In just 20 minutes you opened a world for me to begin thinking about. I’m an abstract/concrete thinker and have always felt lost in understanding how to feel my way in music because I couldn’t see the more abstract structure; it was always just a bunch of notes - too many notes. So, Improv is something I refused to touch and thus relegated myself to enjoying those who could… The conjunction of the comedian notion combined with your scales-to-the-9th with subsequent arpeggios made total sense. It’s about associating the underlying scale in muscle memory with a core tonal structure to frame the complete scale. It’s about decomplexifying and finding a story to tell in chord tones and then adding in the nuances (the other notes of the scale) depending on the moment. And it’s the first half of the scale-arpeggio drill that sets the muscle memory association in the background as you learn to maneuver through the arpeggio. I haven’t even tried it yet, but you painted a beautiful image to point my minds eye towards. It’s like,… it’s like I have hope now that as I begin playing the horn again (as an older adult and thirty five years of career and kids) that maybe I can find my own stories to tell in swag and brass. So, thank you for the vision. I’ll see where it goes…
Oh, where can I find a book or reference material that walks me all the chords and also through the logic of the progression of all the chords that fall off of a C7 (and similarly for all other major and minor scales)? For instance, you used the following off of C7: C7 > C(pentatonic) w/b3 > w/b7 > g minor pentatonic > d minor pentatonic > C Lydian dominant (C7#11) > D(pentatonic) w/b6 (C7#11) > C half-whole diminished (C13b9)
@@orrincolby9783 I'm afraid I don't know. Perhaps others here can point you to a helpful theory book. My knowledge has come primarily from transcribing what my favorite artists do and my own experimentation.
Very enlightening and eye opening- I’m a 80 year old trumpet player kinda late but I gained a rudimentary understanding of his discussion which can help my soloing. Many thanks.
Friend: Please allow me to give you a thought on improvising that has been applied through my 60 year career of playing trumpet in various settings. I believe jazz has lost popularity for a lot of listeners because it has become too abstract . What started as popular music for the masses is now in the majority of musicians based upon musical theory. My advice: make your rides simple, forget theory and add “hooks” that get the listener’s attention. Hooks are what draws the listener into your performance. They are what sells records and what makes artists popular. When soloing on a song, try to envision in your mind’s ear what your next phrase will be ,which can be challenging.As with everything in music, practice will improve your performance.
Tito, this video was excellent, I happened to only have my right arm, I also know that I wouldn't be able to use the valve to play low F#, nor any low register notes, I used my lips to play low notes. I started learning from scratch almost three years ago. I don't understand much of the Jazz definition. It is kind of hard learning on my own, but not impossible. I have learned all my notes, the Chromatic Scale, C scale, D scale that has a F#, and a C#. F scale that has a Bb.and so on. I am 70 years old, but in excellent health conditions. I practiced every day as much as I rested my lips. Timing is something I need to work on, but I can achieve high notes, I also know that it takes time. I am very positive and confident. I gave you a thumbs up, you deserve it. Thanks for taking the time. I don't understand some wording due to not being born in the USA, but do understand most of everything you teaching.
I really appreciate your style Tito! Wish you had been around 50 years ago when I attended U of I. I might have learned something and wanted to stay. All the best!
I'm starting to study jazz, even if I always loved it, but never felt I would be able to play it. I'm trying to figure out what to practice and how to think to approach jazz, and that video got me a light in how to continue. Thanks!!
Here’s how I use all 12 notes over a Dominant 7 chord. The 3 and b7, the tritone, defines the chord. The 1-3-5-b7 are the chord tones, safest to land on. Then b3 always only resolves upwards into the 3. Then 1-2-b3/3-4-b5-5-6-b7 would be Mixolydian combined with the Blues scale; these 9 notes are “inside”. Finally b2-b6-7 can be used in chromatic lines that resolve. - Always know both the letter name and the interval name of the note you’re playing (example: I’m on G# the 3rd of this E7 chord). Be able to use all 12 notes over any Dominant 7 chord.
