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• Oscar Peterson Solo Piano
• Oscar Peterson Solo
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What I'm listening to right now: Edvard Grieg, Peer Gynt Suite No. 1

I'm happy that so many responded positively with a wish for some sort of regular advice/column/blog resource here, and I definitely think this subreddit needs it. Briefly about me: I'm a junior jazz studies at a midwest conservatory, and have been playing music since I was 6 (piano/composition first, and then guitar when I was 11). I was really into rock and then extreme metal for most of my time in high school, and I knew I wanted to study music in college but death metal isn't exactly the easiest thing to major in. I decided to 'choose' jazz to study, I had listened to some but not a ton. I immediately got hooked and it's my wish to play it forever! Now I have many experiences from playing solo to big bands, and have performed and traveled all over the country. The last couple weeks for instance I played in a vibes quintet at the local 'spot' for jazz, with a popular local big band, and was a stage manager at the Jazz Education Network Conference in Dallas TX. I'm not a monstrous player by any means, but I have had a lot of practical experience and feel like I'm at a point where I can impart some really useful foundational knowledge on jazz history, literature, technique, comping, solo playing etc.

Apr 29, 2017  Oscar Peterson Solo Pdf Merge. Solo Transcriptions (Piano) « saxopedia. This page lists 2. Here you can find more about the best web sites that offer free and paid solo transcriptions. This page lists 228 piano solo transcriptions that are available somewhere on the Internet.

Quick print or Save as PDF** Easy to transpose (click. How To Transpose / Change Keys ♫ - click icon in the main viewer to transpose into available key. Some notes may appear in one (presented) key only. More Viewer functions - play and preview your score. Oscar Peterson - Little Girl Blue Notes. Download Oscar Peterson Little Girl Blue. Download Oscar Peterson Alice In Wonderland sheet music notes, chords. Folk composition arrangement for Piano Transcription. Sheet music includes 16 page(s).

COMPING

So the first thing I really wanted to bring up was comping. Guitarists have the great ability to be horn players in one moment and a whole orchestra in another. When we are 'comping' or accompanying someone else, we are arranging and orchestrating just the same as Henry Mancini did, just in considerably less time ;)

Beyond all the technicalities of comping, it's important to understand that role. When you are comping you are supporting someone who's making an emotional statement. Listen, react and create. You are just as part of that experience as the person you're accompanying is, don't forget it! Going beyond harmonic concepts right now, comping, like soloing has to be IN TIME and deliberate. You want to be able to record yourself comping, send it someone, and have them be able to transcribe it and arrange it for a horn section, and THEN solo over it yourself with no trouble (maybe an extreme but you get the picture). That's the kind of accuracy and deliberate nature comping should have. I'll and make a video, maybe tomorrow, about some specific voicings and voice leading, maybe based on questions you guys have. But for now I would recommend these resources:

Mick Goodrick's The Advancing Guitarist Stan Smith's Jazz Harmony on the Guitar Barry Galbraith Guitar Comping The Brazilian Guitar Book by Nelson Faria Drop 2 voicings Randy Vincent

This will get you well on your way with an eclectic harmonic palette, rhythmic variety, stylistic nuances and voicings. Again, I will address these things in a video.

LITERACY

So you've read this far, that means you're literate right? The word means a lot of things. Literacy on the guitar is one of the biggest pitfalls, and I've struggled with it for a long time, and still need lots of work on it. As a working musician I can confirm, as many others can, that you need to prepare yourself to read literally anything. So how do you become a better reader? Do it. No really, sit down and sight read something. Here's the thing, you need to start out with music that you can actually sight read well. If you're reading on a gig you HAVE to be able to read well the FIRST time and make MUSIC out of it. Find some literature you know you can handle, literally go to a book store and get beginner clarinet or piano books and just flip to a page and throw the metronome on. Ah yes, the metronome is your best friend. If you aren't already, always incorporate it into your practice time, it seriously did wonders for my time and reading abilities. If you're really new at this just put the metronome on quarter notes (60 is a good starting place, go lower or higher as you see fit). And then put it on 2 and 4, it'll really mess you up when you first start but eventually you'll understand rhythmic accuracy. Also literally hearing 2 and 4 on a metronome can be very difficult. There's a funny story about a clinic Pat Martino (I think) had, and he was talking about using a metronome and someone asks, “where can I buy a metronome that puts it on 2 and 4”?? Hilarious story, but it does seem odd if you've never heard of doing that. Put your metronome on at 60bpm, Now imagine each click is beats 2 and 4, now count one TWO three FOUR along with it, it should be easier to hear, snap on 2 and 4 as well to internalize it for a minute and then get into your reading. As you read materials write your own things as well; diatonic studies in different keys, arpeggios, melodic cells etc. and write them in pencil, sharpy, computer etc. Not only should you be ready to read difficult music, but difficult music that looks awful. I can't tell you how many ridiculously put together charts I've had to get through, don't make the times you see those kinds of charts on the band stand! Create them yourself so you're no surprised in a moment where the making music should be precedent.

OSCAR MOORE

Okay, Oscar Moore. He was most notably known as the guitarist for the Nat King Cole Trio from 1937 to 1947. He was an icon by the late 40's, winning Best Guitarist in Downbeat 3 years in a row. He decided to take his career into solo territory, oddly enough failing miserably. By the mid 50's he wasn't playing much at all and ended up becoming a bricklayer. Besides his interesting history he's a hell of a player, with lots of great ideas, and careful nuances that really brought the guitar into a legitimate position in small combos. I recently transcribed his solo on “Embraceable You”, written by Gershwin.

