For one thing, don’t play bebop on a bossa. Bossas are supposed to be relaxing. Also, ‘bebop’ scales are not melodic scales, they are harmonic. They are supposed to be ‘unpacked’ and played as a latticework of arpeggios or chords. They are not intended to be played in boring, descending straight line, like how everyone mostly does it. It’s an eight-note scale. At least break it apart into its inversions of two 4-note chords. Do SOMETHING with it. Please don’t teach people that this is the way to play jazz. For fucks sake 😂
@@labontetrevorthe only bad thing about the jazz community, is that there are so many pretentious gatekeepers like you. It’s music for Christ sakes… there’s no rules
I took lessons with Jerry Bergonzi for around two years, early 1980's. What a wonderful fellow, a huge virtuoso & music theory genius yet a humble friendly person. Name an instrument that Jerry can't play at gig level. Good luck.
Wow that must have been amazing! I got to see a clinic with him when I studied in Toronto. Then I also got to see a show and was blown away. His sense of rhythm is so amazing.
Love me some Bergonzi. The books and his playing too. Just a great, real-deal jazz musician whose contributions make the world a better place. You're no slouch yourself Mikko.
The Bergonzi books are great. I can't say that I have one favourite as they all approach different concepts and work depending on the context. Volume 3 is right up there with my favourite books. Another one from the Bergonzi series I get a lot out of is Volume 1 Melodic Structures. It helps a lot with playing the changes to a tune. I was lucky enough to find Volume 1 in book AND again in DVD format. The DVD was in a clearance sale for $2.98 Cdn. and is a pleasure to see and hear Jerry Bergonzi explaining and demonstrating the concepts he's teaching. Mind you, the book is just as valuable, just a different format. Cheers Mikko... I love when you suggest books because they're always a sure bet to add to my music library... and you demonstrate how efficient they are by making your own great examples of the concepts.Thanks for all your great lessons!
Thanks for taking the time to do this,awesome lesson man. I just hv to ask,coz i need opinion from u.last time when i was studying modern guitar,and when we get to this topic bebop scale,its confusing.because its not like relative minor/major or modes where its the same thing different name.ok,so what i've learned is that the additional note is not just/only major 7th on top of the scale tht u are on,it could be a major 3rd,flat 7th or a sharp 5 depending on the chords functioning as what.my lecturer said for MAJOR 7th= #5 MINOR 7th=major 3rd DOMINANTH 7th=major 7th..and i think this is the reason tht your C minor is working fine even with the major 3rd in it.its not because of the relationship between C minor and F.the major 3rd works because the bebop minor does include a major 3rd in it..btw,i really like how u explain things.u made it easier to digest..thank u bro
kautsar zulhijah yes bop scales could be many things. As long as there is some kind of chord tone on the strong beats and some kind of passing note on the weak beats. 🤠
Mikko Hilden i see..so it could be any notes,and as long as it serves the purpose of getting chord tones on the strong beat..thanks man,coz its been bothering me for a while.ok then,just so u know,your feel n sense of rhythm are awesome man,it makes me want to practise even more.
In this book specifically Bergonzi recommends the bebop scales with the purpouse to put chord tones on downbeat and the tensions on the upbeat. In his book Developing a Jazz Language vol.6 he suggests practicing scales for example from the 3rd to the 11th of the chord without any chromatic passing note, resulting that some tension notes will fall on downbeat. The question is: why he recommends practicing these 2 opposite approaches ? I don´t understand. It´s like one day I say 1+1=2, and the next day I say: 1+1=3.
hmm not sure I have an answer. There is a difference between practicing bop scales as opposed to regular scales I guess. When we're using bop scales the objective is to land on a chord tone on every strong beat in order to outline the harmony. That doesn't mean that we can also use regular scales as an improvisational tool. It's two different approaches. If that makes sense. They do not rule each other out. best answer I can come up with.
The book Developing a Jazz Language claims that it teaches the nuts and bolt of improvisation, so it would make sense to teach first the chord tones on downbeats. After that one would explore other options.
