These lessons are fantastic. Even though I don't need to, I'm going to buy them just to support Mr. Kohl's generous sharing of his teaching ability. I've been a professional musician for over 40 years, mainly in the blues and rock field. My dad was a jazz vibist who played with a "who's who" of greats during his lifetime. I grew up with jazz, but for some reason I just had this block trying to understand the sophisticated approach to altered tones on V7 chords when improvising. Whether it's a matter of "when the student is ready the teacher will appear", or Mr. Kohl's methodology, or a combination of both, it now makes a lot more sense. Of course, trying to get that altered scale comfortable in all keys across the fretboard, especially in relation to the IIm7 chord, is a brain twister. But it's worth the effort. Let me start listening back to all my Bird and Don Byas recordings...
BRAVO ... tecnica semplice ma efficace ... idonea a far capire chi vuole apprendere ed imitare , ossia per tutti noi chitarristi provetti che vorremmo fare un piccolo salto di qualità ... Es. io suono da 40 anni ad orecchio , senza aver mai approfondito , e grazie a queste video Lezioni mi sono riappassionato e posso fare un buon salto di qualità . Grazie Akim ... sei un grande professionista poichè insegni in modo pacato , graduale e non come tanti esibizionisti gasati ....
I am a professional violinist, and I am listening to your videos in order to improve my improvisational skills (I'm classically trained). I certainly have a lot of work cut out for me listening to your videos, playing along and trying to get the feeling into my fingers! As a professional teacher myself as well, I can say that your lessons are some of the best that I've seen on RUclips! I couldn't find anything else which teaches me improvisation so clearly, and I hope to take some lessons also soon. I'm not so much in the pure jazz genre, but I think that it helps a lot to learn these licks and get them into my fingers. Thank you!
I used to play tenor saxophone but for various reasons now attempt to play guitar. I find this musician Mr Kohl very inspiring and a very good teacher - good educational material in my view. regards David
Kohl, I just have to echo many of the other comments I read, that was an incredible teaching video not to mention outstanding playing technique and skills! I have played guitar all my life but only the last couple years have wanted to add jazz music to my repertoire. I know I have hit the jackpot finding your channel and your lessons on line. I am so excited!.
Thanks Achim, I have purchased your first 3 video's on "How to Improvise". That will certainly keep me busy for a while :) Best wishes from Sacramento, California.
thanks a lot for this priceless lessons Achim kohl ive been following you for a while and i think its one of the best lessons so far i really enjoy watching your videos keep inspire us my friend cheers from morocco (y)
5 лет назад+1
Excellent, Mr. Kohl! Many thanks! Cheers from Brasil!
I love this series, super practical with a lot of room to move. I also (have commented before) love the tone you are getting out of the Gibson. You responded in another thread you are just using a little compression and reverb but there is just a hint of breakup in there. It's killing me...! Thank You. 😎
So in a progression on evey chord change I first land on the target note, play a little melody in a fitting scale and then aim for the target note for the following chord? Trying to understand the basics :s
That's correct, for understanding jazz improvisation, that is the basic. The next step is, if you want to improvise over a complete jazz standard and the cords are changing permanently, you have to be able to follow the chord progression during improvisation. I know it's pretty hard, but take a look at my lessons here on RUclips over a complete song, like "Minor swing" or "C Minor Jazz Blues" and "Autumn Leaves" and you will understand what I mean.
Benjamin Thorpe If you want a warm glassy jazz tone, all you need is a good transistor amp. I'm only using Polytone Mini Brute amps like George Benson, Jim Hall and a lot of top players. If they are to expensive for you, try a Roland Cube 80, that works. I would never play with a tube amp like Fender or Marshall, that are really good amps for Blues, Funk or Rock music but for jazz, I think not . . .
Achim Kohl Thanks for replying! Wow, that's pretty interesting. I am using a Two Rock, so I'm guessing that won't work so well. What makes a transistor amp so much better for jazz?
