Probably listening to jazz as well. Its really hard to talk a language you've never heard. You may get the scales, chords and arpeggios but wont understand how to combine them into jazz phrases.
Jens, I am 69 and have been trying to learn how to play jazz for the past 9 months. In just 2 weeks watching your videos I have understood infinitely more than in the past months. Thank you very much. I have been playing Latin American-Mexican folklore for 56 years and I have been listening to jazz about the same time or more! Love your videos!
40 years ago a drummer I had befriended invited me to a jazz fusion jam. I was so lost I could barely play a note! This lesson makes sense even to my 1-4-5 entrenched mind.
TH-cam is very overwhelming when it comes to “How to Jazz”. Your videos always focus on the foundations, which every house is built. Keep teaching and I’ll keep learning 🙌🙌
Easily one of the best guitar tutorials I've ever seen! Everything you need to get started in one place, all explained clearly and simply. You should sell this teaching technique to the thousands of so-called guitar teachers who have no clue how to do it (and are often pretty average guitarists too). Thank you Jens!
All other beginner jazz guitar youtube videos overwhelmed me, this makes everything seem so in grasp and step-wise. I will come back here time and time again. Thank you.
This material is exactly what I’ve been attempting to learn for years. Hopefully the scale exercise progression you showed will finally get me there. Also nice to see a video that doesn’t go that far over my head. I’m decent with theory intellectually, but have yet to fully connect that knowledge to the fretboard.
I agree with " best video yet" ! So much here! These ideas, I've arrived at myself after many years. We have to take a few wrong turns along the way. What am I missing? If you honestly listen to your own playing, along with feedback from players better than you. Making mistakes can be a great learning experience, if you are willing to admit it. Great work, Jens. Thanks so much.
One of your best here Jens. Very clear and plenty of practical sense - and its not flat out and chockfull..... so a slow brain like mine can tie things together. Very helpful. We are continually told to get foundations solid and "right" but in fact not that many teachers do that - they can't resist showing us that they are way better than us. Actually - we know that !! Tis why we're here... so this material you present is a genuine helping hand. Thanks.
I agree. I didn't start with any theoretical foundation, but learning rapidly as needed. Kind of knowing the arp.'s, the scales, the triads, but struggling to get music out of it. The shell chord part with the 7'th was really helpful to pull everything together. Jens couldn't have picked better examples to play.
Very helpful Jens - thank you. It's also really important to play the songs you like, and play solos with the melody in your mind to get the best sound.
Excellent description of the shell voicings, Jens! This lesson really removes some of the confusion and difficulty about learning jazz guitar ❤ Thanks so much!
Great advise, Jens. After playing years of pop and rock, my interest has schifted to more jazzy inspired music. Even theory has caught my interest as I want to know what I'm playing and when to play it . Playing over the chord changes is very satisfying to play. Keep up the good work and Thank you for sharing.
Another great video for us aspiring jazz guitar enthusiasts! It is so rich in information I have to slow down your video to 75%. 🙂 Could you recommend a course or book that carries forward the information in this video and that includes exercises and suggested backing tracks? I always appreciate your perspective and the music theory, history lessons, and what to avoid.
Thank you! I would check out the Jazz Guitar Roadmap if you want to get some stuff figured out and internalized. There's a link in the video description
Spectacular information presented here, in the most easily understood manner possible. Thank you Jens. I've been a long--time subscriber and appreciate the invaluable information which you impart here for free. Cheers!
I come from a metal background and consider myself pretty descent but these intervals hurts my brain😆 Great tutorial, I am so happy I found your chanel! Thanks! (for the headache)😄
Great lesson Jens! I always thought the three most important scales in jazz were Major, Dorian, and Mixolydian..Jamey Aebersold pushed these 3 in his play along books. What are your thoughts? Also, can you do a more in depth video on the 3 scales, Major, Harmonic, and Melodic?