Creo que Bergonzi lo que intenta en el libro es enseñarte todas las opciones que ofrece añadir cromatismos a las escalas (lo que las convierte en escalas de bebop). Una opción es poner cromatismos que coloquen las notas del acorde en los tiempos fuertes, pero hay otras opciones, puedes destacar otras notas según la nota cromática añadida que uses, sacar tensiones alteradas en los tiempos fuertes, etc. Las posibilidades son muchas, está todo en el libro, aunque también te dice que las escalas de bebop no son la única herramienta necesaria para improvisar.
i gotta get that book then! I just took from Barry Harris talking about the sixth diminished scale and how Thelonius Monk never called the minor 2 chord an D minor 7b5, but a Fminor 6. The sixth diminished scale is a scale of a sixth chord and a diminished7. So that works with the major6 and the minor 6! Just comes to show how useful it is since there is so many ways to think about them. I love how Bergonzi teaches, since it allows you to find approaches that your brain uses the least brainpower, leaving room for play!
Hi Mikko, thank you for the video. Can you please expend your explanation about D semi dim and G7 having the same notes? They dont share the same bebop passing tone....I am a bit lost here. Thanks
Thanks :) Sorry I'm a bit confused? You mean Dm7(b5)? I think I meant that you can use the same scale over both Dm7(b5) and G7(b9) in this case. Namely a C harmonic minor. I hope that answers your question?
Great! This book is awsome. For me it is trick to start on the 3rd or 5th, so I write it down on Guitarpro for the moment and playalong with it. Do you use any particular system for fingerings, like 3nps or so on bop scales? I found it is a bit strange to stickwith 3nps, so depending on the scale I use 3nps on one string than 4nps on the adjacent string. PS: You have a beautiful sound!
Thanks :D domebody asked my about fingerings so I made a a video about that: Jazz lesson 33. The quality of that video is kind of bad so I might delete it. Yeah I don't have a strict system but basically 3nps with added slides. Using Guitar Pro is a great idea. The complaint that some people have about Bergonzi's books is that the playalongs are too fast for beginners that that is easily fixed with today's technology.
Thanks. I will check out the book. I have tried using book I a few times in earlier stabs at improvisation and found it both difficult and totally unhelpful. It soured me to the books in general. Have you tried that one? I'm interested in your opinions of it.
Hey Mikko great lesson and playing too!! Just getting into bop scales, practicing starting on different degrees of the V7 and resolving to Imaj. The issue I have is starting on the b7 of the V! If only one bar on V, you land on the fourth degree of I... crunchy. Not nice. Do you combat this by subbing the maj7 of the V for the 6 of the V, resolving on the third of the I like an enclosure? Is there a “rule” I am missing?
Hey thanks. I actually haven't really gotten into how to resolve she scales yet. First one should just learn to play them over each chord. But yes when you resolve you run into problems like that. There is no rule but Bergonzi's book covers many ways how to connect the scales. He talks more about how to connect them rather than resolving them. I am sure you can come with many ways to solve the problem of landing on the fourth degree. Just like when we learn a language we sometimes have to bend the rules of grammar! :D
Hello gkshead, if I understand your question correctly, if you start on the b7th of, let's say, G7 the b7 would be a F on down beat(1). F# would be on upbeat. G would be on downbeat(2). A on upbeat. B on downbeat(3). C on upbeat. D on downbeat(4). You are now on the next bar(Cma7) play E quarter note on downbeat(1). E being the 3rd of Cmaj7. I hope this helps
The idea of using bob scales is to play eight notes and start on upbeats. That's how you can outline the harmony which is the point of practicing bop scales. You can of course use triplets when playing these scales but it doesn't give the same effect. Bergonzi talks about triplets in his book "Jazz Line"
This is very useful- thanks- a few points- a player does not always run a scale from top to bottom- occasionally one stresses one note or another- talking about guide tones, or tones that are essential to the chord and it's place in the key is a worthwhile activity. Some notes do not evoke any movement of the chord progression. Another thought is the fact that you've included A natural over the C- -- This would make it a dorian- a subdominant sound, and not a tonic. Is this done as a matter of course.? An a flat would indicate the tonic key of C minor. Thanks
I would say that the major 6th gives the minor chord a tonic character. Or even the Maj 7th. Early Jazz players like Django played the major sixth on tonic minor chords all the time and rarely the minor seventh. It's also very common to use the Dorian scale over a tonic chord.
dear Mikko, why did you superimposed Eb7 over Dbmaj7? how does that work? i get the #11 on Dbmaj7 chord, but why did you choose to super imp Eb7? i know that the Eb7's 3d is the #11 of Db, but still, is Eb7 part of some Dbmaj7 lydian mode? Thanks.