Benjamin Thorpe Believe me, a transistor amp sounds more jazzy, I have a Mesa Boogie Triaxis and a Bogner Alchemist, they are great amps but not for jazz, Two Rock is also a really phantastic amp but I would never play with an archtop guitar over such an amp. Try a polytone amp and you will never want another amp for jazz.
The "How to improvise" lessons are still available: www.klangfarbe-noten-shop.de/en/Noten-Download/jazzgitarre-17/how-to-improvise-lessons-part-1-8/ Here is the II.V-I 120 licks book: www.klangfarbe-noten-shop.de/en/ii-v-i-authentic-modern-jazz-phrasing-120-licks.html
G.P. Bryant It's a Gibson ES-137 Custom model, I've changed only the bridge with a Gibson fine tuning bridge, just the same as the B.B. King Lucille, really nice guitar, I love it . . .
baba black You find the II-V-I chord progression (in different keys) in many jazz standards, here are a few examples: Four (Miles Davis), Green Dolphin Street (Kaper/Washington), Just Friends (Klenner/Lewis), Tune up (Miles Davis), One Note Samba (Jobim) and many more. Look in the Real Book, there is a lot more. Please note, if can't improvise over the II-V-I progression, you will never be able to improvise a jazz solo over a whole tune.
This is basically modal interchange.. the G alt is not in the C major scale, so we play G alt scale over that chord. If we change the G alt into, let say Bm, then we can play C lydian (or D mixolydian) over that chord.
You can play G mixolydian over the G7 chord, but nothing changes if you have played the D dorian scale before, in modern jazz and bebop you have to add some tension notes to the dominant chord, that is why I show my students the altered scale, that's real jazz
@@AchimKohl-JazzGuitar if I say, what make jazz is modal interchange, is that true? Example, in the giant steps, the chords in the progression is not in the family of the root chord, so we play blues bebop scale that changing root note for each chord played.. is that correct?
If the chords change permanently like in Giant Steps, I play more the notes of the chords (arpeggios), I do not play scales, there's no time for that. Please note that not every chord that is not in the scale means "modal interchange", there are also secondary dominant 7th chords, altered chords (#5,b5,b9,#9), tritone substitution and not to forget the tonal modulation in another mode.
That's the typical jazz scale over a dominant 7th chord. There is a lot of tension in it because of the altered notes b5, #5, b9, #9. It's only a melodic minor scale starting at the 7th note of the scale.
Видеоклипы
Hey im from Bali, your lesson are really really great, your lessons make me easy to learn jazz, thanks bro. Now i understand how’s jazz is running
one of the best teaching video ever , no boring speaking ,,every détails are well shown ,no need of hours explanation ,thumbs up !
A big Amen to this comment and I am sure all the followup comments!
best jazz guitar videos after searching for quite a while. format is perfect IMO, thanks so much Achim!
Thanks, best regards from Germany
These lessons are fantastic. Even though I don't need to, I'm going to buy them just to support Mr. Kohl's generous sharing of his teaching ability. I've been a professional musician for over 40 years, mainly in the blues and rock field. My dad was a jazz vibist who played with a "who's who" of greats during his lifetime. I grew up with jazz, but for some reason I just had this block trying to understand the sophisticated approach to altered tones on V7 chords when improvising.
Whether it's a matter of "when the student is ready the teacher will appear", or Mr. Kohl's methodology, or a combination of both, it now makes a lot more sense. Of course, trying to get that altered scale comfortable in all keys across the fretboard, especially in relation to the IIm7 chord, is a brain twister. But it's worth the effort. Let me start listening back to all my Bird and Don Byas recordings...
BRAVO ... tecnica semplice ma efficace ... idonea a far capire chi vuole apprendere ed imitare , ossia per tutti noi chitarristi provetti che vorremmo fare un piccolo salto di qualità ... Es. io suono da 40 anni ad orecchio , senza aver mai approfondito , e grazie a queste video Lezioni mi sono riappassionato e posso fare un buon salto di qualità . Grazie Akim ... sei un grande professionista poichè insegni in modo pacato , graduale e non come tanti esibizionisti gasati ....
