I am a bit curious if you use the same definition of a Coltrane Pattern as me with a Major/minor version or you use 1 2 3 5 in both major and minor? Just realized there are two versions of this 🙂
Jens Larsen I like to use the 1 2 3 5 for minor as well not the 1 3 4 5. But for minor 1 3 4 5 sounds interesting since it contains the 11th. I'll definitely try it
I have read the same thing in a few articles, and have used 1235 and 1b34 5 for blending in Jam band sessions and not knowing what it was called. Now I have seen and herd Coltrane's solos and he expands the the idea with additional bebop ideas and takes it to another level.
I learned that there are 5 patterns on each Chord (maj7 / 7 / m7) and they start from the root, third, fith, seventh, and ninth. so on Major Chords (maj7 and 7) it would be 1,2,3,5/3,5,6,7/5,6,7,9/7,9,10,#11/9,10,#11,13 - on minor chords 1,3,4,5/3,4,5,7/5,7,8,9/7,8,9,11/9,11,12,13 - i also have a working sheet if you're interested
I want to thank you for being the catalyst that sparked the recent growth of jazz knowledge I have had. I was stuck for months playing the same boring pentatonics every time I picked up guitar and couldn't translate my love of jazz to my fingers until now.
I found a cool video about the "John Coltrane Pentatonic" (root, 2nd, minor 3rd, 5th, and major 6th- easy ex. D, E, F, A, B) by a sax player on RUclips and decided to revisit your excellent Coltrane video here for a one two Coltrane Punch! Thanks, Jens!
Already mentioned by someone else is Jerry Bergonzi’s book « Melodic Structures » which presents a complete system based on Coltrane patterns (although he does not refer to them this way. His approach covers many facets including extensions, rhythmic variations, and much more. It’s a very useful book...
Yes, comment section is fantastic! Makes up for past 14 lost guitar years; too much mothering and not enough pattern integration LOL. But seriously, what a fantastic way you present to just get the musical ear tuned up. This video reminds me that working the Thesauruses of Scales and Melodic Patterns is made more practical though study of improvisation language.
Hi Jens.. would love to see a video on 'Naima' on how to solo on it and chord function. Or maybe if there is a certain way that you think about it when soloing on it. Thanks a lot. Wayne.
Naima is somewhat in between modal and functional, and there is not really a method for the thought process. But if I can find a way to make a video on it I will certainly do so! 🙂
Some people call those tetrachords, but I think you explained them well. They are really just the first 4 notes of a pentatonic scales. I just started working on a way to explore all the mathematical patterns you can make from 4 notes. I really want to be able to phrase like a horn player.
Thanks Ron. The way I know tetrachords they are step wise and not like these fragments. But they are indeed related to pentatonic scales. Good luck with the horn phrasing :)
Thank you so much for making your videos. I love watching them. I wish you much success. Your playing is wonderfully tasteful, your ideas are interesting, and your explanations are concise and clear. Thank you again!
Good lesson Jens! You suggested using the E major Coltrane pattern on A altered. That works great, but you can also use the D major pattern or alternate between the two patterns. It’s also a part of the altered scale.
Great lesson as always Jens! I recommend Jerry Bergonzi's "Melodic Structures" that covers this topic in a very mathematical way and offers some exercises. And of course, Coltranes solos!
Thank you! That was nice! But I made wrong conclusions. I taught that 2nd pattern (from 5th) is always min for min, min for dominant and maj for maj (as is valid for II V I progression). I applied Coltrane patterns on Blue Bossa solo what worked pretty much fine accept for G7 chord. A pattern from 5th of G7 would be Dmin pattern but A note is missing in Eb scale. Then I went trough your video again and I realized that D note is 7th of Eb scale and therefore a half diminished pattern is needed (D F G Ab).
Great teaching thanks! You were probably thinking about me and that this is a jazz joke. Coltrane pulled all his lines Out of Nowhere, i.e. From Nothing, and if such a thing were possible of course it could make No Sound! Haha. Thanks!
Thank you Jens for this great lesson. While dissecting this I was confused by the accompanying tab of the example lick with an Am Coltrane pattern on a D7. I think the 5th note in this lick is an F#, not a G# as shown in the tab, right?
I like to practice the various inversions of these patterns. Starting on the 2nd etc. I also like any arpeggio with an added note. 1356 13b55 1b23#5. Like little Lego bricks of melody
There is somewhere a G# on the score but you play F# from what i hear! at the section where you play Am to D7 to Gmaj7. But no problem, still nice overall!
Jens , thank you for this class, however I have a request, could you do the exercises slowly please, it's very difficult to follow. Thank you very much.
Ive been practicing over the changes to take the a train like 3 hours a day for a like a week and I see no improvement, can I send a clip in to you so you can give me some tips. I really think that would help me out a lot.