Oh i see! i love this concept but i have some other problems like : if i want to superimpose Ebmaj7 on the Cmin7 chord with not only superimposed arpegios, what would be the proper bebop scale for Ebmaj7 in context on Cmin7? if i play a Ebmaj7 from the root descending (over Cm7), it would be like playing the Cm7 bebop scale starting from the 3d and going down hitting that maj7 passing note... but what if i want to hear that 9th on Cm7? how can i get it superimposed from Ebmaj7 with a bebop scale ? God, i hope this question makes sense :D Thanks!!!
Mikko, in your opinion what would be the bebop scale for the Super locrian bb7 mode (diminished)? I would insert the chromatic passing note beetwen the b6 and the bb7. 1 - b2 - b3 - b4 - b5 - b6 - (7) -bb7
I don't think about that scale. Diminished chords are different. It all depends on the function of the diminished chord. But yes in that case I would insert it there. If we are in let's say A minor and there is a G#dim7 then I would insert G. But for me it's easier to think if that chord as a E7b9 I generally don't apply bop scales over dim chords
Esequiel Palacios you mean the book on Pdf? No I have all his books as hardcover 🤓🤓🤓 they are easy to find and not super expensive. If you should buy one Jazz improv book it's this one! 🤠
👍👍I like all the ideas you demonstrated, and so many different approaches sound really great, but did you purposely neglect C Aeolian (natural minor) with the added Chromatic passing tone?
Great lesson! But there´s something that confuses me about these scales. If you improvise freely with them you´re not following the "chord tone - passing tone" principle anymore unless you play the scales up and down. Also you said that over G7 we could start on A, but that is a passing tone?! it´s not supose to start only on a chord tone?
Thank you. Hmmm not sure what you are asking but this is not about playing freely. This is about outlining the harmony. Of course you can play freely as long as you stick to the chord tone/passing note principle. Remember that you can change directions and even jump around as long as you start on a chord tone. Starting on A? Now I'm also confused 😅 where do I say that? /Mikko
@@Mikkokosmos You say it at 13:12! What I mean is that by not playing the scales strictly up and down, can happen that you accidentaly play two passing notes for instance, and after that everything is reversed (chord tones on an upbeat and passing tones on a downbeat)
@@pedromartins6904 oh I see. If you star on A and go down chromatically A Ab G then you just continue the bop scale. You can add chromatisism as long you stick to chord tones on strong beats. That's key! 🙂
@@Mikkokosmos If you have that sound( i mean without mixer or recorder behind you), you found the right smartphone! Thanks for your reply. I have got the same guitar but don't sound that clean.
What level of Jazz playing would you recommend this book for? meaning beginner/ Intermediate or Advanced? Thanks for this, sounds great even though they are just scales. :)
Santiago Holst wow cool I remember my guitar teacher in high school made us watch that video! Forgot about it but it must have stuck im my head all these years. I need to revisit Pass'd videos! Thanks!
I listen 10 minutes and I hear a succession (enchainment) of descending scale on a verticale reading . It sounds like exercices with appropriate notes in "dead " state ....waiting for some melodic inspiration to build melodic lines . The positive point would be to learn and hear intervals but i fear many coud be closed in scholar and finger movement without interesting musical result and no real ability and talent to combine the "good" notes .....which demand rythmic figures too .
Yes this is my point. It's only an excersice. Not music. The idea is that you need to be able to do this kind of stuff in order to create melodies, motifs and rhythmic ideas over difficult changes. Kind of like learning grammar, doesn't mean you have anything intetesting to say but we still need grammar, right?