Modes are not the answer. I have videos on those 3 scales, it's just not in one video since each is a fairly big topic. maybe start here: th-cam.com/video/Gbn8bt6cMHI/w-d-xo.html
Thanks for sharing all the material and your tips on practicing and learning the guitar. I like this video and I even though you said the chords book you showed a picture for at 4:51min I am interested in knowing which book it is specifically please. Because it looks like somehow advanced and some of these chords are very useful in chord melody. Nelson Faria is an example of a guitar player that uses this type of chords. thanks in advance!
i’ve been playing for 30 years and I still find it really hard to jump into jazz playing. I think it goes to show that quantity is not quality. I learned guitar in the era of grunge and alternative rock, when it was deliberately kind of sloppy and lazy. As such, some bad habits were ingrained from a young age that I still fall into sometimes
I'm self-taught. Surely it has an advantage but I can't tell what it is and if I'd learned this early I'd surely be way ahead of where I am today. Jens is a great teacher.
Dankjewel! Ik ga dit ter aanvulling oefenen naast de 12 most important voicings les van je die ik stap voor stap doorneem. Ik ben de gaten in mijn kennis aan het opvullen en ben helemaal weer bij de basis begonnen. Er is zo veel op TH-cam maar ik focus me nu op de voicings en de 'methode' van tom quale wat ook al ontzettend heeft geholpen.
Major scale has always felt better to my fingers than pentatonic, which for me almost always turns into a relative minor scale when improvising. I think I could hear how it’s the way we move through the major scale that distinguishes the progression of notes as jazz. I see it sort of like the ocean tide that ebbs and flows regardless of whether the tide is going in or out.
Excellent video, thanks for sharing! I'm wondering though, how do you know when you've got the scale down well enough (third intervals, triads and arpegios) and when should you move to other exercises?
In the major scale you have 1 ii iii IV V iv vii0. He is adding the seventh part of the chord to harmonize farther out than the major and minor chord forms. So a major chord becomes a maj7 chord and a minor chord becomes a min 7 chord. A ii V I turn around might be a iimin7, Dom V, I maj7....and so on. You can then add 9ths, 11th. 13ths diminished, augmented etc. oh wow he did exactly my example as I wrote this......lol.
First learn how to spell fret board. Then some methods to navigate tge fretboard like octaves, learn open chords and bar chords, learn triad methods, learn all positions of the pentatonic scale and how they connect, learn the chords of the pentatonic scale how they relate to each other. THEN maybe you can start to understand this. Rickey Comiskey and stitch method have some easy to understand lessons. But when you start to understand. LARSEN is a gem with a lot of knowledge.
I am not sure I see the point in doing that, I think Danish is the language of the 3 that I have taught the least in. Why would that be more authentic?
Jens, why are for you the 3 scales major, melodic minor, and harmonic minor, and not the natural minor instead of the major? Just a permutation of the same scale, right?
@@JensLarsen Agree there, but... isn't it just a matter of convention/preference that we want the I to be the tonal center? When Holdsworth is explaining how he thinks of scales he's saying that he doesn't concern himself with modes. If you then see how he looks at the C major scale, he sees it as a D minor with a flattened sixth, so effectually as a minor scale, and not major. So a II-V-I on a major scale is the same as a IV-VII-III on a natural minor scale. Yes, it doesn't resolve to the I, but that is convention as the chords and harmonic intervals are the same. Just the numbering is different... (I know, it's more a philosophical look at it -- sorry😉)
@@mlaporte74 No, it is a matter of how you hear it, not just a choice. You can't just try to use theory to ignore your ears (or at least I would not advice you to do that).
@@JensLarsen I hear you 😉. And you are right. Theory is one, but music is hearing and feeling. Yet looking at the modes of the major scale they are more minor than major. So I guess it all comes down to where we hear the tonal center, right?
Jens, love your videos but I think it is time to fully commit to the four 8-note scales of Barry Harris (the 6th diminished scales). The 3 scale concept needs to be put to rest in my opinion. Why? Because the 6th diminished incorporate all variety of other common used jazz scales, moving much closer to full twelve tone freedom and beyond. Add in the Diminished scale and Whole-Tone and students will have all they need to interpret what the greats play and use it in their own playing. Of course this sounds much simpler than it is, and there are many other compositional concepts, but to me this is the easiest way to understand jazz.
