✅GET THE FULL PDF LESSON HERE ►︎ jazz-rocks-shop.myshopify.com/products/the-secret-to-jazz-vocabulary-no-bullsh-t Watch this video on *Chord Tones vs Scales* ► ruclips.net/video/HrlKiwjvvTc/видео.html
I can't stand this over simplification about rhythm. Dizzy stated that rhythm is the first thing he looks for because if a guy doesn't have rhythm, then he doesn't have anything. Which is logical because you can't play with a guy who is all over the place. But this doesn't mean that this is the KEY to learning to improvise! If so I who have made a living as a working musician. I played bass in high school and have great feel of time. Could play different feels/grooves and different tempos. But all lines were reheared. I had a great memory which was a crutch. I would memorize whole tunes which crippled my improvising development. Improvising has to do with pitch and speaking the language. It is just as stupid to say that learning to speak English depends on how well you know your fractions.(math) Because that is what you are saying. It is a statement of total ignorance made because you misinterpret what one jazz legend has said. On top of that Dizzy is advice is to be taken with a grain of salt. The guy was a natural. And just because he was and is at the top of the hill, should be reason enough to ignore anything he says if you are struggling to learn this art form. You should not be listening to you either, because your misunderstanding leads to bad advice. They should listen to someone who has struggled, like themselves, and found ways to break through. Someone who is also not a natural. My cousins liked golf and told me the worst person to take a lesson from was a pro golfer. The higher ranked the worse a teacher, from most of their ability came NATURALLY! They can't understand your position. "Here do this." My cousin would swing his golf club with all it's imperfections and the pro who say, "No no no" Not like that. "Like this" And my cousin couldn't see himself and had no idea of what he was doing wrong, while the pro couldn't relate to why he was making all those mistakes and had no way to fix them. Sorry dude but that the truth. And being on the average Joe side of things is frustrating enough, but to hear this regurgitated nonsense as advice is nerve wracking to say the least.
I’ve watched hundreds of instructional jazz guitar videos on RUclips and this may be the best I’ve seen. For decades I’ve been wondering why some players can play something that sounds so jazzy only to find out they’re just using the same pentatonic scale I learned when I was 14. I’ve heard vague references to feel and swing and articulation many times before, but the way this video spells it out in such a literal and clear way with examples and counterexamples just turned so many lights on for me. Instant subscribe. Thank you!
Hey Aaron , thanks for your wonderful comment. I hope to see you around here some more. Feel free to check out some other videos. I have lots to check out. Cheers!
First time here and wow.😮 What a lesson Sir! Your explanations are so clear and straightforward. I hit the subscribe button before you can say hello. Awesome stuff. Thank you. ❤
I hate that life's not long enough to learn how to melt my own face when I'm melting those around. Feels like a funeral when I set my guitar down. Recommending this video to a student.
In the process of time, Music showed me that there are musicians that are enemies of Music, who subject Her servants to disrespect in greedy maintenance of pride and status, while Her chosen ones serve in the celebration of life 🙏
I thought you were gonna talk about some gimmick on this video, but you proved me wrong! I've been yammering all around RUclips land about the importance of rhythm. If jazz ed put equal emphasis on rhythm as they did harmony and scales--we'd have better musicians coming out of university. I love how you specified rhythm as it relates to the measure. So many folks turn up their nose to rhythm and say, "I don't want to play that SIMPLE stuff." There's a misconception that playing rhythmically means playing one note with different rhythms or leaving a bunch of space. That's part of it, but playing rhythmically also means playing eighth note lines and double time lines and knowing where to place the accents and anticipations--just like you said! Playing rhythmically means that you develop spatial awareness of the time--you know what the DOWNBEAT and all other parts of measure sound like by ear, just like you would practice hearing notes in relation to chords or a certain harmony/ key center. Where you are in the measure helps you decide what notes to play in the measure--jazz exists in a groove. Last thought from my comment essay ;) Explore the West African connection to jazz. Many of us downplay the African connection, but that's what makes the music groove like nothing else. Check out CK Ladzekpo on RUclips--he teaches West African Drumming at Cal Arts. He talks about the other triplets--quarter note and half note. You don't learn polyrhythm just to play isolated polyrhythms as some sort of party trick. You internalized the quarter note triplet and half not triplet to feel that pulse as you play regular eighth notes and 16th notes, all that. Mike Longo (Dizzy Gillespie's last pianist) talks about it in his "Rhythmic Nature of Jazz." Helps you feel where you are in the pocket and where to place accents as well. Above all, LISTEN. Thanks, Jazz Rock!
Thanks so much for your well thought out comment. I couldn’t agree more with you. I don’t know about the guy that teaches at Cal Arts, but I do know about Mike Longo. (Dizzy connection) And yes jazz rocks!
You said it!!!!! I read an article by Branford in 1986 where he said this. When a master gets into the Zone, the number of notes typically decreases. The subtlety of rhythms (particularly placement or RESTS, call and response, cross rhythms, hemiolas,) typically drastically increases. Drums on the strings
My favorite is a L Dunlop Calico. They’re a little hard to find but I buy them on Amazon and reshape them. Here’s a video I did about thumbpicks: Thumb pick: Everything changed for me when THIS happened! ruclips.net/video/Wcux4fmPptU/видео.html Thanks for watching!
