" Education is not the filling of a pail, but the lighting of a fire." William Butler Yeats Your love of music and your joy in teaching are informed by a gift for truly inspiring others. Thanks for another serving of Antoniuk's Dope Sauce!👍👏😁😎
Antoniuk's Dope Sauce!!!! That is ABSOLUTELY the name of my next CD. Fantastic!! Thanks, of course, for the very kind words. I love doing these videos, and running www.JazzWire.net for you all, and thrilled that it is hitting home for so many.
Fantastic, Charles. So glad that you enjoyed this. The work we are doing inside www.JazzWIre.net is like this, but with rocket fuel in it. I hope I'll get to work with you there!
I once came across thi notes while transcribing a solo over Blue Bossa. Can't remember who was it. It was played starting on the 5th Root 9th Up and down-. That was pretty much all that was played over the chords and it sounded great!
I read the comments just to make sure I’m on the right track, and it’s true, this paints a good memory of Coltrane, spec the Love supreme. Great vid as always Jeff
Yes!! Same picture for me. I was going to comment this, but had to comb first because I couldn't believe there wasn't anyone else with the same image. A Love Supreme was the second jazz album I bought, messed me up for a long while in the best way possible.
@@blacksaxcam, Man!! 2nd album you bought . . . you dove into the deep end, my friend!! Great to have you here with us at Digging Deeper. Please stay in touch.
Thanks Rolf. I hope you check out www.JazzWire.net. We have jazz musicians from all over the world working with me there. I hope we'll have the chance to work together too.
My VW caught fire in San Diego on the 94 freeway. I was able to grab my guitar and books out of it and fortunately I was never charged for abandoning it. It only cost $400 dollars to buy. Fun vehicle.
< Most valuable regurgitation,...ummmdelicious..fresh & crunchy ( shhh,t I had forgotten this!¡!) Great xXxmas gift, Thank You ! > Yes, it can very well be #1 video.>
Very interesting perspective. 1, 2, 5. Like your approach. I make it a point to learn at least 1 new thing a day and try to incorporate it in my playing or at least store for later use. This was it for today....!!! Great video Jeff. Thank you very much.
So glad that you enjoyed this Jacque. Man, if you can learn one new thing a WEEK that would be incredible. One a month is more reasonable for most of us. One a day?!?! Wow. Hey write me back and let me know how this has gone for you. I'd love to hear what you are doing with it.
@@JeffAntoniukEducator Hello Jeff. Let me clarify what I stated regarding learning at least one thing a day and incorporating it into my playing. Well I am not taking a brain enhancing drug! What I should have said is I discover/learn at least one new thing a day and try to incorporate that into my playing composing, recording, mixing, mastering or processes. I strive to do this everyday. I regularly come up with new ideas for melodies or etudes. I sing what I hear in my head, record it into my voice recorder, then transcribe it on the horn or piano. Depending on what it is, I may work on it in all twelve keys (on the tenor) or developed it into a new song. Many times I cannot play exactly what I hear in my head, so I have to practice it over and over until I can play it and internalize it. This is a great way to expand my playing and vocabulary. My practice sessions consist of: 5 to 10 minutes of long tones with a tuner, 5 to ten minutes of overtones. I like to play Major and minor scales in all keys. Currently I play all 12 major scales at various tempos from low B or Bb to altissimo A with a metronome. Then I play different step combinations of four notes major/ minor. So... root 234, root 243, root 235 and 253 root. There are many many more combinations to work on. Also I pick 4 keys to work on the bebop scale decending and pentatonics/ blues scales. If I am working on a smooth jazz project, then that is the limit of my practice and I move on to playing and recording. If I am not working on a project, I usually pick out a jazz standard play along to work on my soloing. I am a retired Engineering Manager and have been playing the saxophone off and on since I have been 10 years old. I took a fifteen year break and started back up early 2017. Released my first smooth jazz album July 2019 and just released a smooth jazz single late April 2020. I did it all, from composing, copyrights, producing, publishing, trademark and playing all of the instruments. What a great feeling of accomplishment. Man I love to play the sax. A little long winded reply. Check out my music, just search on Jacque Lamont Harenberg. I am on all the major streaming sites including TH-cam. BTW, thanks for replying. You are a very good player and appreciate your teachings. Thanks... Jacque
So I just so happened to have a Bb blues play along and I put it on. I practiced the first interval for about 5 minutes and the second one just a little longer (it was hard to get under my fingers). After that I started running them both against the play along like you did. After about 3 or 4 run through there I was sounding all modern!! It was hard to keep the two intervals separate , I had a tendency to combine them (I personally thought it sounded better when I did 😉) but I wanted to get the feel for the lesson. Plus I’ve been working on dissonant sound and resolving back to the key. This exercise helped me hear that a little more. I have trouble hearing when something is dissonant . I have a theory why, but I won’t bore you with it. Great exercise Jeff! I feel so modern now! PS. I don’t have a VW van to send you.