I don't think that the Barry Harris scales really work to describe the solos that we want to learn from, not even Barry's own solos. For that tonal harmony is just a much better approach. Do you know any examples of someone analyzing Parker solos or Bud Powell solos from that perspective? I would be curious to take a look
@JensLarsen I DO, but I haven't ever posted anything about doing that. If anyone has it is probably Chris Pike (T.I.L.F Barry Harris channel). You tangentially approach an interesting question as to what various people actually thought about (arpeggio, scales, licks, etc) during practice or composition versus what they were hearing/thinking as they are improvising. My experience, like yours, starts decades ago with classical based ideas bent to fit jazz (like the "Jazz Melodic Minor, which is Melodic Minor, but only in the ascending, and then you play the same scale when descending, which makes it not the Melodic Minor" -- 🤦). I learned it all that way too and struggled through all the disconnected concepts are too many disconnected concepts confounding things (19 possible V7 substitutions, really?). I have come tot the conclusion that If one considers the permutations (modes) of the 6th diminished scales that BH would refer to as "6th on the 5th" or "playing with family" than all the same concepts that are twisted out of classical theory into "jazz theory" get covered and more with far less confusion. To me these concepts combine melodic and harmonic freely in modal interchange. An example would be playing the bIII Dom7 6th Diminished scale over a iim7b5/Vb9 chord. Another way of seeing this same thing is a Dom7 6th Dim on the b6th of the Vb9. This opens up the possibilities of playing all the borrowed structures from the Dom7 6th Dim scale, linearly or in harmonic combinations, and it is only one of several ways that eliminates the need for learning Melodic and Harmonic Minor scales. Other examples including the most obvious, the I Minor 6th diminished on that same minor ii7b5/V9. Which is the combo melodic/harmonic minor scale. The VI7b5 6th Dim works wonderfully too and so do others. Did the greats use these concepts directly? Did they think this exact way? Maybe some did at times. As you know, at some point you learn to hear the possibilities and just reach for what is there. What I most often see in analysis of these works is people analyzing a riff that follows a 6th Dim scale (or a "mode") and explaining it as a classical scale with a "passing tone" or a BeBop scale. Of course these are both valid and the people playing may not have thought of it in any of these ways. For me, I found much greater success with the a BH foundation as it can be built on easily with a broad application and continues to surprise and expand in many different directions.
hi can anyone help me, how to practice the diatonic triad i can play the exercise but dont know how to use it and it seems that i dont know what the note really is when i play the exercise
Yes. 100% of the top of my lungs yell volume YES. The thing that kills the drive to learn the most is not lacking study material or advice but not knowing whats "the path" what works and why it works and how to implement it. Nothing is more frustrating than being self taught and go out on a limb with something you think will work but finding later down the road you just wasted time when there was a much more streamlined and simple approach. Simple but not easy is what wins the race. Not strange detours, which abound in the online guitar teaching world
What is the best thing to begin with for Jazz?
Most Important Scale Exercise For Jazz:
th-cam.com/video/2Ze22BNftAA/w-d-xo.html
Best thing to start with is a healthy dose of patience.
Discipline
@@benkatof5852 indeed 🙂
Probably listening to jazz as well. Its really hard to talk a language you've never heard. You may get the scales, chords and arpeggios but wont understand how to combine them into jazz phrases.
@@ADHD_GUITAR certainly! Why would you try to learn if you don't listen to the music
Jens, I am 69 and have been trying to learn how to play jazz for the past 9 months. In just 2 weeks watching your videos I have understood infinitely more than in the past months. Thank you very much. I have been playing Latin American-Mexican folklore for 56 years and I have been listening to jazz about the same time or more! Love your videos!
Best video yet. ALL beginners should start here! Just wish I’d seen this 10 years ago - how much of my life would have been saved!
Just go for it 🙂
40 years ago a drummer I had befriended invited me to a jazz fusion jam. I was so lost I could barely play a note! This lesson makes sense even to my 1-4-5 entrenched mind.
TH-cam is very overwhelming when it comes to “How to Jazz”. Your videos always focus on the foundations, which every house is built.
Keep teaching and I’ll keep learning 🙌🙌
Great! Go for it!
Easily one of the best guitar tutorials I've ever seen! Everything you need to get started in one place, all explained clearly and simply. You should sell this teaching technique to the thousands of so-called guitar teachers who have no clue how to do it (and are often pretty average guitarists too). Thank you Jens!
Jazz, I have been self teaching myself for 6 months ,but I had no anchor. Thank you for caring at the right time. Appreciated!😊
All other beginner jazz guitar youtube videos overwhelmed me, this makes everything seem so in grasp and step-wise. I will come back here time and time again. Thank you.
