This was really fascinating, thanks! It's so hard to believe that you were the student you were using as an example! But it also gives me hope that I can become better at improvisation.
I think that one piece of advice or idea that is interesting when it comes to transcribing (especially for guitarists) is to consciously work on transcribing other instruments. I know that by doing this with piano, trumpet, sax, and vibraphone solos, I was able to get out of the "pentatonic box" way of thinking. Was it easy? no not at all, especially at first, but there is something very satisfying about hearing a Dizzy Gillespie or Monk or Hank Mobley phrase coming out of your guitar. so yes-don't just stick to guitarists, and embrace the technology that is mentioned here to slow things down!
Hello Richie, thanks for the great video!! My experience: I am "transcribing" solos but I don't write them down or analize them. I just learn them by heart and play them a lot. After a while I can hear the influence of these solos on my playing. I find myself playing the right notes over difficult harmonies much better than before. I would recommend also learning plenty bebop heads by ear. It all takes time and it's hard work but very much worth it. I think it is one of the most important aspects of learning the jazz idiom. I wish I had done it long ago...
...ah, the 'academic standpoint'...no instrument required for this lecture...transcription? I was amazed at the simplicity of notes in a passage by one of my favorite players and how his articulation and artistry so surpassed the bounds of notation...cheers,
I need to to do more transcribing I was transcribing Wes Montgomery playing round about midnight and I was getting most of it but than there was some chromatic stuff and I couldn’t find the note but it was a great learning experience
Very nice video. It would be great to get a more detailed description of things to do once you have transcribed. That would be an excellent topic for another video, I think. A few comments: On the why - in addition. To what you have said, it helps your ear; it forces you to listen carefully; it helps your rhythmic sense; and it helps your reading a ton. Nothing like writing stuff down to start understanding reading. On the when: I would say it’s probably best to start right away, if you have guidance. Not jazz solos, but simple melodies and chord progressions. I definitely wish that I had done more of this. On the how: Sometimes it’s easier for me to simply focus on the rhythm first and then add the melody. And the rhythm is often much harder. Also, singing is key. I know Lennie Tristano would have his students sing entire solos before starting to transcribe. That may be extreme, but it has a point. And, even with the great tools available, it’s still a good idea to try to increase the difficulty of what you are doing, by gradually increasing the number of measures worked on, while also reducing the amount of slow down used.
Thanks for your valuable feedback! The Lennie Tristano anecdote is very valuable and I my teacher, Charlie Banacos would have me do that too on occasion.
I once had a lesson with a teacher who reffered to the notes played over one chord as telephone numbers.... like the g on a dm7 would be a 4 or the root of a chord would be the 1.... i had to practice all scales and arpeggios while speaking out loud the „telephone number“😀
That is actually good...it forces you to identify the intervals that make up the actual chord sound! Every good jazz musician should be able to do that...
Richie, I am still learning the basics of the guitar. I am familiar and can play most open chords. I have been trying for the past 4 to 5 years, on and off, being fairly consistent for the past six months. I still have issues doing chord changes and progressions. I am the bottom of the stairs when it comes to barre chords, but I am practicing every day to gain more muscle strength. I can do some simple melodic songs, like Ode to Joy and the such. I am though fascinated with Jazz Guitar and as such follow such great fellows as yourself, Matt Warnock, Jens Larsen, and Steven Krenz. I do try to learn from all of you as much as I can about Jazz Guitar. Matt has a wonderful teaching platform with weekly live workshops. so, my question really is, would I benefit from getting into your Bebop series even at this level of my guitar journey?
It sounds like you need a better foundation on the guitar before you can play jazz. The bebop course or any real jazz course takes for granted that you know all your basic chords including barre chords all over the fretboard comfortably. You could benefit from having a private teacher who could properly guide you through making sure you get the basics down and show you some technique which is necessary before you can get into jazz properly. Otherwise it can be very frustrating and even futile because you are putting the horse before the cart.Having said that, I hope sometime to release an online beginners guitar boot camp for those interested in getting the basics needed to start with jazz on the guitar.
