This is one of the best jazz lessons ever. It’s scaffolded, it constantly and consistently builds upon something that has just been learned….there’s depth and complexity…. I’m absolutely going to incorporate this into my personal guitar and voice studies as well as challenge my choir students over the next semester! Brilliant guys. Thanks!
This stuff is exactly what I needed. I understand enclosures and how to attack them to scales but how to practice this stuff has been alien to me. This shows me how. More exercises like these would be greatly appreciated. Thanks for sharing
this is 'kin GOLD - as a horn player - just being exposed to the wonder of enclosures? I finally have a set method "how to practice them' my OCD LOVE YOU. much respect ❤
@@zackeriah87 Just search for Adam's "Major Scale in Eight Ways" on YT , you'll reach the video and the PDF is attached with. As a guitarist, i'hve also download this PDF and it's a great way for playing the major scale in a different way. Like this video (the enclosures one), i prefer to look for piano videos as it's more visual and much more convenient.
This is great information. What I'd like to see next is how to use this info over a song or just a blues progression. How to hook everything together using this info instead of being over just one chord or a static harmony
I love the way you say "we've been playing for 25 minutes now". Try 3 days half an hour or so a day man and I still have the last exercise to do !!!! but how much learning do I get (a guitarist) off you pianists? Brilliant thanks Adam.
This is such a great video! I’ve been really focusing on my arpeggios across the fretboard lately 🎸 and this is really testing that. Each exercise here is like three on the guitar 🥵 but once you find the right fingering for smoother enclosures, it goes pretty quickly. 👏🏽👏🏽👏🏽
I'm only on Exercise #2 and my mind is BLOWN lmao. I always wondered where these guitarists were pulling these enclosures from. I feel like you can at least fake the funk if you know some of the basic structure of jazz lines. This definitely helped so much and I'm a guitarist. Thank you thank you thank you.
Beautiful lesson, more like this please! I have question. I don’t think Exercise #3 follows the same enclosure pattern, it’s using 1 below and 3 above instead of 2 above and 1 below. For example, on Cmaj7, shouldn’t it be the descending arpeggio, BGEC, followed by the enclosure DC#BC? … if we’re sticking to the enclosures given at the beginning of the lesson …
Awesome stuff. Just one thought. In Ex3 17:58 third measure you play enclosure F-D-D# into E. It fits but to follow the logic off all the others in this ex. (starting at a note lower than a target note) it could be D-F-D# into E. Thank you for the session! :)
I could be wrong, but I believe the inconsistency was with all the other phrases in Exercise #3, when you compare to the diatonic "rules" of the previous exercises. i.e.) the first measure phrase should've probably ended with C-D-Db-B to enclose the C in the following measure. Maybe this was Adam's way of testing who was actually paying attention. 🤓 P.S.: Of course, there are many *approaches" for enclosures, I suppose. (see what I did there)
After going through these, I wanted a way to incorporate these concepts into actual playing and thought this might be a topic for you on how a relatively simple idea can yield a TON of stuff to work on. I'm always working on Rhythm changes, so on the bridge, I combine two of these enclosure lines ( i.e line #1 on a D7, then really ANY of the four starting on say F# half dim7 ), then move through the bridge like that. The possible permutations are vast. 1st, all the combos going up/up, up/down, down/up, and down/down , then all the combos starting on different chord tones, then with different enclosures, then with the enclosures on different chord tones. I've still working through this (it's a LOT) but it can really yield some interesting lines. Anyway, love your stuff, always very interesting.
I'd be interested to know the reasoning behind the left hand fingering here - sometimes the target note is the thumb with a crossover, sometimes the ring finger with a crossover but a lot of the times it's a little flip under with the pinky on the target note - there could be no reason of course and it might be impromptu fingering but I'd love to know more details on this please. Thank you
Also- I was playing the chord a 3rd ahead of you for the final practice to give that harmony feel, and man, the harmonies the mixed enclosures make are really neat!
My sister, the classical musician, would point out that the broken chord music at about 10:00 has 4 eighth notes but you played 3 eight notes and then an eight note tied to a half note... not the written music jazz guy. This is great stuff tho
A broken chord is when all notes play separately but you hold the previous notes down so it eventually forms a chord, an arpeggio is doing what he does in the video and plays notes separately one after another without holding down.
well am expecting the guy who made the video to answer... and I do not meant just minor context... I mean the melodic minor with all its seven modes... and if there are examples in the bebop repertoir
@@johandinho97 my guess is yes, search bebop by dizzy, segment by parker, round midnight monk, harlem nocturne stitt version, night in tunisia so many go check by yourself
Hard disagree. This is one of the most concise explanations of chromatic enclosure I’ve found on RUclips and the guided practice was the perfect pace for applying the concept and then building on it with double-time/variations.