Lol..good description. My guess is newer electrics trying to imitate the "woody" sound of the archtop jazz boxes. But a little goes a long way. Cheers ! 🎶
Jimmy Bruno has a YT on how to improvise simply using the major scale on a 251, without all those "outside notes" and all that BS.😅 That kind of reaffirmed what I felt and suspected. It also took a lot of the stress out from trying to use different scales properly.
But Jimmy uses those notes too. Trust me. But he showed you a simpler way in. And that’s great. If you’re comfortable with that, now it’s time to add chromatic notes, approach notes, enclosures, and above all, RHYTHM!
@@JazzRockswithAdam it's his sarcasm at work. I'm familiar with his work and I play all of the above and still learning. And there are also times when the simplest phrasing is all that part needs. It was more about placement of the notes and the rhythm aspect of it. Learn the outside notes later.
If you play a strong rhythm, and with conviction, you can nearly play any note choices. Just be careful what your last note is. Make that a good one. 😉
Thanks, David! It took me a little while to get used to it. If you’ve never used a thumbpick it will feel awkward. The bonus is you free up an extra finger to play chords, etc.
Thanks for the comment, Chris. I use different amps for live: Peavey Classic 30 which is highly underrated, and a Port City Pearl 50w head and cab. But for videos it’s a tiny 10w Tech 21 Trademark 10.
when it comes to teaching jazz rhythm, i haven't found anything better on youtube yet. but even the best can get better. your demonstration at 1:30 would have been the best bit if you hadn't spoken over it. and that rhythmic phrase at 2:04 would have been much more helpful if you had repeated it several times. last but not least: i've purchased your pdf file and was a bit disappointed that there was no accompaning mp3 file. as far as i'm concerned, jazz rhythm can only be learned by listening.
Thanks. The voiceover part wasn’t meant to be copied necessarily. Just a demonstration. You can always rewind it and listen to it as many times as you want. I agree about listening to learn. This lesson is meant to get you started in that vein, then you can start pulling rhythmic phrases from your favorite recordings and work those into your playing using the PDF lesson as a guide. Thanks for your comment and for watching!
That's incorrect sir. The greats did use scales in their playing and so would think that way. It's just scales isn't the only part of their understanding. It's other theoretical devices plus vocabulary and the instinctual aural understanding and experience that they built up.
Devices, and instinct and experience, yes. But they didn’t really think in scales. Not until the ‘60s and ‘70s. I’m not saying they didn’t know about them. But the jazz language didn’t start with them.
No, jazz language doesn't only come from scales. So if someone is going about it that way, or being taught that way, that's a pretty poor and ineffective approach. You need the musical understanding plus other devices besides scales. However, scales are involved, and the greats did think about them. Scale pedagogy emerging in the 60s and 70s doesn't mean noone thought of scales before that. If you listen to Charlie Parker, or read through his omnibook, he uses scales and associates them with chords in every song. I even found instances where the only thing he played on certain chords was to run a scale straight, without any contour or different notes, proof some of his thought involved scales.
No, I'm sure you know your stuff. I'm just disagreeing with your premise that you said at the beginning of the video that the greats didn't think in terms of scales. This is a really common misconception that people spout these days.
@@clintjones9848 I’m not against scales completely. But THE biggest lie going out there is “practice your scales and you’ll get good at jazz.” I’m sure you’d agree there’s more to it than that.
Allan holdsworth thought in terms of scales. Not sure why you would say all the good guys didn’t think that way, that’s a broad and sometimes untrue statement.
@@nickfanzo I wouldn’t put Holdsworth in a jazz category. Even he didn’t consider himself a jazz musician. Did you get a chance to watch the video yet?
I believe a beginner student should be taught how to play all scales, modes, chords, inversions and arpeggios. That is the foundational guide for all terminology, theory concepts, notation, tab and application.
Meanwhile by the time they do all that-years will have gone by and not a single phrase will sound like music. Nothing but road blocks. The only people who recommend what you do are those that had amazing natural talent and developed the language without even trying. You could of ate cornbread and rode ten mikes on your bike, things that had nothing to do with it, and been playing amazing lines regardless. Your scales are no different. If you are an average Joe, learn phrases from your favourite players. Ten phrases you learn to play over numerous changes to different songs, at multiple tempos, with serve you better than running scales.
I seem to get the best progress by doing a rotation, much like rotating through different types of physical workouts. Technical practice and theory is one of the rotations. Side effect is that it enhances my interest because the challenges change with the rotation and I know I won't have to be buried in theory and the technical until some future perfectionistic end point.
Not a “secret”. An “open secret” at best.. since the beginnings of jazz. The players and recordings have been giving the “keys to the kingdom” away for a long time.
@@ili626 It seems to be a secret on YT. No one seems to talk about it. Everyone talks about modes, etc. if you know this already, then clearly you are in the minority!
@@ili626 I was half joking. But, nah, actually, back in the day, they would hide their hands, turn away, all kinds of stuff. Diz is sharing, but he's only telling half. I know the attitude changed in the 70s and 80s, but it's still around.