This material is exactly what I’ve been attempting to learn for years. Hopefully the scale exercise progression you showed will finally get me there.
Also nice to see a video that doesn’t go that far over my head. I’m decent with theory intellectually, but have yet to fully connect that knowledge to the fretboard.
Go for it! 🙂
What a masterclass. 10 minutes of content that can be translated into months of practice!
Glad it was useful 🙂
As a jazz beginner this video is 100% useful and worthy to follow, thanks so much Jens!
Glad it was helpful!
Really fantastic video @JensLarsen , It brings back a lot of memories from when I was studying for my audition at Hilversum Conservatory
Thanks André! Yes, it is all about getting started 🙂
@@JensLarsen Yes it is :-) I'm visiting the Netherlands in August actually, from August 3-25 I'll be in the Rotterdam area
@@Yourguitarworkshop Nice! I am out of the country in a huge part of that period. but maybe we should see if we could grab a coffee.
If you have time that is.. 🙂
I agree with " best video yet" !
So much here! These ideas, I've arrived at myself after many years.
We have to take a few wrong turns along the way. What am I missing?
If you honestly listen to your own playing, along with feedback from players better than you.
Making mistakes can be a great learning experience, if you are willing to admit it.
Great work, Jens. Thanks so much.
Thank you, Mark! 🙏
Jens I want to say thank you very much on your videos.
Now my phrasing is much better, forever thank you.
That's great! Keep at it 👍🙂
I keep coming back to Jens Larsen 's videos. Jens is hip, and he can teach. Good job!
Glad you like them!
One of your best here Jens. Very clear and plenty of practical sense - and its not flat out and chockfull..... so a slow brain like mine can tie things together. Very helpful. We are continually told to get foundations solid and "right" but in fact not that many teachers do that - they can't resist showing us that they are way better than us. Actually - we know that !! Tis why we're here... so this material you present is a genuine helping hand. Thanks.
I agree. I didn't start with any theoretical foundation, but learning rapidly as needed. Kind of knowing the arp.'s, the scales, the triads, but struggling to get music out of it. The shell chord part with the 7'th was really helpful to pull everything together. Jens couldn't have picked better examples to play.
Very helpful Jens - thank you. It's also really important to play the songs you like, and play solos with the melody in your mind to get the best sound.
Glad it was helpful!
Excellent description of the shell voicings, Jens! This lesson really removes some of the confusion and difficulty about learning jazz guitar ❤ Thanks so much!
Glad it was helpful!
This just gave me the buzz I've been looking for to help become a better guitarist..
Thank you so much.. ❤❤
Happy to hear that!
Jens, adding subtitles (not auto generated) to your lesson is a game changer (for my personal purpose). Thank you very much.
Great! Glad that is useful 🙂
As a beginner, I agree. Everything Jens says is spot on, but now I need an interpreter!
Glad you like the video!
@@JensLarsen are you accepting students for online private instruction?
Great advise, Jens. After playing years of pop and rock, my interest has schifted to more jazzy inspired music. Even theory has caught my interest as I want to know what I'm playing and when to play it . Playing over the chord changes is very satisfying to play. Keep up the good work and Thank you for sharing.
Great! Go for it 🙂
Perfect combination of clear teaching with appropriate visuals - amazing.
Glad you think so!
As a former bass player, I'm pleased that Shell voicings leave out the 5th. Bass players are jealous about their 5ths! 😊
😁🙏
Danke!
Thank you for the support, Pablo!
Another great video for us aspiring jazz guitar enthusiasts! It is so rich in information I have to slow down your video to 75%. 🙂 Could you recommend a course or book that carries forward the information in this video and that includes exercises and suggested backing tracks? I always appreciate your perspective and the music theory, history lessons, and what to avoid.
Thank you!
I would check out the Jazz Guitar Roadmap if you want to get some stuff figured out and internalized. There's a link in the video description
Yup. This is great practical stuff for us jazz dummies. Thanks Jens!
Glad you like it 🙂
Thank you! This is a way to start for me with jazz that seams realistic and possible
Great! Go for it!
This is so useful even though jazz is not my favorite style still the theory of using triads this way is very useful when improvising
I play in a Jazz Big Band .Great lesson..wish I had this when I started
Thank you! Glad it was useful 🙂
Thanks!