This is one of the best jazz lessons ever. It’s scaffolded, it constantly and consistently builds upon something that has just been learned….there’s depth and complexity….
I’m absolutely going to incorporate this into my personal guitar and voice studies as well as challenge my choir students over the next semester! Brilliant guys. Thanks!
Couldn’t agree more
This stuff is exactly what I needed. I understand enclosures and how to attack them to scales but how to practice this stuff has been alien to me. This shows me how. More exercises like these would be greatly appreciated. Thanks for sharing
this is 'kin GOLD - as a horn player - just being exposed to the wonder of enclosures? I finally have a set method "how to practice them' my OCD LOVE YOU. much respect ❤
I'm also translating for guitar... it all works. Adam's "Major Scale in Eight Ways" is a must for guitarists at any level!
Where does one find that?
Where can you find the guitar PDF?
@@zackeriah87 Just search for Adam's "Major Scale in Eight Ways" on YT , you'll reach the video and the PDF is attached with. As a guitarist, i'hve also download this PDF and it's a great way for playing the major scale in a different way. Like this video (the enclosures one), i prefer to look for piano videos as it's more visual and much more convenient.
@@zackeriah87by learning to read and listen
These exercises are frying my old blues rock brain...and I LOVE IT!!!
This is great information. What I'd like to see next is how to use this info over a song or just a blues progression. How to hook everything together using this info instead of being over just one chord or a static harmony
I love the way you say "we've been playing for 25 minutes now". Try 3 days half an hour or so a day man and I still have the last exercise to do !!!! but how much learning do I get (a guitarist) off you pianists? Brilliant thanks Adam.
Fantastic! So generous of your knowledge. This will help lots of players!
This is such a great video!
I’ve been really focusing on my arpeggios across the fretboard lately 🎸 and this is really testing that. Each exercise here is like three on the guitar 🥵 but once you find the right fingering for smoother enclosures, it goes pretty quickly. 👏🏽👏🏽👏🏽
man, I'm too poor to go pro, I'm following all of ur videos and I can only say thanks. I'm looking for a job that allows me to go pro ASAP
Adam, this is great lesson, thank you so much!!!!!!!!!!!!!!!!!
Man what a guy, this is the perfect stuff!
Hi Adam. Thank you for this cool lesson. Love it. ❤️ I'm shedding this on bass.
Would love to see an annual plan for pro! Even just one for me? 🙏🏻
Excellent - helpful and you can see the potential and very easy way to get "stepped" discipline into the practice. Brilliant thanks.
Great ! Thank you !
I'm learning to play "Manessimo"😆Sorry Adam couldn't help myself. GREAT CONTENT!! Thank you.
Love these practice alongs- so fun and engaging
perfect explanatión and efective results ! Thanks
I'm only on Exercise #2 and my mind is BLOWN lmao. I always wondered where these guitarists were pulling these enclosures from. I feel like you can at least fake the funk if you know some of the basic structure of jazz lines. This definitely helped so much and I'm a guitarist. Thank you thank you thank you.
Super helpful, thank you!
Love your channel and loved this exercise.
That’s so awesome, brother ! Thanks !
Love this lesson. Such an under rated topic
Beautiful lesson, more like this please! I have question. I don’t think Exercise #3 follows the same enclosure pattern, it’s using 1 below and 3 above instead of 2 above and 1 below. For example, on Cmaj7, shouldn’t it be the descending arpeggio, BGEC, followed by the enclosure DC#BC? … if we’re sticking to the enclosures given at the beginning of the lesson …
This was a fantastic lesson, thank you!
This is all I was looking for
Thank you coach!!!!
Awesome stuff. Just one thought. In Ex3 17:58 third measure you play enclosure F-D-D# into E. It fits but to follow the logic off all the others in this ex. (starting at a note lower than a target note) it could be D-F-D# into E. Thank you for the session! :)
I could be wrong, but I believe the inconsistency was with all the other phrases in Exercise #3, when you compare to the diatonic "rules" of the previous exercises. i.e.) the first measure phrase should've probably ended with C-D-Db-B to enclose the C in the following measure.
