The only skills you need to become a good jazz musician! Hint: it's not ear training...
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Hi there, if you feel maaad about any of the stuff I said here and want to scold me for it please...go ahead! But also you can check out this video in which I address some of the controversy: bit.ly/2qWnsm3
In this video I try to be honest about the skills you need to be considered a good jazz musician. I bust some myths about the value of ear training, the benefit of knowing just a little theory, the importance of understanding rhythms and form and developing general musicality!
Top 5 things you should know as a jazz guitar player: bit.ly/2FByth4
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Thanks to Paul Gibby for these:
Skills to be a professional jazz or GJ player:
2:18 - Single-line players: ability to play themes and solos, great lines
3:21 - Chord players: know chords, voicings, ability to swing
6:20 - Ear training "parlor tricks" great lines
10:29 - Recognizing intervals great solos
11:07 - copying notes great solos
11:34 - Must be able to hear dynamics
12:03 - Ability to hear Form
12:53 - Rhythmic Comprehension
14:35 - Learn to sing Bebop lines
16:34 - Know chord names
19:44 - Ability to verbalize the song Form (AABA etc.)
21:03 - How to train Form recognition
22:05 - Style conventions, intros and endings
23:23 - Know which lines are appropriate to style
24:35 - How to train and develop musicality
Yes. Nothing teaches like first hand experience. Very good, very practical advice for just jumping in and getting your feet wet. Love this video, and thanks for this index as well! - I think you really cut through the clutter of theory and nailed the core competencies one needs to actually get down to business as a player! +1
@Start The Rebellion Thanks man!
Don't forget "How to learn Ragas"
Where does he teach us to djent? (Asking for a friend).
Christiaan van Hemert ;
Great video Christiaan! 👍 Really down to earth and in touch with what it really is like to play and perform jazz 🙂
praise from jens is a great thing :)
Thanks Jens, I enjoy your videos as well!
@ouroboricform It sure is!
Jens is great, and I enjoyed this video. I'm not a trained musician, but I learned hundreds of songs. Learning hundreds of songs made it possible to play with other musicians live. Playing live is a skill different than practicing scales.
Learning the "standards" in whatever genre you love teaches one about what most people accept as "tasteful" playing.
Most people do not have the time nor inclination to become masters of their instrument.
Most people buy an instrument and never get past the beginning because instructors convince them they must learn to play a certain way.
If you're a teacher, don't kill the interest in music for the vast majority who just want to play some songs. Some of your students will want to learn everything you have to teach and then will move on to someone even more advance...but again, don't force everyone into that slot. You'll kill more love of music than you creat masterful musicians.
If you do want to master if, that too is wonderful.
Learn songs, play with others. Live life.
i know you MR LARSEN GOOD TEATCHER
A lot of sense spoken here. I've been playing jazz on the saxophone over fifty years and I find nothing to disagree with here. Well done.
Thanks Joe!
Good conversation points from Christian.
I’ve been playing and casually gigging
for 30 years and I wasted early years
Over practicing scales and arpeggios
and not going beyond just listening to solos of the great players but actually studying them .
Refreshing to know that even great soloists have quirks and may not be able ,ie , to parrot back a riff in real time
Jazz is a journey for a life time...
Unlike sports or other activities that might get worse with age... jazz players can keep evolving to the end -and have a good time doing it.
Do you have any tips for “going beyond just listening,” and actually studying, as you said?
11.50, dynamics..... Nothing makes me want to put my guitar in it's case like people who won't respond to dynamics. And musicianship, almost never discussed for fear of offending the cloth eared. Give me a guy who plays three chords all night sensitively and I'll have a great night. Great list Christian. I come from a science background, any postulate which is contradicted by experiment has a short life. Yet with music bad advice becomes orthodoxy and never goes away. Like textbooks claiming to describe how to build a line and the first quoted line contradicts their formula, and so do all the others!!! Then the authors written solos are almost impossible to render musically. Theory should be descriptive,not prescriptive. Much better to go to the source and try and understand what is done rather than what someone who can't really play says should be done.IMHO singing whilst playing rhythm guitar along with a recording fixes most of the skills you correctly prioritise. I hope you keep these coming, as for length since you are always concise and clear the longer the better.
Thanks David, these 'rambling' style videos can run a little longer but I do try to hit as many relevant points as I possibly can. Good to hear that you are enjoying them!
100% agree with you my friend. In many cases, theory can a burden instead of a tool.
Very interesting take on ear training. As someone without perfect pitch, I find that ear training, whether I'm focused on intervals or polyphonics or arpeggios, is less about being able to name intervals or name the chords or copy the arpeggios (which is how it's practiced), but more about actually learning to hear. That is, for me at least, naming an interval is a means to an end, the end being having a better ear.
I'm not sure how to explain this to someone with perfect pitch. It's like watching a carnival color wheel spin. If it's spinning slowly, you can name the colors one by one, very easily. But if it's spinning very quickly, it's just a blur. I do ear training to slow the wheel down.
Christiaan, while your opinions might be controversial to some, I agree with you entirely.
I am a bluegrass fiddler, attempting gypsy jazz, and I would echo everything you said when it comes to playing bluegrass - especially the last part, about listening to known expert players. I can tell a rock or classical convert to bluegrass from a mile away. It is very hard for them to develop a "feel" for bluegrass music unless they've really listened to it - or even better, seen it live. Many kickoffs, endings and chord progressions become familiar over time. Songs are easier to play when you have a familiar sense as to where they are going. Many folks I play with have no understanding of theory, intervals, or any of that - but they know very well how their instrument is supposed to sound in a band context. They know when to back off, when to punch a beat, and most importantly, how to play in time.
Maybe a future video can suggest good stuff for us to listen to, and why (violin and guitar). Thanks, again.
Thanks and a good idea for a future video!
To me, this is why jazz is, for all intents and purposes, a dead art form. It died in 1965, when John Coltrane lead the whole scene down the rabbit-hole of free-form. Aside from variations of "fusion", it has since remained crystallized and rigid. Since then, all musicians aspire to, and are generally compared (usually unfavorably) to a small handful of legends. This leaves no room for growth or evolution. It's all been done to death.
Country music took it's cue from the advent of rap, and has managed to survive through reductionist pandering to the lowest common denominator, ever-increasingly insulting the intelligence of an audience that doesn't mind. Meanwhile, jazz remains a rigid and elitist circle-jerk. Anyone who tries to make it relevant is invariably doomed to obscurity, because the dwindling audience (mostly of fellow musicians) can't stop comparing what they are doing to Charlie Parker.
