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3 Charlie Parker II V I licks and how to play them on guitar
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- Опубликовано: 2 авг 2024
- If you want to learn how to play jazz then it is probably a good idea to check out how Jazz Giants play like some Charlie Parker II V I licks!
A thing I never get tired of checking out is Charlie Parker and Bebop in general. I guess I still find it fascinating how the lines are so good and the material they are created with is really quite basic.
In this video I am going to go over 3 II V I licks. I will focus on how Charlie Parker is great at having surprising turns and leaps in his lines so they don't sound like running up and down scales and he also still manages to get them to sound like real melodies instead of abstract interval exercises. He also often gets away with melodies that move across the barline.
The Transcription I used is here: • Charlie Parker - Chero...
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#charlieparker #bebop #guitarlesson
Who is your favourite non-guitarist to check out? 🙂
Jeal Luc Ponty (Violin), Stanley Clarke, Percy Jones, Jeff Berlin (bass), Chick Corea, Jan Hammer (keys), Hari Prasad Chaurasia (Indian Bamboo Flute), Zakir Hussain (Tabla), Gary Husband (Drums, Keys)....
jaco, miles, dorothy ashby, thelonious monk, bernard purdie and bonham, keith emmerson
Free form era trane/ McCoy Tyner
Sonny stitt, gene ammons, Jackie mclean, Johnny griffin, Eddie davis, Jack mcduff, Jimmie smith, groove Holmes and Shirley scott
Michael Brecker, Clifford Brown, Art Blakey, and Bill Evans
I very much liked your final repeats of the solo lines after giving the analysis. It helps me keep the solo in mind after we've walked through it. Thanks.
Glad to hear it Ron! It still a bit of an experiment but I will keep doing it for some time to see how it does! 🙂
I just wanna say thank you for all your great content. Your videos have helped me a ton.
Thank you very much! I am glad you found it useful! If you have any suggestions for topics or things you are looking for the feel free to let me know 👍
the world is so lucky to have you share your knowledge with us !!!!
Glad you like the video 🙂
I took short bits and pieces of the first lick and turned them into lots of new ideas and licks. Good stuff. Thanks, Jens!
This is wild, I’ve been transcribing this exact solo for weeks, and I now just discovered your video on it. Awesome stuff!
Great content about jazz guitar. I am starting to get back into the guitar and this is perfect for what I would like to do. Many thanks for giving us this awesome knowledge.
Thank you very much David! Did you just sign up for Patreon? 🙂
Another Hot lesson..........your the Best
Thanks Ron! I am going to be slowing down a bit the coming weeks as I need a holiday :)
Ahh.......Yes.....have fun.....my friend
Great video as usual Jens! One of the non-guitarists I'm interested in is Dexter Gordon. It would be great if you make a video about him someday :)
Thanks Philip! Dexter is indeed great! So Solid lines!
You are great!!!!👌🏻
Thank you! 😃
In my university there is a prof .named D.C. teaches us quantum field theory.you look like him and also you have huge knowledge in your stuff ,as he have in his subject
Thank you! (I think 😁)
Usually Parker constructs an intracate "Head" that leads into choruses of solos and then repeats the head at the end.
Yes, that is true. Often called a bebop theme 🙂
Ian McDonald from King crimson is really amazing on the Flute, Sax, violin, keyboards and vibraphone . Yes, I'm a big progressive rock fan 🙃
Cool! Lots of people go from Prog Rock to Jazz :)
jens is a boss
Thanks Felix!
Hi great content on jazz guitar but I would like to know what is the final goal after transcribing solos? What is the meaning on developing vocabulary? Is the objective of copying the phrases and apply them on improvisation and be able to play them unconsciously and the combination of your influences will dictate your musical self (ex. One person that develops coltrane and pat martino's vocabularies will be a different musician from another person who developed pat metheny and larry carlton' vovabularies). Or you transcribe, analyse the solos and practice the concepts individually and than apply these contents to improvisation. This is a very confusion topic since professors in my school just say you have to transcribe and copy the phrases but what about learning scales and arpeggios and improvise with them? If it were just that you wouldn't need to learn them. And the second method I find it to be not very effective because I feel it's not very methodical. In the end I see a player like Guthrie because he was a transcriber and to achieve his level he transcribed a lot from many different musicians. I hope you understand my questions, I know it's a bit confusing but it's difficult to explain. Hoping for a reply. Keep up the good work with the channel.
