The genius of this video is where the teacher, Noah, puts himself in the mind/fingers of a student and shows the mistakes that student will make and then how to address them. This is good teaching.
Noah, This is simply the best video out there and it summarizes the 100 odd videos I have watched recently to do with approach notes and enclosures as used in the Bebop style. Brilliant. Thanks for putting this up as this will become My bible on the subject at hand. Ray
This exact thing was one of the hardest parts for me to incorporate in my playing. I know it isn't super helpful to those stuck in the same place I was but simply listening to more and more jazz and getting better at being able to hear and sing chromatic lines took care of all my struggles better than any other exercise I've done. Of course I have done exercises and still do but in the beginning I treated them like licks that I would just recall knowing that they would work. Basically copy/paste. Now I just view it as being able to hear, sing and play melodies involving all 12 tones instead of the usual 7 diatonic tones.
Hey Michael, yeah totally makes sense. That’s why to me the combination of learning the puzzle pieces (practicing these exercises), and then listening to music (which informs your ear how the pieces fit together) is powerful. Hearing what you’re practicing. 🔥🔥
hello mister kellman, i just came across your channel today and have never been so much more excited about my piano learning journey, i just simply didnt know what to learn or how to start bbe cause
If you're wondering where that exact resource is, it's in the Jazz2 level section. I love this lesson. It not only explains what I've been hearing all my life, for the first damn time, it gives me a way to work with it. Add this to passing chords and I have much of the explanation for bebop that I have loved listening to. Thanks, Noah.
Thanks for clarifying! Yeah, this is really helpful. You can find the resource download in Level 201 or I believe maybe also in the RUclips video downloads section of the Free Resource Library. So glad you got a lot out of the video!
Nice video. I like the way you now display transcribed horizontal bars with full musical measures instead of just the vertical display. Makes it much easier to follow along. I've also purchased your bundle packs in the past and found them very useful. I recommend them. Regarding the question of tension and resolution, we find analogues in drama, hunger pangs and eating, and of course, uh, romance.
I am thinking of an exercise to try later... practicing just navigating chord tones over changes on each down beat. Then adding a chromatic note before. Then another. Then 3 to fill the bar. One thing I struggle with is hearing chord tones in my head so I feel like this is good ear training too.
Noah, This, like many of your vids are very practical in how to apply these techniques. However, I often wonder how the learning process worked say decades ago. Did guys learning jazz have specific studies on things like approach notes or triad pairs or even rhythmic comping, etc. Or was it more broad strokes in how they learned stuff like just mimicking until they realized some kind of a pattern or consistency to throw in a book. So much of it is listening I see similarities in Gospel music where they just sat the kid down and had him start following what the minister of music was doing with all the passing tones and chord subs as a natural thing to start with. Perhaps that is why they don't have to think about it. They're just playing with their keyboard hero's style in mind as a springboard.
Hey, for sure, I hear that! It's a really interesting question, and to me the answer is that both approaches work. For folks who aren't kids anymore, taking a multi-level approach seems to be the quickest way (on average) in my experience to get results. So, for example, in this case, that means working specifically on an approach notes and enclosure patterns, while simultaneously doing a lot of listening and analyzing how they're being used in improvisation. I personally think that there is no single best way to learn something- everyone is different, and the best teachers can try different approaches to see what works best for each individual student. Some may not get results from one exercise or another, but adjusting it can really help. Sometimes, it's about making sure we're listening to the right songs that truly inspire us. There's a lot of detail to unpack when it comes to each student's individual best way of learning. Does that all make sense?