@@RichieZellon Richie, that was already my gut feeling, but I still wanted to get started, at least...I'd listen to your advice and get the basics down first. I would definitely look forward to your beginner's boot camp.
Sometimes I am too busy to properly transcribe, so I'll just put on a few songs with more than one soloist and play along while trying to emulate their ideas :D
That's fine if you can make it work. Personally if I do that, I don't remember a thing the next day. On the other hand, If I transcribe I can analyze and use that as a model to create new phrases which I can in turn practice consistently once they are notated. I believe the brain needs to be exposed to an idea repeatedly over a period of time before it becomes a habit and can naturally become part of your vocabulary.
hem,,,youtube itself allows you to slow down without changing the pitch,,although IMO i d recommed to try not to do at first,,cause you know, it s better training for the ear,,then if it s too complicate or fast after several attempt i d procede slowing down.
Jazz was around 100 years before bebop came in, why you saying bebop is foundation of jazz? Buddy bolden,louis armstrong,Fletcher hendersonand thousands of others used zero bebop it . Bebopis late addition to jazz ( i love bebop) its just seems strange to hear you say bebop is foundation of jazz . It beibg lije hearing soneone say " death metal is foundation if rock music" Bebop is great additi9n i loive it , but " west end blues " is not bebop .
bebop is the foundation of jazz as you hear it today, when analyzed from the academic standpoint. That's what they start you out at any jazz school. The melodic elements that make up a jazz line were introduced during the bebop era. I think you are taking things out of context! Fletcher Henderson, Louis Armstrong is not what you study at any school to learn the rudiments of contemporary jazz...You begin studying Charlie Parker, Dizzy, Monk and then move on to Miles, Coltrane and beyond...
This was really fascinating, thanks! It's so hard to believe that you were the student you were using as an example! But it also gives me hope that I can become better at improvisation.
Great lesson Richie. That transcrib app is really helpful
I think that one piece of advice or idea that is interesting when it comes to transcribing (especially for guitarists) is to consciously work on transcribing other instruments. I know that by doing this with piano, trumpet, sax, and vibraphone solos, I was able to get out of the "pentatonic box" way of thinking. Was it easy? no not at all, especially at first, but there is something very satisfying about hearing a Dizzy Gillespie or Monk or Hank Mobley phrase coming out of your guitar. so yes-don't just stick to guitarists, and embrace the technology that is mentioned here to slow things down!
The sax lines are the best on guitar. Violin is tough as well . IMHO
Hello Richie, thanks for the great video!!
My experience: I am "transcribing" solos but I don't write them down or analize them. I just learn them by heart and play them a lot. After a while I can hear the influence of these solos on my playing. I find myself playing the right notes over difficult harmonies much better than before.
I would recommend also learning plenty bebop heads by ear. It all takes time and it's hard work but very much worth it. I think it is one of the most important aspects of learning the jazz idiom. I wish I had done it long ago...
Richie really enjoying the channel..As always you sound great. Thanks for the channel.
Very interesting illustration. Its your testimony about your musical travel. Thank you for sharing!!
...ah, the 'academic standpoint'...no instrument required for this lecture...transcription? I was amazed at the simplicity of notes in a passage by one of my favorite players and how his articulation and artistry so surpassed the bounds of notation...cheers,
Que buena pregunta y mejor tu respuesta Saludos
Sound advice.Thanks, Ronnie!
Thanks...it's Richie....
I need to to do more transcribing I was transcribing Wes Montgomery playing round about midnight and I was getting most of it but than there was some chromatic stuff and I couldn’t find the note but it was a great learning experience
Very nice video. It would be great to get a more detailed description of things to do once you have transcribed. That would be an excellent topic for another video, I think.
A few comments: On the why - in addition. To what you have said, it helps your ear; it forces you to listen carefully; it helps your rhythmic sense; and it helps your reading a ton. Nothing like writing stuff down to start understanding reading.
On the when: I would say it’s probably best to start right away, if you have guidance. Not jazz solos, but simple melodies and chord progressions. I definitely wish that I had done more of this.