Robert, I tried it also and I recorded it and it sucked. I need to go to the wood shed and get better. I felt the same about combining the two scales. I also felt better using an occasional crhomatic approach note. I love how Jeff sounded, but hard to duplicate on guitar. More practice needed. :)
Richard Sorice - mine wasn’t ready to record. I was just trying to get a feel for playing only the three notes in both keys. It’s gonna take a couple sessions before I’m ready to record it.
The problem is that when you combine them . . . you essentially get a Bb dorian scale. You get nothing special. That's why your fingers want to go there, and that's why your ears want to go there. Bb - C - Db - Eb - F - Ab - Bb. Keeping the groupings of three notes and three notes is crucial.
Jeff Antoniuk - Educator ,ahhh Dorian, I thought it sounded familiar and my fingers just wanted to go there. I been working on So What, no wonder it seemed like I wanted to combine them. Going to try my best to keep them separate , seemed fun after I got into it. Just another one of your good exercises Jeff!
Yup,@@robertnorris8096 ! It's the little things like that - so easy to miss, and crucial to get. You know, Robert, we are definitely at the point where all the typing back and further isn't going to really get you where you want to go!!! Make your way over to www.JazzWire.net, and let's do this for real. You seem to have a lot going on, and you are thinking about things just right. It's time for me to hear you, and for us to really work together in the Community. Hope to see you at Jazz Wire soon.
Cheers David! I'll add your vote to the little box I have here in the office. We're up to 45,265,121 votes for Jeff. I think we're closing in. The "Best Jazz Video Ever" is a coveted honor, and gets the recipient a box of used sax reeds, and a weeks supply of snarky You Tube comments. I'm so excited!!!!
Oh wow. So little to think about while playing, how liberating. It's kind of strange under the fingers though. This is probably great for slow ballads to ad spice.
Listening to use this "simple" grouping over a blues is really nice! And it is mind-blowing how many chords it fits over. This "modern 1-2-5 sound" is very present in Igor Stravinsky's compositions as well as a lot of Coltrane's music. Playing the patterns in the "right" rhythm is the key to making it sound good. I can see that you eventually replaced the real VW with a little model on your piano. I used to have a VW bus, but I sold it to a military officer from Uzbekistan.
Yes, sadly the VW is gone, but the toys on the piano remain!! And yes, there is NO melody "jazz idea" that didn't occur in classical music, I'm almost certain!
Give it a try! Even though it's only three notes, really practice it. A big part of making this work is not "flinching" on these pitches. One little "aside" and the illusion is broken. Give it a try and let me know how it goes.
Wow Jeff, I just tried this lesson tonight and when I played the 4 note intervals they sounded cool, I then put on a backing track jam from TH-cam and used the two different ideas as instructed, I literally jumped for joy, this is now a turning point in my improv now.
Excellent work Jeff! Very informative video just like your others in the series. I'm a UK based saxophone player and will incorporate your teachings into my practice. Thanks a lot.
So glad you liked it. Definitely try it and let me know how it goes. And, you are obviously a VERY smart and clever person, knowing this to be the Best Jazz Video Ever. I 100% agree. Congrats on your huge brain!!
Evening. The limitations are coming back again. I remember when you introduced triads not to add other notes. The treatment here is the same but I see the use of triad pairs. This is awesome considering that the formula is different. 1 3 5. This time 1 2 5. Thanks Sir.
Very Interesting - seems like Bb-C-F would work over most of Stella - going to give that a try. Also important here - the placement of the notes and the importance of rhythm.
That grouping of notes (1-2-5) will work on MOST songs . . . it's just a matter of finding the pitch level to place them on. And yes, all the "HOW" stuff is so important . . . . HOW we are playing, not just what we are playing. Thanks David!
So happy that you like this! Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
I heard this 'modern sound' but i never could figure out what it was. Now i know better. Thank Jeff for your great videos. Week after week, You are the best!
Thank you so much for this Jeff. You videos give fast payoffs. Over the past month I have made huge leaps in my playing after years of just playing lots of notes and getting lost in my solos. You have helped me make it simpler and create some space to think. I feel this is the first time there has been this kind of well presented resource for intermediate players. I will now make my way to jazzwire.