I have the same guitar. Peerless monarch. I swap the pickup. Dig a hole in it and put a classic 57. Sound awsome. No tone pot, just volume pot. My favorite guitar since i did this. It was in the room collecting dust for many years. One day i fall on a 57. Did the swap. Wow. Amazing guitar
Hey Christiaan,
Again a very great video! As I already said before I am just a below average guitar player and musian but I love videos like these!
I really appreciate this video because it gives insight in what a real working pro musican considers essential and required knowledge. There are thousand of videos on YT about how to be a good musican but a lot of them are created by bedroom players that don't have any experience with real gigging and playing live. These videos also often suggest to learn all your scales, modes, arpeggios, triads, learning to read, train your ear for melody, harmony and rhythm to becoming a good musican. While this is all true and essential it is really overwhelming IMO. Technically the only thing you need to do to gig is being able to play great sounding songs. And your role in the band defines what you need to learn (chords, lines, rhythm etc)
IMO you show a 80/20 approach to jazz musicanship :P. And since it consists of actually playing music its a lot more fun than learning to play all the scales, modes, arps, ear training etc. While these are essential to being a good musican they are not essential to gigging and making jazz music.
It also depends on your goals IMO. If you want to be a super good musican, yes learn all your scales, arps, ear training, notation etc. But most people visiting this channel just want to play gypsy jazz in a group or in their bedroom. (I don't have any info/statistics on this but I just assume :P. myself included) They have a day job, kids, a family. Playing music is part of their life, its not their life. In this case, the most satisfying and succesful approach is probably to just learn lines, chords and playing songs. This gets you to the gig.
Only thing I disagree with is ear training. How do you learn lines if you have bad ears (like me?) How do you know the chord that the line is played over if you can't hear the chord? In my opinion having great ears, being able to play everything by ear is the epitome of musicanship :P. Perhaps this a fascibnation/obsession of mine because I have bad ears myself and having good ears seem like the answer while more time on the instrument is required. Can't escape hard work, even if you decide to choose the path/aproach described by Christiaan in this video.
Lol, again a extreme incoherent piece of text written by me. I am sorry lol. TLDR; Great video!
Everyone can transcribe lines, just slow it way down and go note by note. That's how many people start and after doing that a hundred times it will go faster and faster, also because you start to recognize the general language of the style you're transcribing. Finding out the chords from a recording is not that hard, slow the music way down and keep repeating until you can hear the bass note. Now play the bass note on your guitar and sing other notes that fit with that bass note right after you pressed play on the original recording to again hear that one chord you're trying to get. You will get it this way eventually however long it will take you!
Thanks for the tips Christiaan! That tip to hear chords is a great idea!
Christiaan, I loved this video!! I have been trying to sound like a legitimate Jazz Guitar player for a long time (with no luck) You have outlined the true common sense and proven elements to being a good musician. I'm so grateful that I "stumbled" onto your site. Thank you for taking the time to communicate such valuable insights.....we do appreciate this, believe me!!
Thanks so much Steve. I appreciate you taking the time to let me know!
All bullshit ... telling for 20 minutes what skills you don't need to have
The thing that stops me getting involved in jazz (as a double bassist) is present in many of the comments here. I just don't have time for that elitism rubbish. We learn so much by interaction, always. How do we learn to read? Well for me the answer was playing in community orchestras (Playing with others). Or I could sit home until I _think_ I am ready and know enough....when would that be? Bravo Christaan van Hemert. And thanks for this post.
Thanks Will B. Don't let the haters stop you, just go for it!
Cool viewpoints.
However a guy with perfect pitch telling others ear training is unimportant?
Like a chef with the best ingredients telling you ingredients don’t really matter😳
Ha, I understand your point but it is in fact the exact reason why I hold that opinion. I had perfect pitch long before I was able to play a good jazz solo and I encountered plenty of musicians with bad ears who played fantastic solos all the time. That's why I said that!
Groundbreaking video. Nobody speaks of these topics so honestly. Thank you!
I COMPLETELY disagree. In jazz the ear is everything. Jazz is music learned and played by ear. When you play together with someone you have to LISTEN to what he is playing. You don't need to be able to name the chords or notes. You have to LISTEN and then you transfer your most genuine, sensitive emotions onto your instrument. By LISTENING. This is the secret of every jazz-great.
Thanks for commenting. At no time do I state that listening to your band mates is not important. In fact it is the most important thing. I doubt that you watched the complete video or if you have I'm pretty sure you didn't get my point(s)!
Hi Christian Van.. I am quite impressed the way you have perceived the Jazz genre and in all practical way the needs of items listed to play Jazz, be it Bebop or D'jango or fusion etc., on solo lines, comping, chord voicing , listening to standards and getting the theme lines, intros, bridge passage, endings and then basic theory like, ii - V7 - I and Improvisation with dynamics, embellishments for good musicality.. You have made it transparent in some items like the knowledge of perfect pitch or relative pitch or complicate chords and progressions are not a must for soloing as they may not instantly make use of that knowledge.. Quite an encouraging dialogue dude.. Thanks so much.. Please keep it up in the same lengthy dialoguing style.. God bless.. Warm cheers.. 👍🙏🎶🎸😊
Thanks so much GuitSiva, I really appreciate the comment!
What's great here is the various criticism and endorsing of your views in the comments (on what makes a great jazz musician), just what you asked for at 26.50. Very interesting views from you Christiaan ( then everybody who has commented) to a non-gigging player like me.
Thanks Stephen!
Music is a language. How does a child learn to speak English? Is the child handed a book on composition? Taught the difference between an adverb and noun before they can even speak? No. They are surrounded constantly by pros and encouraged to join in. All you need is a record collection and your instrument, and anyone telling you otherwise is trying to sell you something.
I agree!
So which book or songs do you recommend to learn jazz lines?
Sorry Christiaan, but as a horn player, i do need to know and hear everything that is going on with the other instruments i am playing
with at all times. I study all the great players of all the instruments. A solo is not a solo. It is an interaction with the other
musicians. Listening is what seperates the real creative players from the lick players. But i enjoy the lick players equally!
Bright Moments!
