Don't Transcribe Vibe Players!
Just kidding, however I'm sitting here practicing a couple licks I pulled of a trumpet cd and it's breaking my 'stones'. Trumpet players are great for vibe players to transcribe . The range of the instrument is similar. However there approach is a little different and VERY helpful for vibe players.
Where vibe players skip around and play up and down, trumpet players tend to play sideways. That's so helpful for us. I don't take many beginning students however when I do, I start them with the Arban Trumpet Method book. So there's my tie in. My percussion teacher from way back in the day, Paul Eddelman, started me in that book.
I've transcribed a lot of Milt, and years ago did the whole Gary Burton Chega solo. Of course that stuff was very challenging. Generally speaking though, vibe players solos should be fairly easy for us to work with because for the most part technically we're all doing similar technical things.
But try a guitar solo, or trumpet or sax and LOOK out. Talk about developing new ideas musically as well as technically, you'll learn a ton, from checking them out.
Personally I didn't transcribe a lot of vibe solos. I think sax players and trumpet players have 'developed the line' as a whole much more than we have. That's just my 2 cents and that's what convinced me to transcribe mostly other instruments.
Try a Clifford Brown solo and watch the kind of stuff that you're working on. All the notes are close together. Remember when they make the changes it's usually not in a chordal way, it's like they're weaving. Maybe that's a good analogy, they're weaving and chordal players tend to sew more. Is that stupid? You get the point.
Anyway I was practicing right now and this was on my mind, so I decided to throw it up
Where vibe players skip around and play up and down, trumpet players tend to play sideways. That's so helpful for us. I don't take many beginning students however when I do, I start them with the Arban Trumpet Method book. So there's my tie in. My percussion teacher from way back in the day, Paul Eddelman, started me in that book.
I've transcribed a lot of Milt, and years ago did the whole Gary Burton Chega solo. Of course that stuff was very challenging. Generally speaking though, vibe players solos should be fairly easy for us to work with because for the most part technically we're all doing similar technical things.
But try a guitar solo, or trumpet or sax and LOOK out. Talk about developing new ideas musically as well as technically, you'll learn a ton, from checking them out.
Personally I didn't transcribe a lot of vibe solos. I think sax players and trumpet players have 'developed the line' as a whole much more than we have. That's just my 2 cents and that's what convinced me to transcribe mostly other instruments.
Try a Clifford Brown solo and watch the kind of stuff that you're working on. All the notes are close together. Remember when they make the changes it's usually not in a chordal way, it's like they're weaving. Maybe that's a good analogy, they're weaving and chordal players tend to sew more. Is that stupid? You get the point.
Anyway I was practicing right now and this was on my mind, so I decided to throw it up
posted by Tony at
12:13 PM
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