So happy that I'll be seeing you at www.JazzWire.net. As fun as these videos are, Jazz Wire is the real deal. I'm so pleased we'll get to work together there!
Evening Jeff long time Sir. Watching and listening digging deeper, your teaching have steadily transformed me. Thank you very much. Can you please forward me this pdf.Sir. Have a nice day.
Shifting a minor third produces two nice altered dominate notes for F7 (Db = #5, Eb = b7, Ab = #9). Shifting a half step produces three for F7 (B= b5, C# = #5, F# = b9). Endless possibilities. Thanks!
Like I said, shifting to ANYPLACE other than Bb is pretty cool, frankly. And then, of course, we can definitely pick and chose, analyze and use our ears, and find our favorites.
Actually it's entirely different than Triad Pairs, but 100%! Triad pairs are by definition two triads, so 6 notes. This is literally THREE notes. It's an entirely different construct, but both DO give us an interesting "modern" sound. Experiment with both, Michael. Hey, if you haven't already, please jump in to a Free One Week limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free One Week Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. app.jazzwire.net/free-trial. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Really cool and as always, extremely accessible. Not easy, but accessible. Interesting that you chose to move a minor third. I was looking over the changes to Giant Steps last night and there as you know Trane moved key centers (at least that's how I describe them) in major thirds -- which are about as far apart on the circle of fifths as one can get. I know you picked Bb to Db at random, but just found it ironic how close it feels to the Trane changes. Sorta kinda in a nerdy, theory kind of way.
I love the way you are talking about it. Exactly correct about Trane changes. Minor 3rds always gives us a cool sound for a number of reasons, so moving from Bb to Db (up), G (minor 3rd down) or E (two minor thirds) is always going to be good. Thanks for tuning in, and especially for commenting . Love it!
I practiced this already, strangely enough, because I practiced hybrid hexatonic, I tried to mix that with Tetratonic and with one comment tone make a scale of 8 tones two times 4 where one tone is two times enharmonic so 7 in the end... when leaving out the 1 this scale happens...in my memory...This puzzles me for 25 years, since I met Freddie Zomer. His brother, Henk Zomer(from Holland, like me) played actually with Joe Hendeson...and is a well-known jazz drummer in Holland...
Thanks for being here at Digging Deeper with us Deryck. I'm so happy that you are enjoying the info. much more to come. And, I hope I'll see you over at www.JazzWire.net. You'll love it!
That is always the goal of the Digging Deeper videos . . . practical. I want folks playing better and having more fun TODAY! Thanks for taking the time to write.
Interesting. Another great lesson. Two things immediately came to mind. The first was a Herbie Hancock story (it's in his biography, but I've heard it elsewhere as well) when he was first playing with Miles in the 60's. Miles told him, "don't play the butter notes". Herbie didn't really understand (and thought he might have meant the "better" notes"), but he took it as the 3rds and 7ths and made thw adjustment. And according to Herbie, it changed his playing forever! The other thing is that as a guitarist, I always noticed that when I played a first inversion m7 chord, the top structure had b7, R, 5. This is an interesting structure and not a triad (if you start from Bb, it's 1-2-6). The other thing that people have mentioned to me about "modern" playing is to play even eighths, and NOT to swing, which feels odd, but there does seem to be something to it.
I know that story, and it's a great adjunct to this lesson, for sure. Avoiding the 3rd and 7th (while NOT good for your bebop playing) is a great way to sound "modern." Love it Jim.
Hi Jeff, it's amazing how each of your videos seems to be timed perfectly for what I'm working on. I've been looking for something to do over the modal (?) part of Lucky Southern, I'm going to try this out. Maybe playing it in (tenor) F#, C# or D# over G#m-F#m-G#m would fit. Or maybe something like playing G#-G-G# would be more interesting. Endless possibilities.. I'll hit the shed later! Thanks!
This one little approach can branch out in a million ways, for sure. You know, we're going to be working on Lucky Southern at www.JazzWire.net later this month. I hope I'll see you there when the time is right for you. You'd have a BLAST with our Communities there.
Maybe you covered this. The idea of playing lines that are very common to one instrument, but not your own. I grew a lot playing sax/Parker lines on the guitar, which is not natural, having to constantly change strings. Guitar players tend to play very linear at fast tempos unless they use the Joe Pass technique. He was able to play like Parker because he finger picked most of the time. Sax players can more easily play wide intervals than brass players, but brass players have developed some very hip lines that don’t have huge interval leaps. Now, brass players do have a wide interval trick using lip slurs. So trying those lines on the sax might yield some fresh melodic ideas. Sorry for all the words. In a nutshell, play lines commonly found on a different instrument for fresh ideas.
