Melodic Flow: Creating Phrases Like Montgomery and Metheny
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- Опубликовано: 6 сен 2024
- In this episode of Everything Music, we use the knowledge of triads, inversions, and arpeggios on multiple string groups to guide melodic phrase development over a standard blues progression in the styles of Wes Montgomery and Pat Metheny. Motivic development, guide tones and resolution, and rhythmic variation are used to show how strong musical ideas (phrases) imply others, leading to an endless unfolding exploration which further develops one's playing and ear simultaneously.
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Your pace is incredible, I can't digest all the information at this rate! You're uploading like a decade worth of work 3 times a week. But don't stop, please.
+vecernicek2 Haha! It's easy :) it's actually not. Haha
lol ........ thats funny ....... it is a huge amount of work to internalize all that stuff ........ but even if you don't bother doing the work it's still marvelous to see the road map of how it is done presented with such clarity ........ this guy is a profoundly talented communicator
@@RickBeato The more you learn the easier it becomes. But inevitably in music, it's not what you know; it's how you swing it. If I don't record an idea, by the next morning I am looking at something I wrote on paper asking myself: What the hell is this?
It's something beautiful to see how well you know the instruments you use on your videos. Also, it's so much information that I think I see your videos almost every morning (first thing, with coffee!) just to start well the day with the two things I love the most: music and teaching (after my girlfriend, of course!), since it's impossible to absorb it all at once. I am definitely supporting this work. One more thing, this talent you have is one major privilege, not given to many human beings. It's good that you've kept yourself on the bright side of the force, showing to ordinary people how amazing music is. You are an inspiration as a professional and, from what I can see, as a father as well. Be well and keep up the good work! We all love it.
+Denis Alves Wow! That is a great complement complete with a Star Wars reference! Love it!
Rick I know you've heard this approximately a million times but I feel compelled to comment anyway. The knowledge and depth you are sharing with all of us is priceless! Keep on keeping on, and I thank you from the bottom of my heart for your informative videos and the infamous Beato Book!
Thank you. Triad riffs = major (perhaps dominant) level up. After a decade+ stuck in diatonic I'm self-teaching jazz and your videos are indispensable to rebels like me who wanna figure it out on my own program.
You're stunning and wonderful, Rick. I can't begin to tell you how grateful I am that you share your knowledge so freely and openly with everyone like this. Thank you so much for everything! :)
Just got the Beato Book and these lessons are extremely useful in practical use of the theory. Incredibly jam packed instruction, better than any teacher I've had. Thanks, Rick!
Rick... I don't know if you realise how helpful these videos really are they are honestly so incredible and have helped me so much in my preparations for auditioning for jazz at university. You break things down so incredibly well and your lines are so lyrical and melodic they're just so smooth! Thank you again, you are such a great musician
TY for your time in educating the layman. Met Metheny twice, was always inspired.
Man, your Bebop/Metheny lessons are doing so much for my learning to solo over jazz changes. I love it!
Rick Beato is the most beautiful melodic lines guitar solo ever 🍁🌷
So simple, yet so cool. Makes total sense. Thanks! - from a North Texas graduate, 1982
Honestly this is one of the best lessons I've ever seen. Thank you so much!
i have always wondered why when listening to music, i always felt as if i instinctively knew what should come next. ive never learned to play an instrument but have always marked time and been able to follow odd meters. listening to you talk about theory im beginning to undertsand why ive always listened to things the way i do. im 49 and i should have been learning this stuff when i was 7. Never to late to start though. thanks for all your video content. i absolutely love the stuff your doing
don't have to get all fancy w/ anything, know your triads. Now that gives me hope!
I like that: "you have to button up your phrases". Great stuff! Thanks!
This is some of the most coherent teaching I've ever heard. This man is a genius. It's one thing to play this well and a totally another to teach it. I bought the Beato book and because of my limited schooling became overwhelmed pretty quickly. But today i turned to pentatonics and was able to see things I've never seen explained before and I'm already looking forward to the section on melodic ideas. Thank you Rick for sharing this knowledge with us mortals!
This video is taylor made to where I am at in my development...Just 100% relevant to my needs. Can't thank you enough, Mr. Beato.
Rick, thank you for sharing your time and knowledge. You are providing valuable information for your students.
Feel n flow. Butnup - Solid sense Rick thanks again! You are gold bro.
My brain melted.
your channel is so fantastic. my love of music could save the world, thanks rick, you make music fun
do you like monty montgomery rick?
Mike Bloomfield - beautiful melodic call response phrasing....
THE most important lesson(message) I've seen on the "Tube". When asked, Joe Pass said all his lines began and ended on the same note,or it's octave...I'll have to watch this one over and over...Thank You! P.S. Beautiful wood flooring by the way.
