What a great story to round out the lesson. Thanks Richie for breaking down a solo into its hidden enclosures and chromatic approaches. The amazing thing to me is that you can do this so quickly, on the fly, switching from chord to chord so effortlessly. This lesson is a real gift for a student like me striving to bebopify his playing.
Not to approach this simplisticly, I find if I can verbalize a solo line it helps take a load off the creation of a line on guitar, as one will probably be missing notes by just trying to discover a solo only on guitar. The missing of the notes becomes a distraction, and get you enough off track to forget what you were going for. But if you say the line, which isn't hard for intermediate players, it keeps you steady and focused. Even if you only say the line in your head before you start to play it. Intermediate to me in this case means once you start playing the line, you know what the notes will sound like when you reach them. To a degree.
Thank you for these videos. This video is exactly what I need to develop some fun practice routines for jazz. I am mostly a blues and rock player. I hope to enhance my blues and rock while studying jazz. These studies you have introduced are awesome. I will check out your on line courses once I had had fun being creative and such on my own with this lesson. Bebop is not a huge priority for me because my gig life doesn’t really include it much. But I do find it fascinating and fun to try. Plus... a lot of those concepts really help to spice up my blues and rock n roll. Maybe one day I’ll be good enough at jazz to actually play some gigs in that genre as well. Thank you for your videos. They are very helpful.
The Peerless Jazz City sounds fantastic. You usually use the Heritage and custom built jazz box. The Peerless has a more "woody" snap to it that I really like. Hope to see it more often. Great lesson too
Please Never stop the "bad jokes". Our cold society needs more of you! I always feel better after I do a Jazz Guitar lesson with you. Additionally, I walk away with an increased knowledge and ability. אדאנק!
Will keep that in mind! Glad the lessons are helpful. By the way, I initially couldn't figure out the final word which isn't in my limited Hebrew vocabulary. Then it finally dawned on me that it's Yiddish with a Hebrew spelling for "a dank", so... you're very welcome! :-)
Hello! I checked through the comments to see if anyone mentioned this before bringing attention to this. The F on beat 2 of the first full measure seems like it is being enclosed by the G and E preceding it.
Enclosures ( approach notes) in order to be to be analyzed as such, have to resolve to chord tones (or upper extensions). In the case of the b2 or F of the Em7b5, it is an "avoid" note which can't function as a resolution because it is not a chord tone or available extension. It is therefore acting as a passing tone between the 1 (E) and the b3 (G). It then again acts as a passing tone between the G and the E. Hope this answers your question John!
Check out John McGlaughlin in Graham Bond Association (with Ginger Baker playing straight-ahead jazz drums). Phenomenal British jazz group (Pre Cream and Mahavishnu)
I studied Jazz guitar in college for 2 years, and no one taught us this. Very helpful and interesting! Thanks! (I don’t know if you have mentioned this but those “bebop” scales have an extra note added so that you have 8 instead of 7 notes which works out better rhythmically. Did I state that correctly?)
Thanks Nathan, glad to be of help! Yes, I am aware of the bebop scale and the 8 notes, however because of what you mention, many newbies (mostly guitarists) just resort to playing the scale in a linear fashion and not really focusing on the arpeggio and other elements associated with the bebop idiom such as "approach" notes.
The Jazz Guitar Channel : Thanks for the reply. I do understand that arpeggio/chord tone approach. I liked the “enclosure” terminology. I never heard anyone mention that before you. I have learned much from your videos. Good stuff! Thanks!
@@RichieZellon I am buying your bebop volume one course too, based on this lesson. You have info that I have been searching for .. FOREVER!! I feel the same as the guy who studied Jazz guitar in college for 2 years.. I did the same and have been trying to figure this out for a long time.. Thanks again!!!
Screw the Jazz Guitar (if you will) - I just wanna go to that-there Meditation group that made you so dang Peaceful. And I thought all along it was the cool "Devadip-Santana" cap. :)
Chords aren't modes?!?!?!!?! ii V I doesn't go (for instance) c dorian F7 Mixolydian Bb Ionian! s ii V I lick is by definition dorian. Only dorian. Or it COULD BE in lydian mode. But licks don't change modes over chords; they remain the same from start to finish. And though they may modulate (meaning they aren't in any mode), they certainly don't change modes. For a great studio guitar player, somebody needs a theory brush up, starting with the following theory: Chords aren't modes!!!
Sorry Josh, but I have no clue where you learned your theory nor what you're understanding from this video. Also, I never said chords are modes. Chords are derived from modes. And No, a II-V-I lick is NOT all dorian. What music school did you go to???
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if all teachers were as cool as you the world would be full of amazing guitar players. love you brother :)
Thank you kindly!
What a great story to round out the lesson. Thanks Richie for breaking down a solo into its hidden enclosures and chromatic approaches. The amazing thing to me is that you can do this so quickly, on the fly, switching from chord to chord so effortlessly. This lesson is a real gift for a student like me striving to bebopify his playing.
Thank you kindly, so glad to be of help!
Thank you Richie. This is the most musical example of enclosures I’ve seen so far! Others who post their examples sound like an exercise.
Playing an arpeggio and THEN adding enclosures was a real eye opener for me. Thanks for this Richie!
You're very welcome!
I derived a large degree of bebopifaction from this video. Thank you Ritchie!