I am a professional violinist, and I am listening to your videos in order to improve my improvisational skills (I'm classically trained). I certainly have a lot of work cut out for me listening to your videos, playing along and trying to get the feeling into my fingers! As a professional teacher myself as well, I can say that your lessons are some of the best that I've seen on RUclips! I couldn't find anything else which teaches me improvisation so clearly, and I hope to take some lessons also soon. I'm not so much in the pure jazz genre, but I think that it helps a lot to learn these licks and get them into my fingers. Thank you!
+larryrael thanks for the positive feedback and all the best for your playing, best regards from Mainz, Germany
Explore some folk fiddle too, that's really fun and you rarely need to leave 1st position
I used to play tenor saxophone but for various reasons now attempt to play guitar. I find this musician Mr Kohl very inspiring and a very good teacher - good educational material in my view. regards David
Thanks David, best regards from Germany ! 😎
Fantastic lesson here. Covers a lot of ground with everything being applicable to playing immediately.
Thank you very much Mr Kohl.
Very very good work. Many thanks to Achim Khol !
Let the music begin! Great lessons and style!
Kohl, I just have to echo many of the other comments I read, that was an incredible teaching video not to mention outstanding playing technique and skills! I have played guitar all my life but only the last couple years have wanted to add jazz music to my repertoire. I know I have hit the jackpot finding your channel and your lessons on line. I am so excited!.
Thanks Bill, you are welcome and all the best for your playing, best regards from Mainz, Germany
Thanks Achim, I have purchased your first 3 video's on "How to Improvise". That will certainly keep me busy for a while :) Best wishes from Sacramento, California.
thanks a lot for this priceless lessons Achim kohl ive been following you for a while and i think its one of the best lessons so far i really enjoy watching your videos keep inspire us my friend cheers from morocco (y)
Excellent, Mr. Kohl! Many thanks! Cheers from Brasil!
Thanks Cesar, you are welcome ! Best regards from Germany
Awesome all around ! Will purchase the lessons . Thanks for the Music !
so good and clear!!!
Hammer viel nützliche Licks! Danke ;)
Excellence! Thank you ☺️👌🎸
Exelent teacher,best on you tube,thanks maestro.
I like this tutor. Many thanks to teacher..
great player and teacher
Excelente, gracias
Very good lesson.Thanks.
Great playing!! Subscribed to your channel!!!
I love this series, super practical with a lot of room to move. I also (have commented before) love the tone you are getting out of the Gibson. You responded in another thread you are just using a little compression and reverb but there is just a hint of breakup in there. It's killing me...! Thank You. 😎
Grazie molto chiaro. 👍
very good teaching.
thank you!!!
Awesome
Suas aulas são ótimos
Excelent !!!
So in a progression on evey chord change I first land on the target note, play a little melody in a fitting scale and then aim for the target note for the following chord? Trying to understand the basics :s
That's correct, for understanding jazz improvisation, that is the basic. The next step is, if you want to improvise over a complete jazz standard and the cords are changing permanently, you have to be able to follow the chord progression during improvisation. I know it's pretty hard, but take a look at my lessons here on RUclips over a complete song, like "Minor swing" or "C Minor Jazz Blues" and "Autumn Leaves" and you will understand what I mean.
Teacher, u mind if every melody must following kord right?
Oh, the German efficiency... :}
Ottimi..ok.m
Could you do a good jazz tone setup video? I struggle with my archtop trying to achieve that beady, glassy warm jazz tone.
Benjamin Thorpe If you want a warm glassy jazz tone, all you need is a good transistor amp. I'm only using Polytone Mini Brute amps like George Benson, Jim Hall and a lot of top players. If they are to expensive for you, try a Roland Cube 80, that works.
I would never play with a tube amp like Fender or Marshall, that are really good amps for Blues, Funk or Rock music but for jazz, I think not . . .
Achim Kohl Thanks for replying! Wow, that's pretty interesting. I am using a Two Rock, so I'm guessing that won't work so well. What makes a transistor amp so much better for jazz?