You are not teaching the right idea.
Not very constructive critisism 🤓 what is the right idea? If you don't mind? 🤔
I will be looking forward to your youtube videos teaching the right idea. You don't know what your talking about.
For one thing, don’t play bebop on a bossa. Bossas are supposed to be relaxing. Also, ‘bebop’ scales are not melodic scales, they are harmonic. They are supposed to be ‘unpacked’ and played as a latticework of arpeggios or chords. They are not intended to be played in boring, descending straight line, like how everyone mostly does it. It’s an eight-note scale. At least break it apart into its inversions of two 4-note chords. Do SOMETHING with it. Please don’t teach people that this is the way to play jazz. For fucks sake 😂
@@labontetrevorthe only bad thing about the jazz community, is that there are so many pretentious gatekeepers like you. It’s music for Christ sakes… there’s no rules
@@tripp8833 I just noticed every jazz student sounds like shit.
I took lessons with Jerry Bergonzi for around two years, early 1980's. What a wonderful fellow, a huge virtuoso & music theory genius yet a humble friendly person. Name an instrument that Jerry can't play at gig level. Good luck.
Wow that must have been amazing! I got to see a clinic with him when I studied in Toronto. Then I also got to see a show and was blown away. His sense of rhythm is so amazing.
Love me some Bergonzi. The books and his playing too. Just a great, real-deal jazz musician whose contributions make the world a better place. You're no slouch yourself Mikko.
Thank you, Mikko! Your lessons are a real gold mine for me and a great help!
This was a huge help for me. Mikko, you are a great teacher. Thank you.
Excellent lesson. Thanks for sharing.
Thank you for putting yourself out there to help others understand jazz guitar.
Great explanation of the practical use of the bebop scale!Well done! :)
Thank you! :)
Greats Guitariste and Greats Teacher.
Nice. Thank You!
The Bergonzi books are great. I can't say that I have one favourite as they all approach different concepts and work depending on the context. Volume 3 is right up there with my favourite books. Another one from the Bergonzi series I get a lot out of is Volume 1 Melodic Structures. It helps a lot with playing the changes to a tune.
I was lucky enough to find Volume 1 in book AND again in DVD format. The DVD was in a clearance sale for $2.98 Cdn. and is a pleasure to see and hear Jerry Bergonzi explaining and demonstrating the concepts he's teaching. Mind you, the book is just as valuable, just a different
format. Cheers Mikko... I love when you suggest books because they're always a sure bet to add to my music library... and you demonstrate how efficient they are by making your own great examples of the concepts.Thanks for all your great lessons!
Thank you very much
Great lesson. Like your down to earth approach!
Wonderful soloing 👍🏻👍🏻
Great explanation...thank you
Thanks for taking the time to do this,awesome lesson man.
I just hv to ask,coz i need opinion from u.last time when i was studying modern guitar,and when we get to this topic bebop scale,its confusing.because its not like relative minor/major or modes where its the same thing different name.ok,so what i've learned is that the additional note is not just/only major 7th on top of the scale tht u are on,it could be a major 3rd,flat 7th or a sharp 5 depending on the chords functioning as what.my lecturer said for MAJOR 7th= #5 MINOR 7th=major 3rd DOMINANTH 7th=major 7th..and i think this is the reason tht your C minor is working fine even with the major 3rd in it.its not because of the relationship between C minor and F.the major 3rd works because the bebop minor does include a major 3rd in it..btw,i really like how u explain things.u made it easier to digest..thank u bro
And my other teacher said it exactly like you..what do u think?
kautsar zulhijah yes bop scales could be many things. As long as there is some kind of chord tone on the strong beats and some kind of passing note on the weak beats. 🤠
Mikko Hilden i see..so it could be any notes,and as long as it serves the purpose of getting chord tones on the strong beat..thanks man,coz its been bothering me for a while.ok then,just so u know,your feel n sense of rhythm are awesome man,it makes me want to practise even more.
