Excellent Video clip! Apologies for butting in, I would love your thoughts. Have you considered - Riddleagan Smart Hands Remedy (Have a quick look on google cant remember the place now)? It is a smashing one of a kind product for learning piano fast minus the normal expense. Ive heard some interesting things about it and my BF got excellent success with it.
Hello! I have a question. I've been training pentatonic scales, major and minor, 4 octaves 12 keys. For the natural major and minor it's OK, the patterns are clear, but as the pentatonic has got space in between the notes, I'm a bit lost on how to use my fingers, each octave goes with a random finger pattern. So do you have any tips, or premises, on how to use fingers for major and minor pentatonics to make it fluid through all 4 octaves exercises and improvs? Thank you! Ur channel has been helping a great deal
I guess u should practice each blue pentatonic or even major minor or whatever scale from every playable position like one is basic whole scale fingering then starting by putting thumb from every white note and reaching next four with your rest finger. Or even skipping notes or fingers in between. Thats exactly how u master the scale whatever type it is. And thats exactly how u play real music. By going to and fro in little variable patterns. So basically your fingers dont have fixed position with regard to notes. You use whatever is convineint at the moment or important to give u head room for next sequence or part of.. or even to minimise hand movement to improve accuracy and timing. All in all u focus for particular notes and easability of playing that pattern with whatever free finger u have at your disposal or prepare at previous transition point how to accomodate for next notes sequence. So maybe u have to skip or move forward a finger or two to play next or prev note to free fingers to play following notes. All in all your focus should be on following notes or scale pattern rather than particular fingering on particular note. Like if you at A note of A major in normal A scale playing u switch to thumb at D note but technically speaking u dont need to shift hand till your pattern come back from even E note u can easily hit them with 4th and 5th. Same way like lets take an example of famous hindi song "Mera Joota hai japani" interlude .. lets say we play it on Ab scale.. its not on Ab scale actually but for the purpose lets say we do it on Ab ..so first 3 patterns goes like this G F Eb F Eb - G F Eb F Eb - G F Eb F Eb D Now if u play like playing thumb at F or G with index.. natural scale playing fingering.. but if you play G with index or even middle finger u will have difficulty reaching back to G after Eb or striking Eb with Index. So work around is u skip a finger and use 4th finger on G instead index now u can easily come back to G or strike Eb with index with ease. Its not according to so call scale fingering rule. But thats how u play real melody. Lets take next phrase of this interlude. Its pattern is .. u just move the same pattern one note backward. Which is..... F Eb D Eb D - F Eb D Eb D - F Eb D Eb D C Now I can play it with A scale fingering by striking note C with thumb but for that I need to skip fingers to adjust for that since till now I am playing Eb with index so thumbs goes naturally to D ... So either I switch to middle finger to hit Eb in last lap or I just play D with thumb in first 2 new patterns and then switch to middle finger for Eb on last lap where I have to hit C note in the end. So real playing get lil complex. So if u keep worrying about particular fingering u wud have something really worrying but if your focus is on notes rather than finger than u have truly mastered that scale. And since pattern are kinda zigzag so it gives lil different stress to fingers at every different position that why u should be practicing from every possible fingering position. So that when times come u can do it without much haazle. Scale fingering that u know are good only for playing scale runs not to play songs on that scale. And tell u yeah yeah u can play this whole interlude with placing thumb at C .. just start with pinky. U have all the notes at your reach with 5 fingers but the tempo of these pattern might require u to practice that position cause 4th and 5th might cause u problem keeping on time if u newbie. Since they naturally weaker so difficult to control precisely. Thats why I said at least do 5 fingering exercise from every white key of scale. Then patterns like 123 234 345 or 1234 2345 or 1212 3232 3434 5454... I mean whatever pattern u can think of which giving u trouble in keeping pace with precise time or tempo. Like for me currently if I do 5 finger on E scale by placing thumb at E note. It gives me trouble when I try play 3 notes roll from last 3 fingers. It occasionaly miss the timing at higher tempos. Cause me myself just few month into practicing so dont have that much precise control with last 2 fingers Still I can time the 5 finger roll correctly but it start go offtime if I just do roll with last 3. Only this particular pattern gives me trouble or much trouble. Cause of my pinky kinda too short and notes are just side by side. I dont have problem with like pinky one note apart like at C in C# scale or at B in B scale but this combo bring wrost. Rest i can manage comfortably if not absolutely.
Ok let me give u one more melody.. it famous nagin dhun melody. Its originally in F# but lets try it on ..umm lets say Eb scale. So pattern is 4/4 .. u play it in any scale pattern by note position is. 7616 7565 7616 761- in 2nd round u skip a beat ..so whole pattern is 15note plus one empty beat at end. Then u repeat. Its just a part of that tune but main part it repeats lot of time. So in Eb case it gonna be... D C Eb C D Bb C Bb then 2nd line same as first but u mute the last note i.e Bb Now what I found comfortable is to play D and Eb notes with 4th so that my reach at Bb with index is with ease. U can use middle as well or whatever finger combo. Same way what if u have to reach backward without touching white. Like u playing D Eb Bb roll or C C# Bb roll. For me I wud use whatever comfortable for me according to my own hand built. Everybody got different fingers not just in hand or finger size but thier relative size. So what is comfortable for one hand might not be for other.. especially at higher tempos. So u practice scale in every possible way at least try once so that u know which part u need to work or are possible or more comfortable to u. Squencial Scale playing only mostly comes handy for playing scale runs inbetween ..mostly string instrument sequences. For most rest melody u juggle around with fingers. Like even u playing blue or improvising on it. At least u should be comfortable starting from all white notes. So that u can switch thumb position to any of it to reach whatever notes sequence u want to play of whatever notes length. If u at some position but have to play some notes beyond your 5 finger reach time to switch position ..so think ahead a lil all the time. Like what next. so that your lines don't go off time or off rythm. And it will require u to be comfortable from every note position .. start from all white then try blacks too.. And dont be afraid playing between key if u have too if u can. It certainly need some practice ..lot of things can be overcome by simply enough practice but still some maybe wont according to your hand build. Like guys or girls with sleek fingers can play quite comfortably in between keys others might find it difficult to keep accuracy especially at higher tempo and with middle finger.
