I sat down to hear Randy Napoleon one evening in Ann Arbor only to find that I was sitting next to Mr. Smith. He was the friendliest, kindest person. Love this and all your lessons.
Thanks a lot for this cool lesson! It was my big problem of bebop impro - I know theory chords subV etc, but not able to construct lines from small chunks. Now I see how to do it practically. Good luck for your channel!
@@NathanBortonMusic just heard that album's version of Another You...oh my goodness. Please continue shedding some more light on these lesser known greats!
Hi - nice to see this video- do you have anything to say about the C# and E natural in the 1st example you provided?- these notes are over an F7th- 2 non chord tones- ?? thanks
At the 2:24 mark, what was your thinking over the A dim chord? Aside from the A note, the other 3 notes aren't in the A dim. Great lesson. Still trying to grok it all.
No worries! I was actually just playing the Coltrane shapes over a Bb chord to show they all work. The A dim is just what I call it, because the notes A, Bb, C, Eb (1-2-3-5: off the note A in the key of Bb)
My pov, He s integrating all the pieces we kept ignoring as jazz beginners , we stayed too long in the 14 5 add extensions and exploring the unlimited melodic variations and melodic concepts even.but We may have started to learn a song that required the bebop feel , and we came here and faced the truth we ve been running away from, 5 to 1 / 2 5 1 licks and jazz material including the altered/dim concepts variation which were essential . However maybe you d still want to go solowly and grasp each example and study it (be aware where you are and WHEN you are there ). And that way you ll never complete that song xD
Thanks for this great lesson! In your etude example for Have You Met Miss Jones near the end of the video was your playing based on a key center (F), changes, both?
It was all based around key center (f) and then I added the line closers discussed in the middle of the lesson. The last two bars I'm thinking key of Bb because of the ii-V going to IV.
Thanks for your question, I'm keeping the pattern within the key. So if we did the pattern off the third (D) in the key of Bb, then we get D-Eb-F-A. You could of course make it more of the dorian sound and do E natural, but it might not work as well over diatonic progressions in Bb.
Nobody knows this? I heard nothing new in this video. Whether this is the real essence of bebop is another question. Playing diatonically over chord changes and adding chromatic passing notes is a property of many music styles. This is not what makes bebop unique. Another strong video title to attract views?
I’m just showing people what Louis Smith is doing, which I consider one of the bebop masters. Yes Louis is playing diatonically, and if he does it why wouldn’t it be good enough for you? The “nobody knows this” refers to Louis smith’s solo on bakin’. And yes you’re correct, my videos have nothing new or special in them, I just try my best to explain what the greats are doing. I’m sorry this video upset you so much, but I would love to hear your video about what makes bebop unique as it seems like you’re very knowledgeable.
None of the reactions to my comment is to the point. I'm not upset. I'm not saying the content is useless. Reading comprehension is becoming rare ... .
Nathan's response literally acknowledged the substance of what you said. Did you apply your "reading comprehension" skills when reading his response? Also, your argument that this can be applied to other styles of music therefore is not an important aspect of bebop is ridiculous, which is why m the other responses didn't enter into this argument with you. There is useful information here, and it goes beyond your misrepresentation of his video in your original comment.
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
That lick at 1:34 is straight fire. Made me smile.
I sat down to hear Randy Napoleon one evening in Ann Arbor only to find that I was sitting next to Mr. Smith. He was the friendliest, kindest person. Love this and all your lessons.
Amazing! What a great experience!
Nathan youre an excelent teacher and a great player
Ignore the haters...
Cheers you have a big fan in mexico city !!!
Thanks a lot for this cool lesson! It was my big problem of bebop impro - I know theory chords subV etc, but not able to construct lines from small chunks. Now I see how to do it practically. Good luck for your channel!
Glad it helped!
A fantastic lesson!!
Two thumbs up!!
👍🎩👍
Thank you! Cheers!
This is one of the most valuable lessons on bebop improvisation I ever came across. Thank you so much. Glad that I subscribed to your patreon site.
Awesome, thank you!!
At the 0:23, you speak in the same note as the melody played by the guitar...Thanks for all your lessons!
This was as good, or better, than anything I learned in Jazz college. Thanks!
So happy to help!
This is a killer lesson!
Thanks! Louis Smith is one of my favorites!
Connecting the chord tones chromatically is so simple, yet powerful. Thanks for that one.
You're very welcome!
Great lesson. I have this LP and need to dig it out.
Smithville is such great record! Louis sounds amazing!
You are a great player/teacher.
Thank you very much!
I agree. I really like NB’s teaching and playing
Yes that was great
Thanks so much!
hi mate . I like watch your video lessons . really good explanations. thank you for helping musicians who want to learn jazz music. …really helpful.
