Alex is soooooooooooo close to being a great teacher. I was praying for an explanation I could understand, when he said, "You do not want to think of scales as you do in a practice-sense, but rather think 'melodic ideas.'" I guess we students are left to decipher that.
He means you should care about what a note means melodically, as in what emotion it conveys. If you're thinking "this note fits because it's within the scale" you're not gonna play melodically, you'll just fill out blanks with whatever the scale tells you to play. But if you know that for example a major seventh is a tense note, you'll play it knowing you'll need to resolve somewhere right after it to satisfy the listener.
He actually covers quite a bit in this very short lesson. Jazz improv is 'making melodies up on the spot'. So I think he's just reiterating this. However, you do need to know scales to know the common tones. In fact, you need to know the scales and arpeggios really well! In any genre, just playing up and down the scale is as dull as you can get so the player needs to think more about interesting melodies while keeping in mind the common and strong notes in the scales/ arpeggios.
I should probably say, in an ideal world we wouldn't have to learn any scales, we would just naturally hear the 'right' notes. Most of us need the scale as a reference and I suppose the ultimate goal is leaning the scales so well, we can just forget about them.
I understand what he's telling me in this lesson... its just so hard to really get a grip on it and incorporate it in my own playing... i guess its time to lock down for hours and try!
Actually, F natural is not a common tone at all. D minor triad does include F whereas D# minor doesn't, it has a F#. You can't possible have a common tone between the 2 keys that are a half step apart. That's basic music theory taught in any undergrad musicianship classes.
He's not saying F natural is common to both triads. He's saying it's natural to both keys. Maybe listen before you try to come off as a condescending douche.
It would be to your advantage in life to learn to think and write in a more adult fashion. You write like a confused, angry child, with poor grammar and unearned, exaggerated confidence. Do you really believe Alex would go onto an established, credible magazine channel with wildly inaccurate information? F is obviously common to both keys. Approach this from a place of curiosity and don't be one of those annoying dullards that pollute comments sections.
Man, this lessons from Alex opened my eyes
I appreciate this lesson Thank you....I haven't forgotten Mr.Skolnick and how Terrifyingly Amazing his skills are...when he talks I listen.
I like all his lessons. He plays simple enough so you can understand and not just copy.
his jazz albums are awesome
Thanks for that. 1/2 step chord changes are of the toughest to play over. You've given me another way to look at a dozen charts.
Alex is soooooooooooo close to being a great teacher. I was praying for an explanation I could understand, when he said, "You do not want to think of scales as you do in a practice-sense, but rather think 'melodic ideas.'"
I guess we students are left to decipher that.
He means you should care about what a note means melodically, as in what emotion it conveys. If you're thinking "this note fits because it's within the scale" you're not gonna play melodically, you'll just fill out blanks with whatever the scale tells you to play. But if you know that for example a major seventh is a tense note, you'll play it knowing you'll need to resolve somewhere right after it to satisfy the listener.
He actually covers quite a bit in this very short lesson. Jazz improv is 'making melodies up on the spot'. So I think he's just reiterating this. However, you do need to know scales to know the common tones. In fact, you need to know the scales and arpeggios really well! In any genre, just playing up and down the scale is as dull as you can get so the player needs to think more about interesting melodies while keeping in mind the common and strong notes in the scales/ arpeggios.
I should probably say, in an ideal world we wouldn't have to learn any scales, we would just naturally hear the 'right' notes. Most of us need the scale as a reference and I suppose the ultimate goal is leaning the scales so well, we can just forget about them.
@@Grousemusic That’s very well said. You have to learn the scales to not use them. Crazy to say but it’s true lol
I understand what he's telling me in this lesson... its just so hard to really get a grip on it and incorporate it in my own playing... i guess its time to lock down for hours and try!
amazing playing
Thank you Alex! Your the best!
Good stuff
you are playing very good.
Wie funktioniert das mit der BASSBEGLEITUNG WELCHE IM HINTERGRUND ZU HÖREN IST. welcher apparat kann das?
Knox G. Stahlbauer Ein Looper - ein EffektPedal das Aufnehmen und wiedergeben kann - macht sowas. Sehr nützlich um sich selber zu begleiten ;)
i didn't even know that broken Matt Hardy could play guitar
lmfao
DELIGHTFUL
Actually, F natural is not a common tone at all. D minor triad does include F whereas D# minor doesn't, it has a F#. You can't possible have a common tone between the 2 keys that are a half step apart. That's basic music theory taught in any undergrad musicianship classes.
F is the minor 3rd of D minor, and the major second of D# minor. It's a common tone in both keys
It is tho, he explained it just right and i think your condescending way of talking is pretty inappropiate ..
He's not saying F natural is common to both triads. He's saying it's natural to both keys. Maybe listen before you try to come off as a condescending douche.
It's common to both *KEYS*
It would be to your advantage in life to learn to think and write in a more adult fashion. You write like a confused, angry child, with poor grammar and unearned, exaggerated confidence. Do you really believe Alex would go onto an established, credible magazine channel with wildly inaccurate information?
F is obviously common to both keys. Approach this from a place of curiosity and don't be one of those annoying dullards that pollute comments sections.