+roger weafer Thanks Roger! I'm glad somebody appreciates the floor!! It was hard work putting it in :)
roger weafer Which video of Joe Pass?
Thank you Rick for those amazing tips. It is awesome how you can explains those complicated lines so simple. thank you, for real thanks a lot!!
The Best advice is in the last third of this vid.
i just want to say thanks rick. your videos help me so much.
Love your channel. Although some (most) of it is beyond my ready execution, I get the ideas and it has opened up my guitar playing. And really enjoy getting the 'behind the scenes' look at what goes into making interesting music. Great stuff! Thanks!
What a great musician and teacher you are. You are inspiring. You have just gained another subscriber. And fan.Thankyou sir.
Great great 👍 lesson. Thanks rick
Very valuable stuff, Rick. Thank you very much!
Great content....great teacher!!!
Nice Rick! It's all about the arpeggios and the ear!
This lesson is so essential it's crazy! Thank you
God this is not easy .. lots of practice and patience..
excelente como siempre. gracias por compartir el conocimiento.
Another Master Class, thank you Rick!
I love when Rick gets his yellow gibson (does anyone know this model?). It means he's going to comment on pat. wes and the likes... love that tone.
Yeah ! That Blue 'N Boogie JG solo is the shit. That's in my list !!
Great video Rick ! Thanks !
Wow, fantastic lesson. Thanks!
Thank you so much!
"Your stories have to have punctuation" - James Joyce might have disagreed.
Some great concepts in this video (as usual really). I always like to think of improvising a melody as either telling a story or a dialogue of two voices, the latter can be pretty effective when each of the "voices" is in a different register or on a different instrument but still follows the call and response principle.
Great lesson Rick-very Charlie Christianesc!
Your videos are great. I love to wach them and they help me a lot. Keep going on like this 🤘👍
Great video! I love your videos especially the orchestra videos!
Terrific lesson Rick. Don't you think the key to making this work is to be able to "hear" the changes in your head? I can't imagine doing this unless you are really, really familiar with the chord progressions and can hear them clearly in your head. Thanks
Hey man, leave us sloppy players alone! Really nice lesson, never too advanced for fundamentals.
This is Gold! I'm just SMILInpppppppppppppppooiitapaaaaao
You are ahhhmazing!
firstly:
how on earth did you just recreate your entire chorus? did you listen back to it or was it more or less prepared?
- I'm absolutely baffled
secondly:
I intuitively learned a lot of my motif-ish playing by listening to tons of bill evans :D However nowadays I realise what really makes Ideas connect is a few simple concepts: (this is not supposed to be all:)
1) same/similar rhythm
2) same/ similar beginning of phrase
3)same/ similar ending of phrase
4)opposite ending/beginning of phrase
generally what really helps is just listening back to what you just played and only continuing once you hear the new phrase.
I think you do mention a lot of this, but I thought you were sometimes a little fixated on the notes themselves rather than their role in the melodic development of the phrase. I really dig what you do! I just thought you could've more directly explained the "rules" of melodic cohesivenes...(sort of how I started to outline it)
@ Max Hobohm what do u mean by #4)opposite ending/beginning of phrase? also (i know u said u werent listing them all, but i wanted to mention a few more important ones IMHO) u can:
1.) repeat idea w different a different rhythm
2.) restate the same idea backwards
3.) do call and response
all in all some really good concepts in vid and in this original comment.
awesome stuff thanks Rick!!!! i need to get back to transcribing these two. i saw your fretting hand awhile back and thought you were influenced by Metheny based on how you slurred and lifted.
How do you define "natural" phrasing and "unnatural" phrasing and how do you know where phrases end and phrases stop? Also how do you connect or "button up" phrases?
Wow that swings :)
Why doesn't youtube have a "love" button like Facebook?
amazing
Nice....Rick this is very heloful........rc
Rick,
Love the videos, but it would be great if you included links in the description to the other videos you mention.
You're a genius man and you played a flinstone theme on Bb ahaha
The irony of learning all this stuff is that, for me, you have to do a lot more listening than playing ... you need to be able to hear it in your head and, ideally, get to the point where you can sing it vocally before you can ever hope to play it ... just my 2 cents
Michael Scardigno yep. Lots and Los of listening. As for playing what you hear in your head, I call it transcribing yourself. Start by scat singing a simple phrase, not too long, then figure it out on your instrument. If you can't hear
melody lines in your head, start by figuring out commonly known tunes like the National Anthem (the US one, for US readers of this comment, for exmple), or happy birthday, etc. Yea, everyone knows those tunes, but do you really "know" it? Most don't ever try to actually learn them, I think it's because they seem too easy but if you try, it's harder than you think. It's all about giving your ears a workout.
dude hes too goodomg
I playing on 5 strings!
