Enclosures are a HUGE thing to understand and work on, but so many people spin their wheels for years with them. I'm glad you are hip to them now! Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
There's a lot of fluff on the internet when it comes to music instruction, and few teachers relate their fluff to the most fundamental principle in music; tension and resolution. You are a master!
Jeff, hands down you have the best mullet I have seen in a long time dont cut it it's like Sampson's hair if you cut it you'll forget how to play. Thanks for your videos.
Now, technically it's not a mullet, since a mullet is short on the top and long in that back. My hair is pretty much the same unruly length all over. That said, let me not be too picky. What I REALLY hear you saying is I have the world's best hair. I think I got that right. I just want to be sure I fully understood!!! :)
Great! Similar to the shortest lick episode. A great way to kick off a solo on the blues harp playing the 1, 3, 5 with chromatic bend down and release! I really appreciate your digs!
Exactly right, Marcus. There are only so many devices in music, and we can look at a given device (say, chromatic lower neighbors) in a multitude of ways. You have this nailed!
Everything you give us helps me sound better by giving me useful, "real-world" material to practice. Of course, more practice will make it better, but just being aware of the concepts you're giving inform my playing. As always, thanks.
Glad to hear it. You're right, just this concept alone, done "really right" and very deeply, would be 100's of hours of practice. That said, just KNOWNG about it expands our ears and our minds, and maybe sinks in just a bit, and comes to on the gig. That's my goal here. Glad it's working for you.
Thanks for the kind words, and for tuning in. GREAT question about classical cadenzas . . . and you caught me without a good answer. How about you? Are there some that you personally like? What a great project, to look at them and try to extract some of the melodic devices used by the composer or performer. I'd love to see what you come up with. Please share!
I gots nothing! The composers to whom I listen the most aren't working within the tonal framework...I've never really gone out of my way to listen to Mozart et. cie. That this way of approaching the improvised line has a several hundred year old antecedent makes me want to listen to that era of music more carefully. A spiral-bound collection of "written" cadenzas (weren't they originally improvised?) would make a lovely addition to any music stand... Thank you for the clear information and great video(s)!
You bet - Thanks for being with us in Digging Deeper! It's so interesting that you are coming from a less tonal framework in your listening and experience. I imagine that most of us are more "traditional" in our listening and experience, but I love that you have a different standpoint. There is TONS of great music out there, following different rules and points of departure. All that means to me is that your playing, writing and soloing will have a very personal, "less traditional" sound to it. So cool!
WOW! Never thought of that, but you are exactly correct. That said, we are trying to get AWAY from scales here, and center on chord tones and melodic approaches, so I wouldn't go too far in that direction. But . . . VERY COOL!
Of course , but as you said context is everything - interesting that adding a half step away notes leads more to Harmonic minor , Diminished , or Barry's 6th diminished sound , but - a whole step - to major scale , melodic minor or sus sound ... and both - to Bebop ... I'm not quite sure that Bach did not think about harmony ... I do not miss your videos , and really enjoy - you are great musician , but also talented entertainer ... all the best.
Thanks for writing. Many of the past videos are now inside www.JazzWire.net. I didn't like the fact that they weren't easy to search here on RUclips, and I want to be able to work with people more closely on this material. Jazz Wire is the place to do that for sure. There is also going to be a Digging Deeper app coming soon, so that will be another option. Thanks so much for enjoying this material!!
You are getting ahead of me!! That is going to be the very next video . . . . don't tell anyone yet, but . . . . *yes*. And NOT at all a stupid question!
My only question is that I've been told that you want your chord tones on the strong beats because even though you're playing that resolution right after it's on an offbeat. So if we take a C7 even though we're outlining C E G C we're playing B D# F# B on the strong beats so it sounds like we're playing the wrong chord. Is this correct or am I thinking about it wrong?
Everything you said is accurate. So here, the POINT is to have the "wrong notes" on the beat. An "accented tension." The advice to put chord tones on the beat is good, but it's only about 40% of the story. It's good advice for sure, but not what we see out in the wild all the time. I totally understand your confusion with this conflicting advice, trust me!! The honest answer is that this is a longer-term discussion, that will never happen on a You Tube chat! This is the kind of work we do week in and week out at www.JazzWire.net. I hope we'll be able to work there and get you really rolling with this material. Thanks for the note.