On Bb7 I would play: D-C G-F (Tetratonic) and than mirror it to Tritone: G# -F# C#-B or to the bIII: F-Eb Bb-Ab or to the VI: Db B- Gb-B(altered scale)trying to play the patterns as chromtatic as possible as a hole, and as fast as possible(méép, méép!)like Coltrane did with hiS Octatonic (Half Hole-dim.) Licks
Whoops.. I played 1,2,6,8 instead of 1,2,5,8. It sounded cool and modern to me, but perhaps the same universality does not apply to that group of notes?
You know, I don't think there is a "bad" set of notes. That said, with 1-2-6-8 (in C, that's C-D-A-C), we get a third relationship between the A and the C. So, we might hear this as some sort of A minor or something. Not the end of the world AT ALL. To me, the "most interesting" groupings as the ones that are more obtuse and less "committal." Keep having fun with it, and I hope that we'll work together one day at www.JazzWire.net, Marcus.
Ear-opening. Maybe I'm slow [I am], but this is what's going on in Kenny Garrett and Pat Metheny's Pursuance from the mid-nineties, which I've just stumbled across? I've known about Love Supreme since it came out, but never really listened to most of the other sections. These two blew me away with their take
It's impressive how much mileage you are getting out of three notes. I'm transcribing what you are doing here and wondering if you expand on this in JazzWire.com?
This is exactly the kind of thing that we have all the time in the world to explore at www.JazzWire.net. The nice thing is that the community of musicians there helps steer things into what is interesting, what can be expanded, etc. If this idea is something you'd like to work on, we'll do it, as a group!
I'm kidding. Wednesday is good. Great lesson, but really hard to play on guitar. I recorded me over a Bb blues backing track and it ain't pretty. I occasionally learn and relearn Freedom Jazz Dance, going for this sound.
![43 Music Theory Concepts That EVERY Modern Composer Should Master [The Music Theory Map]](http://i.ytimg.com/vi/qeS8txkoUH4/mqdefault.jpg)
" Education is not the filling of a pail, but the lighting of a fire." William Butler Yeats Your love of music and your joy in teaching are informed by a gift for truly inspiring others. Thanks for another serving of Antoniuk's Dope Sauce!👍👏😁😎
Antoniuk's Dope Sauce!!!! That is ABSOLUTELY the name of my next CD. Fantastic!! Thanks, of course, for the very kind words. I love doing these videos, and running www.JazzWire.net for you all, and thrilled that it is hitting home for so many.
@@JeffAntoniukEducator Yes, you could even come up with a real sauce with that name. More merch, mo money😎😂Keep having fun!👍
@@bassocanario Love it!
Better not put real dope in it, though!
@@MartinPeim haha! Not my style at all. I need to have my wits about me at ALL TIMES!!
You have explained jazz better than most people. People at all levels can understand you.
Fantastic, Charles. So glad that you enjoyed this. The work we are doing inside www.JazzWIre.net is like this, but with rocket fuel in it. I hope I'll get to work with you there!
I once came across thi notes while transcribing a solo over Blue Bossa. Can't remember who was it. It was played starting on the 5th Root 9th Up and down-. That was pretty much all that was played over the chords and it sounded great!
Yes indeed! Full disclosure . . . I didn't invent these three notes!! :( Wish I had though.
I read the comments just to make sure I’m on the right track, and it’s true, this paints a good memory of Coltrane, spec the Love supreme. Great vid as always Jeff
That's great! Anytying that gets us closer to Coltrane is a good thing in my books.
Yes!! Same picture for me. I was going to comment this, but had to comb first because I couldn't believe there wasn't anyone else with the same image. A Love Supreme was the second jazz album I bought, messed me up for a long while in the best way possible.
@@blacksaxcam, Man!! 2nd album you bought . . . you dove into the deep end, my friend!! Great to have you here with us at Digging Deeper. Please stay in touch.
I m indonesian saxophonist , i think you are one of the best educator , excellent , thank u
Thanks Rolf. I hope you check out www.JazzWire.net. We have jazz musicians from all over the world working with me there. I hope we'll have the chance to work together too.
Es tan importante saber como saber enseñar. Felicidades por tus lecciones Jeff. Saludos desde Madrid.
Cheers, and thanks for tuning in!!!
My VW caught fire in San Diego on the 94 freeway. I was able to grab my guitar and books out of it and fortunately I was never charged for abandoning it. It only cost $400 dollars to buy. Fun vehicle.
A happy but sad story!!!