Yes, I file them to reshape and sand them down smooth. For one thing they’re usually waaaay too long. My favorite ones are Large, Dunlop Calico thumbpicks. They’re hard to find, but I buy them off of Amazon. I made a video about my thumbpicks here: Thumb pick: Everything changed for me when THIS happened! ruclips.net/video/Wcux4fmPptU/видео.html
I was enjoying listening to your presentation while driving, and then all of a sudden I heard a voice say that playing well doesn’t have anything to do with the CAGED system. Then I realized it was one of those dumb ads!
I like your teaching and the way you demonstrate your lessons. Do you have any lessons on augmented, chords, and how they apply to plying, and how it can be used.
Hey thanks! There is a lot of different uses for aug chords. I haven’t really done a video on aug triads, but I did do a video on 7#5, which is an aug triad with the added b7. Why Does THIS Chord Cause Such a Divide with Musicians? ruclips.net/video/ywr65kv4L7o/видео.html
Jazz greats may not have played scales in their improving, but they certainly organized their thinking around scales and modes. Arpeggios are derived from scales. You can’t do calculus unless you know algebra first..
Not true. Not until later. Late ‘50s into the the ‘60s with modal jazz and onward. I’m talking about the pioneers. When jazz musicians started going to universities to study music, that’s when scales began being a focus. Or at least a blend. But before that, the language was passed down orally and aurally. See, that’s almost a jazz outsider type of thinking. Learn n this approach first, then apply scale ideas later. Did you watch the video?
I always thought that the main error its to think in monodic. It's better to think in Harmony that allow you to expand your creativity. Only scales are a bit annoying, and encouraging people to do isn't good.
Yes, thinking chords/harmony is much better. Jazz can have many chords and key centers whipping by. By nailing important notes on important spots is essential for weaving a line through chord changes. That’s exactly why I’m not big on scales for jazz either.
@@JazzRockswithAdam to be honest it depends your background, i used to play piano and still play classical guitar. Later i started to play rock and roll and playing metal . But sometimes simple things are only in 2 chords doing 1000 notes per second its meaningless. Just testosterone. Knowing ladies love 2 or 3 chords hahahaha. Just routing whqt you going to do next depend in your harmony knowledge. I hamy theories concerning how people associate music ideas, it's about approach. The talent is not everything. Been a a bit methodic it's a way of inspiration. In term of creation it remains a mystery.
@@hatecrewsix2 Well, Charlie Parker said, “Practice, practice, practice. Then when you get on the bandstand, forget all of that and just wail.” I’m paraphrasing. But jazz should be very reactionary to the moment that you have to let you ears and instincts take over.
There is very little information relating to teaching rhythm and time signature outside of formal studies. If a beginner student does not learn music notation, where do they obtain the knowledge to play 7/8, 5/4 time signature. There needs to be a standard method to teach/learn time signature without the need to learn notation.
Everything happens before it's written down. Feel the rhythm in your body. To play 7/8 first get accustomed to playing an eighth note feel in 4/4. Now skip over the last eighth note,( the "and" of four) straight to the down beat of the next bar..
Counting beats in a measure relates to time signatures. Rhythm, syncopation, and articulations can be learned by imitating. That’s how us jazz musicians learn from who came before. By copying and internalizing it. Thanks for checking out the video.
@@d.l.loonabide9981 Though if there is emphasis on beats 3 5 & in the first bar of 7/8 and emphasis on 2 4 7 & in the next bar, then empasis on 1 6 & in the 3rd bar.... How does a beginner student know how to maintain 7/8. Ive heard drummers say, just count 4 and 3 ...that is just not going to work while playing odd emphasis while trying to maintain 4 and 3.
I would say if you know how to play all scales you would have the opportunity to place chromatic notes anywhere with the scale to be creative. Ive always had the opinion that every chromatic note that is placed in a scale becomes another formal note within that scale...rather than calling it a passing tone. It is also important to be able to draw any mode from any scale and place it in a piece to be creative.
Of course you can use chromatic notes, but there’s a right way to do that. It’s not random. You don’t need to know modes at all to play jazz/bebop. Other styles of music modes work great when you’re in on chord or key center long enough. Thanks for leaving a comment.
@@JazzRockswithAdam That is the exact problem...the right way, is stating that its a rule...music theory is only guide. What is the rule for using chromatics in all scales like harmonic minor,, melodic minor, If there are rules then chromatics must have their foundation based on scales. Eg. off the 1st, off the 6th, off the 3rd. Why not off every note of every scale. Scales, modes and chords are a guide to improvising, chromatics fill the slots. Eg. Chord...6th 5th 1st 4th notes of C Harmonic minor... Guide... use 6th mode of harmonic minor to improvise over that chord. Using a parallel approach to all modes and their chords creates a foundation for all improvisation.
@@guitarmodescomaur.port.5181 You know theory. Great. But that’s not jazz. And there’s more than one way to be correct. Final judge. Does it sound good? Does it sound like jazz?