So lets say u wanna play C blue minor ..it has 3 white notes position. C F & G ..so u should practice 5 finger exercise from all these 3 thumb position. U place thumb at C ..and play next 4 notes with rest four fingers. Now what it gives u ..u will have the capabilty of reaching 5 notes seamlessly without moving hand. Second blue have typical 3 notes combo semitone apart..when u practice as such those notes will come on all possible 3 finger combo. I.e 123 234 345 All in all it make u confident how to traverse that scale without worrying much about with which finger to hit which. And its completly different than hitting with random finger. Now u have those possible patterns in your sleeves. So u know what u can reach and how u can reach. U start seeing the scale differently .. now u concentrate on notes rather than fingering since your finger knows every possible way to reach that note with what difficulty or ease level. So mastering scale is lot more than just sequencing scale playing. Fingering is an art in itself its used most time on some particular scale but it has nothing to do with that particular scale. U learn to walk not on some particular road.. right? 😀 Once u learned walking u can walk anywhere with lil or more ease or difficulty. Thats why some ppl advise why real piece playing is more benificial than simply doing fingering exercises. U encounter different situation within same scale. And u learn to walk or get over those situation. But if u think lil.. there are not that much combos.. they just 12 keys right? Most pattern repeat themselves on different scales. Like first 5 scales of octave have similar tetrachords. If u consider scales of left right block they have at least one tetrachord similar. All I mean there can be lots of combo but not that much still. And u learn to add numbers not some particular numbers. Now look at keyboard and think how many five fingers combo u can make. Not that much I guess. 😀
@@Nick-ui9dr geez it's been two years. Nick I've been through so much because of the piano. Last winter I studied to the point where my back blocked and I couldn't walk for a week. I think that summarizes the intesity it's been. I had the goal of getting into a jazz university, but in May the exam came, and it didn't happen for me. As a matter of fact, I had the worst grade on the list of candidates. So I've been away from the piano for the last three months now. It was tough. Funny thing is that I was thinking about piano yesterday and today. And then I see this, the biggest reply (three) I've ever seen. Given the time and thought that u gave for this, of course I'm gonna try sutff out based on what you have said. So thank you man, your love for music has resonated here and the piano is gonna be vibrating soon. This was a cool coincidence. All the best the cheers for the legit content
Dont forget to be realistic - you must do some work whatever plan you choose for learning to play saxophone I've been researching into how to play sax and discovered a great resource at Takiras music method (check it out on google)
excellent video really helpful to understand where the outside tone effects the scales strength... Is it possible for you to do video on how to improvise over rhythm changes an area in my playing that most church musicians that I'm surrounded with truly have a true grasp and understanding of knowing what tonality to play over these changes is the most confusing part for me as well knowing what scales work over standards such as My funny valentine for example, Thanks for all you do. Chris
+WTP WTP Thanks, Chris. I'll see what I can do. Just to clarify, you were interested in learning the tonality/keys/modulations for I Got Rhythm and knowing what scales to play over it (as well as other Jazz Standards)? I'm planning to do a 'chord mapping' lesson eventually where I explain how to figure out keys and scales and guide tones, etc and how to practice them up. That may cover some of what you're looking for. But it may take me a little while to make that lesson as I'm preparing a couple others at the moment.
Hi, not sure if you'd read this now but can you do a video on "what & how to think during an improvisation" or "how to think fast during an improvisation" because with all the theories I know, I can't seem to put them in my playing as what I think it would ideally be. Most of the improvisations I've done are just by pure feelings & letting my fingers play by itself. Although I think it sounds "okay", a lot of the times it ends up messy. Thank you very much!
No problem. I'll see what I can do. But the short answer is 'practice'. The only way to get faster at thinking about improv is to practice improv, and you will slowly improve. But I'll see if I can make a lesson about it with a bit more detail.
dude this is so damn informational. I have watched like 200 vids trying to find info like this but I swear they don't want to release the cheat codes lol.. cheat codes activated here!
My study of Charlie Parker has revealed that there is a bit more to 'bebop' scales than this. I think the early boppers saw it more as just adding chromatic notes to diatonic scales which we now call Bebop scales. My study has shown that these added notes are related to the function of chords and should not just be seen as 'passing notes'. I noticed also that Charlie Parker never plays them in an accending line as you do here. However, having said that, this is by far the best explaination of Bebop scales I've seen on You tube.