I second that! How can anybody play a meaningful solo without listening to the bass, the chords' progression and their movement and the rhythm group at the same time, and respond to them as they respond to you. 1) there is a big difference between soloing on 'Bei mir bist Du scheen' or something like 'Round Midnight' or 'Giant Steps'... and 2) there is also a bit more to 'jazz' (or rather 'improvisational music') than just 'Gypsy jazz'. Nobody will just play 'great lines' on their very own without listening to and interacting with the others at the same time. (e.g. Cannonball Adderley was a master of interaction).
Of course a Gypsy kid growing up among musicians from early childhood learning the same established lines by ear over many years doesn't need any 'theory' - but learning an instrument from scratch including reading music and then to be able to improvise involves hard work , listening to the greats basically day and night, and knowing and learning and practising how your 'building blocks' like chords and scales etc sound. Training your ears and being able to 'hear' intervals or a chord quality and have you creative mind doing something with it in an instant (!) are not 'party tricks'.
That a soloist just needs to play 'great lines' and doesn't need to consider any feedback from or what the others are doing and why - this kind of advice I consider downright dangerous for a beginning improviser, sorry.
Dangerous is a strong word. Would u really tell a beginner improviser that they need to read music, listen to the greats day and knight know intervals and chord qualities..etc etc? As a teacher I might consider that dangerous. I for one really like this practical approach, start with the minimum you need. On the bandstand, interacting with other musicians you can then learn or decide what else needs to be learnt rather than spending years and years in the shed trying to get that holy grail. As he mentioned i'm sure there are musicians that can do all that stuff and still dont play great music.
Interaction also does not need to be harmonic. I just (forgive me) I dont really buy into the idea of you blowing over changes and while you are playing your lines you suddenly hear the pianist hit a certain chord which then triggers not only the appropriate harmonic response from you while that chord is still ringing but also a line that is swinging, and is a continuation of the story you were trying to tell. And even if there are players that can do this. I'm not convinced that all the great players did this. Interaction can be rhythmic or dynamic or thematic as well as harmonic. I think the harmonic thing also comes from playing along time with certain people so your ear recognizes (from repeatedly playing) that the pianist will usually play a minor 11th for a min7 sound and you know what kind of sounds u like to compliment that with.
He didn't say you shouldn't have those skills. He's outlining the basic necessities to be a guitar player in a couple different circumstances. It's a myth that improvised music is entirely made up. Free jazz might have lines that have never, ever been played before but otherwise people are treading in familiar waters. A lick or an idea might come out in a different way, but it's not entirely invented. Especially at speed that is impossible to do 100% of the time. I think you're ignoring the qualifications he makes so as to make his statements true so you can make a point. Yes, you have to listen but "lick players" in jazz are not lick players like in rock. I hear Chris Potter playing lines and ideas that I've heard him play before. Is he a lick player? There's some subtlety in Christiaan's statement that is being ignored.
Bob, I had the same thought as you do. It felt like he was referring to how to get a gig and have a minimum of competence, instead of how to constantly grow and advance as a player. I think ear training is so important, I believe you can put your instrument down and just work on your ear, and still grow by leaps and bounds. The other thing that I notice is that teachers with perfect pitch are often good, but fail to address the subtle needs of students without it. That is because they process things a little different, and its harder to get into the students shoes.
I love your jazz guitar approach, I hope to join a class when lockdown eases up but I would definitely love to see you do stand up comedy, your one liners are as good as your musical lines.
Thanks for sharing the details! Wow , perfect pitch! You're such a good musician and guitarist.🎊🎉🎈✨🎇🎆🏞️🎸God bless
I'm able to recall music I've learned by ear much easier than things that I've learned out of a book. Even many years later.
Hearing a melody, line, chord voicing, riff, harmony, etc. over and over in the CONTEXT of 'real' music has always been the best way for me to learn any type of music. It's almost a meditative process.
Yes, I think reading is an important skill to possess but transcribing provides all those little human elements that often get lost on the page.
I remember back in my early '20s I used to learn lines and patterns out of books and I noticed my playing getting gradually more and more sterile and boring. Very non-musical. When I went back to transcribing 'real' music my playing immediately got more interesting. It suddenly sounded like I was actually making coherent musical statements (speaking the language), rather than stringing together a bunch of unrelated patterns that ended up sounding like gibberish.
Personally, I think learning music through imitation (transcribing by ear) will always be the simplest, most effective and natural way to become a well-rounded musician. And then you can go have fun 'learning while you earn'...on the bandstand!
Thank you for this comment
Great video, Christiaan. I play flute, learning blues and jazz, and this was very helpful. Thanks !
A great video Sir! Thank you! I've just started learning Jazz and this video was a great uplifting moment for me! I'm a subscriber now!!!
"if you want to produce great lines in solos, you have to study great solos"
Really good. Music has so much details ... you never can know everything ... only specializing in your desired parts ... and even one part can have so much variations ... this is the wonderful part of music ... and we don't need more copies ... we need new creations ... that's where the fun and also the success lies ... you understand your business 😉👍🏼
Thanks Matthias!
For anyone interested in trying some of Christiaan's suggestions, I created a Charlie Parker Omnibook playlist on Spotify. You can find it here: goo.gl/QuB9MY
Wow, thanks Jos!
Graag gedaan!
Thanks very much. That's very helpful and understandable.
Hey Christiaan - Thanks for posting. You accomplished playing jazz guitar in so few years' time! Awesome. Good advice!
Thnks Timothy!
u r talking about making instrumentalist not jazz musician, and on the contraty the ear is your most valuable asset as an improviser, composer or just to read the paper and hear that you r with the fellow musicians...and u forget the most important aspect originality....just making more soundalike lick based musicians. Too bad!!!
I'd hate to make soundalike lick based musicians!! Or do I? You could take a look at this video in which I discuss this further: goo.gl/H9y3SN also here's some musicians that started out by copying others: Oscar Peterson (copying Nat King Cole and Art Tatum), Charlie Parker (copying Lester Young), Wynton Marsalis (copying Lee Morgan, Freddie Hubbard and Louis Armstrong), Stochelo Rosenberg (copying Django Reinhardt), Pasquale Grasso (copying Bud Powell). I don't know about you but if my name was ever to be among that list Id feel like I accomplished something!
Great! Thanks, Christian!
How to get a million dollar with playing jazz guitar?
You start with 2 millions. hahah
+Gerd Progel Safer to start with 3 million dollars!
