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In this video, you'll learn a solo to “Lady be Good” that uses many of the riffs and blues ideas you’ve just worked on.
Learn to play jazz violin like the masters, with lessons on building solos for standard jazz songs using improvisational devices you can play anywhere. Aaron shows you how to use melodic variation, repeating motives, harmonic entry points, and more. Includes rhythm tracks, analysis of each solo, rephrasing suggestions, and more powerful tips.
Aaron talks about what he’s going to teach in his Jazz Violin course.
In the first lesson in Jazz Violin, Aaron focuses on using the melody of the song as an improvisational tool and looks at ways to mine the rhythmic and melodic material of the Fats Waller classic “Honeysuckle Rose" to create phrases that can be used while soloing. As a bonus, he shows you the infamous “Joe Venuti bowing pattern.” Then Aaron teaches you a solo to “Honeysuckle Rose.” As you work your way into the tune, listen to these great versions by Fats Waller, Django Reinhardt and Stephane Grappelli, Count Basie with Lester Young, and Louis Armstrong.
In this lesson Aaron focuses on riffs—what they are and how to pull from a song’s melody to create them. He also takes a look at the blues—not the form but the sound and how to inject it into a solo. You’ll also learn a solo to the beloved Gershwin song “Lady be Good” that uses all the ideas you’ve just learned. To get in the mood, listen to some classic recordings by Lester Young and Django Reinhardt and the Quintet of the Hot Club of France with Stéphane Grappelli on violin.
This time, Aaron talks about using the chord tones of a melody as an improvising device. He demonstrates this with a solo on Duke Ellington’s classic "It Don't Mean a Thing (If It Ain't Got That Swing).” Here are versions by Duke Ellington and Django Reinhardt and the Quintet of the Hot Club of France with Stéphane Grappelli on violin. As he mentions throughout this course, Aaron’s intent is to demystify the elements of jazz improvisation and make them accessible to everyone.
Aaron continues his look at chord tones, this time focusing on the notes that change from chord to chord. He then applies this concept to a solo on the standard “On the Sunny Side of the Street,” a song from 1930 composed by Jimmy McHugh with lyrics by Dorothy Fields. There are well over 800 recordings of this classic, but start with these settings by Stéphane Grappelli and Benny Goodman’s Sextet with Peggy Lee.
