Well, I've finally found the only teacher I need! I love the tips like where to play the 251s. It's these details that make all the difference. Just need to give up my job now and become a full time student. Thanks Marc
Thanks jeffreymatz! I found as a beginner that it was helpful to have a "general" approach to start with and fall back on as I was learning more "specific" techniques. It made playing fun!
Not to be picky, and I apologize if it's already been pointed out, but the pdf of the rootless drop twos, shouldn't the last chord be an Eb7 instead of an E 7? Love this lesson, so much great learning material. Can never thank you enough!
WoOw m@n I didn't know you were working on such advanced bebop stuffs ...this is the Real Deal ^^ This lesson is going to become a big contribution to Jazz History N Education IMHO !!!!! Mark on Steroids !!!!!
Looks like there's actually a bit more info in the video than I thought, but how about the chorus at 21:50? I know basic inversions on the high strings, and I'm working on rootless voicings with extensions on the high strings. Does that cover it?
The chorus just after 21:50 is all about taking a repeated idea and moving it down a half-step during the descending chord progression during bars 6-9. Do you have it?
Mark I remember when you were just learning jazz ! You were quoting lines from some book , you've done well . I just watched a video with Martin Miller and burned my guitars
Hey Marc. Man you always say this is not rocket science. I think this is harder. You can learn all the theory everything but in the end its all about hearing. There is a some kind of third dimension to it. A rocket scientist might or might not do this shit man :) hahaha cheers :)
Hi Dizzy, that's definitely a way to go about it. It simplifies the fast changes that way. An extra step is to try to target the chord tones of either the Gm7b5 chord OR the C7b9 on important beats. This approach gives you a strong grounding in the harmony without trying too hard to make those fast changes.
I have read about harmonic generalization from Joe Pass - I guess. I try different approaches prefering the harmonic strength of b7-3 resolutions with arpeggiation, but even at medium tempos I struggle. I think i need more practice but it feels quite difficult. Furthermore I tend to play too much of the same patterns.
I find that trying to improve a specific improv technique is a lot like drilling anything athletic. You have to coach yourself (or have someone coach you) to gradually improve the technique and push just a little bit at a time beyond your current limit. Gradually marking up a metronome the moment you get comfortable with a tempo is an effective way to do this and one you've probably already heard, but there are other ways too if you get creative.
LOL, I don't know. Post-modern? Or perhaps "Post-Metheny" is a better term? I mean, my mom and I would be listening to Celine Dion and the Ghostbusters soundtrack in the car on my way to school when I was 8. I'm certainly not from that "bebop era". I mean ... you can't un-hear Metallica, right?!? My playing is influenced by all music since Bach (I think).
Much like IV-V-I the voice-leading involved stems back hundreds of years and has given us much of the music we enjoy today in one way or another. With regard to 7th chords, I think the question is, why not? Haha. Jazzers throughout time have always sought to employ more colors in harmony, rhythm, and melody!
Thank you for your reply. So a minor ii 7 chord contains the first note of the scale as its seventh. Is that what you mean by voice leading? By playing the ii you indirectly play the I or at least its root?
The IIm7 has a certain pull to the notes in the V7 chord. If we're in C, the II chord is Dm7. The b7 of that chord is C which wants to pull down to B. B is the 3rd of the V chord, G7. Dm7 also has an F which is the 7th of the G7 chord. That G7 then has a similar function in setting up the C major chord. Hope this helps :)
Hello Mr Marc Very nice introduction altho i dont agree Blues For Alice its too hard :) You cant copy Bird ! You see I play that tune very often and i don copy his articulation its useless you cant do that especialy on guitar :) I play that tune my own way and i guess it works it is wrong idea to copy Bird ! :) You can play his licks i mean his notes but never copy useless ! Freight Train is a nice tune but that record Kenny Burrel with Coltrane its pretty said just a blow ing session that go nowere. But i only want to say i DISAGREE Blues For ALice is TOO HARD it is not !!!!!!!!!!!! since you find yr own way to play that head ! and yes you are not a bop guitarist you are past Metheny and its funny to hear post Metheny guitarist play Parker tunes lol Good luck man ! :)
I tried pretty hard, but still I failed to understand this comment. I understood individual words and sentence fragments within the comment; but when trying to understand the comment as a complete entity, it feels like word salad.