In this book specifically Bergonzi recommends the bebop scales with the purpouse to put chord tones on downbeat and the tensions on the upbeat. In his book Developing a Jazz Language vol.6 he suggests practicing scales for example from the 3rd to the 11th of the chord without any chromatic passing note, resulting that some tension notes will fall on downbeat. The question is: why he recommends practicing these 2 opposite approaches ? I don´t understand. It´s like one day I say 1+1=2, and the next day I say: 1+1=3.
hmm not sure I have an answer. There is a difference between practicing bop scales as opposed to regular scales I guess. When we're using bop scales the objective is to land on a chord tone on every strong beat in order to outline the harmony. That doesn't mean that we can also use regular scales as an improvisational tool. It's two different approaches. If that makes sense. They do not rule each other out. best answer I can come up with.
The book Developing a Jazz Language claims that it teaches the nuts and bolt of improvisation, so it would make sense to teach first the chord tones on downbeats. After that one would explore other options.
Creo que Bergonzi lo que intenta en el libro es enseñarte todas las opciones que ofrece añadir cromatismos a las escalas (lo que las convierte en escalas de bebop). Una opción es poner cromatismos que coloquen las notas del acorde en los tiempos fuertes, pero hay otras opciones, puedes destacar otras notas según la nota cromática añadida que uses, sacar tensiones alteradas en los tiempos fuertes, etc. Las posibilidades son muchas, está todo en el libro, aunque también te dice que las escalas de bebop no son la única herramienta necesaria para improvisar.
Rodolfo Amaral o
Beauty...
Great stuff man ! But hard to figure out comfortable fingering positions for those bebop modes .
I actually have a lesson on that very topic
ruclips.net/video/myuwJrt2B4M/видео.html
on the Dmb5 chord, i like oto play a F bebopscale with a flat third. A ii Minorb5 chord is essenitally a iv minor6.
Hc yes you can do that! Bergonzi covers that in his book I believe he calls it a F melodic minor bop scale.
i gotta get that book then! I just took from Barry Harris talking about the sixth diminished scale and how Thelonius Monk never called the minor 2 chord an D minor 7b5, but a Fminor 6. The sixth diminished scale is a scale of a sixth chord and a diminished7. So that works with the major6 and the minor 6!
Just comes to show how useful it is since there is so many ways to think about them. I love how Bergonzi teaches, since it allows you to find approaches that your brain uses the least brainpower, leaving room for play!
This is great. I've had this book for years. How do you recommend using it?
Hi Mikko, thank you for the video. Can you please expend your explanation about D semi dim and G7 having the same notes? They dont share the same bebop passing tone....I am a bit lost here. Thanks
Thanks :) Sorry I'm a bit confused? You mean Dm7(b5)? I think I meant that you can use the same scale over both Dm7(b5) and G7(b9) in this case. Namely a C harmonic minor. I hope that answers your question?
Great! This book is awsome. For me it is trick to start on the 3rd or 5th, so I write it down on Guitarpro for the moment and playalong with it. Do you use any particular system for fingerings, like 3nps or so on bop scales? I found it is a bit strange to stickwith 3nps, so depending on the scale I use 3nps on one string than 4nps on the adjacent string. PS: You have a beautiful sound!
Thanks :D domebody asked my about fingerings so I made a a video about that: Jazz lesson 33. The quality of that video is kind of bad so I might delete it. Yeah I don't have a strict system but basically 3nps with added slides. Using Guitar Pro is a great idea. The complaint that some people have about Bergonzi's books is that the playalongs are too fast for beginners that that is easily fixed with today's technology.
Thank you for response!
Thanks. I will check out the book. I have tried using book I a few times in earlier stabs at improvisation and found it both difficult and totally unhelpful. It soured me to the books in general. Have you tried that one? I'm interested in your opinions of it.
Volume 1!? Really I think it's one of his best books. I have a video on the subject :) ruclips.net/video/eSwaAjNqHuI/видео.html
NM not always okay I am learning here
So descend on the bop scale I guess it's because it really sounds "strange"? if the scales is ascending is that so ? Enjoying your work Thanks
Hey Mikko great lesson and playing too!! Just getting into bop scales, practicing starting on different degrees of the V7 and resolving to Imaj. The issue I have is starting on the b7 of the V! If only one bar on V, you land on the fourth degree of I... crunchy. Not nice. Do you combat this by subbing the maj7 of the V for the 6 of the V, resolving on the third of the I like an enclosure? Is there a “rule” I am missing?
