Hey! After publishing the video, a student discovered a small tablature error in the last 2 notes of the "jazz lick." Please download, or re-download the corrected PDF to ensure you have the lick exactly as I played it. I hope you enjoyed this. Have questions? Comments? LEAVE A COMMENT BELOW! :-)
OMG!! That little thing you did with the upper neighbour tones just jumps right out. That little trick turns an exercise into music! And that's just the start. I will treasure this lesson. Thank you so much. I'll be visiting "How to Solo over II-V-I" ... today!
Absolutely! I'm a member of studywithadam.com, and I can guarantee that if you can manage a subscription, your playing (and your head!) will explode almost as soon as you start. (I receive no compensation for this recommendation. I just believe it because it has worked for me.)
Thank you, Adam! It seems that you are the first who asured classical guitarist like me to try to be jazz guitarist too, not just a big fan! Soon you will see me on your courses! Greetings from Belgrade, Serbia!
Wow Adam, thank you! I applied this lesson to my recording session today to add some riffs on top of an instrumental bridge I was working on. It helped a lot, can't wait to send it to you on StudyWithAdam for a feedback. Keep up the great work! Thank you!
Adam-very nice 👍🏻 lesson. The biggest challenge for guitarist who practice scales is, like me, we tend to think we need to play the entire scale over a chord. The solo becomes clumsy, predictable, and boring (not musical). I’ve been focusing on identifying and targeting notes of a scale that add rich character over a chord such as the 2nd or 6th note of a scale. Thinking about it using your “neighbor” idea simplifies the process. Also listening to artists who solo around the melody helps. Peter Frampton is very good at doing just that-his solos are very melodic and “wiggle”.
@@adamrafferty I studied classical guitar the conservatory and I studied the stuff in the videos. However, your videos are more interesting since you give live examples in different kinds of music and it's more enjoyable. Most importantly, you make it easier to apply.
Thanks - it's a ZUCAL. Actually that one was on loan, it got sold and I have the one in the "MOZART" video. Here is my review of the guitar in THIS video ruclips.net/video/TKFWE3_upUI/видео.html
Great stuff, Adam. I've studied all of this before in various lessons and jazz classes, and intellectually I have understood this approach for a while, but just never really felt free enough to dive in. This lesson ties it together nicely. So many times, teachers have told me, all 12 notes are available, it's all about context and putting them together. But this little lesson is really helpful. Now, for me, the next question is, incorporating this into a finger style chord melody type of arrangement, rather than single line. I know....have to learn to walk before I can run. But, my real goal is to develop finger style arrangements, that goes beyond playing the root chord tone along with the single note lines....although, at this point, that's a challenge itself for me. Which ofd your courses addresses that? Thanks again. BTW, saw you live in Charlotte, NC, around 5 or 6 years ago in a little club called Evening Muse. Told my brother about you and he saw you in a club in Long Island City.
Larry this lesson is about melody, not just jazz - but not fingerstyle arrangements per see. On www.studywithadam.com I have a "how to arrange for fingerstyle" course - and psst there's a free 14 day trail :-). Wow you were there at the Evening Muse? That was fun gig and cool your bro came to the LIC gig! Be well! - AR
Great lesson Adam! When I was first learning no one talked about this stuff in jazz education, and I feel it's really a better way to go than scales, scales, scales which seemed to be the approach in the 80's. Many of the guys who were preaching scales employed all of the devices you are talking about, but seemed to find their way to these kinds of phrases more naturally and just didn't get into the details of breaking them down as you do here. One question: any reason you favor the term" changing tone" over "enclosure" as some others use?
John, thank you! And yes - when I was in college no one talked about this because the faculty and students were way more into Mike Stern, Brecker - etc. teachers were unclear at that time how to explain. They'd say "12 notes in the scale, and 5 outside notes" which is way off as you know. Then there was this huge gap to Sonny Rollins and Bird and you just had to "learn their licks." I learned these terms regarding non harmonic tones from the Kent Kennan "Counterpoint" book when I studied with Longo. I like when possible to use the same terms that classical musicians do, because I find that jazz books use their own wording to describe things (not unline C- Cminor Cmin lol ). so yeah, I have heard "targeting". and enclosures as well. That's just a language thing. I cut one changing tone figure out because the vid got too long: (Eb E Eb triplet) C# D. :-). Groove on!
This was hard for me to understand - but I am a lower level player with almost no knowledge of music theory so no surprise there. But as I listened to the full lick at the end, my ear/brain seemed to sense a chord change that should, or could, have been happening. I assume that was all intended to play over Dm - but I "felt" a chord change behind it. Does that make any sense?