![Gunna - HIM ALL ALONG [Official Visualizer]](http://i.ytimg.com/vi/HiCxoDeo0hc/mqdefault.jpg)
Thank you for teaching I’m learning from you 🎉 may God bless you.
This is such Well-constructed lesson. Thanks for explaining such s challenging topic so clearly.
You're welcome!
Thanks for tour work. Very enlightening.
really helpful lesson - thanks very much!
Bravo Marc-André, cette leçon "nec plus ultra" sur le blues dit aussi suédois : seven steps to heaven i
What a fabulous and generous lesson from a really modest Jazz guitarist. Thank you so much.
Top lesson!
This is an incredible lesson. The way you break down the tune is beautifully laid out. Thanks for providing such a great resource!
Thanks to you! :-) Glad you like it.
Freaking good lesson wow 👏👏👏
Glad you think so!
I really learn to play it wow! Amazing lesson I don’t know the harmonic minor part for parallel minor, and I learned the 4 3 b3 part. Lovely!
Well, I've finally found the only teacher I need! I love the tips like where to play the 251s. It's these details that make all the difference. Just need to give up my job now and become a full time student. Thanks Marc
Hahaha thanks, Jon! We're always so happy to hear this. Do let us know if we can help in any way.
This is the best jazz blues lesson there is on youtube. Plus your lines are really sweet.
High praise! Thanks, Ebrahim! :) We hope we can keep bringing you content that you enjoy.
Superb lesson. A wealth of knowledge indeed. Thanks a lot.
Hey Rich, Thank you so much for your words. I'm glad to hear you're getting so much out of the course!
what a lesson !
waooo thank you thank you , i like the differents steps in the lesson !
Excellent tutorial - Thanks for sharing!
Thanks so much for watching! We're glad you enjoyed it :)
You're the man !!! your lessons are really helping me out ....... as a blues guitarist Im finding the tools to spice it up ..... Thanks a Lot !!!
Glad you like it! :-) The "spicing up" parts are especially practical for blues improvisers.
MARC !!! Merci, la lesson est géniale .....
this is really nicely done...like the "additive" method of starting simple and then becoming more "specific" to some of the key movements in the form.
Thanks jeffreymatz! I found as a beginner that it was helpful to have a "general" approach to start with and fall back on as I was learning more "specific" techniques. It made playing fun!
great video
Truly excellent lesson!
Thank you!!!
Bravissimo Marc! Very good tips and explanation as always!
Thank you, Gianni. It is a pleasure to do these videos!
Great Job!!!
Glad you enjoyed it!
Not to be picky, and I apologize if it's already been pointed out, but the pdf of the rootless drop twos, shouldn't the last chord be an Eb7 instead of an E 7? Love this lesson, so much great learning material. Can never thank you enough!
Yes that's right, Eb7! Not sure what happened there... I'll blame those pesky notation programs :)
WoOw m@n I didn't know you were working on such advanced bebop stuffs ...this is the Real Deal ^^
This lesson is going to become a big contribution to Jazz History N Education IMHO !!!!! Mark on Steroids !!!!!
Great video! This song starts with an Ab major chord, but it sounds to me like ChiChi starts with an Ab7. Is this right, or am I hearing it wrong?
Appreciate you uploading this! Really helped me figure out what the hell is going on with Bird chords. But I wish you'd done Blues for Alice...
Always happy to help. Maybe Blues for Alice could be done soon, you never know ;-)
Your comping in these examples stands out to me, do you have a video exploring the comping concepts you're using here?
Thanks! I'm certain I have something, but what specifically caught your ear?
Looks like there's actually a bit more info in the video than I thought, but how about the chorus at 21:50? I know basic inversions on the high strings, and I'm working on rootless voicings with extensions on the high strings. Does that cover it?
The chorus just after 21:50 is all about taking a repeated idea and moving it down a half-step during the descending chord progression during bars 6-9. Do you have it?
yes! I think I do, thanks man. Your videos are great.
You're welcome! I'm glad this worked for you!
Mark I remember when you were just learning jazz ! You were quoting lines from some book , you've done well . I just watched a video with Martin Miller and burned my guitars
Hahaha. He is some player! :)
Hey Marc. Man you always say this is not rocket science. I think this is harder. You can learn all the theory everything but in the end its all about hearing. There is a some kind of third dimension to it. A rocket scientist might or might not do this shit man :) hahaha cheers :)
LMAO Thanks. But *I am* a rocket scientist (well ... as a matter of fact, a statistician, for realz)
You are an interesting person :) continue with jazz guitar man ;)
Thank you a lot! This is pleasant to read!