@@JeffAntoniukEducator I was listening to Red Garland today, and he was doing this a lot. But even more than that, I noticed that he was using that notion of "forward motion" where I think you're going with this) to pull the listener into it. Really effective - it swings like crazy.
A couple thoughts 1) We can really enclose any note, so it's not "against the law!" 2) That said, 99% of the time, we see our heroes enclosing triad notes it seems, and 3) The idea of a simple enclosure like "above - below - target" is all about "tension - tension - release." If we enclose a 7th, it ends up being more like "release (the note above the 7th is the root) - release (the note below the 7th is a consonant 6th) - tension (the 7th has the energy to it). Of course, EXPERIMENT and see what your ear likes. #1 is a very valid approach!! Hope that helps.
Thanks for the request. DDJ # 34 is on Sus chords, using Triad Pairs. That is one of the Digging Deeper videos that is now inside www.JazzWire.net (with a couple hundred others). I hope I'll have the chance to really work WITH you there! Let me know if you have any questions, Gerald.
kidpoker007 not really! Just jump in with the Digging Deeper videos, and work on what captures your attention. Try the exercise in each video you watch for a couple or three days - give it a bit of time to sink in. If you like it and get some traction, keep going with it!!
Jeff... I'm a 77 year old 'Newbie to Music Theory, as it applies to the Guitar Fret-Board. You have a nice demeanor, and more intelligent, than most, that are found on-line / however: could you please minimize the 'chit-chat', and get 'right into the lesson ... I ain't got much time left. lol
Enjoyed your video -- understanding a bit more about "enclosures"...
Enclosures are a HUGE thing to understand and work on, but so many people spin their wheels for years with them. I'm glad you are hip to them now! Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
There's a lot of fluff on the internet when it comes to music instruction, and few teachers relate their fluff to the most fundamental principle in music; tension and resolution. You are a master!
Jeff, hands down you have the best mullet I have seen in a long time dont cut it it's like Sampson's hair if you cut it you'll forget how to play. Thanks for your videos.
Now, technically it's not a mullet, since a mullet is short on the top and long in that back. My hair is pretty much the same unruly length all over. That said, let me not be too picky. What I REALLY hear you saying is I have the world's best hair. I think I got that right. I just want to be sure I fully understood!!! :)
well done!! simply explained and to the point. Thanks a lot.
Thanks for tuning in Barry. I hope you enjoy some of the other Digging Deeper Jazz videos. Lots more good stuff here!
Great! Similar to the shortest lick episode. A great way to kick off a solo on the blues harp playing the 1, 3, 5 with chromatic bend down and release! I really appreciate your digs!
Exactly right, Marcus. There are only so many devices in music, and we can look at a given device (say, chromatic lower neighbors) in a multitude of ways. You have this nailed!
Everything you give us helps me sound better by giving me useful, "real-world" material to practice. Of course, more practice will make it better, but just being aware of the concepts you're giving inform my playing. As always, thanks.
Glad to hear it. You're right, just this concept alone, done "really right" and very deeply, would be 100's of hours of practice. That said, just KNOWNG about it expands our ears and our minds, and maybe sinks in just a bit, and comes to on the gig. That's my goal here. Glad it's working for you.
nice stuff as usual! cheers mate
I can't thank you enough, man.
Cheers from Brazil
So glad that you are liking the Digging Deeper vids! Nice to hear from you.
The first one is actually double harmonic scale
great pedagogy. do you have any favorite "classical" cadenzas? thanking you!
Thanks for the kind words, and for tuning in. GREAT question about classical cadenzas . . . and you caught me without a good answer. How about you? Are there some that you personally like? What a great project, to look at them and try to extract some of the melodic devices used by the composer or performer. I'd love to see what you come up with. Please share!
I gots nothing! The composers to whom I listen the most aren't working within the tonal framework...I've never really gone out of my way to listen to Mozart et. cie. That this way of approaching the improvised line has a several hundred year old antecedent makes me want to listen to that era of music more carefully. A spiral-bound collection of "written" cadenzas (weren't they originally improvised?) would make a lovely addition to any music stand... Thank you for the clear information and great video(s)!