Great concepts here.T he David Baker books explain chord tones on the down beat, rhythm, bebop scales ( that help place chord tones on the down beat), embellishments, passing notes, etc. But, I agree there is a language here with many dialects. Bebop, modal, soul Jazz, jazz blues, fusion, etc. The holy triad is Rhythm, your ear ( hearing options), and feel ( or being able to be expressive). Practicing scales, arpeggios, and rhythm are necessary. But playing through a song by feel is where you need to be. You may need to dissect the cord changes at first. But eventually you want to be able to play through the changes while connecting phasing . This video does a great job of laying out most of what you'll need to be able to acquire the language. Great job. 👍🏼
Let me think on that… I’m not really an outside player. But one piece of advice I can give you is if your rhythm, time is strong, you can play anything you want as long as you end on a strong note (chord tone) to resolve everything the listener just heard. And you should learn how to play inside really well first! If I do have a video I’ll post it here for you. Thanks for watching!
@@JazzRockswithAdam Thanks, Adam. I appreciate the response. I've been playing a long time (piano) and have always been a tonal player, but I always hear a lot of of players (ex. Mike Stern, Chris Potter, David Kikoski, Taylor Eigsti George Whitty, etc. ) playing McCoy Tyner-influenced lines, weaving in and out of the harmony. Of course, there's learning from transcribing, but I'm always on the lookout to find a structured way of learning this style. I'm familiar with sideslipping (or sidestepping) and quartal votings, and the basic principles, but those players I listed (and many others) sound like they all attended the same "School of Outside Playing," where they garnered, ironically, "inside information." 😄
✅GET THE FULL PDF LESSON HERE ►︎ jazz-rocks-shop.myshopify.com/products/the-secret-to-jazz-vocabulary-no-bullsh-t
Watch this video on *Chord Tones vs Scales* ► ruclips.net/video/HrlKiwjvvTc/видео.html
I can't stand this over simplification about rhythm.
Dizzy stated that rhythm is the first thing he looks for because if a guy doesn't have rhythm, then he doesn't have anything. Which is logical because you can't play with a guy who is all over the place.
But this doesn't mean that this is the KEY to learning to improvise!
If so I who have made a living as a working musician. I played bass in high school and have great feel of time. Could play different feels/grooves and different tempos. But all lines were reheared. I had a great memory which was a crutch. I would memorize whole tunes which crippled my improvising development.
Improvising has to do with pitch and speaking the language.
It is just as stupid to say that learning to speak English depends on how well you know your fractions.(math)
Because that is what you are saying.
It is a statement of total ignorance made because you misinterpret what one jazz legend has said.
On top of that Dizzy is advice is to be taken with a grain of salt.
The guy was a natural. And just because he was and is at the top of the hill, should be reason enough to ignore anything he says if you are struggling to learn this art form. You should not be listening to you either, because your misunderstanding leads to bad advice. They should listen to someone who has struggled, like themselves, and found ways to break through. Someone who is also not a natural.
My cousins liked golf and told me the worst person to take a lesson from was a pro golfer. The higher ranked the worse a teacher, from most of their ability came NATURALLY!
They can't understand your position. "Here do this."
My cousin would swing his golf club with all it's imperfections and the pro who say, "No no no" Not like that. "Like this" And my cousin couldn't see himself and had no idea of what he was doing wrong, while the pro couldn't relate to why he was making all those mistakes and had no way to fix them.
Sorry dude but that the truth. And being on the average Joe side of things is frustrating enough, but to hear this regurgitated nonsense as advice is nerve wracking to say the least.
Don't be so simplistic just because you're selling lessons😢
@@WesleyWattley-xy4fg not sure what you mean
@JazzRockswithAdam no big deal! Just an empty comment!! 🇬🇧
I’ve watched hundreds of instructional jazz guitar videos on RUclips and this may be the best I’ve seen. For decades I’ve been wondering why some players can play something that sounds so jazzy only to find out they’re just using the same pentatonic scale I learned when I was 14.
I’ve heard vague references to feel and swing and articulation many times before, but the way this video spells it out in such a literal and clear way with examples and counterexamples just turned so many lights on for me. Instant subscribe. Thank you!
Hey Aaron , thanks for your wonderful comment. I hope to see you around here some more. Feel free to check out some other videos. I have lots to check out. Cheers!
First time here and wow.😮 What a lesson Sir! Your explanations are so clear and straightforward. I hit the subscribe button before you can say hello. Awesome stuff. Thank you. ❤
@@TheFrankiejay Thanks Frank! Hope to see you around these parts again.
Kenny burrell you might have a point but kessell, Montgomery, pass are far from pentatonic lol
Not sure where you got pentatonic from.
I believe I have watched all of your videos at least once. This one is in the top ten for value to me!
Thanks Jef! I worked hard on this one.
I find it amusing that this video is really bringing out the haters. I must be on to something! I’m definitely headed in the right direction. 😉
I hate that life's not long enough to learn how to melt my own face when I'm melting those around. Feels like a funeral when I set my guitar down. Recommending this video to a student.
@@randykalish7558 Thanks Randy!
I only saw 2 negative comments out of 134. I would say that’s a pretty good ratio.
@@zenlandzipline I have deleted all the really nasty ones.
In the process of time, Music showed me that there are musicians that are enemies of Music, who subject Her servants to disrespect in greedy maintenance of pride and status, while Her chosen ones serve in the celebration of life 🙏
I see a thumbpick. I subscribe. Great video man. It's all about phrasing.