Thanks, mate. So couple of points: 1. You're probably right that just calling the chromatic note a 'passing note' is an oversimplification. And yes, the passing note chosen definitely depends on the chord type and function. Playing a b3 over a dominant chord will sound over a V7 as compared to a Maj7 chord. But my goal here was to explain that the bebop scale isn't some sacred scale that you cannot alter or change in any way. Yes the Major Bebop Scale has a b6, but you shouldn't think of the b6 as somehow sacred. As you'd know, bebop is very chromatic - it's not just about one particular chromatic note added to a scale. 2. You're right that the bebop scale is generally (very almost always) played descending. This is for the reasons I explained in the video (the chord tones already fall on the beat when ascending). But there is no reason why you can't play it ascending also - there's no law against it. 3. It's generally quite hard to categorically differentiate between a legit and proper 'scale' and just some chromaticism in a solo or melody. Even if we look at something simple like the melody of Billie's Bounce (Blues in F): - The melody in bar 5 and 6 (over Bb7) goes: A Bb F Ab (A [Maj7th] goes up to Bb [root]) - The melody in bar 7 (over F7) goes: F C E (C [5th] goes up to E [Maj7th]) - The melody in bar 8 (over D7 - beats 3 & 4) goes: F# Eb C C# (D - in the next bar over Gm7) (C [b7th] goes up to C# [Maj7th] goes up to D) - Parkers solo in bar 6 of the first chorus (over Bb7) goes: C Bb F G# A Bb B (A going up to Bb) - Parkers solo in bar 7 of the first chorus (over F7) goes: C D C A C E D (C going up to E) Are these fragments of the bebop scale or just some chromaticism? I think it's a pretty fine line. Granted, these are not long scalar runs - which as you stated are played descending - my point is simply that bebop scales should be thought of as flexible and not completely rigid. They work better down, but if you want to, you can play them up. So that was just a long way of saying that, yep you're right! :)
Hmmm I just want to reply here with a couple of points of my own. Firstly; just because I state that Parker only uses Bebop scales decending does not mean that I think they should not be played 'up'. The pop tune Yesterday seems to run up the notes of a major Bebop scale and that sounds nice. However, I maintain that Parker uses them in decending lines - in very unusual ways that David Baker in his book 'How to play Bebop' fails to recognize. The examples you give above I would not recognize as Bebop scales in the way you describe them. To illustrate my point I will make a video called 'Charlie Parker Billies Bounce analysis' and show you how I see thoes notes.
Great thanks for the reply. Yeah, I definitely agree with that then. And yeah, would love to see your thoughts on Billie's Bounce. I always enjoy hearing other people's theories, especially when they conflict with my own. It's only ever fun if there's an argument! :)
The weak beat-strong beat logic does not follow on the dorian bebop, as shown. It seems to me adding MA7 to dorian accomplishes the desired result, as it does for the mixo bebop.
Yeah, that's right. Because the added note is in the middle of the scale the 'weak-strong' idea only works for the 3rd (which incidentally is a guide tone and so on of the harmonically strongest notes). But the fact that there are 8 notes in the scale rather than 7 still helps with the timing/phrasing. Though, bebop scales are quite flexible. Even though these are the usual 'academic bebop scales', you can create your own by just adding one passing note wherever you like. In fact, bebop musicians didn't religiously stick to these particular added notes, often they would add a passing note in other parts of the scale. It was an academic/music theoretician who came along afterwards and decided to make these the 'bebop scales'. So just a note anywhere in a diatonic scale and you've got yourself a de-facto bebop scale.
Most geniuine reasonable explanation on passing notes and jazz scales out there definately! thanks! btw would u mind explane why some passing notes sound better than others and u can in fact stop on them like the blue note? or why to put them on a pentatonic scale? does it have something to do with rythm at all?
How to I do this over a minor scale? For example Cminor7. Should I keep the 3 flat and 7 flat and create a chromatic passing on the 5 as to maintain the quality of the chord? Thank you anyone that can help
jose ortiz I may be a bit late but whatever... You can use anything as a passing tone however some are going to sound better than others (the flat 5 of a minor chord or the flat 9 and flat 13 in a Dorian context for example) the key is to experiment and find what suits you. As for the quality of the chord it will be conserved if you emphasize the notes of the chord so that the ear uses them as "landmarks" so to speak. I hope it was helpful don't hesitate to ask if you have other questions
Could you, please, make some lessons on the following topic: "How to actually start playing music"? By now, I know lots of music theory, I'm also practicing many exercises on my keyboard (common chord progressions, circle of fifths, etc), trying some basic arrangements in my DAW, by I still can't play real music. I can't find out how to combine chord playing and the melody. Cannot replay famous music (like Beatles, Queen, Elton John's stuff) into a completely different genre, like classical, bossa nova or a jazz style. After all those years of going back and forth from my keyboard, I still can't play real music. Just the same pattern in my left hand, which includes triggering 1, 5, 8 steps of the chord in a similar way, and one finger melody in my right hand. Sometimes I can add some chord tones below melody. Some other time I just play 7th chords in the right hand, with the same pattern in my left hand. I can try playing those chords in different inversions, so they'll keep common tones as much, as possible, but that's really it. I can't play music. Please, help me, mister Walk The Bass. :)
+fundorinlive Hey fundorinlive. It sounds like you have the basics down pat. That's good. Can I ask what specifically you mean by 'real music'? Do you mean jazzier sounding music? Or improvisation? Or more complex chord voicings? Based on the above comment it sounds like you're interested in the following (correct me if I'm wrong): 1. More Advanced Chord Voicings - So I'm about half way through my 'Jazz Chord Voicings' series of videos. I'm gonna publish a video on the So What Chord voicing tomorrow. At the end of the this series I'll create a conclusion/overview video where I will go through how to put all the different chord voicings together over a specific song. This might help you by giving you an example of how to apply the different chord voicings in practice. 2. Chord Mapping - I'll make a video about how to first start analysing a song and learning to play it - so doing things like chord mapping, guide tone and avoid note mapping, inserting chord substitutions, etc. This video may take me a bit of time as I haven't started planning it yet. Hopefully those two things will help you. If I've missed anything or there's anything else you would like me to cover please feel free to mention it.