Yes! Straight talking. Go to the source and learn from the jazz heros YOU like
Yes Paul, that's the best way!
Its obvious that christian had some talent before he picked up the guitar and could do stuff that some peoples are not good at.. 6 years of good guitar training is about the average of time more or less it had taken some pros to become iconic. Jimmy hendrix had only been playing for 10 years or so and already then he had done things with a 6 string that no one has been able to recreate or recapture.
That being said,i find this clip is misleading for most peoples who haven’t been as lucky as christian or other musicians in his level. Everyone is different and not everyone has had the chance to be surrounded by the right peoples or even be able to absorb enough information to be able to become a pro musician within a year or 6 years... Christian is over simplifying everything way too much. Music is an art form and all his explanations have nothing to do with the essence of the art of jazz or even music in general. He sounds like a mechanic not a musician.
Gibson, thank you very much for your thoughtful comment! I think this critique is very reasonable and you are completely right that often I sound more like a mechanic than a musician. That is just how my brain is wired!
However, it doesn't follow that I'm wrong because of that. It could very well be that many musicians are not advocating the fastest methods to learn a specific skill or skill set in music. I suspect many musicians haven't really thought about it in those terms. I'm thinking about that constantly and have done so for the past 20 years or so. If you watch some recent videos you can see me teaching actual improv and not just ranting like in this video
Christiaan van Hemert : In no way could anyone say you’re wrong in your approach because the fact is, you made happen for yourself on the professional circuit. The problem is that like i said earlier, is that everyone teaching jazz music seems to have their own unique way of understanding and applying the essential elements of music and it becomes very confusing and frustrating. I’m struggling myself especially because i have yet to have been able to have the right peoples around me. You’ve been blessed with a gift that makes this music seem easy to play at a high level, i can’t say the same for me but i speak for myself and i can only admit that at the moment,i am frustrated,i’ve hit a wall and trying to break it so i can climb up on stage with the guitar...
Gibson, have you checked out my "one idea" series th-cam.com/video/DLWuo8QEPik/w-d-xo.html and my fretboard system video th-cam.com/video/AJLOFN12BHw/w-d-xo.html . Those videos are a good introduction into my way of learning. Perhaps you'd like to give it a try. I don't ever think I am in any way especially talented. My ears are nothing special (and I give no importance to ear training at all) and I had to work hard on technique. I have practiced 4-6 hours a day my whole life (first on violin, then piano, double bass, bandoneon and finally jazz guitar)!
Recycling other peoples lines is cookie cutter improvising.
Ha, I wish. It's even worse: it's complete garbage. I'm a fraud, why are you even watching this shit!
Most good horn players can play some piano and/or guitar. You just aren't gonna understand the harmony without. In other news, learn tunes, and then learn some more tunes. Everyone. I can hear the difference like hell when musicians know the tune - regardless of instrument. Even drummers. Really.
helmutdeltablues
Hello Christian, amazingly many musicians speak of practicing in all keys. And they say that's 12 keys. Some still remember the minor keys, then they tell 24. But that's not true. We have 30 keys. 7 major species have sharpes, 7 have flats, so together they are 14 major keys. The same for minor, then we have 28 keys together. If you take the two without sharpes and flats (C major and Am) there are a total of 30 keys in Western music.
Do you do Skype lessons?
Very nice Sir, History behind my stuff, over Century, good stuff, wish your students good, I hope you are Happy, Respectfully, Goodluck,All math set aside, my friends were from 50s 60s etc. thus experience, Practise, Practise, Right on!
Hey man! I want to say that to me the melody is the most important part of a tune. The Melody actually teaches what to improvise on and what chords and chord voicings to use. I think you give good advice how someone could actually function on the bandstand....but you wouldn't be playing jazz. If you didn't know the melody. You would be just faking it. So i think your title is misleading. I do love your enthusiasm and your passion for the idiom .
very well put.I have played guitar for years . but am a complete bluffer when it comes to
jazz ,though I love the music.At this stage my life I have no hope of being a professional jazz player .Jazz guitar still interests me. Finding a teacher who could help me would be problematic for various reasons. Meanwhile thx for your great videos
Of course you need to study good music and solo's to become a good musician, but ear training is essential for playing what you hear in your head, listen to guys like oscar peterson that sing everything that he plays. the more you do it the more connected you will be with your instrument, the more you practice playing what you hear the less you will think about shapes and arpeggios and what not and everything will feel much more connected, which is especially hard for guitar which is a very disconnected and complicated instrument full with shapes. playing what you hear on guitar require a serious amount of training. learning those so called shape system that you keep bringing up in your videos is okay and also essential for mastering the guitar but it can also very easily can lead to you faking that you know what your doing and playing "safe" but it has nothing to do with actually playing what you hear. the more connected you are mentally with your instrument the more joy you will have playing it as well.
Good work Christiaan thanks : )
Thanks Jimmy!
Often I too wonder if we don't overcomplicate things as musicians. Especially if you are playing in an instrumental jazz group, being able to make something interesting happen together with other musicians is much more important than perfectly reproducing a well-known musical composition. I do improvised musical theatre, which is even more wide open in terms of what you are allowed to do and even more narrow in people's expectations (That doesn't sound like Broadway!) The most limiting thing about my form is that it's hard to find accompanists, and I wonder whether we really need anything more than someone who can keep a steady beat, slide pitches when needed, repeat and vary appropriately to create a form, and the bravery/foolhardiness to think that's enough.
You make a great work with this channel, thank you very much!
Thanks!
Thank you!
42,176 practice hours and counting, always ready to learn new stuff.
(My main style: learning new styles)
16:45 If they are great musicians w/o knowing music theory, they'd be even better if they knew more music theory. A well rounded musician should learn everything they can and never stop learning ; )
You're Welcome Jari. About theory knowledge: they wouldn't necessarily PLAY better but they would be quicker to express their ideas to other musicians in rehearsals. Also it's obviously good for teaching theory matters!
Sorry pal, but I had to stop at about 7:30 into the video because there already was too much BS.
I'm a professional pianist and music university teacher.
First, EVERYONE has to know also the melody, because if you play accompaniment you have to know at least which main notes the melody goes to, so that you don't play a voicing which clashes with the melody (always an important aspect, but CRUCIAL when working with singers!).