Maybe this was Adam's way of testing who was actually paying attention. 🤓
P.S.: Of course, there are many *approaches" for enclosures, I suppose. (see what I did there)
After going through these, I wanted a way to incorporate these concepts into actual playing and thought this might be a topic for you on how a relatively simple idea can yield a TON of stuff to work on. I'm always working on Rhythm changes, so on the bridge, I combine two of these enclosure lines ( i.e line #1 on a D7, then really ANY of the four starting on say F# half dim7 ), then move through the bridge like that. The possible permutations are vast. 1st, all the combos going up/up, up/down, down/up, and down/down , then all the combos starting on different chord tones, then with different enclosures, then with the enclosures on different chord tones. I've still working through this (it's a LOT) but it can really yield some interesting lines. Anyway, love your stuff, always very interesting.
Super useful.
Thank you
I would like to see a descending version of this enclosure system. Thanks!
muchas gracias x compartir 🙏🏾 ..hay mucho que estudiar para mi, gracias =)
Great exercise… I enjoyed that one !! 😀
Very sad the bebop boot camp next week is during the day. Not compatible with 9-5 job! Oof, so sad I have to miss that dang
Great stuff. Thanks!!
I'd be interested to know the reasoning behind the left hand fingering here - sometimes the target note is the thumb with a crossover, sometimes the ring finger with a crossover but a lot of the times it's a little flip under with the pinky on the target note - there could be no reason of course and it might be impromptu fingering but I'd love to know more details on this please. Thank you
Wow man, your lessons are really great!
Great!
Adam. Loved the enclosure practice. How do I get access to more enclosure guides/sessions, exercises?
Buddy we were both struggling at 14 minutes in hahaha! Great lesson
Also- I was playing the chord a 3rd ahead of you for the final practice to give that harmony feel, and man, the harmonies the mixed enclosures make are really neat!
Great how you teach it🤓
Can we have a modal course and one of how to apply bebop to modern songs?
This is nice and useful in EVERY key.
You should also go over the Half diminished scale
C Db Eb E F# G A Bb C
in every key used alot in jazz
Do Nothing Til You Hear From Me! In all keys! (Concerto For Cootie) Ellington heard Cootie Williams practicing this stuff.
Nice!!! Deus abençoe
Bb trumpeter here, transposing live X)
But seriously, thank you for this gem
Can you do 2 or 4 note enclosures?
i always get the Locrian part wrong! my weak point are revealed. it is great lesson!
Bebop Hannon!
My sister, the classical musician, would point out that the broken chord music at about 10:00 has 4 eighth notes but you played 3 eight notes and then an eight note tied to a half note... not the written music jazz guy. This is great stuff tho
Do you have any examples of how to get these techniques into soloing?
Mini example - 6.47-7.14
Great lesson. Thank you so much. But I think it’s a good idea to swing the notes. I know this is practice but swinging is fundamental.
Jerome, New London, Connecticut
From Cyprus
Why do uou hold the last note of the broken 7th ? Its not written that way ?
Hello, why dont you count the metronome on 2 and 4?
Aarhus, Denmark
👌
New JOIZY
Broken 7th chords = Arpeggios.
That's correct 😂
Smart
Smart-a**
A broken chord is when all notes play separately but you hold the previous notes down so it eventually forms a chord, an arpeggio is doing what he does in the video and plays notes separately one after another without holding down.
@@worldmusictheory correct, and a crucial difference.
Goood!!
Is there a practical application to do these exercises in the melodic minor scale?
Of course just change the scale and do the same with the same logic
@@raulcaldeira8071 Dear Raul that is not what I am asking....
@@johandinho97 ok... but I don't see why not use this exercices in a minor context
well am expecting the guy who made the video to answer... and I do not meant just minor context... I mean the melodic minor with all its seven modes... and if there are examples in the bebop repertoir
@@johandinho97 my guess is yes, search bebop by dizzy, segment by parker, round midnight monk, harlem nocturne stitt version, night in tunisia so many go check by yourself
Great stuff in the videos, but could you make them shorter? Get to the point, to the concept you're covering, but don't make it unnecessary long.
Hard disagree. This is one of the most concise explanations of chromatic enclosure I’ve found on RUclips and the guided practice was the perfect pace for applying the concept and then building on it with double-time/variations.
This was perfect
The point was to practise along live. If you missed it, you still have the privilege of seeing it.
Good work, thank you!