I just stumbled on this exercise and it is a game changer in terms of really understanding the fundamentals of lines improvisations on the Blues. I cannot thank you enough for this and your down to earth teaching methods. Love it!
This single lesson is pure gold - a gateway drug for real improvisation. Of course what Jeremy said applies to all forms. I couldn't decide which chord tones to target. Just one minute of explanation and I feel my lines started to sound much less crappy - when I deliberately target thirds or any other strong chord tones. The key here is - delibaration (of course we are talking about exercises, not performing on stage :-) Thanks!!!
Love the guide tone line concept! I've always conceptualized guide tones as the skeleton of a chord, but now I see them as the tones that guide you through a progression!
Best tutorial for us beginners and best sound out of your new mic-earphones setup! Thanks so much! By the way your book and Mortensen one are the best in each respective field so I am waiting for your improvisation manual as well!
Jeremy, I really like structured exercises like this. I'm looking forward to trying this one! The only extra thing I desired from the video, is for you to show us at the end how an actual improvisation (not exercise) will sound once you incorporate 3rds on downbeat, enclosures, guide tones etc.
It will come out in your playing. This is a great restricted practice routine. Once you become accustomed, when in an actual free improve you'll play more from your heart but with more jazz technique, language and vocabulary. That's the goal.
I appreciated the ear training advice to not play the root first, but instead try to anticipate and then sing the third of the chord first, then follow with the root. It exposed my weakness. Practice, practice! Thanks!!
You are an oustanding teacher Jeremy. Much respect for you! Thank you so much for all the content of your concepts and approaches to music! The world is a better place because of it!
Hi Jeremy--Very specific question on this (while returning to this video for some basics as I apply it to every tune I learn!) At 3:15 you start the exercise of connecting the 3rds simply by scale, and then from 3:15 to 3:50 you play 2 sample choruses. (I actually transcribed that and the following examples!). In each measure over Bb7 you play E-naturals, not E-flats...why is that? Wouldn't E-flat be part of the myxolidan scale for Bb7? Of course the E-natural sounds better, but I wouldn't have thought to play it! (Is it because it's part of the altered scale? But that doesn't seem to be the scale you're playing?) Thanks! --Jon
Really good restrictive practice ideas here. I used to wonder what the point of this sort of practice was, but realised a while ago that they are do give muscle memory of useful finger “geography” of the form, but the ear training element is the most powerful part. It helps closes the gap between what I’m thinking and what comes out on the piano. I also like that it shows how to take an exercise and vary it. I can already think of other ways to use it. Any chord tone, move the beat on which you land. ❤
It's always interesting to note what's going on in the CONSCIOUS mind and what's going on in the UNCONSCIOUS mind. I do feel when I'm doing language practice, I'm partially practicing the exact vocabulary/verb tense/whatever that I'm practicing, but moreso I'm just logging time existing in that language and that might be just as important.
Hi Jeremy, thanks for the nice video! What a great teacher you are! Wanna ask you something, what are some portable piano/keyboard you recommend for beginners playing jazz? I mean the travel friendly ones
Thanks for the question, but I have to plead ignorance. I'm not super up-to-date on that subject. That said, I do know that even though the Casio was thought of as a terrible toy for a long time...these days, they're actually pretty good and still pretty cheap!
hey jeremy, thanks som, much for these execisis, but couldnt you always keep the big picture when you demonstrate, its so important for me as a classical trained pianist to see you improvise....thanks mikael
Fiz três anos de aula na Fundação das Artes com prof. Mário César e o cara não me ensinou nem perto da metade do que tem nessa aula. Como tem profissional incompetente em todas as áreas!
I just stumbled on this exercise and it is a game changer in terms of really understanding the fundamentals of lines improvisations on the Blues. I cannot thank you enough for this and your down to earth teaching methods. Love it!
Outstanding. I've never come across these methods in any other place and they are fantastic. I'm saving up for your books.
Save those pennies! 😊
Gold dust - thx for your generosity in discussing these ideas with us.
My pleasure! Thank *you*, Julian!
This single lesson is pure gold - a gateway drug for real improvisation. Of course what Jeremy said applies to all forms. I couldn't decide which chord tones to target. Just one minute of explanation and I feel my lines started to sound much less crappy - when I deliberately target thirds or any other strong chord tones. The key here is - delibaration (of course we are talking about exercises, not performing on stage :-) Thanks!!!
Excellent simple to the point.brilliant
Love the guide tone line concept! I've always conceptualized guide tones as the skeleton of a chord, but now I see them as the tones that guide you through a progression!
Yes, absolutely! Good melodies are like crosswords - they work beautifully both vertically and horizontally.
"chromatic enclosure" another amazingly simple, powerful, tool. thanks!
Yep! That’s definitely worth your practice time!