Thanks Jimmy! Not too many of us thumbpickers around.
Hot damn, love the thumb pick. I’m wearing out my index fingernail!
@@TimSpacek Ha! Thanks for watching.
@@TimSpacek
Thumb pick: Everything changed for me when THIS happened!
ruclips.net/video/Wcux4fmPptU/видео.html
I practice jazzlicks and riffs in all the positions, come up with a cool riff then learn and practice it every key and position this helped me
That’s awesome!
Thank you!
Absolutely! Thanks for watching.
I thought you were gonna talk about some gimmick on this video, but you proved me wrong! I've been yammering all around RUclips land about the importance of rhythm. If jazz ed put equal emphasis on rhythm as they did harmony and scales--we'd have better musicians coming out of university. I love how you specified rhythm as it relates to the measure.
So many folks turn up their nose to rhythm and say, "I don't want to play that SIMPLE stuff." There's a misconception that playing rhythmically means playing one note with different rhythms or leaving a bunch of space. That's part of it, but playing rhythmically also means playing eighth note lines and double time lines and knowing where to place the accents and anticipations--just like you said!
Playing rhythmically means that you develop spatial awareness of the time--you know what the DOWNBEAT and all other parts of measure sound like by ear, just like you would practice hearing notes in relation to chords or a certain harmony/ key center. Where you are in the measure helps you decide what notes to play in the measure--jazz exists in a groove.
Last thought from my comment essay ;) Explore the West African connection to jazz. Many of us downplay the African connection, but that's what makes the music groove like nothing else. Check out CK Ladzekpo on RUclips--he teaches West African Drumming at Cal Arts. He talks about the other triplets--quarter note and half note. You don't learn polyrhythm just to play isolated polyrhythms as some sort of party trick. You internalized the quarter note triplet and half not triplet to feel that pulse as you play regular eighth notes and 16th notes, all that. Mike Longo (Dizzy Gillespie's last pianist) talks about it in his "Rhythmic Nature of Jazz." Helps you feel where you are in the pocket and where to place accents as well.
Above all, LISTEN. Thanks, Jazz Rock!
Thanks so much for your well thought out comment. I couldn’t agree more with you. I don’t know about the guy that teaches at Cal Arts, but I do know about Mike Longo. (Dizzy connection) And yes jazz rocks!
My video would have been an hour long if I got that far into the weeds. 😉
You got it, brother!
@@speedspeed121 👍
You said it!!!!! I read an article by Branford in 1986 where he said this. When a master gets into the Zone, the number of notes typically decreases. The subtlety of rhythms (particularly placement or RESTS, call and response, cross rhythms, hemiolas,) typically drastically increases.
Drums on the strings
thank you man!
Hope liked it. The PDF is coming soon when the video gets released.
cool to see a jazz player using a thumpick. could you tell us what brand you use?
My favorite is a L Dunlop Calico. They’re a little hard to find but I buy them on Amazon and reshape them. Here’s a video I did about thumbpicks:
Thumb pick: Everything changed for me when THIS happened!
ruclips.net/video/Wcux4fmPptU/видео.html
Thanks for watching!
Lesson one: Turn your tone pot all the way off and then throw a big duvet over your amp…… and fill the speaker with feathers.😊
Uh!
Yeah, do jazz guys really want to sound like that? It's kind of the antithesis of the colorful sounds the horn players use.
@@d.l.loonabide9981 I like it. That’s my sound. More or less.
Lol..good description. My guess is newer electrics trying to imitate the "woody" sound of the archtop jazz boxes. But a little goes a long way. Cheers ! 🎶
If the audeince can actually discern the notes in your chords it's not jazz! We need that warm, through-4-apartment-walls tone to really swing
Jimmy Bruno has a YT on how to improvise simply using the major scale on a 251, without all those "outside notes" and all that BS.😅 That kind of reaffirmed what I felt and suspected. It also took a lot of the stress out from trying to use different scales properly.
But Jimmy uses those notes too. Trust me. But he showed you a simpler way in. And that’s great. If you’re comfortable with that, now it’s time to add chromatic notes, approach notes, enclosures, and above all, RHYTHM!
…And that’s not playing “outside” by the way. That’s still considered very inside.
@@JazzRockswithAdam it's his sarcasm at work. I'm familiar with his work and I play all of the above and still learning. And there are also times when the simplest phrasing is all that part needs. It was more about placement of the notes and the rhythm aspect of it. Learn the outside notes later.
@@tomcripps7229 100%!!
I think the art of jazz is being able to dig yourself out of any hole you have dug while improvising. The rest is cream cheese. 😂
That’s partly true.
I lost all hope until I discovered Victor Wooten. You seem to be on the same vibe. Thanks ! 😊
If you play a strong rhythm, and with conviction, you can nearly play any note choices. Just be careful what your last note is. Make that a good one. 😉
@@JazzRockswithAdamThat was Eddie Van Halen’s philosophy too. He called it falling down the stairs but landing on your feet.
@@G_Demolished Well, Eddie was an influence on me too. I grew up in the ’80s. Ed’s dad WAS a jazz musician!
What came first jazz or blues
And has anyone ever attempted to mix the two
All the greats have blues in their jazz!
Blues definitely came first.
