Jazz Lesson: Bebop Line Building - Part 3 - Application (New York Jazz Academy)
ฝัง
- เผยแพร่เมื่อ 3 ต.ค. 2024
- Free and complete lesson content and downloads,
including PDF sheets and videos:
www.nyjazzacade...
For part 1 of this video:
• Jazz Lesson: Bebop Lin...
For part 2 of this video:
• Jazz Lesson: Bebop Lin...
I think Denis makes a great point here and Javier also has a good point here in using the single F dominant scale through the whole song for developing fluidity. In the end, you have given a great doorway into the uses of the bebop scale for people not familiar with it. As Mr Jimzovich says it provides a great jumping off platform to make Autumn Leaves more bop like. It is ultimately up to the student to let his ear be the guide and find the most creative resolve. This comes over time and trial and error. You cant give away ALL the secrets in one lesson or you will create a thousand clones all hammering away at the reference scales provided. I will follow Denis advice to use the Bbmajor bebop scale at the appropriate places but will also exploit the hell out of the F dominant one. Making creative lines that resolve properly and bring out the essence of each chord is the end game, but in the meantime, it doesnt hurt to bop the hell out of both and dare to be creative!! Also of course steal as many lines from the greats to enhance the vocabulary!!
Thanks Javier!
This is a fantastic concept. I find it a challenge to make Autumn Leaves sound more chromatic or boppy as I have always tended to use chord tones, modes and the harmonic minor scale. My attempts to make it sound more bebop never quite come off, though I sometimes use bebop scales in other contexts, eg blues. Thanks for posting this lesson.
You're welcome, and glad you are checking out the lessons.
@@Nyjazzacademymusic Nice lession ,,
Please to you and good music,,
Extraordinary
By coincidence I discovered your great channel ( I missed 11 years of my live without you 🫢😊) but better now than never😊
Ending your first lines of these falling leaves on G minor, I once learned ( the second measure of Gminor. ) to change the third of the G minor chord - Bflat into B what makes it a G7 chord and what makes it a nice V for the next coming chord Cminor . So the G7 will be the V to Cminor ,the I and starts the minor scale of Cminor allready on the G7 I even prefer a G7#5 for more tone coloring.
I am following your lessons from now. Thanks for sharing .
Best regards from the Netherlands.
Yes! That G7 adds such a lovely color to the progression. Definitely a favorite moment, and you're right, with that altered sound, adding a #5, it's even more engaging. Thank you for sharing.
This is an interesting idea, but i think recommending to play an F-Dominant Bebop Scale over the whole A-Section is pretty 'dangerous' and can bring a lot of wrong sounding Lines. Actually to my eyes and ears its already obvious in your examples that it doesnt bring out the right colours of each chord. I would only use it over C-7 and F7 and maybe Ahalfdim. On Bb Maj I would use Bbmajor Bebop and on the D7b9 Bbmajor Bebop also sounds great when you start it for ex on the F# with continuing eightnotes. Do you have examples of Great Players that use the Bebop Scale the way you describe it? All my best, Denis
Denis, certainly "dangerous" is accurate. This is meant to be an exercise to develop downward fluency in one scale. Ultimately, the real danger is not knowing how to handle the E-flat that rubs against the BbMaj7 chord on beat 3 in the video, etc. The BbMaj bebop scale must also be introduced in order to hit some of the other targeted chord tones in this progression, however the E-flat target is not off-limits, particularly (1) in a double-time tempo and (2) when used to emphasize a suspension or non-chord tone at key moments of melodic tension. In principle, the rule of thumb is as you suggest: F7 dominant bebop targets the ii V progressions in BbMaj and Gmin. The tonic chords of BbMaj and Gmin are very often handled differently, with the Bb Major bebop scale targeting the BbMaj7 chord.
Thank you for your fast answer. I agree with the fact, that it is important to get a great flow on those BeBop scales but i would recommend to practice it separatly or just over an F7 chord. The fantastic thing about players like Sonny Stitt, Coltrane or Parker is that while they play fast Lines the harmonics are still acurate and clear, so they become very fast great Melodies. To use F-Dominant over the complete A Part will sound like a great possibility for beginner Students but will lead them in a wrong direction in my opinion. If you want to use it for ex over D7 or Ebmaj7 as a IV you really have to know what you are doing and what u place around it. I hope that its clear that I'm not just trying to be negative but I'm really Interested in those topics. I have been practicing and using BeBop Scales for a long time and also researching in transcriptions on how the Great Masters use them. :-) Anyways i think the first two videos on this topic are good!
Denis, I appreciate your insight here, and I think what you are saying is entirely sound: students should certainly be practicing their bebop scales over their parent chords and other matching chords. The value in fluidity over multiple chords is significant, but it can pose a real threat to melodic accuracy. I've always felt this video needs a follow-up video directed toward this very pitfall you are suggesting. -Javier Arau (NYJA)
Wait, wait, wait - are you Javier Arrau? That's what you say anyway and sorry - I just noticed that. I want to thank you for a series of articles on good melody construction applicable to improvisation I once found on your Internet Blog.
VinniePaah Thanks, this is Javier Arau. I'm happy you have learned from these video series.
Nice
Español! Please! Hello from Buenos Aires!
How for the e flat major 7 chord can that "A" lie there because if it's an "A", how can it be in an e flat major 7 chord?
This is a great question. The answer is that chord/scale relationships depend on harmonic context. Since the E-flat major 7 chord here is functioning within the key of G minor, the note A (the #11 of the chord) is used. For more about this topic, you are welcome to sign up for our free class on Music Notation Basics, which delves deeply into jazz concepts like this. It's available through our website.
Thank you. I probably will.
la misma escala se usa para todas los acordes????, que pésimo concepto
Victor Cristhiams Pareja Huaman gracias por su aporte, pero parece que está malinterpretando el concepto y el propósito aquí.