Hey thanks. I actually haven't really gotten into how to resolve she scales yet. First one should just learn to play them over each chord. But yes when you resolve you run into problems like that. There is no rule but Bergonzi's book covers many ways how to connect the scales. He talks more about how to connect them rather than resolving them. I am sure you can come with many ways to solve the problem of landing on the fourth degree. Just like when we learn a language we sometimes have to bend the rules of grammar! :D
Hello gkshead, if I understand your question correctly, if you start on the b7th of, let's say, G7 the b7 would be a F on down beat(1). F# would be on upbeat. G would be on downbeat(2). A on upbeat. B on downbeat(3). C on upbeat. D on downbeat(4). You are now on the next bar(Cma7) play E quarter note on downbeat(1). E being the 3rd of Cmaj7. I hope this helps
Great stuff Mikko ! The question now is how you handle those bebop scales starting on the upbeat or in triplets ?
The idea of using bob scales is to play eight notes and start on upbeats. That's how you can outline the harmony which is the point of practicing bop scales. You can of course use triplets when playing these scales but it doesn't give the same effect. Bergonzi talks about triplets in his book "Jazz Line"
Nice...you got me....rc
This is very useful- thanks- a few points- a player does not always run a scale from top to bottom- occasionally one stresses one note or another- talking about guide tones, or tones that are essential to the chord and it's place in the key is a worthwhile activity. Some notes do not evoke any movement of the chord progression. Another thought is the fact that you've included A natural over the C- -- This would make it a dorian- a subdominant sound, and not a tonic. Is this done as a matter of course.? An a flat would indicate the tonic key of C minor. Thanks
I would say that the major 6th gives the minor chord a tonic character. Or even the Maj 7th. Early Jazz players like Django played the major sixth on tonic minor chords all the time and rarely the minor seventh. It's also very common to use the Dorian scale over a tonic chord.
U help me so mch TYTT
dear Mikko, why did you superimposed Eb7 over Dbmaj7? how does that work? i get the #11 on Dbmaj7 chord, but why did you choose to super imp Eb7? i know that the Eb7's 3d is the #11 of Db, but still, is Eb7 part of some Dbmaj7 lydian mode? Thanks.
Darko Pesevski yes Eb mixo and Db lydian is the same thing, right? So by using that scale we get the 9th, #11, 13th and the root of the chord! 🤓
Oh i see! i love this concept but i have some other problems like : if i want to superimpose Ebmaj7 on the Cmin7 chord with not only superimposed arpegios, what would be the proper bebop scale for Ebmaj7 in context on Cmin7? if i play a Ebmaj7 from the root descending (over Cm7), it would be like playing the Cm7 bebop scale starting from the 3d and going down hitting that maj7 passing note... but what if i want to hear that 9th on Cm7? how can i get it superimposed from Ebmaj7 with a bebop scale ? God, i hope this question makes sense :D Thanks!!!
Thumb up
Mikko, in your opinion what would be the bebop scale for the Super locrian bb7 mode (diminished)? I would insert the chromatic passing note beetwen the b6 and the bb7.
1 - b2 - b3 - b4 - b5 - b6 - (7) -bb7
I don't think about that scale. Diminished chords are different. It all depends on the function of the diminished chord. But yes in that case I would insert it there. If we are in let's say A minor and there is a G#dim7 then I would insert G. But for me it's easier to think if that chord as a E7b9 I generally don't apply bop scales over dim chords
Hi , friend Do you have it on PDF , ? Excellent explication! Good
Esequiel Palacios you mean the book on Pdf? No I have all his books as hardcover 🤓🤓🤓 they are easy to find and not super expensive. If you should buy one Jazz improv book it's this one! 🤠
Thanks a lot friend! Excelent work!