Second, you NEED to be able to hear AT LEAST the following things: 1. Important notes which a soloist plays so that you can adjust your accompaniment. Example would be different alterations in dominant chords; you must hear whether the soloist is, for example, playing diatonic notes or whether he's playing an "altered" bag or perhaps some half step - whole step scale stuff. Or you must hear which melody note the soloist chooses at the end at the closing chord (for example, replacing the boring tonic note with a 9 or a b5) so that you can play a fitting voicing. 2. Reharmonisation: There are many standards where different chord changes are usual. You must be able to hear which version a musician plays, and you must hear whether he uses a variation at a point of the tune and which variation it is (example: playing Abm7 - Db7 in the 7th bar of "Have You Met Miss Jones").
If you can't hear what a musician in your band does differently than you would expect and name it and correct him or adapt to him, then you are not on a really professional level of musicianship. Period.
I don't know what comes after 7:30 in the video, and it doesn't interest me because this video is an invitation to laziness and "fakedom" which I can't support. Sorry.
Well in this video th-cam.com/video/eMMX5ZLLgEU/w-d-xo.html at 1:06 you are playing a b13 against the natural 5 in the theme.
Don't get me wrong I don't mind it, this is how jazz works. You are just playing a nice voicing to resolve to C-. as it happens the theme has a D and even the bass player is playing a D. It doesn't matter because it's all good, all nice sounds and everybody knows where this is going: C-! This was the first video I found and I immediately identified tons of these moments, that's my point: THIS IS HOW JAZZ WORKS!! You will find the same stuff on every high level album!
Christiaan van Hemert Well, this shows how little you don't understand. That you are able to hear which interval the other musician is playing / singing and are able to adjust your part accordingly doesn't mean you are going to always avoid playing e. g. the b13 against the 5 or something like that. A real pro knows that, of course - think of the many "clashes" on, say, Miles Davis albums of the 50s which in fact aren't clashes at all but details which add to the special beauty of the music. But the guys could hear! In fact,very good so! And weren't lazy guys like you or your fans.
Advising guys "you don't need to be able to hear, you don't even need to be able to tell major and minor apart" is, sorry again, some of the most idiotic (and potentially harmful to a young musician especially in his slacking-prone teen years...) advice possible.
Hey man, I wasn't claiming avoiding clashes was important. YOU claimed that:
"...First, EVERYONE has to know also the melody, because if you play accompaniment you have to know at least which main notes the melody goes to, so that you don't play a voicing which clashes with the melody (always an important aspect, but CRUCIAL when working with singers!)...".
And when I show you an example in which you play a b13 in the exact same octave as when the singer sings a D (breaking all your own 'rules') and even the bass player playing a D changing your chord essentially to a D-6b9, all of a sudden you claim to do this on purpose?
Again, I don't mind those 'clashes' at all. Harmony moves forward and isn't meant to be analyzed vertically all the time. If you take any Bach four part harmony and stop it in the middle of a bar you will often get a very dissonant sound even though the music played normally won't sound dissonant at all. Same thing, all voices move forward and all the 'odd chords' created by counterpoint resolve on a tonic. For me jazz works the same way!
Maybe you should watch the whole video 'cause I do talk about listening to your band mates and reacting to them on two levels, dynamics and rhythm. But the notes themselves? Nah, I think it's much more important to know what sounds good on your own instrument and play that. You seem to know what sounds good on piano so you do it, even when it would clash with the theme and that's the way it should be!
Also, what's up with the insults? Just like you I'm a university teacher and a professional musician. I don't understand why you can't express your opinion without belittling me?!
By the way, I never claim that you should be lazy. I've practiced 6 hours a day for most of my life and I still do...
I also never "...Advise guys "you don't need to be able to hear, you don't even need to be able to tell major and minor apart" is, sorry again, some of the most idiotic (and potentially harmful to a young musician especially in his slacking-prone teen years...) advice possible..."
I said that I encountered many situations in which I found that people who played great couldn't hear the difference between a major and minor chord if they didn't know the song beforehand. It didn't stop them from playing great solos 100% of the time when they knew the chords so obviously it is not a big factor. So instead of wasting hours training to hear the difference between D-6/9 and D7#9#11 your time is better spent transcribing Charlie Parker and see which lines he's playing over those chords!
Really nice put together, Christiaan. Interesting subject. First video I have come over addressing this. Thanks.
You can play notes in the wrong place but, there is no such thing as a 'Wrong Note ' in music. (Joe Pass)
The chords you played around 7:10 were instantly obvious to me (not the specific voicings, but that it was a II-V-I). And I don't think I have a great ear by any stretch of the imagination...
Nice!
Really great video man - I can tell you MEAN what you're saying, and what has worked for you. Thank you.
Quick question, from an intermediate jazz guitarist: How do you divide up your practice time? It feels like I'm trying to learn so much at once, and have a hard time dividing it up to be most efficient. Thanks again
I've learned the hard way that you should practice things you want to practice otherwise you'll burn out quickly. Apart from technique (you should do that every day for 15 min) practice music/phrases/songs you love at that time. If you're bored find something else. But if you're working on stuff, work hard!
Thanks for the quick reply. I suppose different ways will work for different people, so I might explore what works best for me and change it up for a little while. This is an estimate of my current routine:
Listen to music, songs I'm working on (15%, or whenever I can otherwise)
Maj and all Minor Scale/Triad/Arpeggio exercises with embellishments, many keys (15-20%)
Understand theory, reading (5-10%)
Work on Phrases in many keys (20%)
Learn new Tune (20%)
Play Tunes I already know (10%-15%)
Probably something like that. Thoughts? Cheers
Looks good to me but again: if you feel you need a change, change immediately. Don't let yourself burn out!
Make more violin videos. Maybe about why jazz is fun on fiddle. Or is jazz violin worth learning?
I have to put the violin videos on hold for a while. I'm really trying to build up my channel with regards to subscribers and views and both slow way down after I publish a violin video. There's just much less violin players searching for videos than guitar players. When I hit the 10000 subs mark I'll try violin videos again!
I subbed because of the violin videos!
I started following you when I stumbled upon your video playing your version of minor swing on violin. It would be interesting to actually explain how you approach improvising differs between violin and guitar. I am sure that keeping your videos below 20 minutes would increase the number of views.
@Marc Mouries Haha, did you see my video about "the only skills you need to become a good jazz musican". It's just me talking for more than 20 minutes and that thing got more than 30000 views in less than 5 days. So apparently it's not the length!