Here's a link to my transcription;

His bio I wrote:

Link to the tune (solo starts at 1:39)

Analysis:

This solo features the guitar in an intimate trio setting, and Oscar uses quotes from the melody, and some idiomatic licks to propel his solo, while playing the changes.

As typical in this style, Oscar takes a 16 bar solo over half the form, in this case an A section and a B section. His solo has several climactic moments, but the biggest build in tension and release in measure 11-13.

Oscar uses a few motifs in this solo, both rhythmic and melodic. His usage of the note G, typically bending or sliding up towards it is prominent, occurring at least 7 times very distinctively. Oscar also uses triplets and 16ths notes to imply a double time feel throughout, without overdoing it. He uses diminished and augmented patterns especially during these double time feels.

In multiple instances Oscar uses Vi chord scales and arpeggios over I chords: measures 2-3, 8, and 12. His usages of chromatic tones are primarily in passing and enclosures. Measures 5, 7, 8, and 12. Blues notes are sparing, mostly in his bends (Gb is most prominent).

Oscar’s tone is bright and warm, characteristic of that time and especially captures the body and tone of the actual guitar (most likely a Gibson L5)

He uses slides and bends, techniques very idiomatic to the guitar that give it a special quality. Moore also employed wide intervallic leaps in his playing.

His solo has subtle references to the melody, in measure 2 his first three eight notes are exactly the melody, using it in passing to extend to the C in measure 3. In measure 8 he imitates the rhythm of the melody in the first 2 beats. At the start of the B section in measure 10-11 he imitates the melody and does it again in the second half of measure 14.

He uses particular articulations and phrasings, slurring and hammering certain notes for different textures, and almost always accenting high notes in the phrase. When a phrase, particular in his arpeggios, goes from high to low his dynamic levels follow the contour of the line. Oscar employs both staccato and legato lines, as well as a demarcation between straight 8th and more swinging passages.

There is not a whole lot of interaction but it’s not nonexistent. Moore deliberately knows what he wants, as some of the same licks are heard when King Cole sings the head at the beginning of the tune (g minor arpeggio>enclosing lick, augmented triad licks etc.) He also doesn’t completely follow the changes Nat and Johnny are laying down; in measure three he uses an idea in G minor rather than Gbdim7. He also uses a G diminished idea in measure 5, when the rhythm section plays Gmi7 > Gbmi7 on beats 3 and 4, creating more of a Bb7(alt) sound. The changes by the rhythm section were very obviously decided beforehand

Embraceable You was written by George Gershwin with lyrics by Ira Gershwin, originally for an unpublished operetta called East is West. It was later published and included in the musical Girl Crazy. The recording by the Nat King Cole Trio was put out in 1944 on Capitol Records with Nat King Cole on piano and vocals, Oscar Moore on guitar and Johnny Miller on bass.

OTHER STUFF

This is the kind of depth you need to bring whenever you are transcribing or just listening to something. Ask yourself why you like the solo (or don't!) where the soloists influences come from, what is his context as a player historically? The shape and contour of the solo, melodic development, relationship to the melody (if any), harmony, rhythmic ideas, interaction with the group, sound and phrasing, articulations and accents, who's on the session and THE FORM AND WHO WROTE THE TUNE.

The last two especially are so important it's unbelievable. For me knowing your history is the single most important that will make you become a fantastic player. It's often said, but so many young guys nowadays get jazz studies degrees and think they're ready for the gigs but they didn't learn tunes or pay attention the masters. I completely understand the desire to want to sound like Ben Monder or Gilad Hekselman, but you have no business really going after that until you study who THEY studied. Who was one of Ben Monder's biggest influences? Ed Bickert. Who the hell is Ed Bickert? The guy Jim Hall called when he couldn't do the Paul Desmond gigs anymore. And he's in my mind undoubtedly one of the greatest masters of jazz guitar ever. Who was Pat Metheny's biggest influences? Mick Goodrick and Toninha Horta. You need to identify and trace these paths, back to the roots of the music and see where it all started.

You may not even enjoy some of it but you can still learn a lot. I'll tell you, when I came in my freshman year I didn't know a lot, but I started hanging out with older guys and was shown Miles Okazaki and Ben Monder etc. My life was ruined in such a beautiful way, but I wanted to sound like that NOW. It took me so long to start simply, keeping the end goal in mind, but approaching it entirely differently. And who knows what my end goal will be like now? Right now I'm learning tunes, knowing my history, LISTENING CONSTANTLY, writing, arranging, teaching and enjoying life. You have to be a diverse and varied musician to make it out there now, but it's a lot less intimidating than what I thought it was.

Oscar Peterson Solo Piano

I hope some of this was at all coherent please ask me questions, give me feedback etc. and I'd love to know of the best blog type site our resource to do these things on, I’m sure it might be more pleasing to the eyes than a reddit post. But you tell me!

I Got It Bad and That Ain't Good digital sheet music. Contains printable sheet music plus an interactive, downloadable digital sheet music file.

• Does not contain lyrics
• This product is available worldwide

Oscar Peterson Solo

Oscar Peterson Solo Pdf Viewer Free