Tito! This is the video. Anyone in the clouds about how to play over changes will greatly benefit. I did. I've been a "scales" soloist for years. This one video was my "Aha" moment. Much appreciated brother. I feel more connected to the song with this approach.
Man Tito it’s so wild you bringing up comedians and how we can relate as improvisers. I’ve had the same thought as well…I’m a bit of a comedy nerd and listen to Nate Bargetze’s podcast regularly. When you listen to how comedians learn the craft and they go to open mic nights. Much like young jazz players going to jam sessions….lots of similarities
I am in a very novice level, in wich, I use one scale for all the tune. Normally simple pop progressions of three or four chords. And after seeing a lot of videos of chord changes, this one of you, is the one than make my mind understand the importance, and the beauty of the chord tones. They really are the base. I’m going to try to land on them. Thanks for your work
This is such a great video, Tito. Thank you so much for this. Can you suggest a few workbooks that we can work on to continue to explore these ideas? More importantly, when can we expect to see your book?? :)
I certainly am working on some resources to help with this, but I did not learn this material from books. A lot of this work I did away from the written page, just trying to be fluid in all the keys, whether it was chord tones, scales, blues, ii-V’s, whatever. Start with one tune and work to be fluent in all of the chord tones to every chord. Then add the scales. Your body will develop a feel for those unfamiliar keys, and your ears will grow tremendously as well. Thanks for watching JMac! 🙏🏽
Thanks Tito for the keys 🔑. Not formally trained as a trumpet player. I have seen the chords written on sheet music 🎼 🎶 🎵 ie... Night in Tunisia; understood what they were, but couldn't figure out how to utilize nor how to recognize. Any insights on chord recognition, greatly appreciated. Now if I can figure out this embouchure thing; trying to take the pressure off the red of the lips. Issue even when keeping the corners secured, my lips blow open placing the red back into the mouthpiece. Blessings KB
Nice stuff..veryb impormative sir tito. Yes i also use both kind of pentatonic and harmonic minor.. But ive learn something in this video that could help me a lot on my imrovisation..cheers
Tito thank you so much for passing on your knowledge your a jazzmind opener God Bless You, I would like to know what mouthpiece you use , my Bach 7c is not cutting it … I hope it’s not top secret 😊
@@ricarguello7563 Thanks man! In this video I was either playing a Bach 3D or a Yamaha Bobby Shew Jazz mouthpiece. Right now I play a Hammond 5MV which I absolutely love. It’s like a Bach 3C but much easier to play.
Great tutorial you explained this conn-cept really well. I have been immersing in chord theory and it’s been a mind field. The idea of thinking the chord that your playing. Getting used to the name should be the standard from day one should be the standard in music theory. Much Thanks for your time and effort. Ps I’m a sax player🎷
Tito, very good explanation on learning the basics of improvising. After many years of reading without much variation, this should be fun to process. If I can just react to the changes before the chord changes!. By the way, did you do a clinic at UT Chattanooga a few years ago?
I enjoyed talking with you then. I am trying to see every great trumpet player out there. I saw Vince DiMartino Monday and was also terrific. If want to see something amazing, look up Angelina Jordan Fly Me to the Moon rehearsal for Quincy Jones 85th birthday. A real prodigy.
++ Tito, love your teaching and playing. Thank you. Weird talking mic sound tho. Sounds like mono processed to stereo but out of phase. Noticeable with headphones. Something wrong with your processor/reverb wiring or signal path?
Yeah, I was trying something new with my audio interface trying to record with two mics, but my voice ended up coming out mono, so I included a small amount of sound from my phone just for volume. I’ll go back to using one mic for speaking and one mic for playing, that seemed to work better.