👍👍I like all the ideas you demonstrated, and so many different approaches sound really great,
but did you purposely neglect C Aeolian (natural minor) with the added Chromatic passing tone?
He probably did, that mode is not commonly used in jazz
Great! 👍
Stas Maksimov glad you like it 😃
Great lesson! But there´s something that confuses me about these scales. If you improvise freely with them you´re not following the "chord tone - passing tone" principle anymore unless you play the scales up and down. Also you said that over G7 we could start on A, but that is a passing tone?! it´s not supose to start only on a chord tone?
Thank you. Hmmm not sure what you are asking but this is not about playing freely. This is about outlining the harmony. Of course you can play freely as long as you stick to the chord tone/passing note principle. Remember that you can change directions and even jump around as long as you start on a chord tone. Starting on A? Now I'm also confused 😅 where do I say that? /Mikko
@@Mikkokosmos You say it at 13:12! What I mean is that by not playing the scales strictly up and down, can happen that you accidentaly play two passing notes for instance, and after that everything is reversed (chord tones on an upbeat and passing tones on a downbeat)
@@pedromartins6904 oh I see. If you star on A and go down chromatically A Ab G then you just continue the bop scale. You can add chromatisism as long you stick to chord tones on strong beats. That's key! 🙂
@@Mikkokosmos Ah ok, I got it now! It´s diffifult to incorporate this stuff in our playing but I will work on it! Thanks a lot!
Great stuff!
Is it possible to know your setting i mean the kind of equipment you are using to sound that good on the Multiac Grand Concert at home?
thanks. I'm just playing through my amp (tanglewood) and recording with my smartphone here. I got lucky I guess :)
@@Mikkokosmos
If you have that sound( i mean without mixer or recorder behind you), you found the right smartphone!
Thanks for your reply. I have got the same guitar but don't sound that clean.
Do you recommend your Godin or playing Jazz? If so which model do you have?
good video excellent explanation ... what reference is that guitar?
Thats a Godin Multiac Grand Concert 😀
What level of Jazz playing would you recommend this book for? meaning beginner/ Intermediate or Advanced? Thanks for this, sounds great even though they are just scales. :)
I would say intermediate to advanced
@@Mikkokosmos thanks
Wonder if you are still accepting students? Great lesson thanks
Thanks. Yes I do Skype lessons on weekends. You can find my contact info on my profile page here 😎👍
So the Major 7 Is always the passing tone?
You mean the chromatic passing note? No no! It totally depends 😃 you need to get the book Jazz Line by Jerry Beegonzi it explains everything 😃😎👍🙏
@@Mikkokosmos TY
Does book have tabs and notation???
Notation absolutely but no tabs, I guess it's primarily for horn players.
I'm sure there are plenty of books on bebop scales with tabs out there.
Isn't this tune by Kenny Dorham? Great lessons, thanks for posting
Yes of course. Composed by Dorham. Thanks! /Mikko
I would rather use the Dom Be Bop scale on the Minor chords. More bebop
5:10 Joe Pass agrees 100% with you. So that should be enough
Santiago Holst he does!!?? 🤓 I'm in good company, then! 🤗🤗🤗
ruclips.net/video/3tb2UOpfEE4/видео.html all that video is pure gold!
Santiago Holst wow cool I remember my guitar teacher in high school made us watch that video! Forgot about it but it must have stuck im my head all these years. I need to revisit Pass'd videos! Thanks!
Bebop scales = Barry Harris.
I listen 10 minutes and I hear a succession (enchainment) of descending scale on a verticale reading .
It sounds like exercices with appropriate notes in "dead " state ....waiting for some melodic inspiration
to build melodic lines . The positive point would be to learn and hear intervals but i fear many coud be closed in scholar and finger movement without interesting musical result and no real ability and talent
to combine the "good" notes .....which demand rythmic figures too .
Yes this is my point. It's only an excersice. Not music. The idea is that you need to be able to do this kind of stuff in order to create melodies, motifs and rhythmic ideas over difficult changes. Kind of like learning grammar, doesn't mean you have anything intetesting to say but we still need grammar, right?