+Walk That Bass I suppose that the second one is the one that I'm looking for. Sometimes you mention in your videos, that you're writing down chord tones of the song, before even start playing it. I would like to learn more about this process. There are lots of videos on YT, decribing what chords you need to use to play a particular song. But they all look like "Learn how to draw an own in four steps". I am exaggerating, but what interest me is a process of trial and error from a person, who have a big knowledge luggage of music theory. Teachers are showing what chords should be used, without showing, how did they came to that conclusion. I mean, this chord sounds perfect in this part of the song, but why is it so? What other chords did you use before finding out this exact one, that fits? I'd prefer a choice of the most simple and popular tune for this type of topic. When something with only four straight chords becomes a fancy smooth jazz tune in the process of the video. This includes trying different left hand accompaniments, different chord voicing to find out which combination works best for the tune. That would be great. I'm watching your "Jazz Chord Voicing" series and learning alot from them, but struggling to use those things, that I''ve learned in a real life. It feels like my head is going to blow, while thinking of all those possibilities of making the song this way or another and which way should I really use. I usually end up stopping the process and going back to practicing chords progressions, cause I've used to them, and they're easier for me to play right now.
+fundorinlive Hey. Ok, so I've had a think about your question. If you give me a bit of time I can make something like this. Essentially, it will be a video explaining how to turn a pop song into a jazzy sounding song - by adding passing chords, substituting chords, reharmonising the entire progression, embellishing the melody and picking appropriate chord voicings. I'll try break it right down and explain why certain chords fit over the melody and which chord voicings to choose. This is actually a good idea for a lesson, as it will be quite an extensive and all encompassing lesson - it will in effect be combining and putting into the practice a lot of my previous lessons. As I said, it may take me a bit of time as I'll be starting from scratch and trying learn a pop song and build it up into a jazzy piece. But I'll see what I can do. How does that sound? Chord mapping is more a tool used to strengthen your improvisation. While I will make a separate video on this, this is a slightly different topic to the one you're asking. Let me know if there's anything else. Otherwise I'll start planning a lesson and then you can comment and tell me what you think and if I've covered what you wanted me to cover. And if not, we can refine and I can make a more detailed/specific lesson.
+Walk That Bass that sounds great! I'm looking forward for this lesson. The process of creating something new from a couple of simple chords amazes me. Thanks a lot, Mr. Bass!
Academics created 'bebop scales'. The creation of bebop scales is generally credited to a guy called David Baker. Bebop musicians played diatonic scales, but just added chromatic passing notes. Academics analysed which chromatic passing notes were used most often over particular chords and turned these into 'scales'. That's generally how music theory works. A musician plays something - without necessarily philosophising too deeply about it - and then a theoretician comes along and explains why it sounds good and creates a 'theory'.
I thought so. Thank you. Also, something that came to mind when reading about 'Coltrane Changes'; how did Coltrane write his tunes? Obviously he couldn't have written harmony on his sax so did he also play piano? Or did he write with somebody else? Thank you
Most Jazz Greats (including Coltrane) could play a bit of piano. Largely because it's the simplest instrument to be able to see all the notes. His second wife was also a jazz pianist. You don't have to play piano to understand chords/harmony. Chords are just made up of notes, after all. You can play an arpeggio on a sax, which is just a broken chord. He wrote the harmony and someone else played it. I don't know if he wrote it at a piano or just sitting at a desk with a piece of paper. Both ways are plausible though.
Seems to me alls you gotta think in is modes and just pay close attention to the 5, #4 & 4. of the root chord...even if/when your playing ii or V. And in V (here C major that is) you can still think solely of your G7 exclusively in that chord too. (i.e., you also can descend D, C#, C (i.e.:5, #4, 4) if your thinking in the V chord, or 2,#1,1 if you're thinking in to root way. Actually in effect you have two sets of chromatics to toggle on then no matter what...your 5,#4, 4 PLUS your 2,#1,1. Just a thought.
I have always loved songs that played with a half-step before concluding. That little extra note to fit it right. Couple of examples that come to mind is the Entertainer and a few of the Super Mario Soundtrack. Now it is nice to know there is a name and some theory on these scales. Great video! Congrats
Add C# for D dorian? What does that mean? Do you mean "Add C# TO dorian? Or do you mean SUBSTITUTE C# for C in D dorian? Adding a note puts too many notes in the scale and defeats the symmetry he's trying to establish, which is whole point of the tutorial.
Excellent video. Bebop dominant keeps the chord tones on the downbeats when ascending and descending. It appears that bebop dorian does maintain the chord tones on the downbeats when descending, but not ascending; ie: third beat is G, but the chord tone is A. I noticed a similar problem for bebop major. Can someone shed some light on my misunderstanding?
Interestingly, if you transcribe a Parker or Gillespie solo, they generally only play the bebop scale when descending and just the regular scale ascending.