1:31 I noticed that you are playing over four adjacent frets with only three fingers on the lead in. Is this a matter of preference for you, or is there a reason behind this? I noticed that Johnny Winters used four fingers whenever he could just like me. Although he did break away from this latter on in his career when he started playing more slide guitar. What do you think? I would think that playing more Jazz orientated music you would lean towards using all four fingers. At least that is what I would do in any case. Sometimes you have to use only three because of certain situations even without slide.
Sweet but I wish you would show the chords your playing I’m a little slow and need someone to at least show me the chord structure of the song. This song is really cool and would love to learn how to play it.
what amp are you playing through? your tone is wonderful.
in the bottom right corner we can see plugged in Vox ..
yeah, but i can't tell if that is an AC4 or an AC10.
Could you do a video on jacob collier
Is this room that he does these videos out of real? He looks like he's sitting in front of a green screen and I can't get past it. Great content, though!
firs like first comment
Santa Claus is coming to town. It's in there
Flat wounds?
Love them! They are on my LP junior. I have many guitars but only one with Flats
Rick Beato I've never seen them on a jr before....sounds great!!!
I hear santa clause is coming to town , am i crazy?
No you're not crazy, it is in there!
It's also about the unknown and soul of the player! Academics are useful to a point but are not the innovators in anything! What happens is after 50 years of playing, all sound like cloned licks. Face it we know those who simply have what most have to copy! Many of them didn't copy much. Joe Pass stated he never copied more than 8 measures of any favorite player which is totally unlike the clones of today ! Jim Hall remarked he saw God after hearing Benson play! Michael Brecker named 12 folks who most influenced him on youtube. See the pattern? Yes learning other's language is useful to develop ways to play ultimately our own stuff but most sound like 2nd rate copies of whomever they copied. Allan Holdsworth, Wes, Joe Henderson, Coltrane, Bird, Al Jarreau, Benson, Jimmy Smith had the experiences of living in Amerikkka to a point that the clones will never understand! I've heard stories from folks never in print from Lou Donaldson, Keter Betts, Gary Bartz and Benson to name a few personally. They would agree behind closed doors what I'm saying. They know who feeds their wallets ! However, you are showing those who will never have the life experiences licks and maybe they will take the initiatives to study the culture and hidden histories of the Black Folks who invented Blues,Jazz and all American music because they were the first Indigenous globally!
Were you drunk when you wrote this?
I agree but I think that being original now also requires exploring new genres.
Typical white boy comment!
You're still drunk!
i guessing red wine
"Melodic Flow: Creating Phrases Like Montgomery and Metheny" By all means, Rick, please teach the "melodic flow" of Wes Montgomery, but please don't muddy up the water by including Metheny in there. Pat Metheny is a capable of musician, but nowhere near the genius that Wes was. Moreover, much of his music is in a different style than Wes and was recorded in a different era. Those who group Metheny in the pantheon of great jazz guitarists with Wes are only highlighting how far standards have fallen since Wes' time. Metheny isn't even in the same league as Wes....
GeorgiaBoy1961 i dont hear Wes in any of the lines he plays. I hear a corny rocker trying to play jazz and going to school instead of listening to wes. He's playing bebop language and makes it painfully ovbious in a rock kind of way. Wes hid these ovbious notes like falling on the 3 and b7, instead he played a lot of 13s in blues.
You really should seek out some education passerell, you just don't know what you're talking about. I'm embarrassed for you.
@ passerell - u have to start by learning how to use the 3 and b7. they are the most obvious tones to use to outline a chord progression - which is what he is trying to teach. u dont start by teaching beginners (i imagine its mostly beginners watching this stuff) u dont start by teaching how to create melodies from the b9 or the #5 or the 13. u start with the 3 and b7. its in line w what all of my teachers (black and white, old and young) taught as a WAY INTO playing like this.
Yeah, that's where you start, and again, if you aproach it by studying it. Wes never played such ovbious lines. He would never go to the 3rd on the Eb7 the way this guy does. Again, what did catch my attention from Wes playing blues is that he doesn't fall to those boxes. He plays a lot of 13ths, which are more ambiguous notes.
He also does this thing a lot where he goes down cromatically from IIIm7, so he plays a phrase on bIIIm7. That blew my mind when I heard him put that chord there in the phrasing, when the band isn't even playing it, and that's what's interesting in jazz. Charlie Christian sounded amazing because he did exactly that, add chords in the soloing. You would never know that, because you approach jazz from a "studying" perspective which I hate to the bottom of my heart.
If I even know names of notes or chords, it is because I hear Wes play them, or whoever, and I coulndn't wait to know what those sounds were so I transcribed. "Seek more education" is not a thing in jazz. Learn to use your ears rookies.
@passerell learn to go easy on that ego of yours, boy. Ego is a hell of a drug