Hey Jeff,im sold on jazz wire though ive been a tad causious with my current skill level?i have been playing again after 25 yrs for 2 yrs now and play with friends 2 times a yr at a friends festival with old band members and love it ? totally rely on my ears for licks and solos ,sheet music has got away fro m me since trumpet days at school.. i only know major /blues and a few minor scales + pentatonic scales and would love for you to give me direction?i practice every day and love my alto, thought i played tenor back in the day.
You are perfectly reayd for www.JazzWiire.net, Shawn. We have MANY folks with your exact story of playing a lot in the past, taking many years off, coming back, not being a strong reader and on and on. We are ready for you, and you are going to have a blast!
IMHO there is a place for everyone in Jazz Wire. You have done much more than me in the past two years. I joined a few weeks ago and found everyone supportive and full of ideas. "Come on in, the waters fine!"
I refer to these "song associations" (like nana nana) as "benchmarks" with my students. I think this episode really distills the whole concept of what building jazz vocabulary is all about. I really love this series...practical, coherent and applicable ... and I view each as exercises more than lessons - meaning that anyone will grow when they try these techniques regardless of their level and become more meaningful when revisited again and again with time to process and reflect in between. Cheers! You are truly a master teacher and communicator! THANKS!
Thanks for the kind words, Dave, and thanks too for taking the time to write. I love your perspective that these exercises will help almost ANY level of player, almost immediately. I totally agree!! Thanks for tuning in, and please share these videos and DDJ with others. The more the merrier.
And, thus, quoting was born. # of melodies in your DNA + understanding of those melodies (i.e. intervals, where & how they fit the key) + application of those melodies over similar scales & chords (or even different -- modes, inversions, extensions (9's, 11's 13's, etc.)) equals making music, not just playing the right notes from the particular chord/scale. Love the way you explain this stuff in such an accessible way.
Great video, Jeff! I often use finger (muscle) memory with repeated choruses of a tune to meamorize the head of a tune. I also repeat patterns (or licks) to ingrain a chord progression to improvise on.
Great Gregg. The idea of the video, as you know, is to have a MUSICAL sense of the song or lick, not just a finger/button memory. I hope this is something you dig into a bit! Give those buttons a rest!
Thank you for this vídeos.. Im piano player, but I love to see your vídeos, and maybe in the future i’ll try this fascinaiting and expressive instrument.. Keep Sharing Love mate... Thank you
I am reminded of the documentary, 'The Music Instinct', when you talked about the universal appeal of the minor third sound. I think this is a film that everyone in JazzWire should see. You'd like it Jeff.
Great video!! It is a really good way to ""stop pushing buttons"" by the way, these licks will work with some pentatonic shifting;) especially number 4#
In regards to improvising.. when players are quoting tunes in a solo are thoes quotes coming from songs that share the same tonality? Before I joined Jazzwire my soloing was me just trying to stay in key, while I restated the melody. I really appreciate the tools and tricks for 'constructing' an improvisation. I was talking to a musician today about soloing. He thought improv was overrated. I disagreed. I told him that there are a lot of bad improvisors out there. And, the good ones are usually not just making it up as they go. They are using the tools you are showing us.
First off, the guy who thought improv is overrated is a lunatic, a heretic, and should be actively shunned from society. Damn! And he's a musician??? Sheesh (not that I have strong feelings on the matter)!!! And quotes, a great musician can play anything over any tonality, but typically a quote IS over a similar tonality to the original melody.
@@JeffAntoniukEducator you would not be surprised that many local musicians have issues playing with this guy. He looks down on me because I am so illiterate musically speaking. He knows a lot about the theory.. not so much about the feel and time. I am teasing him with info from Jazzwire. Maybe he'll take the hint. He does well sight reading. He sits in the first chair on clarinet in a community large band. Maybe he's just not a jazzoid?? He loves to play but I never hear him listening to music.. just the TV.
Thanks, Jeff! Loved this video. Didn't think of Nana Nana Na Na aka He's a Dirty Robber as a minor interval, but it is. I use it as a major lick. 5 to major 3 to 6 to 5 to major3. Side note: was on a restaurant gig a few weeks ago, playing There Is No Greater Love. Played that lick over the A section, thinking tri-tone, playing it chromatically from Bb down to F. On the break a customer comes up to me and says you played the "Nana.... lick" 5 times (actually it was 6). He was all smiles, so i guess he liked it. At the same time, maybe 10 other people's heads were ready to explode, but I don't think anyone else noticed, LOL!
Hey Jeff,im sold on jazz wire though ive been a tad causious with my current skill level?i have been playing again after 25 yrs for 2 yrs now and play with friends 2 times a yr at a friends festival with old band members and love it ? totally rely on my ears for licks and solos ,sheet music has got away fro m me since trumpet days at school.. i only know major /blues and a few minor scales + pentatonic scales and would love for you to give me direction?i practice every day and love my alto, thought i played tenor back in the day.