Good advice, but i have known students who CAN tell you the notes in a chord (7.29), although it is a gift.
Well maybe you haven't played with the greatest soloists...
I've attended masterclasses of John Scofield, Larry Carlton, Peter Bernstein, Jonathan Kreisberg, Kurt Rosenwinkel, Guthrie Govan, Larry Goldings, Pete Churchill and many other great musicians and EVERYBODY says that ear training is the MOST important skill for a jazz musician!
Ok let's look at it this way. Who has better ears, the awesome guitar players you just mentioned or this kid: th-cam.com/video/t3Cb1qwCUvI/w-d-xo.html . Let me tell you the answer: this kid does. Ok, who plays better jazz guitar solos, those guitarists or that kid (Dylan Beato)?
Christiaan van Hemert that is an absurd comparison. 1) he is a child so obviously he has not had the time to develop the same kind of technique as the artists listed, 2) we don’t even know if the kid is interested in jazz. Given more time to learn the instrument, he may or may not be able to play lines as good as them, but the point is that every great jazz player I can think of had great ears and many of them are saying in education contexts that having a good ear is one of the most important skills.
+Paul Hofreiter I was just trying to show that having great ears and playing great lines are not linked which that comparison showed. There's great players with bad ears and great players with great ears and everything in between. My point is: the quickest way to playing great lines is studying great lines. Developing great ears for harmony and intervals is separate from that!
Christiaan van Hemert Ah ok, I think I get it now, or at least maybe indirectly. That is basically a kind of ear training, if you are studying great lines for hours a day then your ear is going to get good. Same as studying chord progressions. Also since you have perfect pitch it might seem like you didn’t have to develop your ear to do this and could just get to studying lines - I have perfect pitch too and that is at least the way it seemed to me. It’s easy to take having an ear for granted when we don’t have to work very hard on it (comparatively speaking)
+Paul Hofreiter Exactly, that is all I was saying in the video: there's too much emphasis in jazz education on theory knowledge and ear training in isolation and too little on just transcribing and studying great lines without worrying too much about theory and ears. You will develop what you need by transcribing and studying the lines, that is usually more than enough!
Thank you for a very thought provoking vid. Had no problem with the content or it's duration.!!! You are clearly passionate about music and happy to share your insights. Why other people in their comments would be negative about a presentation with such information and say it should be made shorter is beyond me! I looked forward to every topic you discussed. Made perfect sense to me as a band player that's always looking to improve their jazz skills. Especially liked the confidence booster I had about the "ear meisters" who scoff because you can't recognize a sixteenth note diminished 9th interval at 160bpm + at a full on amplified rehearsal.......and yet you ask them to take an intro on a ballad!!!! Keep posting and forget the idiots who fail to enjoy your generosity.
Your Right, Contribute, when you can, don't, always though, listen an learn as a hole, LEARN, WE start with respect, like your site, thank you!
Don't waste time........ Don't become a jazz musician!
Ahahaha!
I am a jazz guitarist so I'm only, erm..... 50% joking.
What do you consider ear training? Someone without an ear (and most people aren’t born with the ability to hear everything without training) can’t learn tunes by ear and is going to be learning from a real book or some other lead sheet. Without an ear they can’t transcribe solos, can’t transpose, can’t figure out the changes on the bandstand to tune they don’t know...maybe you mean something else by ear training so I wanted to check. Ear training and technical proficiency are the two absolute most important things for jazz musicians and it isn’t a stretch to say that the best jazz players have great ears. They might not have learned it in a traditional way but take Wes Montgomery for example, when you see him explaining changes to Pim Jacobs in that one video he isn’t formally trained in any way but he transcribed Charlie Christian solos by ear and his ear is good enough to be able to write and explain changes to others. What is a jazz player without an ear going to do, learn everything from a real book and learn how to solo by reading other people’s solos off a page or learning scales from books? I don’t want to say there is only one way to learn but I think in almost every effective way to learn jazz whether it be old school wearing records out memorizing tunes and solos to newer theory analysis and application on the instrument that your ear is going to get trained one way or another and if you can’t hear changes then you are going to get frustrated quickly once you start playing out. Of course having good ears won’t let you play good solos on its own, and that point you are making is true and where technical proficiency comes in. I think there are a lot of ways to skin a cat, so to speak, but having a finely tuned ear is pretty essential to every way whether it is on purpose or a byproduct of the other things someone is learning. (Edit: thanks for making this video - it has interesting points and I enjoy these kinds of musings and discussions)
Thanks for your elaborate comment Paul! You don't need good ears to transcribe, just patience and persistence. Explaining changes and writing changes doesn;t require a good ear either, just the right knowledge!
It's amazing you've only been playing 6 years. What were some of the things that helped you make the biggest leaps in guitar practice-wise?
+chris ch Thanks, easy I only ever practice two things (For 4 to 6 hours a day): technique and lines/voicings I transcribe. And the stuff I transcribe I practice in two ways: with a metronome (1 and 3, 2 and 4, only 1 for two bars and mute two bars) and with backing tracks. Nothing else: no ear training, theory, scales or whatever you can think of. Result: I can improvise confortably up to 280 bpm but ONLY in a gypsy jazz/ jazz context. Of course I could learn another style but it would probably cost me two years of transcribing only that style.
Christiaan van Hemert interesting. So you only transcribe certain beats of each bar? I’m not exactly sure I understand
+chris ch No I transcribe complete phrases I like and practice them with a metronome set in specific ways!
Occasionally, create holes, and know when to create them, Fill. or not, figure your on it, R. C. Douglas. Cool.
I greatly disagree with your premise. COUNTLESS time in rehearsal and live playing I have needed and have been expected to learn through aural understanding ALONE. Music is like a language if everyone you play with is making believe that they understand music, you are fine with your method AS SOON as you play with true musicians you will be exposed. Ears are everything music is sound.
Haha dude, maybe you should check the musicians I actually play with and then get back to me!
Christiaan van Hemert, there is no need. You are a very good player with a poor understanding of process. It’s not about who you play with it’s about the way you phrase your message. And perhaps your rehearsals are not as challenging as those in the states?
Well, seeing that I tour in the US frequently and play with tons of US musicians I can safely say they are the same!