Not to approach this simplisticly, I find if I can verbalize a solo line it helps take a load off the creation of a line on guitar, as one will probably be missing notes by just trying to discover a solo only on guitar. The missing of the notes becomes a distraction, and get you enough off track to forget what you were going for. But if you say the line, which isn't hard for intermediate players, it keeps you steady and focused. Even if you only say the line in your head before you start to play it. Intermediate to me in this case means once you start playing the line, you know what the notes will sound like when you reach them. To a degree.
Thank you for these videos. This video is exactly what I need to develop some fun practice routines for jazz. I am mostly a blues and rock player. I hope to enhance my blues and rock while studying jazz. These studies you have introduced are awesome. I will check out your on line courses once I had had fun being creative and such on my own with this lesson. Bebop is not a huge priority for me because my gig life doesn’t really include it much. But I do find it fascinating and fun to try. Plus... a lot of those concepts really help to spice up my blues and rock n roll. Maybe one day I’ll be good enough at jazz to actually play some gigs in that genre as well. Thank you for your videos. They are very helpful.
Thank you for taking the time to walk through connecting arpeggio notes via chromatics and enclosures in such a careful, understandable manner.
Thanks for watching!
The Peerless Jazz City sounds fantastic. You usually use the Heritage and custom built jazz box. The Peerless has a more "woody" snap to it that I really like. Hope to see it more often. Great lesson too
Yeah, I love that "woody" sound....thanks
Please Never stop the "bad jokes". Our cold society needs more of you! I always feel better after I do a Jazz Guitar lesson with you. Additionally, I walk away with an increased knowledge and ability. אדאנק!
Will keep that in mind! Glad the lessons are helpful. By the way, I initially couldn't figure out the final word which isn't in my limited Hebrew vocabulary. Then it finally dawned on me that it's Yiddish with a Hebrew spelling for "a dank", so... you're very welcome! :-)
Thanks richie you are the best, and true bebop is a long learning path.
great lesson Mr.Zellon. thank you.
Glad you liked it!
Great stuff! Thanks for sharing your talent and knowledge. Subscribed!
If there's 2 things my guitar playing can use, it's definitely boppification.
Thanks so much for another great lesson! 😊
Great lesson Richie!! Thank you!
Thanks Gustavo!
that was a great little lesson, i learned something, thanks
Hello! I checked through the comments to see if anyone mentioned this before bringing attention to this. The F on beat 2 of the first full measure seems like it is being enclosed by the G and E preceding it.
Enclosures ( approach notes) in order to be to be analyzed as such, have to resolve to chord tones (or upper extensions). In the case of the b2 or F of the Em7b5, it is an "avoid" note which can't function as a resolution because it is not a chord tone or available extension. It is therefore acting as a passing tone between the 1 (E) and the b3 (G). It then again acts as a passing tone between the G and the E. Hope this answers your question John!
Check out John McGlaughlin in Graham Bond Association (with Ginger Baker playing straight-ahead jazz drums). Phenomenal British jazz group (Pre Cream and Mahavishnu)
I studied Jazz guitar in college for 2 years, and no one taught us this.
Very helpful and interesting!
Thanks!
(I don’t know if you have mentioned this but those “bebop” scales have an extra note added so that you have 8 instead of 7 notes which works out better rhythmically. Did I state that correctly?)
Thanks Nathan, glad to be of help! Yes, I am aware of the bebop scale and the 8 notes, however because of what you mention, many newbies (mostly guitarists) just resort to playing the scale in a linear fashion and not really focusing on the arpeggio and other elements associated with the bebop idiom such as "approach" notes.
The Jazz Guitar Channel : Thanks for the reply.
I do understand that arpeggio/chord tone approach.
I liked the “enclosure” terminology.
I never heard anyone mention that before you.
I have learned much from your videos.
Good stuff! Thanks!
Great lesson!
GREAT lesson.. thanks.. really important stuff..
Thanks for the feedback...much appreciated!
@@RichieZellon I am buying your bebop volume one course too, based on this lesson. You have info that I have been searching for .. FOREVER!! I feel the same as the guy who studied Jazz guitar in college for 2 years.. I did the same and have been trying to figure this out for a long time.. Thanks again!!!
Great
Screw the Jazz Guitar (if you will) - I just wanna go to that-there Meditation group that made you so dang Peaceful.
And I thought all along it was the cool "Devadip-Santana" cap. :)
😆
Hahaha i love you man. Would you be my grandpa?haha Thank you for the concepts:) thank you for sharing your knowledge:) you're the best:)
Richie, Bopify is what I meant listening to Howard Roberts’ Satin Doll solo.
What album is it on?
H.R. Is a Dirty Guitar Player
His solo was fairly short but crammed full of approaches in a "punchy" style that is only HR, of course.
Chords aren't modes?!?!?!!?! ii V I doesn't go (for instance) c dorian F7 Mixolydian Bb Ionian! s ii V I lick is by definition dorian. Only dorian. Or it COULD BE in lydian mode. But licks don't change modes over chords; they remain the same from start to finish. And though they may modulate (meaning they aren't in any mode), they certainly don't change modes. For a great studio guitar player, somebody needs a theory brush up, starting with the following theory: Chords aren't modes!!!
Sorry Josh, but I have no clue where you learned your theory nor what you're understanding from this video. Also, I never said chords are modes. Chords are derived from modes. And No, a II-V-I lick is NOT all dorian. What music school did you go to???
@@RichieZellon Juilliard, so Schönberg.
Nice lesson! Cheers.