Am I not answering the main part of this in the video? At least as far as my practice is concerned. I take out small fragments and combine it with my own vocabulary practicing to make licks with it and later improvise with it.
For me transcribing was as much about learning to phrase the licks well as it was about learning material
Hi Jens, the alto sax doesn't sound lower than the C#/Db on your A or low E strings. It easily makes it to the
Ab at the 16th fret of the high E. Some guys, if really good, can do some "altissimo" notes above that, but it's hard to play clean controlling speed, dynamics, and the note pitches up there.
So actually he could have played the low Eb major triad, I thought so. It is the same as a tenor just a 4th higher 🙂
That is correct. An alto and a tenor played simultaneously with the same fingering will be sounding a fourth apart. Just remember that the lowest half octave requires more physical movement with pinky usage, making it harder to pull off the low end at fast tempos as well. Saxophone is typically easiest in the middle octave and a half or so of it's range. Luckily there are extra keys allowing tricks to facilitate some of
the passages.
Eb concert is C major for an alto sax. To make that jump requires depressing the octave key and a one key shift so it’s not too hard. The version down the octave will not pop out so easily, as the bottom C (Eb concert) on a saxophone is near the bottom range of a saxophone. Trying to play at speed down there isn’t easy. Parker would have been able to manage but he would have preferred to have the instrument cutting through bright and easy at the end of the phrase.
Thanks as always, Jenn. I'm not familiar with that recording. Do you know what it is?
You're very welcome! I don't know. A student came with the transcription video that's how I found it 🙂
You have the most stereotypical danish accent i've ever seen hahahaha. Big fan
You can see accents?
most important is to put the accent on the strong beat :)
Hi Jens..! Great lesson, but at the end of bar 3, you wrote G and F but play F and Eb..
Thanks, Charlie is an endless source of inspiration !
Hi Franck! That does sound like me :) Which example is that?
On the first one, no ?
Yes! That's just a typo :)
Good lesson as usual! Just a quick FYI, the last bar in the second 251 solo.
It should be a dotted crotchet on the first beat as the Parker recording has him playing the last bar on the (1).....(and)(3).... not the (1)...(2)(and).......
Hope that makes sense!
Thanks! I actually have no idea what you mean, but I also can't change it now, so it is not that important 🙂
Sorry Jens. I enjoy your videos. Keep up the good work brother.
Thanks man! If you want to promote your channel then that's not the way 🙂
No bad intentions at all Jens. I'm new to youtube etiquette . I thought you'd dig it because you've talked about Barry before. We might have even met in Holland years ago. I went with him about 5 times.
Ok. That could be. Though it's quite some time since I went to those workshops 🙂
@@JensLarsen I went in the mid and late 90's. I had more hair then. 😁
I am driving the next day! I'll have a look at you videos when I am there 👍🙂
I used to play saxophone and can comment on why bird may have gone up the 9th at the end of the second lick. Continuing to go down would have brought him into the low register on the Eb (lowest note on alto is Bb below that.) It just doesn't project very well or have that brightness in the register that he played it in which is so characteristic of his playing. I also think that going up a 9th just makes the Eb major arpeggio a little more interesting and unexpected.
Thanks Dave! It does indeed make the line more interesting to skip up :) I was just curious if there was a technical reason.
Jens Larsen And I forgot about transposing oops. Alto is in the key of Eb which means the Eb on guitar is a low C on the alto. It's very rare on a jazz solo for an alto to be playing that low. Much more common on tenor to play in that register where it can be warmed up the way Ben Webster would do.
Having played both alto and tenor in a string band, I find that both alto and tenor seem to have similar challenges on the low-end and the higher end of their ranges, whether it be mechanical, embouchure, et cetera.
Gary
PS. Thanks Jens
for your efforts. The magic of jazz guitar and just jazz in general has always fascinated me!
Its also easy enough to hit one key on the sax to jump an octave up.
4:20
how do you finger these arpeggios? is it hard to play with a bad setup gutiar?