They probably brute forced the hell out of it with a lot of time and listening. Players today want to get there more quickly which has its pros and cons. I can't practice 8 hours a day but I also don't expect to master jazz any time soon
@@NoahKellman Of course, and that is my answer too. Everyone is different in that regard. There were things I literally never studied when I was younger as an exercise or a concept, but rather seemed to be inclusive in just about every piece of music I studied, because it was music and not an exercise. I've always grasped things better in a song and when it's done by someone I am trying to sound like. It wasn't hard to use slash chords growing up because just about every prog rocker was using them, even the likes of Keith Emerson and Tony Banks of Genesis. But when it came to other things, mainly in jazz, I soon discovered I had to dig deeper than just a song, as now I found myself trying to approximate something that was much more deeply rooted in their own training. So it was gonna take a lot more than one song to figure out how they were doing it so effortlessly. Kind of like how McCoy used quartals heavily along with playing outside, but many don't realize what created the intensity was his mastery of tension and release and his mastery of bebop. Otherwise, at face value some would just make him out to be just about pentatonics and roots and fourths, but taking a closer listen there is still a big difference between his overall sound and his imitators. Dick Hyman's section on McCoy addressed some of his style, but his demonstration was lacking a lot of details, and I believe it is because of Dick Hyman's knowledge of that genre. Others, like Joey Calderazzo, have a pretty big chunk of his distinct style worked into their own playing. So if anything, it takes years of listening and experimenting to really capture the style and techniques of these artists in an organic way.
So when it comes to approach notes and enclosures, does it not matter so much what notes you pick as long as the target note is on a strong beat and it sounds decent?
@@austinjoiner5968 There are definitely some typical patterns that are used that tend to sound the best, so I wouldn’t say it doesn’t matter altogether, but I do think following that rule first and foremost is the most important element
@@austinjoiner5968 I also have some free resources available that have a bunch of the patterns in them that you can download from my “Free Resource Library” if you’d like
its humlan existance dude...tension and release, the walk a thin line bewteen bovine placidity and genius...its easy to become like a farm animal, harder to tbe a genius, but either extreme is not reccommeded....
Temporary link while the main website is being fixed: 📚Free Resource Library: noahkellman.kartra.com/page/freeresources
The genius of this video is where the teacher, Noah, puts himself in the mind/fingers of a student and shows the mistakes that student will make and then how to address them. This is good teaching.
Noah, This is simply the best video out there and it summarizes the 100 odd videos I have watched recently to do with approach notes and enclosures as used in the Bebop style. Brilliant. Thanks for putting this up as this will become My bible on the subject at hand. Ray
Haha finally cracked it..ive been wodnering for long time how they do those improv
Concept is sound, landing a chord tone successfully on beats one and three a challenge. Great lesson.
This exact thing was one of the hardest parts for me to incorporate in my playing. I know it isn't super helpful to those stuck in the same place I was but simply listening to more and more jazz and getting better at being able to hear and sing chromatic lines took care of all my struggles better than any other exercise I've done. Of course I have done exercises and still do but in the beginning I treated them like licks that I would just recall knowing that they would work. Basically copy/paste. Now I just view it as being able to hear, sing and play melodies involving all 12 tones instead of the usual 7 diatonic tones.
Hey Michael, yeah totally makes sense. That’s why to me the combination of learning the puzzle pieces (practicing these exercises), and then listening to music (which informs your ear how the pieces fit together) is powerful. Hearing what you’re practicing. 🔥🔥
hello mister kellman, i just came across your channel today and have never been so much more excited about my piano learning journey, i just simply didnt know what to learn or how to start bbe cause
Great lesson! Direct and simple! Thank you Noah
If you're wondering where that exact resource is, it's in the Jazz2 level section. I love this lesson. It not only explains what I've been hearing all my life, for the first damn time, it gives me a way to work with it. Add this to passing chords and I have much of the explanation for bebop that I have loved listening to. Thanks, Noah.
Thanks for clarifying! Yeah, this is really helpful. You can find the resource download in Level 201 or I believe maybe also in the RUclips video downloads section of the Free Resource Library. So glad you got a lot out of the video!
Very well put! Thank you for doing these Videos!
My pleasure, glad you are enjoying them!
Excellent!💥💯🎯🙏🎯💯💥
Nice video. I like the way you now display transcribed horizontal bars with full musical measures instead of just the vertical display. Makes it much easier to follow along. I've also purchased your bundle packs in the past and found them very useful. I recommend them. Regarding the question of tension and resolution, we find analogues in drama, hunger pangs and eating, and of course, uh, romance.
Very useful video, thank you for uploading this!
Very nice lesson.
😊😊 obrigado, muito boa aula!😊
I am thinking of an exercise to try later... practicing just navigating chord tones over changes on each down beat. Then adding a chromatic note before. Then another. Then 3 to fill the bar. One thing I struggle with is hearing chord tones in my head so I feel like this is good ear training too.