Don, you're on the right track. You may need to watch the video a 2nd time to get the details. This is heavyweight stuff, so it's natural if you don't get it at first. Specifically - look at the lick at 11:20 again. The notes on the left, in green are the "Harmonic Tones" or "Chord Tones." They are D,F A and make a D minor triad. On the right, as I teach the lick - all the other notes are colored in orange. To be easy on the eyes, the Harmonic Tones - D, F A are not colored here. What you are "sensing" is the D minor chord, the notes D, F, A. Imagine those as 3 big stakes driven into the ground. All the other notes are dancing between them as decoration. This lesson is designed to help you see the "forest from the trees." I hope you start to see it!
@@adamrafferty Thanks a lot. If I'm not mistaking, Tommy Emmanuel was their guitarist back in the 80's. Thanks also for sharing us your different approach in understanding the guitar and musical theory ✌️
@@AntwhaleNearfar AS crazy as it seems, the little reminders up front do help people subscribe. When I leave that out, I see less subscribes per video - so it's just a little "taking care of biz" up front. :-)
Hey! After publishing the video, a student discovered a small tablature error in the last 2 notes of the "jazz lick." Please download, or re-download the corrected PDF to ensure you have the lick exactly as I played it. I hope you enjoyed this. Have questions? Comments? LEAVE A COMMENT BELOW! :-)
What a great tutorial and musical education, thanks Adam! And please continue!
Oliver thank you!
OMG!! That little thing you did with the upper neighbour tones just jumps right out. That little trick turns an exercise into music! And that's just the start. I will treasure this lesson. Thank you so much. I'll be visiting "How to Solo over II-V-I" ... today!
A genius lesson again. I really need to learn your style. Thank you for posting dear best teacher
Absolutely! I'm a member of studywithadam.com, and I can guarantee that if you can manage a subscription, your playing (and your head!) will explode almost as soon as you start. (I receive no compensation for this recommendation. I just believe it because it has worked for me.)
Brilliant... you are one of the best on the net!
Thank you!
Thank you, Adam! It seems that you are the first who asured classical guitarist like me to try to be jazz guitarist too, not just a big fan!
Soon you will see me on your courses! Greetings from Belgrade, Serbia!
excellent lessons ant what is important for us whom english is not native tongue you speak slow ang clear. Thanks a lot
Thank you ! 😊
That was a great lesson! Thanks, Adam!
Thank you! :-)
That was a great lesson man. You are adding a lot of value to the guitar community.
Thank you! :-)
Super great lesson . So enjoyed
Thank you! :-)
Wow Adam, thank you! I applied this lesson to my recording session today to add some riffs on top of an instrumental bridge I was working on. It helped a lot, can't wait to send it to you on StudyWithAdam for a feedback. Keep up the great work! Thank you!
I almost heard Ornithology (Parker) in your jazz lick at the end. This lesson really helped me. An eye opener as they say. Thanks again Adam.
Could be, Charlie Parker is one of my biggest influences!
Adam-very nice 👍🏻 lesson. The biggest challenge for guitarist who practice scales is, like me, we tend to think we need to play the entire scale over a chord. The solo becomes clumsy, predictable, and boring (not musical). I’ve been focusing on identifying and targeting notes of a scale that add rich character over a chord such as the 2nd or 6th note of a scale. Thinking about it using your “neighbor” idea simplifies the process. Also listening to artists who solo around the melody helps. Peter Frampton is very good at doing just that-his solos are very melodic and “wiggle”.
Great video, Adam! Pink panther is exatly along the lines you mentioned. Lower neighbour lower neighbour, .... upper neighbour ...
Thanks Reinhold!
Thanks again, Adam, for these mini-lessons. Need to do some woodsheddin' now.
My pleasure!
this is great Adam!
Hey David!!!!
Great job as usual !
Thank you! Cheers!
Obrigado pelo vídeo, Adam!
Edson- thank you so much 😊
Great enjoyable leaning experience. God bless!
Thank you! :-)
@@adamrafferty I studied classical guitar the conservatory and I studied the stuff in the videos. However, your videos are more interesting since you give live examples in different kinds of music and it's more enjoyable. Most importantly, you make it easier to apply.
@@CaptainCyril Excellent! Yes, when you see examples "alive". they mean more than a textbook! :-). Thank you.
Fantastic lesson that makes you think you might just be able to do this! What more can you ask?
Of course you can do it!
killler lesson, thanks
My pleasure!
very nice...