Hi, Tito. Your class on chords beyond scales is highly stimulating. I've been studying the tenor & alto saxophones and practicing two hours daily for the last year. I'm a novice. I am seduced by the trumpet, as well. I'm at a crossroads. It's totally different, yet, I'm considering starting to learn it in conjunction with the saxophones. I welcome your thoughts on my comment. Bill
Thank you Bill! 🙏🏽. We’ll if you’re putting in two hours a day on the saxes, why not start the process of learning the trumpet with some long tones and learning the fingerings? Music learning is a process, and the beautiful thing is we don’t retire from music! Best to you 🙏🏽
trumpets get stuck in scales and stepwise motion because it's easiest to move around the horn that way. "Jumping" around to different partials is a quick way for a beginner to get lost and not even know what note he's on. It's also just almost effortless to move in seconds, as opposed to the clumsier feel of plopping around the scale across bigger intervals. (edit) lol nvm he says the exact thing eventually
as a guitar player, I can assure you that most guitarists think they know the arpeggios but they can't identify where the 3rd the fifth and the seventh are. When improvising jazz most guitarists think of the mode for each chord instead of emphasising on the chord tone. there are very few jazz guitar teachers tell their students to use chord tone when landing on the down beat or 1st beat and 3rd beat.
@@OrganicFaithFactory Through my college experience, I have found what you’ve said to be very accurate. I’m considering changing up my approach with my guitar students and having them learn single note chord arpeggios on the piano and then apply the concept to the guitar. Do you think this would help?
@@jazzmindwithtitocarrillo605 That would help the guitar student greatly! I first discover how to improvise when I learn the walking bass. Walking bass is the best way to help a jazz guitar student to improvise with chord tone. Challenge a jazz guitarist now to improvise a simple 251 progression but only land on the 3rd and the 7th on the 1 and 4 beat and see if they can! Also ask them to play an arpeggio and ask them where are the chord tones and where are tension notes or the chord tone extension notes! Many jazz guitarist don't know two things: First. They don't focus more to the rhythm like and put the chord tone to the down beats or 1 and 3. Second. They know all the arpeggio in all keys! But they don't know where the root, 3rd, fifth, seventh are! There is a guitarist that teach just that is Adam Smale from Jazz Rocks with Adam Channel Also similar concept from Chad LB channel How To Improvise Melodically where he teach the same concept Thanks hope this help
@@jazzmindwithtitocarrillo605 That would greatly help the jazz guitarists. What would help guitarists also learn the walking bass. They should learn to play only chord tone note with rhyme or beat one and four and use the chromatic enclosure with chord tone.
It's a beautiful lesson and demo-ing, but there's something left out---when he's goosing around over the c7, and saying "oh this is the major pentatonic with a m3rd added, or a 7b added", then he demos it with 16th note runs that are pouring out like tap water lol. THOSE patterns are not straight scales, and they're not JUST playing chord tones, but they are a type of scale basically. You'd have to practice "1234, 2345,3456, 7654, 6543,..."etc. and so on, all keys, until it was automated just like your basic b***h major scales from 7th grade. This is a looong process that these pros leave out bc I think they think people just know it? Or it's such a basic thing it's hard to remember that a youtube audience of novice level players is like "whaaaah?". It would help to show the notation of the actual notes he's playing 8th and 16th note runs to in time.
![Megan Thee Stallion - Roc Steady (feat. Flo Milli) [Official Video]](http://i.ytimg.com/vi/HozPPyqW0dY/mqdefault.jpg)
In just 20 minutes you opened a world for me to begin thinking about. I’m an abstract/concrete thinker and have always felt lost in understanding how to feel my way in music because I couldn’t see the more abstract structure; it was always just a bunch of notes - too many notes. So, Improv is something I refused to touch and thus relegated myself to enjoying those who could… The conjunction of the comedian notion combined with your scales-to-the-9th with subsequent arpeggios made total sense. It’s about associating the underlying scale in muscle memory with a core tonal structure to frame the complete scale. It’s about decomplexifying and finding a story to tell in chord tones and then adding in the nuances (the other notes of the scale) depending on the moment. And it’s the first half of the scale-arpeggio drill that sets the muscle memory association in the background as you learn to maneuver through the arpeggio. I haven’t even tried it yet, but you painted a beautiful image to point my minds eye towards. It’s like,… it’s like I have hope now that as I begin playing the horn again (as an older adult and thirty five years of career and kids) that maybe I can find my own stories to tell in swag and brass. So, thank you for the vision. I’ll see where it goes…
Thanks for this comment, it means a lot! 🙏🏽. I think with lots of repetition, you’ll eventually be able to think less, hear more, and create more.