You can play it both ways and I’ve seen it both ways for sure; so you’re partially correct. Let your ears be the guide and try both and more importantly acknowledge both.
@@JensLarsen no they are referencing a video game called final fantasy, the major pentatonic scale is the beginning to the theme to final fantasy and so they're just saying that's what pops in their head when they hear it.
At 2:41 I was like "wait, I know that song!" So if anyone needs a warmup, here's a song built entirely out of the 1235 pattern of the Big 4 chords in C, plus b6 and b7 from minor. I've been playing it on piano for years, but now I'm trying on guitar and it's so hard! ruclips.net/video/ELZfaOQCD4o/видео.html
Really nice vids! John McL, like Larry Coryell worked with Miles. It was a fusion thing then. We loved it. But also caught on to great players like John Abercrombie, John Scofield, Bill Frisell and Ralph Towner who played brilliantly with dissonance and unusual time sigs. There are so many others. We didn't have any internet then. Radio didn't serve jazz people the US (Europe, much better). Word of mouth was the gospel we listened to. We would get the VHS tapes of Joe Pass teaching chord inversions (quite important). God we loved Joe Pass although his teaching method was a bit scattered. But this is great tutorial.
I am a bit curious if you use the same definition of a Coltrane Pattern as me with a Major/minor version or you use 1 2 3 5 in both major and minor? Just realized there are two versions of this 🙂
Jens Larsen I like to use the 1 2 3 5 for minor as well not the 1 3 4 5. But for minor 1 3 4 5 sounds interesting since it contains the 11th. I'll definitely try it
I use 1 2 3 5 in minor as well, I guess I just first learned this principle for the patterns and therefore have that way of organizing them
I have read the same thing in a few articles, and have used 1235 and 1b34 5 for blending in Jam band sessions and not knowing what it was called. Now I have seen and herd Coltrane's solos and he expands the the idea with additional bebop ideas and takes it to another level.
I learned that there are 5 patterns on each Chord (maj7 / 7 / m7) and they start from the root, third, fith, seventh, and ninth. so on Major Chords (maj7 and 7) it would be 1,2,3,5/3,5,6,7/5,6,7,9/7,9,10,#11/9,10,#11,13 - on minor chords 1,3,4,5/3,4,5,7/5,7,8,9/7,8,9,11/9,11,12,13 - i also have a working sheet if you're interested
I would have done 1 2 3 5 for major and 1 2 b3 5 for minor. I like the method you are teaching here better.
I want to thank you for being the catalyst that sparked the recent growth of jazz knowledge I have had. I was stuck for months playing the same boring pentatonics every time I picked up guitar and couldn't translate my love of jazz to my fingers until now.
Thank you! Happy to hear that you can put the videos to use! 🙂
Jens presents his ideas with both knowledge of his subject and with clear presentation. Good work!
Glad you think so!
I found a cool video about the "John Coltrane Pentatonic" (root, 2nd, minor 3rd, 5th, and major 6th- easy ex. D, E, F, A, B) by a sax player on RUclips and decided to revisit your excellent Coltrane video here for a one two Coltrane Punch! Thanks, Jens!
I have a few videos on that if you search for min 6ht pentatonic :)
@@JensLarsen Thanks, Jens. I'll definitely check them out. Thanks for all you do!
Final Fantasy guitar lesson. Wooo!
Ok ? 🙂
Jens, incredibly useful lesson. Thanks, it has immediate application to blues rock tunes that I play.
Thank you John! I am glad you like it! These will indeed fit in pretty much any genre!
Feel like I’m learning guitar all over again, so much good info...... Thank you again.
Thank you Mike! 🙂
Already mentioned by someone else is Jerry Bergonzi’s book « Melodic Structures » which presents a complete system based on Coltrane patterns (although he does not refer to them this way. His approach covers many facets including extensions, rhythmic variations, and much more. It’s a very useful book...
Vielen Dank für das Video. Es macht wirklich viel Spaß die vielen Anregungen von dir zu sehen
Great lesson Jens, really clearly explains what Coltrane patterns are, and relly nice ways to use them. Thank you!
Yes, comment section is fantastic! Makes up for past 14 lost guitar years; too much mothering and not enough pattern integration LOL.
But seriously, what a fantastic way you present to just get the musical ear tuned up. This video reminds me that working the Thesauruses of Scales and Melodic Patterns is made more practical though study of improvisation language.
Thank you very much Masteneh! Keep at it :)
Just getting into jazz. Your videos provide so much information; great! Thank you
That is great to hear! Good luck with it 👍🙂
Really nice concepts Jen's,your obviously a top notch player,I really enjoyed this,Thanks my friend.
Thank you vincent! 🙂 I am glad you like the video!