It works because the Dorian scale is the same as the mixolydian scale. So instead of thinking of it as a D Dorian think of it as a G mixolydian being used over the 2. Doing this turns the strong beats of a Dorian (1 b3 4 6 b7 1) into strong beats of a dominant progression (5 b7 1 3 5). Isolating each chord instead of analyzing it in the entire progression makes it harder to understand
I'm a guitarist and your videos give me more insight in how to play jazz than any guitarist on youtube ever could. Thank you very much.
My pleasure, mate. Glad you like them.
Excellent Video clip! Apologies for butting in, I would love your thoughts. Have you considered - Riddleagan Smart Hands Remedy (Have a quick look on google cant remember the place now)? It is a smashing one of a kind product for learning piano fast minus the normal expense. Ive heard some interesting things about it and my BF got excellent success with it.
Also a guitarist light pianist.
I know nothing about music theory, and I don't play piano, but this video was fantastic. Thank you!
Then why have you watched it?
@@denizakan8481 For fun
Hello! I have a question. I've been training pentatonic scales, major and minor, 4 octaves 12 keys. For the natural major and minor it's OK, the patterns are clear, but as the pentatonic has got space in between the notes, I'm a bit lost on how to use my fingers, each octave goes with a random finger pattern. So do you have any tips, or premises, on how to use fingers for major and minor pentatonics to make it fluid through all 4 octaves exercises and improvs? Thank you! Ur channel has been helping a great deal
I guess u should practice each blue pentatonic or even major minor or whatever scale from every playable position like one is basic whole scale fingering then starting by putting thumb from every white note and reaching next four with your rest finger. Or even skipping notes or fingers in between. Thats exactly how u master the scale whatever type it is. And thats exactly how u play real music. By going to and fro in little variable patterns. So basically your fingers dont have fixed position with regard to notes. You use whatever is convineint at the moment or important to give u head room for next sequence or part of.. or even to minimise hand movement to improve accuracy and timing.
All in all u focus for particular notes and easability of playing that pattern with whatever free finger u have at your disposal or prepare at previous transition point how to accomodate for next notes sequence. So maybe u have to skip or move forward a finger or two to play next or prev note to free fingers to play following notes. All in all your focus should be on following notes or scale pattern rather than particular fingering on particular note.
Like if you at A note of A major in normal A scale playing u switch to thumb at D note but technically speaking u dont need to shift hand till your pattern come back from even E note u can easily hit them with 4th and 5th.
Same way like lets take an example of famous hindi song "Mera Joota hai japani" interlude .. lets say we play it on Ab scale.. its not on Ab scale actually but for the purpose lets say we do it on Ab ..so first 3 patterns goes like this G F Eb F Eb - G F Eb F Eb - G F Eb F Eb D
Now if u play like playing thumb at F or G with index.. natural scale playing fingering.. but if you play G with index or even middle finger u will have difficulty reaching back to G after Eb or striking Eb with Index. So work around is u skip a finger and use 4th finger on G instead index now u can easily come back to G or strike Eb with index with ease. Its not according to so call scale fingering rule. But thats how u play real melody.
Lets take next phrase of this interlude. Its pattern is .. u just move the same pattern one note backward. Which is..... F Eb D Eb D - F Eb D Eb D - F Eb D Eb D C
Now I can play it with A scale fingering by striking note C with thumb but for that I need to skip fingers to adjust for that since till now I am playing Eb with index so thumbs goes naturally to D ... So either I switch to middle finger to hit Eb in last lap or I just play D with thumb in first 2 new patterns and then switch to middle finger for Eb on last lap where I have to hit C note in the end. So real playing get lil complex. So if u keep worrying about particular fingering u wud have something really worrying but if your focus is on notes rather than finger than u have truly mastered that scale. And since pattern are kinda zigzag so it gives lil different stress to fingers at every different position that why u should be practicing from every possible fingering position. So that when times come u can do it without much haazle.
Scale fingering that u know are good only for playing scale runs not to play songs on that scale.
And tell u yeah yeah u can play this whole interlude with placing thumb at C .. just start with pinky. U have all the notes at your reach with 5 fingers but the tempo of these pattern might require u to practice that position cause 4th and 5th might cause u problem keeping on time if u newbie. Since they naturally weaker so difficult to control precisely. Thats why I said at least do 5 fingering exercise from every white key of scale.
Then patterns like 123 234 345 or 1234 2345 or 1212 3232 3434 5454... I mean whatever pattern u can think of which giving u trouble in keeping pace with precise time or tempo.
Like for me currently if I do 5 finger on E scale by placing thumb at E note. It gives me trouble when I try play 3 notes roll from last 3 fingers. It occasionaly miss the timing at higher tempos. Cause me myself just few month into practicing so dont have that much precise control with last 2 fingers Still I can time the 5 finger roll correctly but it start go offtime if I just do roll with last 3. Only this particular pattern gives me trouble or much trouble. Cause of my pinky kinda too short and notes are just side by side. I dont have problem with like pinky one note apart like at C in C# scale or at B in B scale but this combo bring wrost. Rest i can manage comfortably if not absolutely.
Ok let me give u one more melody.. it famous nagin dhun melody. Its originally in F# but lets try it on ..umm lets say Eb scale.
So pattern is 4/4 .. u play it in any scale pattern by note position is. 7616 7565 7616 761-
in 2nd round u skip a beat ..so whole pattern is 15note plus one empty beat at end. Then u repeat. Its just a part of that tune but main part it repeats lot of time.
