The ONLY Solo You Need To Know

Finally! Peter divulges what solo he thinks would really make the difference in your playing if you were to only transcribe one solo.

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Theme Song "Emotion in Motion":

[migsax]

To paraphrase Chick Corea, “ you know whose solos don’t get highlighted that much for transcription? Miles Davis. And I think it’s a great study, especially the lyrical solos where he uses a lot of space. There are great lessons to be learned there.”

[patemblen]

Really excellent lesson in listening to the nuance and detail. The difference between OK and great.
Thanks Peter.

[jimlampshady]

You guys are killing it. There's like a million jazz tutorial Youtube channels, and the content you put out is consistently of a higher quality than pretty much anyone else. Thanks fellas!

[EricMartinPercussion]

Such a great solo! I really liked this breakdown. When I learned it, I went ahead and learned the vibraphone and piano solos at the same time. I found it really helpful to compare the approach of three great players on the same tune.

[thomasewart-cg]

A phrase may be a better term than a lick.
Lovin this session.
Tom

[joeb]

Peter: Your enthusiasm is infectious. Do some more of these.

[bebopisthetruth]

Loved, loved, loved this analysis. If the show only did solo breakdowns like this and the occasional album review for fun, it would be fantastic.

[brw]

It is interesting how I never seem to learn the lesson of Miles Davis: He is a giant. Yet, so glad I get to discover this over and over again. Amazing.

[idnemgk]

This is wonderful, Peter. This solo seems to have the essence of Mile's vocabulary. Although it truly speaks (sings) for itself, it is wonderful and enlightening to hear the solo through your ears and eyes!

[LukeDavidson-wxpy]

Brilliant. Fabulous to hear someone with great ears picking up the nuances.

[tiluriso]

I'm guitarist and always learn a lot from you guys, this was awesome, thanks for sharing.

[JasonMarsalis]

Ellis Marsalis wasn’t into Theolonious Monk at first. Then he heard Monk’s solo on this tune.

[CWBella]

I very much appreciate breaking down a solo like this. Great ear training, and the perfect reminder about singing when you're working on a transcription to get all the nuance and inflection. Great reminder to shoot for the "A" range (about 90%) because as a perfectionist, I trip myself up when I try to record transcriptions. 🤪 Keep 'em coming, Peter!

[gabrieln]

This is fantastic video. Really appreciate your deep dive into the subtleties of not only the note choices (much of which is "over my head") but especially the note shaping. I play harmonica, in my 51 st year and was full-time player by age 20 but left music as a career full time. I started in the mid 1970's in Bluegrass Bands, was able to play with some Hall of Fame players and opened for some people like Doc Watson on both coasts. I of course have always played blues but did have a Swing Dance, Jazz, R&B band for 10 years. I have played with many fully realized "Jazz Cats" who have played with people like Duke E. Basie, Ray Charles, Maynard Ferguson, etc. but in my own playing am much more on the blues side of like Freddie Freeloader, Cold Duck Time, Blue Skies, One O'Clock Jump, etc. are more in my lane. I will learn Jazz Standard heads on Chromatic Harp but prefer more modal playing for soloing (I have friends who can hang with Jazz standards in all 12 keys, etc. on only Chromatic harmonica, following after people like Toots Thielman). I have adapted many tunes by horn players like David Sanborn, Koz, Marienthal, Maceo, etc. for harmonica. For harmonica players and blues it is Little Walter where we dig into the subtleties of note attack and phrasing but I listen to all instruments, including your channel, to see what may soak in by osmosis even if I do not understand all the theory. I agree though that going completely inside a solo like you are doing here is so beneficial. Thanks again for you forward your videos to piano players I know often.

[hugoidetan]

Great Peter ! The intonation of every note is making the difference in a great solo. Studying intonation is easier when slowing down a bit the tempo. On the guitar you have bends, pull off, slides to help you to get as close as possible to a trumpet. Miles is the greatest ! I ear well the accent on the up beats also. I ear-wrote the bass part first, then try to write some solo parts, and indeed the notation of music is not really telling you how to play the notes. I have work for weeks, month ... a life time. Thanks !

[zzzzz]

i just started the jazz piano beginners course 4 days ago and this feels like a dungeon i wildly unprepared stumbled into.

[fabiofasciolo]

YES! We do enjoy this! A masterclass! Thanks!

[renataarrivolo]

Yes more of this please !
Love all the detail articulation scales used. How to translate a trumpet solo to piano
Fantastic!

[rosenbergjoe]

what stand out for me, like all Miles, is his use of space - pausing between ideas. and his commitment to melody; a blues phrase in bar 9 to F in 10, because of the idea rather than the chord. and bar 11 with the Eb, turning away from the obvious E to F

[geezers]

It’s all (well, a lot) about the “inner” phrasing!
Thanks Peter, would definitely love to see/hear more transcriptions through your lens!
Get well soon Adam 😊