We've already talked about
8th note feels and triplet feels.
The final feel, the final integral
feel you need to learn, is 16th notes.
So this is even faster than triplets.
It's definitely hard, technically.
But I'm gonna demonstrate
what it will sound like.
I'm gonna demonstrate the 8th note,
then 16th note feel in Blue Bossa.
And then, I'm gonna show you what
it sounds like when we go back and
forth and combine them.
Here's a solo in 8th note feel.
are some triplets.
are some 16ths.
It's hard, it's really hard
to practice 16th notes improvising.
The way you can prepare for
this is with a continuous
rhythmic improvisation exercise.
If you put the metronome on like 70,
and just practice running
through the C harmonic minor scale,
or the C natural minor scale,
then just do it at constant 16th notes,
and just work on the coordination.
Of running through all these notes at
a fast tempo, and then you can actually
start to access that
in your improvisation.
And what I just did is doing these feels
one after another is ultimately gonna
be a goal of ours.
As your practicing different feels,
it would be really great if you could
practice a whole chorus of Blue Bossa in
the 8th note feel, and then a whole other
chorus in the triplet feel, and then
a third chorus in the 16th note feel, and
really isolate these different feels so
you can get used to them.
After you practice isolating them,
then you want to practice combining them.
And let me show you what it will
sound like when we go back and
forth between these feels regularly.
It's gonna start to sound very natural and
organic, actually, in our melody, and
I want you to hear what that sounds like
That was all three, right in a row.
Let's do that again.
Now I'll do the opposite direction.
Now the 16ths,
triplets and 8ths.
And that, again, was 16ths,
triplets, and 8ths.
By putting these next to each other and
going back and forth,
you can create really wonderful shapes and
energy levels to your improvisation.
So explore that in blue bossa.