So in Eb case it gonna be... D C Eb C D Bb C Bb then 2nd line same as first but u mute the last note i.e Bb
Now what I found comfortable is to play D and Eb notes with 4th so that my reach at Bb with index is with ease. U can use middle as well or whatever finger combo.
Same way what if u have to reach backward without touching white. Like u playing D Eb Bb roll or C C# Bb roll.
For me I wud use whatever comfortable for me according to my own hand built. Everybody got different fingers not just in hand or finger size but thier relative size. So what is comfortable for one hand might not be for other.. especially at higher tempos. So u practice scale in every possible way at least try once so that u know which part u need to work or are possible or more comfortable to u. Squencial Scale playing only mostly comes handy for playing scale runs inbetween ..mostly string instrument sequences. For most rest melody u juggle around with fingers.
Like even u playing blue or improvising on it. At least u should be comfortable starting from all white notes. So that u can switch thumb position to any of it to reach whatever notes sequence u want to play of whatever notes length. If u at some position but have to play some notes beyond your 5 finger reach time to switch position ..so think ahead a lil all the time. Like what next. so that your lines don't go off time or off rythm.
And it will require u to be comfortable from every note position .. start from all white then try blacks too.. And dont be afraid playing between key if u have too if u can. It certainly need some practice ..lot of things can be overcome by simply enough practice but still some maybe wont according to your hand build. Like guys or girls with sleek fingers can play quite comfortably in between keys others might find it difficult to keep accuracy especially at higher tempo and with middle finger.
So lets say u wanna play C blue minor ..it has 3 white notes position. C F & G ..so u should practice 5 finger exercise from all these 3 thumb position. U place thumb at C ..and play next 4 notes with rest four fingers.
Now what it gives u ..u will have the capabilty of reaching 5 notes seamlessly without moving hand. Second blue have typical 3 notes combo semitone apart..when u practice as such those notes will come on all possible 3 finger combo. I.e 123 234 345
All in all it make u confident how to traverse that scale without worrying much about with which finger to hit which. And its completly different than hitting with random finger. Now u have those possible patterns in your sleeves. So u know what u can reach and how u can reach. U start seeing the scale differently .. now u concentrate on notes rather than fingering since your finger knows every possible way to reach that note with what difficulty or ease level.
So mastering scale is lot more than just sequencing scale playing. Fingering is an art in itself its used most time on some particular scale but it has nothing to do with that particular scale. U learn to walk not on some particular road.. right? 😀
Once u learned walking u can walk anywhere with lil or more ease or difficulty.
Thats why some ppl advise why real piece playing is more benificial than simply doing fingering exercises. U encounter different situation within same scale. And u learn to walk or get over those situation.
But if u think lil.. there are not that much combos.. they just 12 keys right? Most pattern repeat themselves on different scales. Like first 5 scales of octave have similar tetrachords. If u consider scales of left right block they have at least one tetrachord similar.
All I mean there can be lots of combo but not that much still. And u learn to add numbers not some particular numbers. Now look at keyboard and think how many five fingers combo u can make. Not that much I guess. 😀
@@Nick-ui9dr geez it's been two years. Nick I've been through so much because of the piano. Last winter I studied to the point where my back blocked and I couldn't walk for a week. I think that summarizes the intesity it's been. I had the goal of getting into a jazz university, but in May the exam came, and it didn't happen for me. As a matter of fact, I had the worst grade on the list of candidates. So I've been away from the piano for the last three months now. It was tough. Funny thing is that I was thinking about piano yesterday and today. And then I see this, the biggest reply (three) I've ever seen. Given the time and thought that u gave for this, of course I'm gonna try sutff out based on what you have said. So thank you man, your love for music has resonated here and the piano is gonna be vibrating soon. This was a cool coincidence. All the best the cheers for the legit content
Very clear. This will help my roommates embrace my jazz practicing much more! ;)
Dont forget to be realistic - you must do some work whatever plan you choose for learning to play saxophone I've been researching into how to play sax and discovered a great resource at Takiras music method (check it out on google)
excellent video really helpful to understand where the outside tone effects the scales strength... Is it possible for you to do video on how to improvise over rhythm changes an area in my playing that most church musicians that I'm surrounded with truly have a true grasp and understanding of knowing what tonality to play over these changes is the most confusing part for me as well knowing what scales work over standards such as My funny valentine for example, Thanks for all you do. Chris
+WTP WTP Thanks, Chris. I'll see what I can do. Just to clarify, you were interested in learning the tonality/keys/modulations for I Got Rhythm and knowing what scales to play over it (as well as other Jazz Standards)?
I'm planning to do a 'chord mapping' lesson eventually where I explain how to figure out keys and scales and guide tones, etc and how to practice them up. That may cover some of what you're looking for. But it may take me a little while to make that lesson as I'm preparing a couple others at the moment.
Hi, not sure if you'd read this now but can you do a video on "what & how to think during an improvisation" or "how to think fast during an improvisation" because with all the theories I know, I can't seem to put them in my playing as what I think it would ideally be.
Most of the improvisations I've done are just by pure feelings & letting my fingers play by itself. Although I think it sounds "okay", a lot of the times it ends up messy.
Thank you very much!
No problem. I'll see what I can do.
