Another great video. Thanks Jeff. It's amusing to picture CP going over a lick again and again hundreds of times, trying to get it right at speed. Like a normal! Not at all the image presented in media of the drug addicted drunk genius who walked on to the stage and just flew! A normal genius!
@@JeffAntoniukEducator It made a great point but I just can't quite feel totally comfortable with the word ordinary( even if it's attached to the word genius) being applied to Bird.☺🎷
I've always found Sonny Stitt to be a great teacher on this subject. His articulation was wonderful and clean which really helps with getting the idea of how crucial precision is. Plus his timing was so solid that he's teaching you about the importance finishing a phrase in the pocket giving impact to the line. Obviously he had some lovely favourite lines that are pretty easy to pick up. For double timing - definately one of the best educators. He loved to double time on ballads(usually on alto)with great impact often on the theme statement without loosing the feel and still giving the impression he knew every word of the lyric. That really takes a very special musician to do that.
@@JeffAntoniukEducator Thanks Jeff, forgot mention keep up the great work. I find that your teaching is superbly delivered. While being able to demonstrate your ideas so well as you're an excellent musician in your own right, you comminicate the principles of improvising without ever being in any way patronizing to a group of often under represented(when it comes to education), very enthusiastic and often talented of musicians.
Thanks, Jeff! I was one of the double time requesters. Humbly, I can tell you that it's something that I work on and rarely gets played on the gig. Looking forward to trying it on the PDF.
Thanks for taking the time to write Tommy! Glad you enjoyed it. Please subscribe if you haven't yet. I'm beginning a new RUclips show on April 30, 2021, and I think you'll really dig it!
Thank you for the sixteenth note time feel clarification, Jeff. It used to drive me crazy trying to apply a swing feel to it. Great stuff here! Have a great day.
Well, to be clear, tonguing is RARELY every other note. That approach is 1) a great exercise, but not exactly reality, and 2) perfect for scalar passages. So, we would likely NOT tongue off beats in a double time line. Good Question. It's definitely deeper than we can get in to here. Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. app.jazzwire.net/free-trial. These videos are great, but they are a SHADOW compared to the real work and we can do together!
This is why listening is so important - I noticed that not only did you play the double time lick straight but you "ghosted" some of the notes as well - really makes it sound better when you don't play all the notes at the same volume.
Great video! It helps to confirm that Bird and others (Diz, Trane, etc) didn’t just wake up one day being able to do this. It doesn’t take away from their genius that they mastered a known language and then expanded on it greatly, creating almost a new language. They then used the phrases they developed in “musical conversations,” creating new stories in the moment with that language. Question: Is the second G in bar two of the CP phrase also a G#, or does that revert back to a G Natural? Sounds like it would be a G Natural.
Hi Jeff. Greetings from England. What a great video-as ever! I’m working on Phil Woods’ solo on Stolen Moments and boy are there some cookin’ double time lines in that. I’m finding it very difficult to transcribe these lines, not least because of the length of them. Any suggestions greatfully received.
Phil Woods was one of my early influences, back in my alto days. Great player! Yes, hearing those lines is HARD. That said, these days with the technology to slow down soloing (like right inside RUclips), it's much easier.
Jeff Antoniuk - Educator May I ask you Jeff what’s your opinion on slowing down solos with things like Amazing Slowdowner etc? I’ve heard it said in some quarters that it is more advantageous NOT to slow down solos and lines as you’re hearing them in real time which, they say, improves the ear more. I’d find it impossible to transcribe some lines unless I could slow them down. Am I cheating?
Hi Jeff I Iisten a lot to Sonny Stitt and would like to know how he play those double time stuff. Do you think that you can explain some of that whenever you have the time.
Everything I talked about here is Sonnt Stitt 110%!!! He isn't doing anything any different, but just with his vocabulary. You know, THIS conversation is exactly what we do all day long at www.JazzWire.net. I hope you'll join me (and 150 other great players) there, and we can tear it apart!!
Yo Jeff! The fourth note in the second measure doesn't seem to be notated correctly. I may be wrong, check it out. The 12th note in both single and double time.
Exactly right! I caught it just as I published the video. The pdf I'm sending out to folks is corrected, but the pixels on the screen are set. Thanks for the note!
No, that very first note is a C#. Chromatic lower weight tone. You know, you would get a TON out of what we are doing together at www.JazzWire.net. I hope I'll get to work with you there!
Fantastic! The band at the Rex is going to be GREAT, and the workshops on Saturday December 7 in Toronto are coming together as we speak. If you haven't yet, send a quick email to diggingdeeperjazz @ gmail.com to save that spot. We'll have info within the next 1 days on getting officially signed up for it.
![ATEEZ(에이티즈) - [GOLDEN HOUR : Part.2] Preview](http://i.ytimg.com/vi/X4PfgRPBUVo/mqdefault.jpg)
Another great video. Thanks Jeff. It's amusing to picture CP going over a lick again and again hundreds of times, trying to get it right at speed. Like a normal!
Not at all the image presented in media of the drug addicted drunk genius who walked on to the stage and just flew! A normal genius!
Normal Genius!! I love it.
@@JeffAntoniukEducator It made a great point but I just can't quite feel totally comfortable with the word ordinary( even if it's attached to the word genius) being applied to Bird.☺🎷
I've always found Sonny Stitt to be a great teacher on this subject. His articulation was wonderful and clean which really helps with getting the idea of how crucial precision is. Plus his timing was so solid that he's teaching you about the importance finishing a phrase in the pocket giving impact to the line. Obviously he had some lovely favourite lines that are pretty easy to pick up. For double timing - definately one of the best educators. He loved to double time on ballads(usually on alto)with great impact often on the theme statement without loosing the feel and still giving the impression he knew every word of the lyric. That really takes a very special musician to do that.
