Improvisation et comping : 'All About My Girl' - Jimmy McGriff
Avec
Joe GlossopJoe Glossop montre comment improviser et faire du comping sur 'All About My Girl', en utilisant des variations d'accords, des neuvièmes et des fills bien placés entre les phrases.
Le contenu du cours
45 leçons (3h 0min) · 1 gratuites
01. Interprétation : 'Green Onions' de Booker T
3:01
02. Sonorités : 'Green Onions' Booker T
3:08
03. Jouer le morceau : 'Green Onions' de Booker T
8:21
04. Lignes mélodiques : 'Green Onions' Booker T
4:43
05. Ligne de basse : 'Green Onions' Booker T
2:01
06. Interprétation : Jimmy McGriff - All About My Girl
3:43
07. Interprétation vue clavier : Jimmy McGriff - All About My Girl
3:43
08. Sonorités : 'All About My Girl' - Jimmy McGriff
4:01
09. Intro : 'All About My Girl' - Jimmy McGriff
2:10
10. Jouer le thème : 'All About My Girl' - Jimmy McGriff
2:58
11. Ligne de basse : 'All About My Girl' - Jimmy McGriff
1:52
12. Fin : 'All About My Girl' - Jimmy McGriff
1:51
13. Improvisation et comping : 'All About My Girl' - Jimmy McGriff
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01. A Change is Gonna Come' - Sam Cooke
7:46
02. Vue du clavier : 'A Change is Gonna Come' - Sam Cooke
1:20
03. La La means I love you' - Booker T
5:39
04. Vue du clavier : 'La La means I love you' - Booker T
2:25
05. Groovin' Booker T & the MGs
4:57
06. Vue du clavier : 'Groovin' ' - Booker T & the MGs
1:15
07. Time is Tight' - Booker T & the MGs
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08. Vue du clavier : 'Time is Tight' - Booker T & the MGs
1:39
09. 'The Girl from Ipanema' - Antonio Carlos Jobim
6:17
10. Vue du clavier : ‘The Girl from Ipanema’ - Antonio Carlos Jobim
2:36
11. Blues basé sur 'Blue Bash' - Jimmy Smith
7:59
12. Vue du clavier : blues d'après 'Blue Bash' - Jimmy Smith
3:24
13. Walk on the Wild Side' jam sur la M series - Jimmy Smith
6:44
Transcription de la leçon
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 est un claviériste de Sheffield qui s'est fait un nom à l'orgue Hammond. Il occupe actuellement le poste d'organiste dans le groupe de tournée de Tom Jones, et a joué avec Van Morrison et James Hunter, ainsi qu'au piano et au Rhodes. Ses cours permettent de tirer le véritable son Hammond de n'importe quel clavier : le réglage des drawbars, le Leslie, la basse walking à la main gauche, et le vocabulaire d'accompagnement et de solo des traditions de l'orgue soul-jazz, blues et rock, de Jimmy Smith à Booker T.