Spectacular information presented here, in the most easily understood manner possible. Thank you Jens. I've been a long--time subscriber and appreciate the invaluable information which you impart here for free. Cheers!
Glad it was helpful!
And this is why learning simple chords was the key for me. After learning the chords, the scales just seem to arrive much more intuitively.
This has to be the most useful video on the subject that I've ever seen.
Glad it was helpful!
Thanks again Jens. I love how you "put the cookies on the lower shelf" for us. (+1 for REAPER too!)
Great that it was helpful!
I come from a metal background and consider myself pretty descent but these intervals hurts my brain😆
Great tutorial, I am so happy I found your chanel! Thanks! (for the headache)😄
Haha! Thank you and sorry about the headache 😂
Yes finding the right or wrong teacher can be the beginning or the end, this guy is the right teacher.
I would buy Jens’s jazz course. It has this and a lot of other stuff. It’s great.
🙏🙂
This is a fantastic video, Jens! Thank you!
Glad it was helpful!
Ok here I go! I’m gonna commit to learning jazz. Starting with this video! :)
Go for it!
Fantastic lesson.
Thank you for posting this 👍👍
Glad you liked it!
Great lesson Jens! I always thought the three most important scales in jazz were Major, Dorian, and Mixolydian..Jamey Aebersold pushed these 3 in his play along books. What are your thoughts? Also, can you do a more in depth video on the 3 scales, Major, Harmonic, and Melodic?
Modes are not the answer. I have videos on those 3 scales, it's just not in one video since each is a fairly big topic.
maybe start here: th-cam.com/video/Gbn8bt6cMHI/w-d-xo.html
Thanks for sharing all the material and your tips on practicing and learning the guitar. I like this video and I even though you said the chords book you showed a picture for at 4:51min I am interested in knowing which book it is specifically please. Because it looks like somehow advanced and some of these chords are very useful in chord melody. Nelson Faria is an example of a guitar player that uses this type of chords. thanks in advance!
Glad you like the videos!
Your lessons are always clear and understandable thank you.
Glad you think so!
Im actually learning jazz piano but this is gold thanks yoy
Glad it is useful!
i’ve been playing for 30 years and I still find it really hard to jump into jazz playing. I think it goes to show that quantity is not quality. I learned guitar in the era of grunge and alternative rock, when it was deliberately kind of sloppy and lazy. As such, some bad habits were ingrained from a young age that I still fall into sometimes
What an incredible teaching video
Thank you!
Great video, advice and information. Thank you Jens!
Glad it was helpful!
I'm self-taught. Surely it has an advantage but I can't tell what it is and if I'd learned this early I'd surely be way ahead of where I am today. Jens is a great teacher.
Awesome stuff, really appreciated
Glad it was helpful!
thanks Jens! your the real gps on our jazz guitar road!
Glad you find the videos useful 🙏
Very clear and helpful explanation. Thank you!
Glad it was helpful!
Dankjewel! Ik ga dit ter aanvulling oefenen naast de 12 most important voicings les van je die ik stap voor stap doorneem. Ik ben de gaten in mijn kennis aan het opvullen en ben helemaal weer bij de basis begonnen. Er is zo veel op TH-cam maar ik focus me nu op de voicings en de 'methode' van tom quale wat ook al ontzettend heeft geholpen.
Major scale has always felt better to my fingers than pentatonic, which for me almost always turns into a relative minor scale when improvising. I think I could hear how it’s the way we move through the major scale that distinguishes the progression of notes as jazz. I see it sort of like the ocean tide that ebbs and flows regardless of whether the tide is going in or out.
again, another excellent Jens Lesson❤
Glad you think so!
Great lesson Jens
Thank you James!
I’m a 17 year old rock guitarist who has never touched jazz and I got a jazz gig in less than a month. Wish me luck.
Have fun!
How’d it go?
any chance you have a video on these shell voicings? specifically lost on how you determine which ones are major, minor, or other
Here are a few: th-cam.com/video/zH4uQYgDotM/w-d-xo.html
I thought I knew … but … hands down to these exercises 🎉
🙏😁
This is just - AWESOME! Thanks a lot 🙏
You're very welcome!
This video is pure gold for me. I’m not into bee-bop yet so what do you recommend for the most basic tune for listening and learning?
Perfekt Teaching.! GREAT!
Glad you think so!
Very helpful ! A pleasure to watch and listen to, and to work with ! 👍
Great to hear!