I am not sure which arpeggio you mean , but you could slow down the video and see how I play them I guess? 🙂
So Jens - here’s an idea for you. Take a jazz standard each week and create 3-4 lines over certain segments of each song. Then create a Master Class associated with the free weekly videos that dives in deeper to soloing over each jazz standard. You could price the Master Class as monthly or annual with a discount. Count me in as a subscriber 😎. Food for thought from your friend and student on the other side of the pond
Thanks Steve! Right now I am barely making it when it comes to make these videos and the ones for Patreon so I am not sure I would be able to implement something like that right now, but who knows? 🙂
Weekly may be too ambitious so think about monthly free video that accompanies the Master Class.
But how far from what I already do in my webstore is this really?
Well, if you have a catalog of instruction of soloing over a bunch of jazz standards then you are already there. Point me to the place in your store where I can learn to solo over Green Dolphin Street. That will be a good start. Much appreciated, as always!
I don't have one on Green Dolphin Street yet, but who knows... :)
Chris Potter I do respect also a great deal.
Chick-Corea's, Humpty Dumpty. I think the chords of the first line make a melodie and the last and 2nd also, than if you make a sketual bar I=Ebmaj7 2=Dmaj7 than you will see that Chick Corea could have used this, and later on he uses thos Triads on other chords that he used to almost mask this trick he used the triads create than the most brilliant dissonant that also climb in the degree of dissonance...!
Maybe interesting to notice is that Charlie Parker is said to practice Cherokee for a realy long period and to master jazz in the Future he made sure to practice this in all 12 keys according to this "legend" he used 12 months at least to master this
When i started learning to play guitar i(strangely) didn't have a pick and for the longest time i wasn't really interested in switching to a pick, should i switch? cuz maybe not here particularly but in some lessons i feel like my fingers are not fast enough to keep up and that is a bit disturbing. i mean i can play with a pick but even practising arpeggios from your ii V I arpeggios video wasn't an easy ride.
That's hard to say. What do you think sounds better? Maybe go with that? 🙂
There are plenty of fingerstyle people who can play jazz very fast; or study other technique; Flamenco probably being the most accomplished fingerstyle; or go hybrid or the "new" SWYBRID - Marshall Harrison has a mix of Sweep and Fingerpicking
so that's could maybe the reason that we don't find the using of triads what he for instance use during the theme of Donna Lee where is demonstrated tricks that he mastered than, (or Miles Davis or those two Giants both.)any way in this early Parker period this was what was available in that age, that's why his dynamics and charateristic contrapunctic playing and large intevals were the elements he was exploring because the"ears" weren't ready for the things that would follow the coming 35 years...
I think you forgot to add the link to the next video and the subscribe button at the end .
Thanks! It does look like it :) I was running around a lot today....
This is the video I was talking about: ruclips.net/video/odQddlUGlO8/видео.html
And thanks for the warning!
老实说 这个广告不错
Thank you! :)
Pleaseeeee I need the name of the songgg
Whats the name of the second song?
What place in the video? Give me a time stamp :)
The second lick, and... What can I do if I need to change the key? In C7
time stamp?
4:30
It is from Cherokee. If you want to change the key up a whole step then just move it?
Id Cjarlie Parker was still alive he wouldn't be playing this music, same with Miles. They moved on. Vert good in a historical context though.
That's not necessarily true, most of Miles contemporaries didn't keep changing their style. Just check out Barry Harris or Sonny Stitt 🙂
Erm. They certainly wouldn't be playing the modern crap either. Either way, his phrasing is still copied by anyone today
2:40 you are playing F, EB but the score is reading G, F (?)
Go with what I play 🙂
Quanto parli!
Dude, 5:51. What? Second half of bar 2 (on the Bb7) he plays: 13, 5, 3, (1) [G, F, D, (Bb)].
True! Odd that I wrote that down wrong. Maybe I was in a hurry that week :)
JUST PLAY IT ONCE WTF
talk too much
sentence too little
@@JensLarsen Sorry Jens, maybe my comentary sounds kind of rude. There is interesting things in the video, but i prefer the videos focused mostly on music with just a few words, and more music. Don't get mad and keep playing.
@@marianorojo No worries. I am sure you can find other channels that work better for you :)
4:21
4:22