Oh, where can I find a book or reference material that walks me all the chords and also through the logic of the progression of all the chords that fall off of a C7 (and similarly for all other major and minor scales)? For instance, you used the following off of C7: C7 > C(pentatonic) w/b3 > w/b7 > g minor pentatonic > d minor pentatonic > C Lydian dominant (C7#11) > D(pentatonic) w/b6 (C7#11) > C half-whole diminished (C13b9)
@@orrincolby9783 I'm afraid I don't know. Perhaps others here can point you to a helpful theory book. My knowledge has come primarily from transcribing what my favorite artists do and my own experimentation.
Very enlightening and eye opening- I’m a 80 year old trumpet player kinda late but I gained a rudimentary understanding of his discussion which can help my soloing. Many thanks.
Friend: Please allow me to give you a thought on improvising that has been applied through my 60 year career of playing trumpet in various settings. I believe jazz has lost popularity for a lot of listeners because it has become too abstract . What started as popular music for the masses is now in the majority of musicians based upon musical theory. My advice: make your rides simple, forget theory and add “hooks” that get the listener’s attention. Hooks are what draws the listener into your performance. They are what sells records and what makes artists popular. When soloing on a song, try to envision in your mind’s ear what your next phrase will be ,which can be challenging.As with everything in music, practice will improve your performance.
Brilliant video, bro! Super logical and easy to follow along with🏆🎶❤️
Tito, this video was excellent, I happened to only have my right arm, I also know that I wouldn't be able to use the valve to play low F#, nor any low register notes, I used my lips to play low notes. I started learning from scratch almost three years ago. I don't understand much of the Jazz definition. It is kind of hard learning on my own, but not impossible. I have learned all my notes, the Chromatic Scale, C scale, D scale that has a F#, and a C#. F scale that has a Bb.and so on. I am 70 years old, but in excellent health conditions. I practiced every day as much as I rested my lips. Timing is something I need to work on, but I can achieve high notes, I also know that it takes time. I am very positive and confident. I gave you a thumbs up, you deserve it.
Thanks for taking the time. I don't understand some wording due to not being born in the USA, but do understand most of everything you teaching.
A second viewing of this video has solidified my plans for training in chord tones and scales... and improvising.
Let’s go! I’ve got a lot more improv videos on the way!
Thank you 1000 times for this great content 🙏
I've played by ear , your helping me out tremendously by helping me find out what I've been hearing all these years 👍👋😊
This channel has the best stuff I've found on RUclips
I really appreciate your style Tito! Wish you had been around 50 years ago when I attended U of I. I might have learned something and wanted to stay. All the best!
I'm starting to study jazz, even if I always loved it, but never felt I would be able to play it. I'm trying to figure out what to practice and how to think to approach jazz, and that video got me a light in how to continue. Thanks!!
Here’s how I use all 12 notes over a Dominant 7 chord. The 3 and b7, the tritone, defines the chord. The 1-3-5-b7 are the chord tones, safest to land on. Then b3 always only resolves upwards into the 3. Then 1-2-b3/3-4-b5-5-6-b7 would be Mixolydian combined with the Blues scale; these 9 notes are “inside”. Finally b2-b6-7 can be used in chromatic lines that resolve. - Always know both the letter name and the interval name of the note you’re playing (example: I’m on G# the 3rd of this E7 chord). Be able to use all 12 notes over any Dominant 7 chord.
Thank you so much Tito! This video was packed with great advice.
GREAT VIDEO!!! Very well explained and you really broke it down. Where have you been?? I’m an INSTANT subscriber!!
Tito! This is the video. Anyone in the clouds about how to play over changes will greatly benefit. I did. I've been a "scales" soloist for years. This one video was my "Aha" moment. Much appreciated brother. I feel more connected to the song with this approach.