< Most valuable regurgitation,...ummmdelicious..fresh & crunchy ( shhh,t I had forgotten this!¡!) Great xXxmas gift, Thank You ! > Yes, it can very well be #1 video.>
Merry Christmas Mike!! Enjoy your THREE new notes!! 🙂
Might not be the same notes, but that combination sure reminds me of Coltrane’s opening statement on A Love Supreme.
RIGHT!? Coltrane clearly watched this video years ago . . . hmmmm . . . . ?
Very interesting perspective. 1, 2, 5. Like your approach. I make it a point to learn at least 1 new thing a day and try to incorporate it in my playing or at least store for later use. This was it for today....!!! Great video Jeff. Thank you very much.
So glad that you enjoyed this Jacque. Man, if you can learn one new thing a WEEK that would be incredible. One a month is more reasonable for most of us. One a day?!?! Wow. Hey write me back and let me know how this has gone for you. I'd love to hear what you are doing with it.
@@JeffAntoniukEducator Hello Jeff. Let me clarify what I stated regarding learning at least one thing a day and incorporating it into my playing. Well I am not taking a brain enhancing drug! What I should have said is I discover/learn at least one new thing a day and try to incorporate that into my playing composing, recording, mixing, mastering or processes. I strive to do this everyday. I regularly come up with new ideas for melodies or etudes. I sing what I hear in my head, record it into my voice recorder, then transcribe it on the horn or piano. Depending on what it is, I may work on it in all twelve keys (on the tenor) or developed it into a new song. Many times I cannot play exactly what I hear in my head, so I have to practice it over and over until I can play it and internalize it. This is a great way to expand my playing and vocabulary. My practice sessions consist of: 5 to 10 minutes of long tones with a tuner, 5 to ten minutes of overtones. I like to play Major and minor scales in all keys. Currently I play all 12 major scales at various tempos from low B or Bb to altissimo A with a metronome. Then I play different step combinations of four notes major/ minor. So... root 234, root 243, root 235 and 253 root. There are many many more combinations to work on. Also I pick 4 keys to work on the bebop scale decending and pentatonics/ blues scales. If I am working on a smooth jazz project, then that is the limit of my practice and I move on to playing and recording. If I am not working on a project, I usually pick out a jazz standard play along to work on my soloing. I am a retired Engineering Manager and have been playing the saxophone off and on since I have been 10 years old. I took a fifteen year break and started back up early 2017. Released my first smooth jazz album July 2019 and just released a smooth jazz single late April 2020. I did it all, from composing, copyrights, producing, publishing, trademark and playing all of the instruments. What a great feeling of accomplishment. Man I love to play the sax. A little long winded reply. Check out my music, just search on Jacque Lamont Harenberg. I am on all the major streaming sites including TH-cam. BTW, thanks for replying. You are a very good player and appreciate your teachings. Thanks... Jacque
So I just so happened to have a Bb blues play along and I put it on. I practiced the first interval for about 5 minutes and the second one just a little longer (it was hard to get under my fingers). After that I started running them both against the play along like you did. After about 3 or 4 run through there I was sounding all modern!! It was hard to keep the two intervals separate , I had a tendency to combine them (I personally thought it sounded better when I did 😉) but I wanted to get the feel for the lesson. Plus I’ve been working on dissonant sound and resolving back to the key. This exercise helped me hear that a little more. I have trouble hearing when something is dissonant . I have a theory why, but I won’t bore you with it. Great exercise Jeff! I feel so modern now!
PS. I don’t have a VW van to send you.
Robert, I tried it also and I recorded it and it sucked. I need to go to the wood shed and get better. I felt the same about combining the two scales. I also felt better using an occasional crhomatic approach note. I love how Jeff sounded, but hard to duplicate on guitar. More practice needed. :)
Richard Sorice - mine wasn’t ready to record. I was just trying to get a feel for playing only the three notes in both keys. It’s gonna take a couple sessions before I’m ready to record it.
The problem is that when you combine them . . . you essentially get a Bb dorian scale. You get nothing special. That's why your fingers want to go there, and that's why your ears want to go there. Bb - C - Db - Eb - F - Ab - Bb. Keeping the groupings of three notes and three notes is crucial.
Jeff Antoniuk - Educator ,ahhh Dorian, I thought it sounded familiar and my fingers just wanted to go there. I been working on So What, no wonder it seemed like I wanted to combine them. Going to try my best to keep them separate , seemed fun after I got into it. Just another one of your good exercises Jeff!
Yup,@@robertnorris8096 ! It's the little things like that - so easy to miss, and crucial to get. You know, Robert, we are definitely at the point where all the typing back and further isn't going to really get you where you want to go!!! Make your way over to www.JazzWire.net, and let's do this for real. You seem to have a lot going on, and you are thinking about things just right. It's time for me to hear you, and for us to really work together in the Community. Hope to see you at Jazz Wire soon.