Agreed! Of EVERYONE who ever played, Stitt is the perfect person to learn from, on any instrument. Clean, clear, perfect.
@@JeffAntoniukEducator Thanks Jeff, forgot mention keep up the great work. I find that your teaching is superbly delivered. While being able to demonstrate your ideas so well as you're an excellent musician in your own right, you comminicate the principles of improvising without ever being in any way patronizing to a group of often under represented(when it comes to education), very enthusiastic and often talented of musicians.
@@markhiggins8315 thanks for the kind words brother! I love connecting with people, and I'm so happy to you are digging this all!
Thanks, Jeff! I was one of the double time requesters. Humbly, I can tell you that it's something that I work on and rarely gets played on the gig. Looking forward to trying it on the PDF.
So glad you requested this one RIchard (along with about 1200 other people)! It was fun to do, and I hope you got a lot out of it.
You have a good educational way to teach .. So even I as a beginner can understand the way you have to progress.
I'm so happy you are enjoying it!!
Great video man!!!
Thanks for taking the time to write Tommy! Glad you enjoyed it. Please subscribe if you haven't yet. I'm beginning a new RUclips show on April 30, 2021, and I think you'll really dig it!
Pittsburgh PA or anywhere near it I'm in.
Thank you for the sixteenth note time feel clarification, Jeff. It used to drive me crazy trying to apply a swing feel to it. Great stuff here! Have a great day.
The 16th note feel is HUGELY important. Glad it got cleared up for you.
Is tonguing for sixteenth notes/double-time still every other note?
Well, to be clear, tonguing is RARELY every other note. That approach is 1) a great exercise, but not exactly reality, and 2) perfect for scalar passages. So, we would likely NOT tongue off beats in a double time line. Good Question. It's definitely deeper than we can get in to here.
Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. app.jazzwire.net/free-trial. These videos are great, but they are a SHADOW compared to the real work and we can do together!
This is why listening is so important - I noticed that not only did you play the double time lick straight but you "ghosted" some of the notes as well - really makes it sound better when you don't play all the notes at the same volume.
That is a great point, David. Adding that "vocal" quality, getting away from the "robot voice" is always very important.
Great video! It helps to confirm that Bird and others (Diz, Trane, etc) didn’t just wake up one day being able to do this. It doesn’t take away from their genius that they mastered a known language and then expanded on it greatly, creating almost a new language. They then used the phrases they developed in “musical conversations,” creating new stories in the moment with that language.
Question: Is the second G in bar two of the CP phrase also a G#, or does that revert back to a G Natural? Sounds like it would be a G Natural.
GOOD CATCH! Yes, that is a G natural on the way down.
Hi Jeff. Greetings from England. What a great video-as ever! I’m working on Phil Woods’ solo on Stolen Moments and boy are there some cookin’ double time lines in that. I’m finding it very difficult to transcribe these lines, not least because of the length of them. Any suggestions greatfully received.
Phil Woods was one of my early influences, back in my alto days. Great player! Yes, hearing those lines is HARD. That said, these days with the technology to slow down soloing (like right inside RUclips), it's much easier.
Jeff Antoniuk - Educator May I ask you Jeff what’s your opinion on slowing down solos with things like Amazing Slowdowner etc? I’ve heard it said in some quarters that it is more advantageous NOT to slow down solos and lines as you’re hearing them in real time which, they say, improves the ear more. I’d find it impossible to transcribe some lines unless I could slow them down. Am I cheating?
Hi Jeff I Iisten a lot to Sonny Stitt and would like to know how he play those double time stuff. Do you think that you can explain some of that whenever you have the time.
Everything I talked about here is Sonnt Stitt 110%!!! He isn't doing anything any different, but just with his vocabulary. You know, THIS conversation is exactly what we do all day long at www.JazzWire.net. I hope you'll join me (and 150 other great players) there, and we can tear it apart!!
Will like to see you in Miami
Yo Jeff! The fourth note in the second measure doesn't seem to be notated correctly. I may be wrong, check it out. The 12th note in both single and double time.
Exactly right! I caught it just as I published the video. The pdf I'm sending out to folks is corrected, but the pixels on the screen are set. Thanks for the note!
Wayne shorter was crazy den!!!
I think your 16th note has to be a c mesure one ..)Dm7' I am Ivor by the way and a piano player who is totaly digging saxophone
No, that very first note is a C#. Chromatic lower weight tone. You know, you would get a TON out of what we are doing together at www.JazzWire.net. I hope I'll get to work with you there!
the correction signI mean..
HeyJeff, I'll see you at the Rex on Dec. 6 and reserve me a spot on the 7th :)
Fantastic! The band at the Rex is going to be GREAT, and the workshops on Saturday December 7 in Toronto are coming together as we speak. If you haven't yet, send a quick email to diggingdeeperjazz @ gmail.com to save that spot. We'll have info within the next 1 days on getting officially signed up for it.
@@JeffAntoniukEducator Done!
@@jpm65 Great!! See you in YYZ!
Your link got me laughing! Check on the youtube link above what comes after watchv?v=
I know, right? You'd think RUclips would have more respect for a dedicated jazz video journalist such as myself!! :)