You bet - Thanks for being with us in Digging Deeper! It's so interesting that you are coming from a less tonal framework in your listening and experience. I imagine that most of us are more "traditional" in our listening and experience, but I love that you have a different standpoint. There is TONS of great music out there, following different rules and points of departure. All that means to me is that your playing, writing and soloing will have a very personal, "less traditional" sound to it. So cool!
Jeff, Are enclosures the same thing as grupettos? Thanks
Great!
E Harmonic minor without - A
WOW! Never thought of that, but you are exactly correct. That said, we are trying to get AWAY from scales here, and center on chord tones and melodic approaches, so I wouldn't go too far in that direction. But . . . VERY COOL!
Of course , but as you said context is everything - interesting that adding a half step away notes leads more to Harmonic minor , Diminished , or Barry's 6th diminished sound , but - a whole step - to major scale , melodic minor or sus sound ... and both - to Bebop ...
I'm not quite sure that Bach did not think about harmony ...
I do not miss your videos , and really enjoy - you are great musician , but also talented entertainer ... all the best.
@@alej3795 Great points, and FOR SURE, Bach thought about harmony, guaranteed.
Hi Jeff! I’m writing from Brasil. I can’ t find the DDJ playlist... I want to watch #13 and nexts... How can I find them? Thanks
Thanks for writing. Many of the past videos are now inside www.JazzWire.net. I didn't like the fact that they weren't easy to search here on RUclips, and I want to be able to work with people more closely on this material. Jazz Wire is the place to do that for sure. There is also going to be a Digging Deeper app coming soon, so that will be another option. Thanks so much for enjoying this material!!
is it the same with minor triads, as in always a half step below the 1,3,5 ,7 (sorry if it's a stupid question)?
ps love the hair
You are getting ahead of me!! That is going to be the very next video . . . . don't tell anyone yet, but . . . . *yes*. And NOT at all a stupid question!
My only question is that I've been told that you want your chord tones on the strong beats because even though you're playing that resolution right after it's on an offbeat. So if we take a C7 even though we're outlining C E G C we're playing B D# F# B on the strong beats so it sounds like we're playing the wrong chord. Is this correct or am I thinking about it wrong?
Everything you said is accurate. So here, the POINT is to have the "wrong notes" on the beat. An "accented tension." The advice to put chord tones on the beat is good, but it's only about 40% of the story. It's good advice for sure, but not what we see out in the wild all the time.
I totally understand your confusion with this conflicting advice, trust me!! The honest answer is that this is a longer-term discussion, that will never happen on a You Tube chat! This is the kind of work we do week in and week out at www.JazzWire.net. I hope we'll be able to work there and get you really rolling with this material. Thanks for the note.
@@JeffAntoniukEducator I was listening to Red Garland today, and he was doing this a lot. But even more than that, I noticed that he was using that notion of "forward motion" where I think you're going with this) to pull the listener into it. Really effective - it swings like crazy.
Hi Jeff, any particular reason to no enclosure the 7ths?
A couple thoughts 1) We can really enclose any note, so it's not "against the law!" 2) That said, 99% of the time, we see our heroes enclosing triad notes it seems, and 3) The idea of a simple enclosure like "above - below - target" is all about "tension - tension - release." If we enclose a 7th, it ends up being more like "release (the note above the 7th is the root) - release (the note below the 7th is a consonant 6th) - tension (the 7th has the energy to it). Of course, EXPERIMENT and see what your ear likes. #1 is a very valid approach!! Hope that helps.
How about a video on improvising over Sus Chords?
Thanks for the request. DDJ # 34 is on Sus chords, using Triad Pairs. That is one of the Digging Deeper videos that is now inside www.JazzWire.net (with a couple hundred others). I hope I'll have the chance to really work WITH you there! Let me know if you have any questions, Gerald.
I know you have a lot of videos, but is there a starting point:)
kidpoker007 not really! Just jump in with the Digging Deeper videos, and work on what captures your attention. Try the exercise in each video you watch for a couple or three days - give it a bit of time to sink in. If you like it and get some traction, keep going with it!!
Jeff... I'm a 77 year old 'Newbie to Music Theory, as it applies to the Guitar Fret-Board. You have a nice demeanor, and more intelligent, than most, that are found on-line / however: could you please minimize the 'chit-chat', and get 'right into the lesson ... I ain't got much time left. lol