I’ll be cooking with this tutorial in the lab tomorrow. Great, expansive, ear-centric training going on here too. Top stuff.
Thanks Eddie. Ears + Brain + Fingers = Awesomeness. Have fun in the lab. Don't blow anything up!!
Yes, all this sounds promising, let’s try it. Thanks for sharing.
You bet Tito. Give it a try and let me know how it goes.
Jeff Antoniuk - No doubt about trying it👌
Yes, Jeff! You have my vote, "Best Jazz Video Ever!" You've again shared one of those simple gems to help clarify the Jazz art. Well done. Thank you!
Cheers David! I'll add your vote to the little box I have here in the office. We're up to 45,265,121 votes for Jeff. I think we're closing in. The "Best Jazz Video Ever" is a coveted honor, and gets the recipient a box of used sax reeds, and a weeks supply of snarky You Tube comments. I'm so excited!!!!
Nice video. Good tip!
Oh wow. So little to think about while playing, how liberating. It's kind of strange under the fingers though. This is probably great for slow ballads to ad spice.
REALLY strange under the fingers, depending what instrument you play. Very atypical on the sax, and very cool sounding.
Listening to use this "simple" grouping over a blues is really nice! And it is mind-blowing how many chords it fits over. This "modern 1-2-5 sound" is very present in Igor Stravinsky's compositions as well as a lot of Coltrane's music. Playing the patterns in the "right" rhythm is the key to making it sound good. I can see that you eventually replaced the real VW with a little model on your piano. I used to have a VW bus, but I sold it to a military officer from Uzbekistan.
Yes, sadly the VW is gone, but the toys on the piano remain!! And yes, there is NO melody "jazz idea" that didn't occur in classical music, I'm almost certain!
Thank you, Jeff! 🤗👍🎻
Christine!! Nice to hear from you. Thanks so much for tuning in.
Great! I'm going to use this when I improvise in my group which plays standard tunes. Thanks man!
Give it a try! Even though it's only three notes, really practice it. A big part of making this work is not "flinching" on these pitches. One little "aside" and the illusion is broken. Give it a try and let me know how it goes.
Wow Jeff, I just tried this lesson tonight and when I played the 4 note intervals they sounded cool, I then put on a backing track jam from TH-cam and used the two different ideas as instructed, I literally jumped for joy, this is now a turning point in my improv now.
Excellent work Jeff! Very informative video just like your others in the series. I'm a UK based saxophone player and will incorporate your teachings into my practice. Thanks a lot.
I'm so happy this has helped. Hey, I hope that we will be able to work together at www.JazzWire.net. Let me know if you have any questions.
I am climbing up with 2-5-5 and clibing down with 5-5-2 or even 5-2-5 intervals. For example: C - D - G - C and climbing down through C - Bb - F - C.
Thanks, Jeff!
You're the best teacher in TH-cam!
Thanks so much Mateus!! I appreciate you watching the videos. Stay tuned!!
Thanks Jeff. Very interesting video TBJV EVER :-) and tip. I'll try it asap.
So glad you liked it. Definitely try it and let me know how it goes. And, you are obviously a VERY smart and clever person, knowing this to be the Best Jazz Video Ever. I 100% agree. Congrats on your huge brain!!
Evening. The limitations are coming back again. I remember when you introduced triads not to add other notes. The treatment here is the same but I see the use of triad pairs. This is awesome considering that the formula is different. 1 3 5. This time 1 2 5. Thanks Sir.
< This is a Jewel of a lesson ! Thank You Jeff, could very well be TBJV !>
The Best Jazz Video ever (TBJV)!!! One vote down . . .
Very Interesting - seems like Bb-C-F would work over most of Stella - going to give that a try. Also important here - the placement of the notes and the importance of rhythm.
That grouping of notes (1-2-5) will work on MOST songs . . . it's just a matter of finding the pitch level to place them on. And yes, all the "HOW" stuff is so important . . . . HOW we are playing, not just what we are playing. Thanks David!
JUST THE G R E A T E S T ..... ! ! ! !
So happy that you like this! Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
just love this!
I heard this 'modern sound' but i never could figure out what it was. Now i know better. Thank Jeff for your great videos. Week after week, You are the best!
Thank you so much for this Jeff. You videos give fast payoffs. Over the past month I have made huge leaps in my playing after years of just playing lots of notes and getting lost in my solos. You have helped me make it simpler and create some space to think. I feel this is the first time there has been this kind of well presented resource for intermediate players. I will now make my way to jazzwire.