Benjamin Thorpe Believe me, a transistor amp sounds more jazzy, I have a Mesa Boogie Triaxis and a Bogner Alchemist, they are great amps but not for jazz, Two Rock is also a really phantastic amp but I would never play with an archtop guitar over such an amp. Try a polytone amp and you will never want another amp for jazz.
Achim Kohl Thanks, that's excellent advice! I really appreciate the help!
Starting sounds like part of blue in green
Is your II-V-I book still available? I heard so much about it and would love to purchase a copy.
The "How to improvise" lessons are still available:
www.klangfarbe-noten-shop.de/en/Noten-Download/jazzgitarre-17/how-to-improvise-lessons-part-1-8/
Here is the II.V-I 120 licks book: www.klangfarbe-noten-shop.de/en/ii-v-i-authentic-modern-jazz-phrasing-120-licks.html
Hi I was wondering how to incorporate the licks from the other videos into the 2 5 1 because a lot of them seem to be too long for a single bar
You have to learn the one bar licks in this video, it works perfect
yes your gibson es 137 is really nice, but any Guitar would sound great in your hands
+Tonino Mura thanks
Todo lo que quise saber sobre el jazz, pero temí preguntar 😏
Danke, viel besser als das Jazz Buch von Michael Sagmeister
Na, das ist ja mal ein netter Kommentar, danke, Grüße aus Mainz
can someone give me the tabs for the Galt please
Dylan Carther e
thx
Ok.
0:36 "3th position"
What model Gibson is that, Mr. Kohl?
G.P. Bryant It's a Gibson ES-137 Custom model, I've changed only the bridge with a Gibson fine tuning bridge, just the same as the B.B. King Lucille, really nice guitar, I love it . . .
Achim Kohl
Yes, your guitar looks and sounds great!
Great lesson. I can't purchase it. My country Brazil is dying
What are the common standards set in this II-V-I progression?
baba black I don't what you exactly mean, do you mean which jazz standards are using this II-V-I progression?
Yeap that's what I mean. Any obvious standards that these lessons can immediately apply to?
baba black You find the II-V-I chord progression (in different keys) in many jazz standards, here are a few examples:
Four (Miles Davis), Green Dolphin Street (Kaper/Washington), Just Friends (Klenner/Lewis), Tune up (Miles Davis), One Note Samba (Jobim) and many more. Look in the Real Book, there is a lot more. Please note, if can't improvise over the II-V-I progression, you will never be able to improvise a jazz solo over a whole tune.
It seems also work for minor Dm7b5-Galt7-Cm7 if I play Fm7 phrases on Dm7b5 and change E to Eb where needed on Cm7
This is basically modal interchange.. the G alt is not in the C major scale, so we play G alt scale over that chord.
If we change the G alt into, let say Bm, then we can play C lydian (or D mixolydian) over that chord.
You can play G mixolydian over the G7 chord, but nothing changes if you have played the D dorian scale before, in modern jazz and bebop you have to add some tension notes to the dominant chord, that is why I show my students the altered scale, that's real jazz
@@AchimKohl-JazzGuitar yes, D dorian, G mixolydian and C major is the same thing, so that would be no modal interchange.
That's right, you've got it
@@AchimKohl-JazzGuitar if I say, what make jazz is modal interchange, is that true?
Example, in the giant steps, the chords in the progression is not in the family of the root chord, so we play blues bebop scale that changing root note for each chord played.. is that correct?
If the chords change permanently like in Giant Steps, I play more the notes of the chords (arpeggios), I do not play scales, there's no time for that.
Please note that not every chord that is not in the scale means "modal interchange", there are also secondary dominant 7th chords, altered chords (#5,b5,b9,#9), tritone substitution and not to forget the tonal modulation in another mode.
I'm lost at "altered scale" wtf is that
That's the typical jazz scale over a dominant 7th chord. There is a lot of tension in it because of the altered notes b5, #5, b9, #9. It's only a melodic minor scale starting at the 7th note of the scale.