Wonderful lesson this’ll take awhile to master! Vielen Dank
Go for it 👍
Very complete!! Thank you!!
Thank you!
Thanks for your valuable information
My pleasure!
Great video. Thanks for posting.
Glad it was useful 🙂
Soooo glad I just found your channel :)
You are very welcome
Excellent video, thanks for sharing! I'm wondering though, how do you know when you've got the scale down well enough (third intervals, triads and arpegios) and when should you move to other exercises?
When it is easy to play in any key and position? But once you have it in your system then it doesn't take more than a minute to play
I love how its meant to be for beginners but I just cannot understand what on earth he's talking about 😭
Maybe not for "beginning guitar students" but for intermediate guitar students who are beginning in jazz
In the major scale you have 1 ii iii IV V iv vii0. He is adding the seventh part of the chord to harmonize farther out than the major and minor chord forms.
So a major chord becomes a maj7 chord and a minor chord becomes a min 7 chord.
A ii V I turn around might be a iimin7, Dom V, I maj7....and so on. You can then add 9ths, 11th. 13ths diminished, augmented etc. oh wow he did exactly my example as I wrote this......lol.
Same here
😂😂😂😂 trueeeee
First learn how to spell fret board. Then some methods to navigate tge fretboard like octaves, learn open chords and bar chords, learn triad methods, learn all positions of the pentatonic scale and how they connect, learn the chords of the pentatonic scale how they relate to each other. THEN maybe you can start to understand this. Rickey Comiskey and stitch method have some easy to understand lessons. But when you start to understand. LARSEN is a gem with a lot of knowledge.
Thank You
Thank You 🙏🙏🙏
You're most welcome
Elementary my dear Jezz Larsen. Thanks. 🙂
this is a wonderful lesson! extremely useful
Glad you think so!
Asking for authenticity to the most, would you consider doing a whole video in danish? Would be great as a special one
I am not sure I see the point in doing that, I think Danish is the language of the 3 that I have taught the least in.
Why would that be more authentic?
Tellement clair toutes ces bases merci pour le partage.
Glad it was helpful
Jens, do you ever come to the US? If you ever plan to come to Kansas City I will personally chauffeur you around. We have a great jazz scene here!
I don't have much chance to travel to the US, mostly just LA for NAMM
very useful, thanks 😊
Glad it was helpful!
Super, avez vous prévu les sous titres en français ? Merci !
You're very welcome 🙂
Thank you
You're welcome
Yes, good stuff!
Thank you!
Always entertaining and musical. Cheers, D
Thanks Daniel! 🙂
Good stuff! Helpful stuff!
On a side note, what year is your Sheraton?
Thank you! It's a 2000 🙂
Jens, why are for you the 3 scales major, melodic minor, and harmonic minor, and not the natural minor instead of the major? Just a permutation of the same scale, right?
Because there is a lot more music in a major key and it is far less complicated for beginners
@@JensLarsen Agree there, but... isn't it just a matter of convention/preference that we want the I to be the tonal center? When Holdsworth is explaining how he thinks of scales he's saying that he doesn't concern himself with modes. If you then see how he looks at the C major scale, he sees it as a D minor with a flattened sixth, so effectually as a minor scale, and not major. So a II-V-I on a major scale is the same as a IV-VII-III on a natural minor scale. Yes, it doesn't resolve to the I, but that is convention as the chords and harmonic intervals are the same. Just the numbering is different... (I know, it's more a philosophical look at it -- sorry😉)
@@mlaporte74 No, it is a matter of how you hear it, not just a choice.
You can't just try to use theory to ignore your ears (or at least I would not advice you to do that).
@@JensLarsen I hear you 😉. And you are right. Theory is one, but music is hearing and feeling. Yet looking at the modes of the major scale they are more minor than major. So I guess it all comes down to where we hear the tonal center, right?
@@mlaporte74 it comes down to what the melody tells you. They are usually clear and have very little to do with modes.
Great lesson!!
Thank you. Glad you liked it!
6:56 Excuse me, in the second measure that is written are they heard on the guitar?
That is just a typo in the rhythm. Just go with what I play 🙂
@@JensLarsenThank you very much. I wondered if I was so wrong. Again thank you very much! God bless you.
Hi Jens,
What book is that with all the chord voicings at 4:50?