So happy that I'll be seeing you at www.JazzWire.net. As fun as these videos are, Jazz Wire is the real deal. I'm so pleased we'll get to work together there!
Evening Jeff long time Sir. Watching and listening digging deeper, your teaching have steadily transformed me. Thank you very much. Can you please forward me this pdf.Sir. Have a nice day.
I enjoyed this lesson.
So glad you enjoyed it, Gerard. I hope we'l stay in touch.
Thanks, Jeff. By the way, I love your soprano sound :)
Thanks Giovanni. I spent (and spend) a LOT of time on it. Glad you dig it.
Jeff, this is exactly the sort of tip I need to get the modern sound I have been searching for. Thanks a million.
Please keep it coming.
That's is awesome Jeff! Kind of deceiving notes, building a new path.
Very well put! Glad you enjoyed it.
Shifting a minor third produces two nice altered dominate notes for F7 (Db = #5, Eb = b7, Ab = #9). Shifting a half step produces three for F7 (B= b5, C# = #5, F# = b9). Endless possibilities. Thanks!
Like I said, shifting to ANYPLACE other than Bb is pretty cool, frankly. And then, of course, we can definitely pick and chose, analyze and use our ears, and find our favorites.
Fourths are HELL for guitar and bass (as you know), too. But, yeah, sound is ultra hip!
Hip outweighs Hell, right!? :)
Great ideas!
Sounds like triad pairs. But this way IS much much understable for advanced beginner like me
Actually it's entirely different than Triad Pairs, but 100%! Triad pairs are by definition two triads, so 6 notes. This is literally THREE notes. It's an entirely different construct, but both DO give us an interesting "modern" sound. Experiment with both, Michael.
Hey, if you haven't already, please jump in to a Free One Week limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free One Week Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. app.jazzwire.net/free-trial. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Really cool and as always, extremely accessible. Not easy, but accessible. Interesting that you chose to move a minor third. I was looking over the changes to Giant Steps last night and there as you know Trane moved key centers (at least that's how I describe them) in major thirds -- which are about as far apart on the circle of fifths as one can get. I know you picked Bb to Db at random, but just found it ironic how close it feels to the Trane changes. Sorta kinda in a nerdy, theory kind of way.
I love the way you are talking about it. Exactly correct about Trane changes. Minor 3rds always gives us a cool sound for a number of reasons, so moving from Bb to Db (up), G (minor 3rd down) or E (two minor thirds) is always going to be good. Thanks for tuning in, and especially for commenting . Love it!
Very interesting
Thanks for tuning in. Give it a try, and let me know how is goes for you.
I practiced this already, strangely enough, because I practiced hybrid hexatonic, I tried to mix that with Tetratonic and with one comment tone make a scale of 8 tones two times 4 where one tone is two times enharmonic so 7 in the end...
when leaving out the 1 this scale happens...in my memory...This puzzles me for 25 years, since I met Freddie Zomer. His brother, Henk Zomer(from Holland, like me) played actually with Joe Hendeson...and is a well-known jazz drummer in Holland...
👍😎🎷 Killer material Jeff, very interesting - great soprano sound you have. Love the two different key patterns combined very cool
Thanks Jeff. This is exactly the type of info I need.
You are a great teacher. You keep unlocking mysteries .
Please keep it going.
Thanks for being here at Digging Deeper with us Deryck. I'm so happy that you are enjoying the info. much more to come. And, I hope I'll see you over at www.JazzWire.net. You'll love it!
That was in yuseff lateff book quartal chord in the circle of fuorths
I'm sure it was! These three notes were probably in every book on 4ths, I would imagine. Good stuff, right?
Awesome Jeff. Just the kind of practical thing you can implement right away and build on
Thanks brother
That is always the goal of the Digging Deeper videos . . . practical. I want folks playing better and having more fun TODAY! Thanks for taking the time to write.
Interesting. Another great lesson. Two things immediately came to mind. The first was a Herbie Hancock story (it's in his biography, but I've heard it elsewhere as well) when he was first playing with Miles in the 60's. Miles told him, "don't play the butter notes". Herbie didn't really understand (and thought he might have meant the "better" notes"), but he took it as the 3rds and 7ths and made thw adjustment. And according to Herbie, it changed his playing forever! The other thing is that as a guitarist, I always noticed that when I played a first inversion m7 chord, the top structure had b7, R, 5. This is an interesting structure and not a triad (if you start from Bb, it's 1-2-6). The other thing that people have mentioned to me about "modern" playing is to play even eighths, and NOT to swing, which feels odd, but there does seem to be something to it.