Christiaan van Hemert
Again, you are missing the point in very high level jazz situations I have been asked to learn entire songs or parts through listening alone ....instantly. Now this often happens in “not so high” level gigs as well. People will ask “do you know this tune?” You say no and they say “just listen” and count it off. Lol it happens ALL the time with mediocre players and with some of the greatest players in the world. (I really don’t want to name drop) now I’m older than you so maybe guys in Chick Corea’s Band haven’t asked you to do this, or other even more impressive players but it has happened to me often so keep playing. Oops I think I name dropped sorry.
That happens to me all the time. I think you missed the point of the video: you will learn all of that on the job. I guess you didn't watch the whole video. Also several very famous jazz musicians have sent me private messages to tell me they agreed 100% with this video. If you played with Chick Corea you might even know them. Watch the whole video!!
I agree with all the points that you have articulated so well. Especially when you rightly berate the endless succession of “parlor tricks” found in so much online instruction today. Transcribing and learning from the players I admire has taught me more than I ever learned from studying techniques and scales, not to diminish the importance of such studies as you also point out. The parallel in computer circles is GIGO. Garbage in, garbage out. Stuff yourself with fancy tricks, and the result will at best sound tricky. Stuff yourself with great lines from great players, and the results will trend more in the way that we all aspire to understand and acheive. Thank you for an inspirational video.
Hi Tom, thanks so much!
Intelligently explained why jazz is a truly universal language. Extremely relevant in our current global situation. Thanks bro.
I forgot to mention that your part about hearing form is huuuge so thanks for including that. That could even be first on the list if we are talking about how to be a functional jazz musician. I think that using your ear to follow progressions or keep the melody in your head can help in a large way with that but just the mention of needing to know form makes me happy. It seems to be underemphasized sometimes and I don’t know why because it is so essential.
Thanks Paul!
this dude's face resembles to me of Wayne Shorter, cool!
Great sax player/composer!
Great video and lots of inspiration to add stuff in my daily practice. I will start to listen to Charlie Parker to learn more about rhythm. This might be hard for me as I don´t like that Bebop sound but the rhythm is great. - I´ve learned that ear training (harmonic and intervall) helps me a lot to understand my instrument and the music I want to play. As you mentioned, it is a good idea to listen to great players. But what can I hear if my ear is not trained. It is not about hearing every intervall or recon every chord. But it is about the general idea of what is going on. So 15 Minutes of ear training is in my daily practice. - Keep it up!
Ear training is of course never a bad thing, I just think that a lot of mediocre players think that lots of ear training will make them play great solos all of a sudden. I was just trying to show that I know tons of great soloists with mediocre (and sometimes out right) bad ears when it comes to hearing chords/intervals. Instead they trained their ears to hear more relevant things like dynamics and swing!
I´m a swing dancer so I listen to dynamics and swing a lot. - I agree that ear training is just one step one has to take. Actually I´m hoping to be a mediocre soloist some time.
hes spot on-= the best players are repeating lines over chords that they worked out over and over- in moments of communication on stage those lines can change when bouncing back and forth between the other musicians-and thats when its fun
A good video. I think a lot of times we over think jazz musicianship. On an aside if you ever need a costume idea for a party I suggest Elvis.
Thanks so much for the tips and valued information Christiaan!
Study great lines - in a musical setting, what does the word studying mean? I don't imagine it's like mathematics so what do musicians mean by the word study?
This is probably one of the best advices I have listened to. Someone may argue about learning great lines, but great lines mean playing melodicly with great rythm and harmonic understanding. To be able to do that is not the same as copying, it mean that you understand the language of jazz.
I just heard about this on the Jazz Violin Podcast. Great talk with Matt. This video is great 🤣 especially the part about rehearsals with people that can’t hear rhythms.
Wow, very nice talk and information. I don’t need to say anything negative because my own experiences support what you are saying. Thank you!
Music is an ear art.
Avoiding ear training, would be like a being lifeguard who can't swim
Ear is super important. Come on. You need a good ear to direct where your line is going. It's not just studying great lines. You need to create your own great lines. It sounds like you're saying playing solo's is all licks. I think maybe there's a disparity between our definitions of what a good ear is because there is allot of what you're saying that I agree with. I consider rhythm to be part of the musical ear as well as hearing form. Critical.
The ear training I was specifically referring to in the video that I considered a "waste of time" is this: training to hear chord qualities, inversions, extensions, progressions and intervals!
There is no short cut and no free lunch.
I learned that one a loooong time ago..
If I might paraphrase a statement made popular by that Socratic influenced, philosophical troubadour (and a pretty good drummer to boot) from Liverpool, Ringo, "...Got to pay your dues, if you want to learn to groove!...."👑🎸🎵
How can you improvise great lines without being able to hear intervals, or without being able to hear notes relative to the key centre? Surely if you can't do those, you are playing notes semi-randomly, without knowing how it's going to sound. Surely, to improvise well, you've got to be able to play what you hear in your head?
You're already over the head of 80% of guitar players. Not pro-musicians.
very practical and reasonably put...helps me in my jazz studies going forth as a gigging musician myself.
Very thought provoking and challenges us to think about what matters and why. Regarding ear training, I think it might be useful to distinguish between "hearing and naming" (which might not be that important) and "hearing and imitating" which I think is really valuable. (The distinction is similar to that in cognitive psychology between declarative and procedural knowledge.) (Also, I wondered: if you didn't have perfect pitch are you sure you'd feel the same way?)
I make my points about ear training because I think there's far too much focus on it. Especially by good musicians!
I've played with many good musicians who claim this but during rehearsals often I discover their ears ain't nothing like they advice others to develop. They still play good, so why are they giving this advice? It's because it's some kind of taboo to just admit you have no clue which chord the piano player is playing! I'm trying to break that taboo now. You'll develop all the hearing skills you need by diligent practice, transcribing and spending as much time with your instruments as possible!
you have a GREAT balance in understanding music, not over emphasizing on "theory" or anything else but using it when its necessary.
Thanks Sam!
I mostly agree with you! I'd only nitpick that you're talking about the only skills needed to "just survive" as a jazz musician. That's fair enough! Certainly form and dynamics especially are overlooked far too often. The other stuff you mentioned might not be "essential", but it sure makes life a lot easier. Either way, it's nice to hear someone not just saying the same things everyone else says. cheers!
Thanks sub khz!
Good vid - I like your candor. I think where people fall off track is the crazy jazz chords and shifting in/out of them quickly with the music. I know (as a blues-rock hack) that's where I lose patience. Maybe you could address this pitfall and some ways around those sorts of challenges... I mean other than simply memorizing chord shapes ad nauseum.