Thanks Jens!!! I love to grab my guitar and try to keep up. Thank God for the pause button
Haha Jume! Hope I am not making you too exhausted. I do appreciate that you check out the videos 👍🙂
Jens Larsen. I love your style of teaching. I don't absorb it all, but I sure love it. Thanks again!
Hi Jens.. would love to see a video on 'Naima' on how to solo on it and chord function. Or maybe if there is a certain way that you think about it when soloing on it. Thanks a lot. Wayne.
Naima is somewhat in between modal and functional, and there is not really a method for the thought process. But if I can find a way to make a video on it I will certainly do so! 🙂
Some people call those tetrachords, but I think you explained them well. They are really just the first 4 notes of a pentatonic scales. I just started working on a way to explore all the mathematical patterns you can make from 4 notes. I really want to be able to phrase like a horn player.
Thanks Ron. The way I know tetrachords they are step wise and not like these fragments. But they are indeed related to pentatonic scales.
Good luck with the horn phrasing :)
Thank you so much for making your videos. I love watching them. I wish you much success. Your playing is wonderfully tasteful, your ideas are interesting, and your explanations are concise and clear. Thank you again!
Glad you like them, Ian :)
Good lesson Jens! You suggested using the E major Coltrane pattern on A altered. That works great, but you can also use the D major pattern or alternate between the two patterns. It’s also a part of the altered scale.
Thank you Rob! Yes indeed the D major pattern would also work on an Ab altered chord 🙂 I wanted to pick one so I went with E
Okay Jens! Keep on with the inspiring lessons!
As always, very helpful and very precise. Please continue your work in helping guitar enthusiasts.
Thank you Philip! I certainly plan to try 🙂
Jen,You're welcome. Thank s again.
👍
super gode videoer du laver Jens. en af de bedste youtube jazz guitar lesson kanaler :)
Tusind tak!
Hvis du gør det i Facebook så kan du jo komme med i FB gruppen: bit.ly/InsidersFBGroup
super.. now i became a collaborator in your patreon.. thaks a lot .. regards from Barcelona (Spain)
Glad you like it! I hope you find something you can use on Patreon 🙂
oh God..this is what i'm looking for..thanks jen for sharing..
You're very welcome Deny! 🙂
Great lesson and a great teacher.
Yes, I enjoyed it.
Thank you! 😃
Awesome, awesome, awesome lesson! You're the best Jens! Good day to you!
Thank you Ferry! Glad you find it useful!
Interesting how these patterns "avoid" the 7ths of the chords! Way cool!! Lotta like it and again, very easy to understand and very useful! Thanks!
Could you do Monk next! This is fantastic.
Ok! ruclips.net/video/-JYXr-jX8MA/видео.html 😀
Great lesson as always Jens! I recommend Jerry Bergonzi's "Melodic Structures" that covers this topic in a very mathematical way and offers some exercises. And of course, Coltranes solos!
Thanks Tal! Bergonzi's books are usually really good even if they are a bit systematic :)
Excellent as always Jens!
Thank you Ricardo! 🙂
I'm sure you're getting tired of the compliments by now, but just in case you aren't -- another great lesson, Jens! :-)
Thanks Kenneth! Actually I am really happy that you appreciate the videos, and your comments help the channel immensely!
such a simple concept, yet so useful!
Which is of course also true for a lot of simple concepts 🙂
Jen ,You are great! Thank you for sharing.
Glad you like it Michael! 🙂
You're the boss Jens Larsen
Thank you Sharvil!
Great Job once again....you know we are loving it...ron
Thank you Ron! I am glad to hear that!
in Bergonzi first book talks about this
Indeed 🙂
this ibanez sounds good! I'm looking for an as103. They dont manufacture it anymore. Are great!
They stopped making mine in 1980 (I think :) )
fuck! I understand why!! : )
wonderful explanation
Thank you!
Man thank you 🙏 great video. Gave me some great ideas on bass 🎶
Thank you! That was nice! But I made wrong conclusions. I taught that 2nd pattern (from 5th) is always min for min, min for dominant and maj for maj (as is valid for II V I progression). I applied Coltrane patterns on Blue Bossa solo what worked pretty much fine accept for G7 chord. A pattern from 5th of G7 would be Dmin pattern but A note is missing in Eb scale. Then I went trough your video again and I realized that D note is 7th of Eb scale and therefore a half diminished pattern is needed (D F G Ab).
Great teaching thanks! You were probably thinking about me and that this is a jazz joke. Coltrane pulled all his lines Out of Nowhere, i.e. From Nothing, and if such a thing were possible of course it could make No Sound! Haha. Thanks!
I wasn't thinking of you, but yes I do like that punten 🙂
Wow you must really have liked it....you pulled out the Dutch on me! Nice....
My auto-complete lives in a constant confusion of three languages 😁
Either way I looked it up....never miss an opportunity to learn a new word!