I know that story, and it's a great adjunct to this lesson, for sure. Avoiding the 3rd and 7th (while NOT good for your bebop playing) is a great way to sound "modern." Love it Jim.
how very very cool. new information for me, sort of. i'm off to practice this! thanks Jeff! (you win the gold cup teacher award for sure! :) )
Nice!! I presume the gold cup will be delivered this week? I have a place on the mantle for it, just waiting!! :)
Hi Jeff, it's amazing how each of your videos seems to be timed perfectly for what I'm working on. I've been looking for something to do over the modal (?) part of Lucky Southern, I'm going to try this out. Maybe playing it in (tenor) F#, C# or D# over G#m-F#m-G#m would fit. Or maybe something like playing G#-G-G# would be more interesting. Endless possibilities.. I'll hit the shed later! Thanks!
Now that I've seen the end of the video.. even more possibilities.....
This one little approach can branch out in a million ways, for sure. You know, we're going to be working on Lucky Southern at www.JazzWire.net later this month. I hope I'll see you there when the time is right for you. You'd have a BLAST with our Communities there.
@@JeffAntoniukEducator oh cool
Maybe you covered this. The idea of playing lines that are very common to one instrument, but not your own. I grew a lot playing sax/Parker lines on the guitar, which is not natural, having to constantly change strings. Guitar players tend to play very linear at fast tempos unless they use the Joe Pass technique. He was able to play like Parker because he finger picked most of the time. Sax players can more easily play wide intervals than brass players, but brass players have developed some very hip lines that don’t have huge interval leaps. Now, brass players do have a wide interval trick using lip slurs. So trying those lines on the sax might yield some fresh melodic ideas. Sorry for all the words. In a nutshell, play lines commonly found on a different instrument for fresh ideas.
For sure . . . It's very hip (and generally very hard) to play lines and melodies that are more idiomatic to other instruments. Hard, and fun!
Thanks Jeff, Cool stuff!!
Russ! Thanks for tuning in, brother. Hope you are well.
or skipping the 3rd is alos possible than we get this example you're showing us...
On Bb7 I would play: D-C G-F (Tetratonic) and than mirror it to Tritone: G# -F# C#-B or to the bIII: F-Eb Bb-Ab or to the VI: Db B- Gb-B(altered scale)trying to play the patterns as chromtatic as possible as a hole, and as fast as possible(méép, méép!)like Coltrane did with hiS Octatonic (Half Hole-dim.) Licks
I hope we'll have a chance to work together . . . you have so many ideas that we should discuss in our Community! www.JazzWire.net is the place!
Whoops.. I played 1,2,6,8 instead of 1,2,5,8. It sounded cool and modern to me, but perhaps the same universality does not apply to that group of notes?
You know, I don't think there is a "bad" set of notes. That said, with 1-2-6-8 (in C, that's C-D-A-C), we get a third relationship between the A and the C. So, we might hear this as some sort of A minor or something. Not the end of the world AT ALL. To me, the "most interesting" groupings as the ones that are more obtuse and less "committal." Keep having fun with it, and I hope that we'll work together one day at www.JazzWire.net, Marcus.
Ear-opening. Maybe I'm slow [I am], but this is what's going on in Kenny Garrett and Pat Metheny's Pursuance from the mid-nineties, which I've just stumbled across? I've known about Love Supreme since it came out, but never really listened to most of the other sections. These two blew me away with their take
I haven't listened to that album in a long time (Pat and Kenny), but I wouldn't be surprised.
Jeff
Did you do any follow up videos to this one?
Reminds me of John Coltrane.
Charles Barry definitely a sound and approach he used. I’m glad it had a sonic reference for you!!
It's impressive how much mileage you are getting out of three notes. I'm transcribing what you are doing here and wondering if you expand on this in JazzWire.com?
This is exactly the kind of thing that we have all the time in the world to explore at www.JazzWire.net. The nice thing is that the community of musicians there helps steer things into what is interesting, what can be expanded, etc. If this idea is something you'd like to work on, we'll do it, as a group!
It sounds just like John Coltrane that's interesting
L Jacks right?! This is a device and approach that he used plenty. Hope you are getting some good traction with it.
Jeff, It's not Friday.
I'm kidding. Wednesday is good. Great lesson, but really hard to play on guitar. I recorded me over a Bb blues backing track and it ain't pretty. I occasionally learn and relearn Freedom Jazz Dance, going for this sound.
I know, I was surprised too!
so "well you needn't" is modern
It sure is!! Anything Monk did was (and is) modern in my book.