Thank you! 😊
excellent lessons and sound! what kind of guitar is that?
Thanks - it's a ZUCAL. Actually that one was on loan, it got sold and I have the one in the "MOZART" video. Here is my review of the guitar in THIS video ruclips.net/video/TKFWE3_upUI/видео.html
@@adamrafferty Thanks
Спасибо за урок!
Really cool, Sir Adam! I know my scales and modes so this adds another dimension...kinda like "The Twilight Zone"...;o)
Thanks & groove on! 😊
Great stuff, Adam. I've studied all of this before in various lessons and jazz classes, and intellectually I have understood this approach for a while, but just never really felt free enough to dive in. This lesson ties it together nicely. So many times, teachers have told me, all 12 notes are available, it's all about context and putting them together. But this little lesson is really helpful. Now, for me, the next question is, incorporating this into a finger style chord melody type of arrangement, rather than single line. I know....have to learn to walk before I can run. But, my real goal is to develop finger style arrangements, that goes beyond playing the root chord tone along with the single note lines....although, at this point, that's a challenge itself for me. Which ofd your courses addresses that? Thanks again. BTW, saw you live in Charlotte, NC, around 5 or 6 years ago in a little club called Evening Muse. Told my brother about you and he saw you in a club in Long Island City.
Larry this lesson is about melody, not just jazz - but not fingerstyle arrangements per see. On www.studywithadam.com I have a "how to arrange for fingerstyle" course - and psst there's a free 14 day trail :-). Wow you were there at the Evening Muse? That was fun gig and cool your bro came to the LIC gig!
Be well! - AR
Great lesson Adam! When I was first learning no one talked about this stuff in jazz education, and I feel it's really a better way to go than scales, scales, scales which seemed to be the approach in the 80's. Many of the guys who were preaching scales employed all of the devices you are talking about, but seemed to find their way to these kinds of phrases more naturally and just didn't get into the details of breaking them down as you do here. One question: any reason you favor the term" changing tone" over "enclosure" as some others use?
John, thank you! And yes - when I was in college no one talked about this because the faculty and students were way more into Mike Stern, Brecker - etc. teachers were unclear at that time how to explain. They'd say "12 notes in the scale, and 5 outside notes" which is way off as you know.
Then there was this huge gap to Sonny Rollins and Bird and you just had to "learn their licks."
I learned these terms regarding non harmonic tones from the Kent Kennan "Counterpoint" book when I studied with Longo. I like when possible to use the same terms that classical musicians do, because I find that jazz books use their own wording to describe things (not unline C- Cminor Cmin lol ). so yeah, I have heard "targeting". and enclosures as well. That's just a language thing.
I cut one changing tone figure out because the vid got too long: (Eb E Eb triplet) C# D. :-). Groove on!
Thak you!
Thank you! :-)
As a guitar teacher once told me, you're never more than one fret away from the right note (when improvising, obviously).
This was hard for me to understand - but I am a lower level player with almost no knowledge of music theory so no surprise there. But as I listened to the full lick at the end, my ear/brain seemed to sense a chord change that should, or could, have been happening. I assume that was all intended to play over Dm - but I "felt" a chord change behind it. Does that make any sense?
Don, you're on the right track. You may need to watch the video a 2nd time to get the details. This is heavyweight stuff, so it's natural if you don't get it at first.
Specifically - look at the lick at 11:20 again. The notes on the left, in green are the "Harmonic Tones" or "Chord Tones." They are D,F A and make a D minor triad.
On the right, as I teach the lick - all the other notes are colored in orange. To be easy on the eyes, the Harmonic Tones - D, F A are not colored here.
What you are "sensing" is the D minor chord, the notes D, F, A. Imagine those as 3 big stakes driven into the ground. All the other notes are dancing between them as decoration.
This lesson is designed to help you see the "forest from the trees." I hope you start to see it!
Thanks for sharing this. Anyway, would you like to play any Air Supply song? May God bless you. Stay safe
I'll see!
@@adamrafferty Thanks a lot. If I'm not mistaking, Tommy Emmanuel was their guitarist back in the 80's. Thanks also for sharing us your different approach in understanding the guitar and musical theory ✌️
5 minutes in and he still hasn’t shown me wtf he’s talking about 🙄
LIke Netflix, you can skip the intro - check the time stamps! :-)
Adam Rafferty It was worth the wait! 👍🏻🎸
@@AntwhaleNearfar AS crazy as it seems, the little reminders up front do help people subscribe. When I leave that out, I see less subscribes per video - so it's just a little "taking care of biz" up front. :-)