Thanks!
Jack
Very good vídeo.
Thank you
6:53 Nice playing
Jens, love your videos but I think it is time to fully commit to the four 8-note scales of Barry Harris (the 6th diminished scales). The 3 scale concept needs to be put to rest in my opinion. Why? Because the 6th diminished incorporate all variety of other common used jazz scales, moving much closer to full twelve tone freedom and beyond. Add in the Diminished scale and Whole-Tone and students will have all they need to interpret what the greats play and use it in their own playing. Of course this sounds much simpler than it is, and there are many other compositional concepts, but to me this is the easiest way to understand jazz.
I don't think that the Barry Harris scales really work to describe the solos that we want to learn from, not even Barry's own solos. For that tonal harmony is just a much better approach. Do you know any examples of someone analyzing Parker solos or Bud Powell solos from that perspective? I would be curious to take a look
@JensLarsen I DO, but I haven't ever posted anything about doing that. If anyone has it is probably Chris Pike (T.I.L.F Barry Harris channel). You tangentially approach an interesting question as to what various people actually thought about (arpeggio, scales, licks, etc) during practice or composition versus what they were hearing/thinking as they are improvising. My experience, like yours, starts decades ago with classical based ideas bent to fit jazz (like the "Jazz Melodic Minor, which is Melodic Minor, but only in the ascending, and then you play the same scale when descending, which makes it not the Melodic Minor" -- 🤦). I learned it all that way too and struggled through all the disconnected concepts are too many disconnected concepts confounding things (19 possible V7 substitutions, really?).
I have come tot the conclusion that If one considers the permutations (modes) of the 6th diminished scales that BH would refer to as "6th on the 5th" or "playing with family" than all the same concepts that are twisted out of classical theory into "jazz theory" get covered and more with far less confusion. To me these concepts combine melodic and harmonic freely in modal interchange.
An example would be playing the bIII Dom7 6th Diminished scale over a iim7b5/Vb9 chord. Another way of seeing this same thing is a Dom7 6th Dim on the b6th of the Vb9. This opens up the possibilities of playing all the borrowed structures from the Dom7 6th Dim scale, linearly or in harmonic combinations, and it is only one of several ways that eliminates the need for learning Melodic and Harmonic Minor scales. Other examples including the most obvious, the I Minor 6th diminished on that same minor ii7b5/V9. Which is the combo melodic/harmonic minor scale. The VI7b5 6th Dim works wonderfully too and so do others.
Did the greats use these concepts directly? Did they think this exact way? Maybe some did at times. As you know, at some point you learn to hear the possibilities and just reach for what is there. What I most often see in analysis of these works is people analyzing a riff that follows a 6th Dim scale (or a "mode") and explaining it as a classical scale with a "passing tone" or a BeBop scale. Of course these are both valid and the people playing may not have thought of it in any of these ways. For me, I found much greater success with the a BH foundation as it can be built on easily with a broad application and continues to surprise and expand in many different directions.
@@JohnAmatulli Maybe you should post something about it. I don't immediately see how it makes sense, but I am curious how you go about it
You are a god.
Maybe, that is (slightly?) overstated? 😂
nailed it !
Awesome video
Thank you 🙂
wow super good!
Glad you think so!
hi can anyone help me, how to practice the diatonic triad i can play the exercise but dont know how to use it and it seems that i dont know what the note really is when i play the exercise
Try saying the notes as you play them. As for using them: any 7th chords consist of two triads
I’ll know I’m no longer a beginner when the solo counter examples stop sounding better than what I can play.
I've needled this. I can play the guitar, but my improvising sucks.
Go for it 🙂
@safra
You & me both my friend ☹️
Yes. 100% of the top of my lungs yell volume YES. The thing that kills the drive to learn the most is not lacking study material or advice but not knowing whats "the path" what works and why it works and how to implement it. Nothing is more frustrating than being self taught and go out on a limb with something you think will work but finding later down the road you just wasted time when there was a much more streamlined and simple approach. Simple but not easy is what wins the race. Not strange detours, which abound in the online guitar teaching world
you give this exercise for free to everyone? SHEESH thank you so much 😭
If you can put it to use then that is great! 👍
Ok, nice! But what about rhythm?
Are you asking for links to other videos? You could also learn a solo by ear.
7:49 Mega helpful