Improvisation und Comping: 'All About My Girl' - Jimmy McGriff
Mit
Joe GlossopJoe Glossop zeigt, wie man über 'All About My Girl' improvisiert und compt, mit Akkordvariationen, Nonen und geschmackvollen Fills zwischen den Phrasen.
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04. Lead-Lines: 'Green Onions' Booker T
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05. Basslinie: 'Green Onions' Booker T
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06. Aufführung: Jimmy McGriff - All About My Girl
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07. Aufführung aus Keyboard-Sicht: Jimmy McGriff - All About My Girl
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08. Sounds: 'All About My Girl' - Jimmy McGriff
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09. Intro: 'All About My Girl' - Jimmy McGriff
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10. Das Thema spielen: 'All About My Girl' - Jimmy McGriff
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11. Basslinie: 'All About My Girl' - Jimmy McGriff
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12. Schluss: 'All About My Girl' - Jimmy McGriff
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13. Improvisation und Comping: 'All About My Girl' - Jimmy McGriff
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Transkript der Lektion
Improvisation and Comping Techniques
So, in terms of your improv and kind of comping alongside it, I like to:
- Answer things on the bottom
In between phrases, to break things up and give it kind of fluidity. Just keep it tasteful, really.
Chord Variations
There are various ways you don't have to stick to exactly the same chords and voicings as you do while playing the head. It can be quite regimented what you're doing at the top.
- For instance, if you have some licks in the solo, I suggest using:
- Variations of the chords
- Your sort of nines
- Maybe even a bit of a diminished vibe.
Example Progression
- Say you go into the two for the end of the progression:
- Coming down from A9 to A flat 9.
- Then back to the one, kind of pushing it.
- That was coming off D13 to D flat 13, I'm sorry, to D flat flat 9.
Comping During Solos
In terms of comping during other solos that may be happening:
- For instance, there's a guitar solo on that track.
- What McGriff does is actually stick quite rigidly to the part.
Personal Approach
However, I quite like to:
- Vary that if I were doing it live.
- Respond to what the guitar player might be doing, or what the rhythm section might feel at the time, and try to push things along a bit.
Note: Nothing too busy because you don't want to get in the way of what's happening.
Sound Choices
You could either do it on the top here on this set of drawbars:
- You might change preset from here to here so that you're not on your percussion sound, because you don't want to get in the way. That's quite a spiky sound and will cut through too much.
Drawbar Settings
-
Same drawbar setting, but no percussion.
-
You could do something like:
-
Varying which manual you're playing on:
- This one will cut through more with that setting.
- This one will sit a bit more in the background.
Conclusion:
There are lots of different tricks you can employ, but keep it simple.
- I do one that's more on the bottom.
- Maybe just mix up your rhythm a bit, but don't get in the way.
- Do something that's helpful and responsive.
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Joe Glossop ist ein Keyboarder aus Sheffield, der sich an der Hammond-Orgel einen Namen gemacht hat. Derzeit hat er den Orgelplatz in Tom Jones' Tourband inne und hat mit Van Morrison und James Hunter gespielt, ebenso an Klavier und Rhodes. Seine Kurse holen den echten Hammond-Sound aus jedem Keyboard heraus: die Zugriegel-Registrierung, das Leslie, den Walking Bass der linken Hand und das Begleit- und Solovokabular der Soul-Jazz-, Blues- und Rock-Orgeltraditionen, von Jimmy Smith bis Booker T.