But the short answer is 'practice'. The only way to get faster at thinking about improv is to practice improv, and you will slowly improve. But I'll see if I can make a lesson about it with a bit more detail.
dude this is so damn informational. I have watched like 200 vids trying to find info like this but I swear they don't want to release the cheat codes lol.. cheat codes activated here!
My study of Charlie Parker has revealed that there is a bit more to 'bebop' scales than this. I think the early boppers saw it more as just adding chromatic notes to diatonic scales which we now call Bebop scales. My study has shown that these added notes are related to the function of chords and should not just be seen as 'passing notes'. I noticed also that Charlie Parker never plays them in an accending line as you do here. However, having said that, this is by far the best explaination of Bebop scales I've seen on You tube.
Thanks, mate. So couple of points:
1. You're probably right that just calling the chromatic note a 'passing note' is an oversimplification. And yes, the passing note chosen definitely depends on the chord type and function. Playing a b3 over a dominant chord will sound over a V7 as compared to a Maj7 chord. But my goal here was to explain that the bebop scale isn't some sacred scale that you cannot alter or change in any way. Yes the Major Bebop Scale has a b6, but you shouldn't think of the b6 as somehow sacred. As you'd know, bebop is very chromatic - it's not just about one particular chromatic note added to a scale.
2. You're right that the bebop scale is generally (very almost always) played descending. This is for the reasons I explained in the video (the chord tones already fall on the beat when ascending). But there is no reason why you can't play it ascending also - there's no law against it.
3. It's generally quite hard to categorically differentiate between a legit and proper 'scale' and just some chromaticism in a solo or melody.
Even if we look at something simple like the melody of Billie's Bounce (Blues in F):
- The melody in bar 5 and 6 (over Bb7) goes: A Bb F Ab (A [Maj7th] goes up to Bb [root])
- The melody in bar 7 (over F7) goes: F C E (C [5th] goes up to E [Maj7th])
- The melody in bar 8 (over D7 - beats 3 & 4) goes: F# Eb C C# (D - in the next bar over Gm7) (C [b7th] goes up to C# [Maj7th] goes up to D)
- Parkers solo in bar 6 of the first chorus (over Bb7) goes: C Bb F G# A Bb B (A going up to Bb)
- Parkers solo in bar 7 of the first chorus (over F7) goes: C D C A C E D (C going up to E)
Are these fragments of the bebop scale or just some chromaticism? I think it's a pretty fine line. Granted, these are not long scalar runs - which as you stated are played descending - my point is simply that bebop scales should be thought of as flexible and not completely rigid. They work better down, but if you want to, you can play them up.
So that was just a long way of saying that, yep you're right! :)
Hmmm I just want to reply here with a couple of points of my own. Firstly; just because I state that Parker only uses Bebop scales decending does not mean that I think they should not be played 'up'. The pop tune Yesterday seems to run up the notes of a major Bebop scale and that sounds nice. However, I maintain that Parker uses them in decending lines - in very unusual ways that David Baker in his book 'How to play Bebop' fails to recognize. The examples you give above I would not recognize as Bebop scales in the way you describe them. To illustrate my point I will make a video called 'Charlie Parker Billies Bounce analysis' and show you how I see thoes notes.
Great thanks for the reply. Yeah, I definitely agree with that then. And yeah, would love to see your thoughts on Billie's Bounce. I always enjoy hearing other people's theories, especially when they conflict with my own. It's only ever fun if there's an argument! :)
The weak beat-strong beat logic does not follow on the dorian bebop, as shown. It seems to me adding MA7 to dorian accomplishes the desired result, as it does for the mixo bebop.
Yeah, that's right. Because the added note is in the middle of the scale the 'weak-strong' idea only works for the 3rd (which incidentally is a guide tone and so on of the harmonically strongest notes). But the fact that there are 8 notes in the scale rather than 7 still helps with the timing/phrasing.
Though, bebop scales are quite flexible. Even though these are the usual 'academic bebop scales', you can create your own by just adding one passing note wherever you like. In fact, bebop musicians didn't religiously stick to these particular added notes, often they would add a passing note in other parts of the scale. It was an academic/music theoretician who came along afterwards and decided to make these the 'bebop scales'. So just a note anywhere in a diatonic scale and you've got yourself a de-facto bebop scale.
Thanks for the well thought out answer. It makes sense. I do admit the MA3 passing from 4 to b3 on minor 7th is really nice!
Hey, could you do a video on Barry Harris and his concepts? I’m interested your take on it.
Most geniuine reasonable explanation on passing notes and jazz scales out there definately! thanks! btw would u mind explane why some passing notes sound better than others and u can in fact stop on them like the blue note? or why to put them on a pentatonic scale? does it have something to do with rythm at all?
I mean people usually explain the does and donts about music but never the whys!
How to I do this over a minor scale? For example Cminor7. Should I keep the 3 flat and 7 flat and create a chromatic passing on the 5 as to maintain the quality of the chord? Thank you anyone that can help
jose ortiz I may be a bit late but whatever... You can use anything as a passing tone however some are going to sound better than others (the flat 5 of a minor chord or the flat 9 and flat 13 in a Dorian context for example) the key is to experiment and find what suits you.
As for the quality of the chord it will be conserved if you emphasize the notes of the chord so that the ear uses them as "landmarks" so to speak.