My pleasure :)
Not only is it rocket science but it doesn't pay squat! Jazz- the music of the unemployed (Frank Zappa)
Hi, do you have an updated link for the pdf? I'd love to check it out. Or, a link to a book of yours with associated topics would be nice.
Just updated it, thanks!
Your lessons are amazing. Everything is boiled down to the essential. Es-tu de Montréal?
Merci :-) Je suis francophone de l'Outaouais. J'ai habité à Montréal pendant plusieurs années, mais je suis maintenant de retour dans mon patelin.
3:30
One question: do you ignore the min7b5 chord leading to C7b9 and just play F harmonic minor on both? What is your thinking?
Hi Dizzy, that's definitely a way to go about it. It simplifies the fast changes that way. An extra step is to try to target the chord tones of either the Gm7b5 chord OR the C7b9 on important beats. This approach gives you a strong grounding in the harmony without trying too hard to make those fast changes.
I have read about harmonic generalization from Joe Pass - I guess. I try different approaches prefering the harmonic strength of b7-3 resolutions with arpeggiation, but even at medium tempos I struggle. I think i need more practice but it feels quite difficult. Furthermore I tend to play too much of the same patterns.
I find that trying to improve a specific improv technique is a lot like drilling anything athletic. You have to coach yourself (or have someone coach you) to gradually improve the technique and push just a little bit at a time beyond your current limit. Gradually marking up a metronome the moment you get comfortable with a tempo is an effective way to do this and one you've probably already heard, but there are other ways too if you get creative.
thanx for your insights.
Great! Glad you like the stuff.
Hey Marc , if you don`t consider yourself a bebop guitarist , what kind of jazz guitarist would you be ?
LOL, I don't know. Post-modern? Or perhaps "Post-Metheny" is a better term? I mean, my mom and I would be listening to Celine Dion and the Ghostbusters soundtrack in the car on my way to school when I was 8. I'm certainly not from that "bebop era". I mean ... you can't un-hear Metallica, right?!? My playing is influenced by all music since Bach (I think).
I didn`t mean bebop as in ''the bebop era'' , more as bebop style , but I think I get what you are saying . Thanks for the response !
I'm with Joe Pass: you don't want a lot of theory cluttering up your mind when you're trying to play.
Absolutely!
Here's what I want to know. What's so special about ii-V-I? Why are most jazz tunes ii-V-I with 7th chords? Is there a theory somewhere?
Much like IV-V-I the voice-leading involved stems back hundreds of years and has given us much of the music we enjoy today in one way or another. With regard to 7th chords, I think the question is, why not? Haha. Jazzers throughout time have always sought to employ more colors in harmony, rhythm, and melody!
Thank you for your reply. So a minor ii 7 chord contains the first note of the scale as its seventh. Is that what you mean by voice leading? By playing the ii you indirectly play the I or at least its root?
The IIm7 has a certain pull to the notes in the V7 chord. If we're in C, the II chord is Dm7. The b7 of that chord is C which wants to pull down to B. B is the 3rd of the V chord, G7. Dm7 also has an F which is the 7th of the G7 chord. That G7 then has a similar function in setting up the C major chord. Hope this helps :)
Hello Mr Marc Very nice introduction altho i dont agree Blues For Alice its too hard :) You cant copy Bird ! You see I play that tune very often and i don copy his articulation its useless you cant do that especialy on guitar :) I play that tune my own way and i guess it works it is wrong idea to copy Bird ! :) You can play his licks i mean his notes but never copy useless ! Freight Train is a nice tune but that record Kenny Burrel with Coltrane its pretty said just a blow ing session that go nowere. But i only want to say i DISAGREE Blues For ALice is TOO HARD it is not !!!!!!!!!!!! since you find yr own way to play that head ! and yes you are not a bop guitarist you are past Metheny and its funny to hear post Metheny guitarist play Parker tunes lol Good luck man ! :)
I tried pretty hard, but still I failed to understand this comment. I understood individual words and sentence fragments within the comment; but when trying to understand the comment as a complete entity, it feels like word salad.
Too much talking