On the how: Sometimes it’s easier for me to simply focus on the rhythm first and then add the melody. And the rhythm is often much harder. Also, singing is key. I know Lennie Tristano would have his students sing entire solos before starting to transcribe. That may be extreme, but it has a point. And, even with the great tools available, it’s still a good idea to try to increase the difficulty of what you are doing, by gradually increasing the number of measures worked on, while also reducing the amount of slow down used.
Thanks for your valuable feedback! The Lennie Tristano anecdote is very valuable and I my teacher, Charlie Banacos would have me do that too on occasion.
I once had a lesson with a teacher who reffered to the notes played over one chord as telephone numbers.... like the g on a dm7 would be a 4 or the root of a chord would be the 1.... i had to practice all scales and arpeggios while speaking out loud the „telephone number“😀
That is actually good...it forces you to identify the intervals that make up the actual chord sound! Every good jazz musician should be able to do that...
Something very similar happened to me. Several years of hard work that led to frustration.
Luckily I came across my actual teacher: Mr. Richie Zellon!
Even though there are only twelve notes theoretically. It is still a jungle of sound. Learning phrasing was, or is definitely key...
Richie, I am still learning the basics of the guitar. I am familiar and can play most open chords. I have been trying for the past 4 to 5 years, on and off, being fairly consistent for the past six months. I still have issues doing chord changes and progressions. I am the bottom of the stairs when it comes to barre chords, but I am practicing every day to gain more muscle strength. I can do some simple melodic songs, like Ode to Joy and the such. I am though fascinated with Jazz Guitar and as such follow such great fellows as yourself, Matt Warnock, Jens Larsen, and Steven Krenz. I do try to learn from all of you as much as I can about Jazz Guitar. Matt has a wonderful teaching platform with weekly live workshops. so, my question really is, would I benefit from getting into your Bebop series even at this level of my guitar journey?
It sounds like you need a better foundation on the guitar before you can play jazz. The bebop course or any real jazz course takes for granted that you know all your basic chords including barre chords all over the fretboard comfortably. You could benefit from having a private teacher who could properly guide you through making sure you get the basics down and show you some technique which is necessary before you can get into jazz properly. Otherwise it can be very frustrating and even futile because you are putting the horse before the cart.Having said that, I hope sometime to release an online beginners guitar boot camp for those interested in getting the basics needed to start with jazz on the guitar.
@@RichieZellon Richie, that was already my gut feeling, but I still wanted to get started, at least...I'd listen to your advice and get the basics down first. I would definitely look forward to your beginner's boot camp.
Sometimes I am too busy to properly transcribe, so I'll just put on a few songs with more than one soloist and play along while trying to emulate their ideas :D
That's fine if you can make it work. Personally if I do that, I don't remember a thing the next day. On the other hand, If I transcribe I can analyze and use that as a model to create new phrases which I can in turn practice consistently once they are notated. I believe the brain needs to be exposed to an idea repeatedly over a period of time before it becomes a habit and can naturally become part of your vocabulary.
hem,,,youtube itself allows you to slow down without changing the pitch,,although IMO i d recommed to try not to do at first,,cause you know, it s better training for the ear,,then if it s too complicate or fast after several attempt i d procede slowing down.
Jazz was around 100 years before bebop came in, why you saying bebop is foundation of jazz? Buddy bolden,louis armstrong,Fletcher hendersonand thousands of others used zero bebop it . Bebopis late addition to jazz ( i love bebop) its just seems strange to hear you say bebop is foundation of jazz . It beibg lije hearing soneone say " death metal is foundation if rock music"
Bebop is great additi9n i loive it , but " west end blues " is not bebop .
bebop is the foundation of jazz as you hear it today, when analyzed from the academic standpoint. That's what they start you out at any jazz school. The melodic elements that make up a jazz line were introduced during the bebop era. I think you are taking things out of context! Fletcher Henderson, Louis Armstrong is not what you study at any school to learn the rudiments of contemporary jazz...You begin studying Charlie Parker, Dizzy, Monk and then move on to Miles, Coltrane and beyond...
Oh btw...Jazz was NOT around 100 years before bebop was born...do your homework!
Lots of noise when talking. Why?