EFFORTLESS PICKING ...is it because you use a thumb pick..you recommend them?
Thanks, David! It took me a little while to get used to it. If you’ve never used a thumbpick it will feel awkward. The bonus is you free up an extra finger to play chords, etc.
Love your tone, what do you use amp etc ? Thank you for your insights ❤
Thanks for the comment, Chris. I use different amps for live: Peavey Classic 30 which is highly underrated, and a Port City Pearl 50w head and cab. But for videos it’s a tiny 10w Tech 21 Trademark 10.
See @jazzrockswithadam some people admire your tone! I do not find this tone attractive, but I’m glad that other people do! ❤
Thanks @@GuitarReader
Great video, i agree that it wasn't until I let go of scales and modes and learnt from 'the source' that i started playing jazz.
There ya go!! Thanks for watching!
when it comes to teaching jazz rhythm, i haven't found anything better on youtube yet. but even the best can get better. your demonstration at 1:30 would have been the best bit if you hadn't spoken over it. and that rhythmic phrase at 2:04 would have been much more helpful if you had repeated it several times. last but not least: i've purchased your pdf file and was a bit disappointed that there was no accompaning mp3 file. as far as i'm concerned, jazz rhythm can only be learned by listening.
Thanks. The voiceover part wasn’t meant to be copied necessarily. Just a demonstration. You can always rewind it and listen to it as many times as you want. I agree about listening to learn. This lesson is meant to get you started in that vein, then you can start pulling rhythmic phrases from your favorite recordings and work those into your playing using the PDF lesson as a guide. Thanks for your comment and for watching!
What model and make of guitar are you using ? That is such a beautiful instrument !!!!
Thanks! It’s my design and then had someone build it for me about 21 years ago
Thanks man, will check it out
That's incorrect sir. The greats did use scales in their playing and so would think that way. It's just scales isn't the only part of their understanding. It's other theoretical devices plus vocabulary and the instinctual aural understanding and experience that they built up.
Devices, and instinct and experience, yes. But they didn’t really think in scales. Not until the ‘60s and ‘70s. I’m not saying they didn’t know about them. But the jazz language didn’t start with them.
No, jazz language doesn't only come from scales. So if someone is going about it that way, or being taught that way, that's a pretty poor and ineffective approach. You need the musical understanding plus other devices besides scales. However, scales are involved, and the greats did think about them. Scale pedagogy emerging in the 60s and 70s doesn't mean noone thought of scales before that. If you listen to Charlie Parker, or read through his omnibook, he uses scales and associates them with chords in every song. I even found instances where the only thing he played on certain chords was to run a scale straight, without any contour or different notes, proof some of his thought involved scales.
@@clintjones9848 The scope of this video was not to cover EVERYTHING. It would be a 4-5 hour epic. You must think I’m completely uneducated. 🤣
No, I'm sure you know your stuff. I'm just disagreeing with your premise that you said at the beginning of the video that the greats didn't think in terms of scales. This is a really common misconception that people spout these days.
@@clintjones9848 I’m not against scales completely. But THE biggest lie going out there is “practice your scales and you’ll get good at jazz.” I’m sure you’d agree there’s more to it than that.
Allan holdsworth thought in terms of scales. Not sure why you would say all the good guys didn’t think that way, that’s a broad and sometimes untrue statement.
@@nickfanzo I wouldn’t put Holdsworth in a jazz category. Even he didn’t consider himself a jazz musician. Did you get a chance to watch the video yet?
@@JazzRockswithAdam I did and it was good.
@@nickfanzo Thanks. My point is you don’t get good at jazz from scales alone.
Awesome and, thank you for the class!
Thanks for checking it out, Lloyd.
Sure thing and, keep them coming!@@JazzRockswithAdam
@@LloydMajor working on one right now. 😉
I believe a beginner student should be taught how to play all scales, modes, chords, inversions and arpeggios. That is the foundational guide for all terminology, theory concepts, notation, tab and application.
I don’t argue with you. But that’s not how to play jazz which this lesson is about.
Meanwhile by the time they do all that-years will have gone by and not a single phrase will sound like music. Nothing but road blocks. The only people who recommend what you do are those that had amazing natural talent and developed the language without even trying. You could of ate cornbread and rode ten mikes on your bike, things that had nothing to do with it, and been playing amazing lines regardless. Your scales are no different.
If you are an average Joe, learn phrases from your favourite players. Ten phrases you learn to play over numerous changes to different songs, at multiple tempos, with serve you better than running scales.
@@bluesbandido2259 Yes!!!!
I seem to get the best progress by doing a rotation, much like rotating through different types of physical workouts. Technical practice and theory is one of the rotations. Side effect is that it enhances my interest because the challenges change with the rotation and I know I won't have to be buried in theory and the technical until some future perfectionistic end point.
@@BobYourell That’s a great attitude to have. I dig it!
This is one of the secrets. You're giving away the keys to the kingdom dude. Lol.
You’re welcome. I’m here to teach. Not dick around. 😁
Not a “secret”. An “open secret” at best.. since the beginnings of jazz. The players and recordings have been giving the “keys to the kingdom” away for a long time.
@@ili626 It seems to be a secret on YT. No one seems to talk about it. Everyone talks about modes, etc. if you know this already, then clearly you are in the minority!