That’s amazing Avery, so glad it helped!
New subscriber, great stuff thanks
Oh man...SO good!!!! So HELPFUL!!!! Thank you, Tito!!
Man Tito it’s so wild you bringing up comedians and how we can relate as improvisers. I’ve had the same thought as well…I’m a bit of a comedy nerd and listen to Nate Bargetze’s podcast regularly. When you listen to how comedians learn the craft and they go to open mic nights. Much like young jazz players going to jam sessions….lots of similarities
Great stuff Tito! Keep the videos coming.
This is gold Tito! 🙌🏿🙌🏿
Viewed this video again after two weeks and there's still a ton to unpack! Will be eyeballing it until the concept is ingrained. Thanks, Professor!
Super helpful video! Thank you!
I like it
Yessir! Thanks for this, Tito!
This should be seen by all
Thank you fam! 🙏🏽
I am in a very novice level, in wich, I use one scale for all the tune. Normally simple pop progressions of three or four chords.
And after seeing a lot of videos of chord changes, this one of you, is the one than make my mind understand the importance, and the beauty of the chord tones. They really are the base. I’m going to try to land on them. Thanks for your work
Nice!!😎🎺
Excellent! And I'm a former professional trumpet player.
This is such a great video, Tito. Thank you so much for this. Can you suggest a few workbooks that we can work on to continue to explore these ideas? More importantly, when can we expect to see your book?? :)
I certainly am working on some resources to help with this, but I did not learn this material from books. A lot of this work I did away from the written page, just trying to be fluid in all the keys, whether it was chord tones, scales, blues, ii-V’s, whatever. Start with one tune and work to be fluent in all of the chord tones to every chord. Then add the scales. Your body will develop a feel for those unfamiliar keys, and your ears will grow tremendously as well. Thanks for watching JMac! 🙏🏽
Thanks Tito for the keys 🔑. Not formally trained as a trumpet player. I have seen the chords written on sheet music 🎼 🎶 🎵 ie... Night in Tunisia; understood what they were, but couldn't figure out how to utilize nor how to recognize. Any insights on chord recognition, greatly appreciated. Now if I can figure out this embouchure thing; trying to take the pressure off the red of the lips. Issue even when keeping the corners secured, my lips blow open placing the red back into the mouthpiece.
Blessings
KB
Fantastic
Thanks maestro for your video how can I learn to improvise what should I learn first
My man!!!
What up maestro!! 🇵🇷
@@jazzmindwithtitocarrillo605 All good bro----I love your RUclips chanel. Lots of very hip info!! Bendiciones!
Nice stuff..veryb impormative sir tito. Yes i also use both kind of pentatonic and harmonic minor.. But ive learn something in this video that could help me a lot on my imrovisation..cheers
Tito thank you so much for passing on your knowledge your a jazzmind opener God Bless You, I would like to know what mouthpiece you use , my Bach 7c is not cutting it … I hope it’s not top secret 😊
@@ricarguello7563 Thanks man! In this video I was either playing a Bach 3D or a Yamaha Bobby Shew Jazz mouthpiece. Right now I play a Hammond 5MV which I absolutely love. It’s like a Bach 3C but much easier to play.
Great tutorial you explained this conn-cept really well. I have been immersing in chord theory and it’s been a mind field. The idea of thinking the chord that your playing. Getting used to the name should be the standard from day one should be the standard in music theory. Much Thanks for your time and effort. Ps I’m a sax player🎷
Tito, very good explanation on learning the basics of improvising. After many years of reading without much variation, this should be fun to process. If I can just react to the changes before the chord changes!. By the way, did you do a clinic at UT Chattanooga a few years ago?
That was me!
I enjoyed talking with you then. I am trying to see every great trumpet player out there. I saw Vince DiMartino Monday and was also terrific. If want to see something amazing, look up Angelina Jordan Fly Me to the Moon rehearsal for Quincy Jones 85th birthday. A real prodigy.