Thanks. The best way to learn those crazy chords is like everything: transcribe stuff you hear and love and start using that all the time. You will build up a library of nice chords that you really love and know how to use. Alternative you could take a look at my video about it here: th-cam.com/video/Aop0ghYjhYg/w-d-xo.html and part two here: th-cam.com/video/oP3P0CoiLv8/w-d-xo.html
Hah u re way different anyone who I watched :) I have been digging the chords , how they make melodies , why are they so important ? I tried to make melodies out of basic triads but always meaningless. I stil don't have any idea wht these people are talking about. Whts ur idea about that ? For example I wanna play nicely or make up good melodies , wht should I do ?
Watch my videos in which I discuss and show lines. That's what you should be practicing: good lines which you transcribed from musicians you love!
Great video, and your theory is proven to me anyway. Two young people I know who feared learning Jazz because of the stigma it falsely carries; which is, if you wanna become a great Jazz musician, or even play it, you must be advanced at theory, chord construction, scales, etc.
After seeing your videos Christian they became hooked on Jazz, and are on their way to becoming really good. And you know what? After compiling and using the line vocabulary method, it actually made them wanna sit down and start learning the simple things you mentioned Christian. And when they look back at how daunting a task they thought it would be they both laugh at themselves.
I myself was a backwards learning theory person I learned how to play first, instinctively, and started out as a Rock player. I grew up in the time when there was no youtube. We had to sit and keep dropping the needle on the stereo over n over and over. But this did have its positive. It developed for me a way to hear tunes and hear the melody, harmony, rhythms, etc, the things I needed, like you said, to be a musician. I don't know if this came natural to me or I worked on it because I Loved and really wanted it? Other people still tell me its a gift, but I really worked on it, and still do. Oh what I would have given to have grown up in these AMAZING guitar, and ANY instrument perfecting times.
The men who invented instruments didn't invent the theory. It was the church monks that started writing down the theory so they could teach it to their students and save the music that was created from extinction.
Wow Lorne, so great to hear about these kids taking up jazz guitar because of my videos. Makes me happy!
Wow, great video! The things you say here make me feel so much better, because I have some of the necessary skills, and I don't have some of the unnecessary skills. None of the skills you highlight as necessary seem out of reach, but it often does seem that there are necessary skills that are out of reach -- inadequate interval recognition would be the big one. I have watched hundreds of jazz instruction videos now, I am a guitarist, and this one, which I came to by complete chance (I was researching a guitar I own, an Aria Pro II PE-180), is perhaps the most helpful *to me* of anything I have ever heard or watched. Because the bottom line is that this video makes me feel that someday, although I am already old, I will be able to say that I am a real jazz musician, and you have told me exactly what I need to know and what I need to do to get there. And I know enough about this subject to know that, although what you say represents opinions with which many professional jazz musicians and teachers would not agree, yours are still well-founded opinions, and they make perfect sense to me. Thanks, Christiaan.
Wow, thanks Harvey. It's really good to hear this video gives you inspiration. That's what I set out to do!
Ok. Why not expand on this video and give some past examples of your studies of lines and musicality. Perhaps, you would be willing guide some of us into bebop and gypsy?
Check out the many, many other videos on my channel. They are filled with great lines to study!
Hi, thanks for this interesting explanations. However, I am still looking for a definition of what is musicality. It can indeed be seen from different angles. Here you describe it as someone who has great musical taste because he has knowledge of the variations of soloing in the gypsy jazz style. But musicality in a person, in general is, I think, based first on rhythm, then melody, then harmony, etc. - Something else: do not forget the female jazz people. I just started jazz study and feel/notice what a male world it still is. Jammer. Vriendelijke groet & Success.
Thanks. Actually in the video I stop specifically mid-sentence and say: "...that guy...or gal..."!
That a Peerless Monarch? Great guitar...
Being able to recognize chords and progressions instantly helps me immensely when gigging (I play rhythm guitar mostly). Because there are thousands of songs that we play and it's impossible for me to know them all. But I agree, I can't improvise over jazz tunes to save my life.
I understand but once you know the basic formulas learning new progressions is quite easy, even without being able to recognize them auraly!
U need to have something to say from within
That’s what u need . Other ways u can learn copy or memories or take short cuts and when time to play (say) will sound meaningless boring
If you find Stochelo Rosenberg's playing boring you may have a point! I find it completely enthralling and beautiful. Tastes differ!
Great video as always. Very good practical and pragmatic approach. I guess it all has to do with the traditional classical way of teaching/learning. The problem with that (in general not just with playing music), is that people quickly loose focus and interest. Mostly because I think the focus is on the things that are necessarily the most import, like you said in the video.
The traditional way is more like killing a fly with a cannon, instead of using more efficient ways.
Thanks Piet, I think you are right!
Very practical and helpful video - its very easy in jazz to see the trees and not the wood! This video reminds us to focus on the big picture - learn the tunes and the lines and get playing! Stop learning every mode in your bedroom and just try to get playing! You will never learn a tune as well as when you are going to a jam session and you know it will be called. You will have to learn a few lines to get going with a solo - this is great experience. Thank you very much for this pragmatic approach. Keep doing what you're doing! These videos are great.
Thanks so much conormckenna!
I agree to most of it. But you have to recognize intervals for single note soloing. In what other way do you play the lines you hear in your head?
I usually hear stuff I transcribed or combinations of stuff I transcribed, I do not need to recognize intervals to play that. I already transcribed it!
This dude is long-winded.
+Frank L Macias It's my super power!
Doesn't it all depend on who you are, and where you're trying to go?
Thanks for the video. well done!
I have some questions.
1) Which tool do you use when transcribing? - notebook and pencil or a program like guitar pro?
2) What's the difference between transcribing entire solo and one phrase that i like
3) You transcribe TAB too? or only standard notation?
1) Sibelius (paid) or MuseScore (free)
2) you can do either, just make you actually like what it is you're transcribing
2) both (as you can see in many of my other videos)
It's like I asked many questions to you. Sorry for bothering you.
I think I became a fan of you.. I'll watch your vid continuously. Thanks from Korea
What I am getting from this is that we learn a lot just from playing with other musicians in both rehearsals and performance. Thanks for bringing your insights in this video Christiaan. Learning never stops!