Видео

Congrats Christian! i love love love your videos

The most systematic approach to learning bepop. Would interesting to see how you could apply these concepts to more modal vamps as well as modern playing

very nice. may i ask if you use any effect pedal for jazz guitar playing?

From Earth to Neptune. How?

Well done Christian and many thanks for answering my question - loved that bossa nova progression btw!

Congrats on 10k ! Great vids and insights which help. I thought your choice of "declamatory" to characterise jazz v blues was most inspired. It struck me that many of us started a musical journey as teenagers. Are there any more "declamatory years" (in numerous areas) than our somewhat theatrical teens? Unsurprising then that the natural way of playing we warm to sits in that mold. Thus a rock star sounds more than some distance from say, Jim Hall. Best for the next chapter and many thanks for the thoughtful approach you bring... a refreshing antidote to the wall of speed and noise.

Congrats Christian! Certainly well deserved. Keep at it 🙂

Congratulations, well-deserved! Quality content

Congratulations Christian. Keep up the good work brother!

Congrats on the 10K. Keep on the keeping of the "on." I wish more folks spoke about the importance of odd time in the context of 4/4. I'm also studying Konnakol (Solkattu?) as well as West African rhythms to get deeper into the poly rhythmic and poly metric nature of jazz time. Charlie Parker and Dizzy were EXPERTS in poly rhythm and poly meter, but their prowess gets slept on because: 1. they didn't play in "odd time" signatures (Dizzy did, but not Parker) and 2. everyone is so enamored by bebop harmony that they totally IGNORE the rhythmic aspect. I still say that we need to change the jazz pedagogy paradigm. Rhythm deserves equal, if not more attention, compared to harmony and melody. We need to stop ignoring rhythm in jazz ed and sit down with a drummer (or a bassist--those folks are masters of rhythm as well). Barry Harris had a lot more to say about rhythm that went under the rug because his harmonic and melodic conceptions were so rich. I could study Barry Harris's methodology for the rest of my life and still only scratch the surface. That said, he said a lot about rhythm that goes ignored--maybe because people weren't interested (sadly)? Remember, Dr. Harris used to say "rhythm rules the world." From one teacher to another--if we shy away from teaching the hard stuff and deem it ineffable, then we render our students inert. So keep fighting the good fight, wherever you teach.

congrats Christian! so glad for this channel finding me a great teacher! here's to the next 10k

Congrats and very well deserved on 10k subscribers!

Thanks for this. By the way, what's that Sonny Stitt track (07:57)?

great stuff! subed!

Really good, thank you. I appreciate the effort that went into finding the harmonically correlated phrases from various recordings. Gives a sense of how Bird heard his way through the harmony.

Really good, thank you. I appreciate the effort that went into finding the harmonically correlated phrases from various recordings. Gives a sense of how Bird heard his way through the harmony.

cool playing both solos and comping.

I didn't even realize I had jazz anxiety until the moment I learned it was being monetized.

I thought this was common knowledge. The whole difference between blues blues and bop blues is that boppers treat the one chord more like it’s in a traditional key. That’s the way I teach it, and more or less the way I was taught (though my teachers weren’t always as clear and explicit as I would have liked). Cheers for a great video 😊

Good stuff man!

What a brilliant breakdown!

175 is unique

I always think about the #IVdim7 as a IV7b9 with the b9 on the bottom, just a different inversion of the chord before. And you could fit that theoretically into your analysis given that the F blues scale contains the b9 of Bb7.

Very clear and concise! Thanks

which system did you mention that Barry Harris teaches instead of chord scale?

Piers Morgan

really helpful

Musicians! Pay attention! This tune is simple beautiful and not difficult to add to your set list and with this lesson you can make the turn around sound good! Enjoy! 😎🎸

B over C is rootless 13b9 Phrygian chord - Blues scale from the 5th, or just a Coltrane pentatonic...

Now musicians these voicings are useful and they do have their place however, you must use them in a manor that supports the melody and the rhythm. The tune is the first of importance then the rhythm. A very simple voicing can help stay out of the way of the other players that you are working with and support the melody. If the voicings in this post will work by all means use them as they sound excellent just on their own and pay attention to this instructor he is excellent!!

The soloist can play anything as long as he makes music out of it. The comper has to play the chart so the soloist knows what to expect. A major 7 passing note is fine over a minor chord but a major chord changes the key. I think they used a lot of dom7th chords just to kept it moving and you can play pretty free over them. Just my take

.D minor pentaonic is very playable over an F major- the accompanist can go ahead and add the E flat- for the Bflat 7th, i find the E natural more aggreeable, than E flat- the Bflat 7 aug.11 sound is very similar to a C7 natural 9, sharp 5- so the 4 chord is acting as a dominant- similar to D-7 flat 5 natural 9

Super interesting and informative.

Blues for Alice clearly starts with an Fmaj7 also

I don’t have a left hand legato. I’m just not musical enough to actually use it. I find myself working hard just to play notes arpeggios and melodies that are in time and in tune and I often fail! 🎸😎

Always the best content. Thank you, from Brooklyn NY. I want to take a lesson. Please give me the information if possible.

Wait a sec … is that actually a wound G string?!? Whoa! Hard Core! 😲

I love Barry Harris System. if we see the major as Maj6, then the Maj7 sound that we are so used to has already borrowed a note B from the Ddim7 to create the movement in playing the Maj7 arpeggios. Which means once we start to play 2 4 b6 7 with C6 we are creating harmonic movement.

I’ve been transcribing some of dex’s playing on blues walk and yeah he just straight up plays Fmaj6 or Fmaj7 on the first chord most choruses. He also will spend entire choruses riffing on a simple blues lick and then switch to perfectly outlining the changes with bebop lines in the next. I think switching approaches mid solo is really key to keeping the audience engaged and probably why dex got away with playing such egregiously long solos all the time lol.

I’m starting to sound a bit better but when I listen back to what I played on a gig I only hear clams and how much work I need to do! Thanks for this post!

I've been digging into bird a bit recently and I've noticed that a lot of the time if you look at what he's playing on strong beats, it's almost always just the triad, no 7th or even 6th present. He also seems to have common triads he uses to express different tonal centres. Every bar 8 example you showed the strong beats spell out an F#diminished triad from G harmonic minor, like you pointed out. He also tends to use the Augmented triad from it's melodic minor. Obviously it's impossible to tell how he thought about improvising without asking him, but it seems that the idea of 7ths, on major, minor or dominant chords might have come later on in the history of jazz

The g7 is part the challenge of being more aware and awake to what is going by.