Meterse a fondo
Lesson time: (2min 22sec)
Course preview
This lesson is part of the course Toca swing auténtico en la trompeta
Watch a preview of the full course below.
Lesson transcript:
Transposition Blues Lesson: Digging Into the Time
So maybe now you've listened to the Basie band, specifically one of those numbers off the Atomic Mr. Basie album. I'm now going to apply that kind of feel, that kind of sound, to the first section of Transposition Blues.
Understanding the Feel
It's quite slow, so we need to really dig into the time and feel of it.
What Does "Digging In" Mean?
- When we play, we should really be feeling the time.
- We all have an internal body clock, it's our heart, okay? Our heart rate changes now and again.
- If you hear a really fantastic big band, and everybody's really swinging and digging in together, you will find that they sound amazing.
- This happens because they're feeling time the same way.
Playing a Solo
When we want to dig in while playing a solo:
- We can really listen to the rhythm section.
- We must make sure that we're not rushing.
- We should always keep in mind those triplets, which we've learned in previous lessons.
The Pocket
- Really be in the time, in the pocket, as we call it.
- Play in the pocket.
- Don't rush.
- Don't drag.
Example of Style
This is an example of that kind of style. You can hear that I'm really, even though there's no rhythm section with me, completely engaged with the time.
- I'm playing on my own, but I'm trying to feel as though I'm playing with a rhythm section.
- I'm really getting into that time, no rushing.
Final Thoughts
Think of that when you're playing. Always maintain this internal feeling of time.
About the instructor
Mike Lovatt estudió en el Trinity College of Music, donde recibió la Jon Kelly Jazz Scholarship. Ha actuado y grabado en una enorme variedad de estilos con artistas como Quincy Jones, Robbie Williams, Eric Clapton, la Orchestra of the Royal Opera House Covent Garden, la Royal Philharmonic Orchestra, Michael Buble, Oasis, Michel Legrand, Tony Bennett, Shirley Bassey y Danny Elfman, entre muchos otros. Como trompeta principal en el West End de Londres, Mike ha actuado en Jesus Christ Superstar, Evita, The Producers, Billy Elliot, Guys and Dolls, Saturday Night Fever, My Fair Lady y Spamalot, entre otros. Ha tocado en bandas sonoras de películas como las de James Bond, Harry Potter con la London Symphony Orchestra, la premiada Chicago, Beyond the Sea de Kevin Spacey, Charlie and the Chocolate Factory, Madagascar y The Corpse Bride. Aparece a la trompeta y la corneta en Mrs Henderson Presents de George Fenton, y a la trompeta en Looking for Eric. Mike es trompeta principal de la John Wilson Orchestra, nominada a un Grammy, y ha destacado en sus célebres conciertos y grabaciones de los BBC Promenade. Mike es muy solicitado como profesor y clínico, y es catedrático de trompeta en la Royal Academy of Music y en el Royal College of Music. En abril de 2013 tuvo el orgullo de recibir la prestigiosa Derek Watkins' Chair of Trumpet en la Royal Academy of Music de Londres. En sus cursos de MusicGurus, Mike comparte los secretos de su versatilidad, mostrándote cómo clavar los estilos de trompeta auténticos de swing, rock y latino para que puedas tocar cualquiera de ellos con confianza y el feel adecuado. read more