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2 Minute Jazz - Big Band Fills - Ulysses Owens, Jr. | 2 Minute Jazz
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Big Band Fills - Ulysses Owens, Jr. | 2 Minute Jazz

06/07/19 • 3 min

1 Listener

2 Minute Jazz

Ulysses Owens, Jr. reveals his go-to fills when playing with a big band.


For full lessons with Ulysses Owens, Jr., check out Open Studio: https://www.openstudionetwork.com/project/fyb-overview/


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Website: https://www.openstudionetwork.com/


Instagram: https://www.instagram.com/heyopenstudio


Twitter: https://twitter.com/HeyOpenStudio


Facebook: https://www.facebook.com/OpenStudioNetwork/


See acast.com/privacy for privacy and opt-out information.

plus icon
bookmark

Ulysses Owens, Jr. reveals his go-to fills when playing with a big band.


For full lessons with Ulysses Owens, Jr., check out Open Studio: https://www.openstudionetwork.com/project/fyb-overview/


========================================================


Website: https://www.openstudionetwork.com/


Instagram: https://www.instagram.com/heyopenstudio


Twitter: https://twitter.com/HeyOpenStudio


Facebook: https://www.facebook.com/OpenStudioNetwork/


See acast.com/privacy for privacy and opt-out information.

Previous Episode

undefined - One Easy Left Hand Comping Trick - Peter Martin | 2 Minute Jazz

One Easy Left Hand Comping Trick - Peter Martin | 2 Minute Jazz

Peter Martin shows you a simple left hand comping technique that can add another layer of groove to your playing using only the root-5, 6, and 7.


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What's goin' on, everybody? Peter Martin here for Two Minute Jazz. Just wanted to throw one little left hand technique. We got a lotta cool things we can do over Chick Corea's "Spain" to get that groove going.


But one that I realized I do sometimes, kinda wish I did it more, is just the concept of root and five, root and six, and root and seven. Real simple little melodic play.


So it's just a little bit of a melodic concept. And you know, you gotta check on each chord which ones of 'em sound good, some of 'em sound better than others. But you can do 'em on almost every chord.


And you know, different orders, playing around with them, but it's just a little bit of a melodic play, little countermelody thing to get a little action in the left hand that's a little different than some other things.


All right, have fun. Happy practicing.


========================================================


For full length piano lessons with Peter Martin, check out www.openstudionetwork.com/piano


Website: https://www.openstudionetwork.com/


Instagram: https://www.instagram.com/heyopenstudio


Twitter: https://twitter.com/HeyOpenStudio


Facebook: https://www.facebook.com/HeyOpenStudio


See acast.com/privacy for privacy and opt-out information.

Next Episode

undefined - How to Play Patterns That Don't Sound Like Patterns - Peter Martin | 2 Minute Jazz

How to Play Patterns That Don't Sound Like Patterns - Peter Martin | 2 Minute Jazz

Patterns might be a dirty word in jazz, but Peter Martin shows you how to play them without making it obvious.


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What's going on everybody, Peter Martin here for 2 Minute Jazz. Wanna talk to you about patterns, which is a little bit of a dirty word for me, but there I said it. But I want to talk to you about how we can play patterns, without them sounding like patterns.


Now, a pattern is anything that's repeated, it could be anything that you repeat and move around. So, how do we play them? Because actually patterns and art and music and nature are very important, and they form a great foundation for some of our great improvisations.


So, I was kind of playing around on "Someday My Prince Will Come," and when I get this D flat diminished, a little bit of a problematic chord for many of you. So that's a place where sometimes we'll take a pattern, we'll take an easy phrase, and then repeat it.


So we're just going up the diminished whole halves, I guess it is. In broken minor thirds. Over a little triplet thing. That's fine but it sounds a little corny. And then especially if we keep moving it into that C minor.


So, there's some little things we can do though. So there I'm just I'm a little out of time, we'll pull it back into time, but I'm going up the scale, the diminished, but then I start going chromatic, and kinda change up the time also, so if I start out triplets, it makes it a little more organic, it makes it more like, you know, you'd sing it or something although you'd be a heck of a singer to be able to do that, but harmonically and melodically that chromaticism really kinda adds something I think nice.


Other things you can do is to keep the same interval but then change direction, and doing it in a kind of random and organic way. And if you combine that with the chromatic, then it sounds like it's not a pattern, but it actually is.


All right, have fun with that, happy practicing.


========================================================


For full length piano lessons with Peter Martin, check out https://www.openstudiojazz.com/piano


Website: https://www.openstudiojazz.com


Facebook: https://www.facebook.com/HeyOpenStudio


Instagram: https://www.instagram.com/heyopenstudio


Twitter: https://twitter.com/HeyOpenStudio


See acast.com/privacy for privacy and opt-out information.

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