++ Tito, love your teaching and playing. Thank you. Weird talking mic sound tho. Sounds like mono processed to stereo but out of phase. Noticeable with headphones. Something wrong with your processor/reverb wiring or signal path?
Yeah, I was trying something new with my audio interface trying to record with two mics, but my voice ended up coming out mono, so I included a small amount of sound from my phone just for volume. I’ll go back to using one mic for speaking and one mic for playing, that seemed to work better.
quality🙂
Hi, Tito. Your class on chords beyond scales is highly stimulating. I've been studying the tenor & alto saxophones and practicing two hours daily for the last year. I'm a novice. I am seduced by the trumpet, as well. I'm at a crossroads. It's totally different, yet, I'm considering starting to learn it in conjunction with the saxophones. I welcome your thoughts on my comment. Bill
Thank you Bill! 🙏🏽. We’ll if you’re putting in two hours a day on the saxes, why not start the process of learning the trumpet with some long tones and learning the fingerings? Music learning is a process, and the beautiful thing is we don’t retire from music! Best to you 🙏🏽
Tito, do you have this material in a book that I can purchase?
trumpets get stuck in scales and stepwise motion because it's easiest to move around the horn that way. "Jumping" around to different partials is a quick way for a beginner to get lost and not even know what note he's on. It's also just almost effortless to move in seconds, as opposed to the clumsier feel of plopping around the scale across bigger intervals.
(edit) lol nvm he says the exact thing eventually
Going straight to the woodshed.
Go get it Dan! 🙏🏽
as a guitar player, I can assure you that most guitarists think they know the arpeggios but they can't identify where the 3rd the fifth and the seventh are. When improvising jazz most guitarists think of the mode for each chord instead of emphasising on the chord tone. there are very few jazz guitar teachers tell their students to use chord tone when landing on the down beat or 1st beat and 3rd beat.
@@OrganicFaithFactory Through my college experience, I have found what you’ve said to be very accurate. I’m considering changing up my approach with my guitar students and having them learn single note chord arpeggios on the piano and then apply the concept to the guitar. Do you think this would help?
@@jazzmindwithtitocarrillo605
That would help the guitar student greatly!
I first discover how to improvise when I learn the walking bass. Walking bass is the best way to help a jazz guitar student to improvise with chord tone.
Challenge a jazz guitarist now to improvise a simple 251 progression but only land on the 3rd and the 7th on the 1 and 4 beat and see if they can! Also ask them to play an arpeggio and ask them where are the chord tones and where are tension notes or the chord tone extension notes!
Many jazz guitarist don't know two things:
First. They don't focus more to the rhythm like and put the chord tone to the down beats or 1 and 3.
Second. They know all the arpeggio in all keys! But they don't know where the root, 3rd, fifth, seventh are!
There is a guitarist that teach just that is Adam Smale from Jazz Rocks with Adam Channel
Also similar concept from Chad LB channel How To Improvise Melodically where he teach the same concept
Thanks hope this help
@@jazzmindwithtitocarrillo605
That would greatly help the jazz guitarists.
What would help guitarists also learn the walking bass. They should learn to play only chord tone note with rhyme or beat one and four and use the chromatic enclosure with chord tone.
At 2:59 sometimes a tromboner can play a chord
It's a beautiful lesson and demo-ing, but there's something left out---when he's goosing around over the c7, and saying "oh this is the major pentatonic with a m3rd added, or a 7b added", then he demos it with 16th note runs that are pouring out like tap water lol. THOSE patterns are not straight scales, and they're not JUST playing chord tones, but they are a type of scale basically. You'd have to practice "1234, 2345,3456, 7654, 6543,..."etc. and so on, all keys, until it was automated just like your basic b***h major scales from 7th grade. This is a looong process that these pros leave out bc I think they think people just know it? Or it's such a basic thing it's hard to remember that a youtube audience of novice level players is like "whaaaah?". It would help to show the notation of the actual notes he's playing 8th and 16th note runs to in time.
Transcribe what you like. He's showing what he likes to do noodling around, but it doesn't have to be what you do