo).
ah, it's a soprano. i still don't like it. i prefer the tenor. but it's just one piece of a very tasty pie.
i live near italy (nearer than you...), and i make this big mistake !!
yes, but for me the difficulty is to keep technically the tempo (my fingers do not follow) in up-tempi :-)
my mind keeps it easily.
yes, but for me the difficulty is to keep technically the tempo (my fingers do not follow) in up-tempi :-)
my mind keeps it easily.
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