Yeah I like that idea. Let me know how it goes! Agreed, hearing the chord tones first is an excellent starting point.
Yeah, instant sub
Noah, This, like many of your vids are very practical in how to apply these techniques. However, I often wonder how the learning process worked say decades ago. Did guys learning jazz have specific studies on things like approach notes or triad pairs or even rhythmic comping, etc. Or was it more broad strokes in how they learned stuff like just mimicking until they realized some kind of a pattern or consistency to throw in a book. So much of it is listening I see similarities in Gospel music where they just sat the kid down and had him start following what the minister of music was doing with all the passing tones and chord subs as a natural thing to start with. Perhaps that is why they don't have to think about it. They're just playing with their keyboard hero's style in mind as a springboard.
Hey, for sure, I hear that! It's a really interesting question, and to me the answer is that both approaches work. For folks who aren't kids anymore, taking a multi-level approach seems to be the quickest way (on average) in my experience to get results. So, for example, in this case, that means working specifically on an approach notes and enclosure patterns, while simultaneously doing a lot of listening and analyzing how they're being used in improvisation. I personally think that there is no single best way to learn something- everyone is different, and the best teachers can try different approaches to see what works best for each individual student. Some may not get results from one exercise or another, but adjusting it can really help. Sometimes, it's about making sure we're listening to the right songs that truly inspire us. There's a lot of detail to unpack when it comes to each student's individual best way of learning. Does that all make sense?
They probably brute forced the hell out of it with a lot of time and listening. Players today want to get there more quickly which has its pros and cons. I can't practice 8 hours a day but I also don't expect to master jazz any time soon
@@NoahKellman Of course, and that is my answer too. Everyone is different in that regard. There were things I literally never studied when I was younger as an exercise or a concept, but rather seemed to be inclusive in just about every piece of music I studied, because it was music and not an exercise. I've always grasped things better in a song and when it's done by someone I am trying to sound like. It wasn't hard to use slash chords growing up because just about every prog rocker was using them, even the likes of Keith Emerson and Tony Banks of Genesis. But when it came to other things, mainly in jazz, I soon discovered I had to dig deeper than just a song, as now I found myself trying to approximate something that was much more deeply rooted in their own training. So it was gonna take a lot more than one song to figure out how they were doing it so effortlessly. Kind of like how McCoy used quartals heavily along with playing outside, but many don't realize what created the intensity was his mastery of tension and release and his mastery of bebop. Otherwise, at face value some would just make him out to be just about pentatonics and roots and fourths, but taking a closer listen there is still a big difference between his overall sound and his imitators. Dick Hyman's section on McCoy addressed some of his style, but his demonstration was lacking a lot of details, and I believe it is because of Dick Hyman's knowledge of that genre. Others, like Joey Calderazzo, have a pretty big chunk of his distinct style worked into their own playing. So if anything, it takes years of listening and experimenting to really capture the style and techniques of these artists in an organic way.
Tension and release in life? Seduction. Sex. Stories. Movies...
So when it comes to approach notes and enclosures, does it not matter so much what notes you pick as long as the target note is on a strong beat and it sounds decent?
@@austinjoiner5968 There are definitely some typical patterns that are used that tend to sound the best, so I wouldn’t say it doesn’t matter altogether, but I do think following that rule first and foremost is the most important element
@@austinjoiner5968 I also have some free resources available that have a bunch of the patterns in them that you can download from my “Free Resource Library” if you’d like
Noah kellman
Awesome Improvisation
Thank you for sharing
^Producer Chico Black
Sure thing, thanks for the comment 🙏🙏
Thank you
Useful for major and minor even some Ø chords but Dominant chords would prefer to play Alt scale or Auxiliary Diminished.
its humlan existance dude...tension and release, the walk a thin line bewteen bovine placidity and genius...its easy to become like a farm animal, harder to tbe a genius, but either extreme is not reccommeded....
Talk a lot less;play a lot more. We have ears.
He is explaing the theory behind it. That way you can understand what he is going instead of copying what he is doing
pretty rude for a free video
Practice more, comment on RUclips a lot less