Best tutorial for us beginners and best sound out of your new mic-earphones setup! Thanks so much! By the way your book and Mortensen one are the best in each respective field so I am waiting for your improvisation manual as well!
That’s very kind, Francesco. Thanks!
Lol, not sure an improv manual is coming soon, but I’ll think about it!
Thanks Jeremy, much appreciated
Jeremy, I really like structured exercises like this. I'm looking forward to trying this one! The only extra thing I desired from the video, is for you to show us at the end how an actual improvisation (not exercise) will sound once you incorporate 3rds on downbeat, enclosures, guide tones etc.
It will come out in your playing. This is a great restricted practice routine. Once you become accustomed, when in an actual free improve you'll play more from your heart but with more jazz technique, language and vocabulary. That's the goal.
I appreciated the ear training advice to not play the root first, but instead try to anticipate and then sing the third of the chord first, then follow with the root. It exposed my weakness. Practice, practice! Thanks!!
Nice - good insight! If you play the root and then sing it, you’re only testing your ability to match pitch.
You are an oustanding teacher Jeremy. Much respect for you! Thank you so much for all the content of your concepts and approaches to music! The world is a better place because of it!
Wow, this is exactly what i was looking for. I'll definitely buy the book. BRILLIANT.
Yay! I'm glad you found it! Thank you, RUclips Algorithmic Gods!
Three and half minutes in the video and already I'm enjoying the tips a lot. Great tips!
Lo mejor del día de hoy en RUclips. Gracias por compartir esta información. Dios le siga bendiciendo
You’re very kind! Thank, Hancy!
Hi Jeremy--Very specific question on this (while returning to this video for some basics as I apply it to every tune I learn!) At 3:15 you start the exercise of connecting the 3rds simply by scale, and then from 3:15 to 3:50 you play 2 sample choruses. (I actually transcribed that and the following examples!). In each measure over Bb7 you play E-naturals, not E-flats...why is that? Wouldn't E-flat be part of the myxolidan scale for Bb7? Of course the E-natural sounds better, but I wouldn't have thought to play it! (Is it because it's part of the altered scale? But that doesn't seem to be the scale you're playing?) Thanks! --Jon
Really good restrictive practice ideas here. I used to wonder what the point of this sort of practice was, but realised a while ago that they are do give muscle memory of useful finger “geography” of the form, but the ear training element is the most powerful part. It helps closes the gap between what I’m thinking and what comes out on the piano. I also like that it shows how to take an exercise and vary it. I can already think of other ways to use it. Any chord tone, move the beat on which you land. ❤
It's always interesting to note what's going on in the CONSCIOUS mind and what's going on in the UNCONSCIOUS mind. I do feel when I'm doing language practice, I'm partially practicing the exact vocabulary/verb tense/whatever that I'm practicing, but moreso I'm just logging time existing in that language and that might be just as important.
Hi Jeremy, thanks for the nice video! What a great teacher you are! Wanna ask you something, what are some portable piano/keyboard you recommend for beginners playing jazz? I mean the travel friendly ones
Thanks for the question, but I have to plead ignorance. I'm not super up-to-date on that subject. That said, I do know that even though the Casio was thought of as a terrible toy for a long time...these days, they're actually pretty good and still pretty cheap!
Magnific Mr. Jeremy, thanks for your knowledge.
My pleasure, Sergio! Thanks for the great comments!
Love these exercises and explanations.
Thank you, MFU!
Such a great lesson - thanks, Jeremy!
Very interesting lesson. Many thanks
Thanks, Marco! I hope you find it useful!
Really helpful stuff. Going to work on this. Thank you, Jeremy.
Awesome! Thanks, Stuart!
Sang it, maestro! Hit them thirds!!
Wonderful, clear & inspiring, many thanks Jeremy!
The best!!! Thanks a lot!!!
Thanks so much, Ivetta! Happy practicing!
Thanks I'll try this today with my students
great vid! What scale are you using on the D7 (b9) ? :)
No idea, but I'd probably most commonly use a D half-whole octatonic?
uploading about improv more please！！
Yessss clicked instantly!!!
Thanks for clicking, Stephanos! I hope you like it!
Very practical 👏🏽👏🏽👏🏽
Thanks, brother!
What’s the name of the program you use to write the music on the iPad?
Forscore (I upload my own manuscript paper)
Nice book
How to play in constant 16th or in constant 8 triplets?
Practice, practice, practice?
Do you give online lessons????
I do - check out the "Description" for any of my RUclips videos for more information..
hey jeremy, thanks som, much for these execisis, but couldnt you always keep the big picture when you demonstrate, its so important for me as a classical trained pianist to see you improvise....thanks mikael
Thanks for the feedback - I’ll aim for more big keyboards. :)
Fiz três anos de aula na Fundação das Artes com prof. Mário César e o cara não me ensinou nem perto da metade do que tem nessa aula. Como tem profissional incompetente em todas as áreas!