Thank you Jens for this great lesson. While dissecting this I was confused by the accompanying tab of the example lick with an Am Coltrane pattern on a D7. I think the 5th note in this lick is an F#, not a G# as shown in the tab, right?
That could very well be, I have made 300 videos since I made this one, so I would need a timestamp in the video to look. I don't remember
@@JensLarsen it’s at 6:08 - might help others in the future to know.
@@robertgoodman7137 Yes, that is an F# :)
Great lessons man thank you
You're very welcome Dan! 🙂
I like to practice the various inversions of these patterns. Starting on the 2nd etc. I also like any arpeggio with an added note. 1356 13b55 1b23#5. Like little Lego bricks of melody
Very true! It a good way to look at it!
I like to use the pattern of 1 b2 3 5, then the same a tritone up on dominant chords. Get a cool sound and pattern:) nice video Jens
Yeah, that is a great way to create some II V I lines 🙂
Well done!
Thank you!
These are nice....adding this to my practice makes me sound like I know what I'm doing....ha.......ron
Thanks Ron! I suspect you do know what you are doing?
Love it!!
Thank you! :)
Hi Jens, nice work as always :) Would You please check tabs at 8:56? I think the fifth note should be a 11, not a 12 :)
Thanks Antonio! Being mostly a one man operation I tend to have a lot of typos :)
i discover today a great norvegian guitarist jakob bro
He is great and (like other great Jazz Guitarists..) very Danish 🙂
I have a question.
Can I transform the diatonic arppeggious into coltrane patterns? Like in a 2 5 1 progression as such?
Not really. You are better off knowing both :)
Great stuff!
Thanks Brad! 🙂
There is somewhere a G# on the score but you play F# from what i hear! at the section where you play Am to D7 to Gmaj7. But no problem, still nice overall!
Jens , thank you for this class, however I have a request, could you do the exercises slowly please, it's very difficult to follow. Thank you very much.
I sometimes do the examples slow in the newer videos. Is that better?
You can get RUclips Red and slow the video to .75 speed and it's alright.
Ive been practicing over the changes to take the a train like 3 hours a day for a like a week and I see no improvement, can I send a clip in to you so you can give me some tips. I really think that would help me out a lot.
Sorry, I don't do stuff like that for free. And I am anyway not at home for the next few days.
How can I support you?
Simple and basic...after 10 years of jazz study!!...hi!..hi!...
thx
You're very welcome!
why does the minor not have the 2nd in it (so 1-2-3-5, like the major)? it seems the 4th in the minor would be more dissonant.
You can play it both ways and I’ve seen it both ways for sure; so you’re partially correct. Let your ears be the guide and try both and more importantly acknowledge both.
Hi Jens, nice clases but hard to follow, could yo go slowly please? Thank you
You can slow the video down in the settings :)
No there’s something I can use 😀
Go for it 🙂
final fantasy
Playing Coltrane Patterns is a fantasy to you? Then you should just practice a bit 🙂
haha no your videos make it easy ;)
@@JensLarsen no they are referencing a video game called final fantasy, the major pentatonic scale is the beginning to the theme to final fantasy and so they're just saying that's what pops in their head when they hear it.
Hi I really like your videos. Do you also do private lessons via skype ?
Thank you! I don't do one-on-one lessons, but I can recommend some good teachers if you send me an e-mail
@@JensLarsen Ok , thank you so much for the reply.
At 2:41 I was like "wait, I know that song!"
So if anyone needs a warmup, here's a song built entirely out of the 1235 pattern of the Big 4 chords in C, plus b6 and b7 from minor. I've been playing it on piano for years, but now I'm trying on guitar and it's so hard!
ruclips.net/video/ELZfaOQCD4o/видео.html
Do you have WeChat account，so we can donate with WeChat（it's Chinese social software）
Thank you! I do have an account, but I don't know how it works. You can also help me by sharing my videos on WeChat so it reached new people 🙂
What's your WeChat account？
My account is jenslarsenjazz
This is so John mclaughlin who off course us heavily influenced by Coltrane.
That could very well be! I am not that familiar with John McLaughlin 🙂
Really nice vids! John McL, like Larry Coryell worked with Miles. It was a fusion thing then. We loved it. But also caught on to great players like John Abercrombie, John Scofield, Bill Frisell and Ralph Towner who played brilliantly with dissonance and unusual time sigs. There are so many others. We didn't have any internet then. Radio didn't serve jazz people the US (Europe, much better). Word of mouth was the gospel we listened to. We would get the VHS tapes of Joe Pass teaching chord inversions (quite important). God we loved Joe Pass although his teaching method was a bit scattered. But this is great tutorial.
what do i do if i dont like you?
2:55 ähm is your Guitar out of tune?
I dont know man.... Coltrane had way more than this......
Yes of course he did, what does that have to do with this video? 😁
2:50 thats the finanl fantasy 012 thing