You are perfectly reayd for www.JazzWiire.net, Shawn. We have MANY folks with your exact story of playing a lot in the past, taking many years off, coming back, not being a strong reader and on and on. We are ready for you, and you are going to have a blast!
Ok you got me.. inspirational mate..
@@shawnforster1754 excellent!! See you at Jazz Wire soon.
IMHO there is a place for everyone in Jazz Wire. You have done much more than me in the past two years. I joined a few weeks ago and found everyone supportive and full of ideas. "Come on in, the waters fine!"
@@owendallsotomayor1741 well put, Owen!!
I refer to these "song associations" (like nana nana) as "benchmarks" with my students. I think this episode really distills the whole concept of what building jazz vocabulary is all about. I really love this series...practical, coherent and applicable ... and I view each as exercises more than lessons - meaning that anyone will grow when they try these techniques regardless of their level and become more meaningful when revisited again and again with time to process and reflect in between.
Cheers! You are truly a master teacher and communicator! THANKS!
Thanks for the kind words, Dave, and thanks too for taking the time to write. I love your perspective that these exercises will help almost ANY level of player, almost immediately. I totally agree!! Thanks for tuning in, and please share these videos and DDJ with others. The more the merrier.
And, thus, quoting was born. # of melodies in your DNA + understanding of those melodies (i.e. intervals, where & how they fit the key) + application of those melodies over similar scales & chords (or even different -- modes, inversions, extensions (9's, 11's 13's, etc.)) equals making music, not just playing the right notes from the particular chord/scale. Love the way you explain this stuff in such an accessible way.
Thanks! I'm glad it makes sense. There are a LOT of ways to talk about jazz that make it seem IMPOSSIBLE. I'm hoping to do the opposite!!
Great video, Jeff! I often use finger (muscle) memory with repeated choruses of a tune to meamorize the head of a tune. I also repeat patterns (or licks) to ingrain a chord progression to improvise on.
Great Gregg. The idea of the video, as you know, is to have a MUSICAL sense of the song or lick, not just a finger/button memory. I hope this is something you dig into a bit! Give those buttons a rest!
Thank you for sharing Jeff 🎶🎶🎷👍🏾😎
Thanks for tuning in Leo!
Thank you for this vídeos.. Im piano player, but I love to see your vídeos, and maybe in the future i’ll try this fascinaiting and expressive instrument..
Keep Sharing Love mate... Thank you
Thanks for tuning in. Of course, ALL these videos apply to piano as well. Enjoy!!
I am reminded of the documentary, 'The Music Instinct', when you talked about the universal appeal of the minor third sound. I think this is a film that everyone in JazzWire should see. You'd like it Jeff.
That is very cool. I don’t know that movie. I’ll have to check it out.
@@JeffAntoniukEducator here it is.. ruclips.net/video/Ks3HjJ_cqWM/видео.html
@@JeffAntoniukEducator I've posted it to Jazzwire.
Great video!! It is a really good way to ""stop pushing buttons""
by the way, these licks will work with some pentatonic shifting;) especially number 4#
Great idea! Thanks for taking the time to write.
In regards to improvising.. when players are quoting tunes in a solo are thoes quotes coming from songs that share the same tonality? Before I joined Jazzwire my soloing was me just trying to stay in key, while I restated the melody. I really appreciate the tools and tricks for 'constructing' an improvisation. I was talking to a musician today about soloing. He thought improv was overrated. I disagreed. I told him that there are a lot of bad improvisors out there. And, the good ones are usually not just making it up as they go. They are using the tools you are showing us.
First off, the guy who thought improv is overrated is a lunatic, a heretic, and should be actively shunned from society. Damn! And he's a musician??? Sheesh (not that I have strong feelings on the matter)!!! And quotes, a great musician can play anything over any tonality, but typically a quote IS over a similar tonality to the original melody.
@@JeffAntoniukEducator you would not be surprised that many local musicians have issues playing with this guy. He looks down on me because I am so illiterate musically speaking. He knows a lot about the theory.. not so much about the feel and time. I am teasing him with info from Jazzwire. Maybe he'll take the hint. He does well sight reading. He sits in the first chair on clarinet in a community large band. Maybe he's just not a jazzoid?? He loves to play but I never hear him listening to music.. just the TV.
Thanks, Jeff! Loved this video. Didn't think of Nana Nana Na Na aka He's a Dirty Robber as a minor interval, but it is. I use it as a major lick. 5 to major 3 to 6 to 5 to major3. Side note: was on a restaurant gig a few weeks ago, playing There Is No Greater Love. Played that lick over the A section, thinking tri-tone, playing it chromatically from Bb down to F. On the break a customer comes up to me and says you played the "Nana.... lick" 5 times (actually it was 6). He was all smiles, so i guess he liked it. At the same time, maybe 10 other people's heads were ready to explode, but I don't think anyone else noticed, LOL!
I love the story, RIchard! When you can be teasing your jazz audience, and get a compliment for it, you are a hero of mine to be sure!
Gershwin+Coltane=(fragment)Theme of Loverman
Yet another one!! Good call. There are THOUSANDS of famous songs that use those two or three notes.