@@ili626 I was half joking. But, nah, actually, back in the day, they would hide their hands, turn away, all kinds of stuff. Diz is sharing, but he's only telling half. I know the attitude changed in the 70s and 80s, but it's still around.
Yup, exactly! it's all about the phrasing. You can almost play anything if your phrasing is solid. @@JazzRockswithAdam
I don't need to get good at jazz I just listen to Larry Carlton😅😅😅
That’s certainly one way. Love Larry Carlton by the way.
Hi Adam, I love your playing. Can I ask which thumbpick you use and if you bevel/shape it to allow you alternate so smoothly with your index finger?
Yes, I file them to reshape and sand them down smooth. For one thing they’re usually waaaay too long. My favorite ones are Large, Dunlop Calico thumbpicks. They’re hard to find, but I buy them off of Amazon. I made a video about my thumbpicks here: Thumb pick: Everything changed for me when THIS happened!
ruclips.net/video/Wcux4fmPptU/видео.html
Love at first sight!
Thanks for watching!
What a fantastic video have a wonderful weekend ❤❤❤❤❤❤❤❤😊😊😊😊😊😊😊😊
Hey, you too. Thanks for watching!
That's the darkest jazz guitar tone ever used!
I doubt it. But thanks.
I was enjoying listening to your presentation while driving, and then all of a sudden I heard a voice say that playing well doesn’t have anything to do with the CAGED system. Then I realized it was one of those dumb ads!
Ha! Yeah, RUclips has a sneaky way of squeezing an ad in there. Thanks for “listening.”
I like your teaching and the way you demonstrate your lessons. Do you have any lessons on augmented, chords, and how they apply to plying, and how it can be used.
Hey thanks! There is a lot of different uses for aug chords. I haven’t really done a video on aug triads, but I did do a video on 7#5, which is an aug triad with the added b7.
Why Does THIS Chord Cause Such a Divide with Musicians?
ruclips.net/video/ywr65kv4L7o/видео.html
Great video!
Thanks. And thanks for watching.
Pure facts
Thanks for checking it out!
Jazz greats may not have played scales in their improving, but they certainly organized their thinking around scales and modes. Arpeggios are derived from scales. You can’t do calculus unless you know algebra first..
Not true. Not until later. Late ‘50s into the the ‘60s with modal jazz and onward. I’m talking about the pioneers. When jazz musicians started going to universities to study music, that’s when scales began being a focus. Or at least a blend. But before that, the language was passed down orally and aurally. See, that’s almost a jazz outsider type of thinking. Learn n this approach first, then apply scale ideas later. Did you watch the video?
Practicing scales won’t make you good at playing jazz.
Fun video, man. Helped me think outside the box. Subscribed.
Awesome. I’m glad I could help in that way.
Fancy m7b5 arpeggios Morten your welcome
Thanks. I’m not sure what/who Morten is.
great
Jandiara, thanks for checking it out!
Good stuff here. 100% correct and explained well.
Thanks David!
Very good stuff Adam.. you're right on the money! ❤
Thanks again, JP!
I always thought that the main error its to think in monodic. It's better to think in Harmony that allow you to expand your creativity. Only scales are a bit annoying, and encouraging people to do isn't good.
Yes, thinking chords/harmony is much better. Jazz can have many chords and key centers whipping by. By nailing important notes on important spots is essential for weaving a line through chord changes. That’s exactly why I’m not big on scales for jazz either.
@@JazzRockswithAdam to be honest it depends your background, i used to play piano and still play classical guitar. Later i started to play rock and roll and playing metal . But sometimes simple things are only in 2 chords doing 1000 notes per second its meaningless. Just testosterone. Knowing ladies love 2 or 3 chords hahahaha. Just routing whqt you going to do next depend in your harmony knowledge. I hamy theories concerning how people associate music ideas, it's about approach. The talent is not everything. Been a a bit methodic it's a way of inspiration. In term of creation it remains a mystery.
@@hatecrewsix2 Well, Charlie Parker said, “Practice, practice, practice. Then when you get on the bandstand, forget all of that and just wail.” I’m paraphrasing. But jazz should be very reactionary to the moment that you have to let you ears and instincts take over.
There is very little information relating to teaching rhythm and time signature outside of formal studies.
If a beginner student does not learn music notation, where do they obtain the knowledge to play 7/8, 5/4 time signature.
There needs to be a standard method to teach/learn time signature without the need to learn notation.
Everything happens before it's written down. Feel the rhythm in your body.
To play 7/8 first get accustomed to playing an eighth note feel in 4/4. Now skip over the last eighth note,( the "and" of four) straight to the down beat of the next bar..
Counting beats in a measure relates to time signatures. Rhythm, syncopation, and articulations can be learned by imitating. That’s how us jazz musicians learn from who came before. By copying and internalizing it. Thanks for checking out the video.
@@d.l.loonabide9981
Though if there is emphasis on beats 3 5 & in the first bar of 7/8 and emphasis on 2 4 7 & in the next bar, then empasis on 1 6 & in the 3rd bar....
How does a beginner student know how to maintain 7/8.