So glad to hear the lessons are helping you, thanks! 🙏
Thanks for hipping me to Louis' playing. I've never heard of him before this video
He is so great! Check out Smithville!
@@NathanBortonMusic just heard that album's version of Another You...oh my goodness. Please continue shedding some more light on these lesser known greats!
Thank You:)
You're welcome!
You're a great teacher using helpful practical ideas!
Appreciate that!
Bflat has 2 flats. in reference to your Coletrane pattern example at about 2 minutes. the key signature has one flat. great lesson. thanks !
Isn’t that just a flat for the “b” note ..?
Awesome lesson
Great lesson as always!
It’s cool to have the GP files to slow things down to stepdad speed.
Best teacher for this style on YT I reckon. 👍🇦🇺
So glad the guitar pro files are helping and thanks for the kind works :)
Great lesson
Thanks so much!
This is a really great video. Lots to learn here, and really well presented
So glad it was helpful, thanks for watching!
Great lesson,ton of killer ideas here, thank you
Appreciate that and glad it was helpful!
Great as usual !
Thanks so much!
Great lesson
Thanks!
Lewis Smith. My new hero! Tkx 🙏🏼
I know about it! And it is a great solo!
Yes you do! You've been shedding it a while now!
Hi - nice to see this video- do you have anything to say about the C# and E natural in the 1st example you provided?- these notes are over an F7th- 2 non chord tones- ?? thanks
Hi Nathan! Barrry Harris' 5432 phrase would be a great lesson for bebop 😀
At the 2:24 mark, what was your thinking over the A dim chord? Aside from the A note, the other 3 notes aren't in the A dim. Great lesson. Still trying to grok it all.
No worries! I was actually just playing the Coltrane shapes over a Bb chord to show they all work. The A dim is just what I call it, because the notes A, Bb, C, Eb (1-2-3-5: off the note A in the key of Bb)
Excelente jazz
Thank so much!
🎸 damn good lesson . So much info that will last me a while
Thank Malik! Glad to hear that!
My pov,
He s integrating all the pieces we kept ignoring as jazz beginners , we stayed too long in the 14 5 add extensions and exploring the unlimited melodic variations and melodic concepts even.but
We may have started to learn a song that required the bebop feel , and we came here and faced the truth we ve been running away from,
5 to 1 / 2 5 1 licks and jazz material including the altered/dim concepts variation which were essential . However maybe you d still want to go solowly and grasp each example and study it (be aware where you are and WHEN you are there ). And that way you ll never complete that song xD
great! what is that solo on 0:28?
That’s just me improvising a bit before the lesson! I also always close my videos (at the very end) with me soloing as well
@@NathanBortonMusic faaantastic! you should do whole video and concept lesson! great!
Thanks for this great lesson! In your etude example for Have You Met Miss Jones near the end of the video was your playing based on a key center (F), changes, both?
It was all based around key center (f) and then I added the line closers discussed in the middle of the lesson. The last two bars I'm thinking key of Bb because of the ii-V going to IV.
Blue Mitchell and Louis Smith are the most underrated soloist from trumpet players. They were genius cats!
Thank you!@@NathanBortonMusic
Don’t understand 3rd scale degree d minor with the flat 2/9?
Thanks for your question, I'm keeping the pattern within the key. So if we did the pattern off the third (D) in the key of Bb, then we get D-Eb-F-A. You could of course make it more of the dorian sound and do E natural, but it might not work as well over diatonic progressions in Bb.
Ok I get it. Appreciate your reply, thanks
Nobody knows this? I heard nothing new in this video. Whether this is the real essence of bebop is another question. Playing diatonically over chord changes and adding chromatic passing notes is a property of many music styles. This is not what makes bebop unique. Another strong video title to attract views?
I’m just showing people what Louis Smith is doing, which I consider one of the bebop masters. Yes Louis is playing diatonically, and if he does it why wouldn’t it be good enough for you? The “nobody knows this” refers to Louis smith’s solo on bakin’. And yes you’re correct, my videos have nothing new or special in them, I just try my best to explain what the greats are doing. I’m sorry this video upset you so much, but I would love to hear your video about what makes bebop unique as it seems like you’re very knowledgeable.
And you, little moth, come to the video?
I think this is great content.
This is fabulous content, thanks for making it
None of the reactions to my comment is to the point. I'm not upset. I'm not saying the content is useless. Reading comprehension is becoming rare ... .
Nathan's response literally acknowledged the substance of what you said. Did you apply your "reading comprehension" skills when reading his response?
Also, your argument that this can be applied to other styles of music therefore is not an important aspect of bebop is ridiculous, which is why m the other responses didn't enter into this argument with you.
There is useful information here, and it goes beyond your misrepresentation of his video in your original comment.