Ive heard drummers say, just count 4 and 3 ...that is just not going to work while playing odd emphasis while trying to maintain 4 and 3.
I'm warning you don't get into a jazz coma...
I’m not sure what that means. But if you watched the video, thanks.
Same applies to Metal.
Yeah, I can see some similarities there. Metal has its own language too.
Thank you! Thanks also for your clinic when you were in the Soo a while back 😊🎸
Hey, thanks! I guess at Long & McQuade?
yep! hope you come back!
@@innerstream Might not be for awhile. My parents don’t live there anymore. We had to move them to Barrie. But you never know.
👍
Thanks for watching, Armando!
I would say if you know how to play all scales you would have the opportunity to place chromatic notes anywhere with the scale to be creative.
Ive always had the opinion that every chromatic note that is placed in a scale becomes another formal note within that scale...rather than calling it a passing tone.
It is also important to be able to draw any mode from any scale and place it in a piece to be creative.
Of course you can use chromatic notes, but there’s a right way to do that. It’s not random. You don’t need to know modes at all to play jazz/bebop. Other styles of music modes work great when you’re in on chord or key center long enough. Thanks for leaving a comment.
@@JazzRockswithAdam
Thanks for the reply.
@@guitarmodescomaur.port.5181 Of course!
@@JazzRockswithAdam
That is the exact problem...the right way, is stating that its a rule...music theory is only guide.
What is the rule for using chromatics in all scales like harmonic minor,, melodic minor,
If there are rules then chromatics must have their foundation based on scales. Eg. off the 1st, off the 6th, off the 3rd. Why not off every note of every scale.
Scales, modes and chords are a guide to improvising, chromatics fill the slots.
Eg.
Chord...6th 5th 1st 4th notes of C Harmonic minor...
Guide... use 6th mode of harmonic minor to improvise over that chord.
Using a parallel approach to all modes and their chords creates a foundation for all improvisation.
@@guitarmodescomaur.port.5181 You know theory. Great. But that’s not jazz. And there’s more than one way to be correct. Final judge. Does it sound good? Does it sound like jazz?
Great concepts here.T he David Baker books explain chord tones on the down beat, rhythm, bebop scales ( that help place chord tones on the down beat), embellishments, passing notes, etc.
But, I agree there is a language here with many dialects. Bebop, modal, soul Jazz, jazz blues, fusion, etc. The holy triad is Rhythm, your ear ( hearing options), and feel ( or being able to be expressive). Practicing scales, arpeggios, and rhythm are necessary. But playing through a song by feel is where you need to be. You may need to dissect the cord changes at first. But eventually you want to be able to play through the changes while connecting phasing . This video does a great job of laying out most of what you'll need to be able to acquire the language. Great job. 👍🏼
Thanks for your awesome, well thought out comment. I wouldn’t disagree with anything you said. Cheers, Stephen!
Good content and playing, a shame with that super bad blurry guitar sound 🙂
I like my guitar sound to be like my soul, dark. I’m not into bright guitar tones myself. Thanks for checking it out!
It's funny that a rock guy is literally the only non-pro jazz guy who ever talks about rhythm and articulation in detail.
Good job!
Thanks for your comment. Quick question. Curious. Which rock guy are you referring to?
@@JazzRockswithAdam Well, your name says rock. You are not a rock guy? Excuse me if I'm wrong, I just watched one video
@speedspeed121 The channel’s name is Jazz Rocks with Adam. I’m certainly no rock player.
@@JazzRockswithAdam Well, as I said, you are one of the few who understands the "feel"
@@speedspeed121 Thanks!
Adam, do you have any videos on outside playing?
Let me think on that…
I’m not really an outside player.
But one piece of advice I can give you is if your rhythm, time is strong, you can play anything you want as long as you end on a strong note (chord tone) to resolve everything the listener just heard. And you should learn how to play inside really well first!
If I do have a video I’ll post it here for you. Thanks for watching!
@@JazzRockswithAdam Thanks, Adam. I appreciate the response. I've been playing a long time (piano) and have always been a tonal player, but I always hear a lot of of players (ex. Mike Stern, Chris Potter, David Kikoski, Taylor Eigsti George Whitty, etc. ) playing McCoy Tyner-influenced lines, weaving in and out of the harmony. Of course, there's learning from transcribing, but I'm always on the lookout to find a structured way of learning this style. I'm familiar with sideslipping (or sidestepping) and quartal votings, and the basic principles, but those players I listed (and many others) sound like they all attended the same "School of Outside Playing," where they garnered, ironically, "inside information." 😄
@@victoza9232 All true! Dave Kikoski is a beast!
If you can sing jazz, you can play jazz.
Yes sir!
Who comes up these titles “Why I won’t get good at Jazz.”? Really! Do I know you?
You know me now. Nice to meet you.
Did you watch it? I’m thinking you didn’t from what you said.
@@JazzRockswithAdamCorrect. I didn’t watch it. I choose to not take instruction from a complete stranger who is certain I “won’t get good at Jazz”.
@@FlaschDJ Then you lost the opportunity to learn something.
@@FlaschDJ You know everybody on YT?
You're not qualified to give online lessons. You're misleading. Stay away from prospective students.
Haaaaaaaaaaaaa!!!! You’re a comedian.