I hope it was helpful don't hesitate to ask if you have other questions
best video on this topic! great job i really appreciate
Could you, please, make some lessons on the following topic: "How to actually start playing music"? By now, I know lots of music theory, I'm also practicing many exercises on my keyboard (common chord progressions, circle of fifths, etc), trying some basic arrangements in my DAW, by I still can't play real music. I can't find out how to combine chord playing and the melody. Cannot replay famous music (like Beatles, Queen, Elton John's stuff) into a completely different genre, like classical, bossa nova or a jazz style. After all those years of going back and forth from my keyboard, I still can't play real music. Just the same pattern in my left hand, which includes triggering 1, 5, 8 steps of the chord in a similar way, and one finger melody in my right hand. Sometimes I can add some chord tones below melody. Some other time I just play 7th chords in the right hand, with the same pattern in my left hand. I can try playing those chords in different inversions, so they'll keep common tones as much, as possible, but that's really it. I can't play music. Please, help me, mister Walk The Bass. :)
+fundorinlive Hey fundorinlive. It sounds like you have the basics down pat. That's good. Can I ask what specifically you mean by 'real music'? Do you mean jazzier sounding music? Or improvisation? Or more complex chord voicings? Based on the above comment it sounds like you're interested in the following (correct me if I'm wrong):
1. More Advanced Chord Voicings - So I'm about half way through my 'Jazz Chord Voicings' series of videos. I'm gonna publish a video on the So What Chord voicing tomorrow. At the end of the this series I'll create a conclusion/overview video where I will go through how to put all the different chord voicings together over a specific song. This might help you by giving you an example of how to apply the different chord voicings in practice.
2. Chord Mapping - I'll make a video about how to first start analysing a song and learning to play it - so doing things like chord mapping, guide tone and avoid note mapping, inserting chord substitutions, etc. This video may take me a bit of time as I haven't started planning it yet.
Hopefully those two things will help you. If I've missed anything or there's anything else you would like me to cover please feel free to mention it.
+Walk That Bass I suppose that the second one is the one that I'm looking for. Sometimes you mention in your videos, that you're writing down chord tones of the song, before even start playing it. I would like to learn more about this process.
There are lots of videos on YT, decribing what chords you need to use to play a particular song. But they all look like "Learn how to draw an own in four steps". I am exaggerating, but what interest me is a process of trial and error from a person, who have a big knowledge luggage of music theory. Teachers are showing what chords should be used, without showing, how did they came to that conclusion. I mean, this chord sounds perfect in this part of the song, but why is it so? What other chords did you use before finding out this exact one, that fits?
I'd prefer a choice of the most simple and popular tune for this type of topic. When something with only four straight chords becomes a fancy smooth jazz tune in the process of the video. This includes trying different left hand accompaniments, different chord voicing to find out which combination works best for the tune. That would be great.
I'm watching your "Jazz Chord Voicing" series and learning alot from them, but struggling to use those things, that I''ve learned in a real life. It feels like my head is going to blow, while thinking of all those possibilities of making the song this way or another and which way should I really use. I usually end up stopping the process and going back to practicing chords progressions, cause I've used to them, and they're easier for me to play right now.
+fundorinlive Hey. Ok, so I've had a think about your question. If you give me a bit of time I can make something like this.
Essentially, it will be a video explaining how to turn a pop song into a jazzy sounding song - by adding passing chords, substituting chords, reharmonising the entire progression, embellishing the melody and picking appropriate chord voicings. I'll try break it right down and explain why certain chords fit over the melody and which chord voicings to choose.
This is actually a good idea for a lesson, as it will be quite an extensive and all encompassing lesson - it will in effect be combining and putting into the practice a lot of my previous lessons. As I said, it may take me a bit of time as I'll be starting from scratch and trying learn a pop song and build it up into a jazzy piece. But I'll see what I can do.
How does that sound?
Chord mapping is more a tool used to strengthen your improvisation. While I will make a separate video on this, this is a slightly different topic to the one you're asking.
Let me know if there's anything else. Otherwise I'll start planning a lesson and then you can comment and tell me what you think and if I've covered what you wanted me to cover. And if not, we can refine and I can make a more detailed/specific lesson.
+Walk That Bass that sounds great! I'm looking forward for this lesson. The process of creating something new from a couple of simple chords amazes me. Thanks a lot, Mr. Bass!
+Walk That Bass Love the videos, can't wait for this lesson!
Very good
Thank you for the excellent lesson right to the point easy to understand very well laid out thank you
Who first called these scales 'Bebop'? Was it Bebop musicians, or academics using it retrospectively? Thank you
Academics created 'bebop scales'. The creation of bebop scales is generally credited to a guy called David Baker.
Bebop musicians played diatonic scales, but just added chromatic passing notes. Academics analysed which chromatic passing notes were used most often over particular chords and turned these into 'scales'.
That's generally how music theory works. A musician plays something - without necessarily philosophising too deeply about it - and then a theoretician comes along and explains why it sounds good and creates a 'theory'.
I thought so. Thank you. Also, something that came to mind when reading about 'Coltrane Changes'; how did Coltrane write his tunes? Obviously he couldn't have written harmony on his sax so did he also play piano? Or did he write with somebody else? Thank you
Most Jazz Greats (including Coltrane) could play a bit of piano. Largely because it's the simplest instrument to be able to see all the notes. His second wife was also a jazz pianist. You don't have to play piano to understand chords/harmony. Chords are just made up of notes, after all. You can play an arpeggio on a sax, which is just a broken chord. He wrote the harmony and someone else played it. I don't know if he wrote it at a piano or just sitting at a desk with a piece of paper. Both ways are plausible though.
You are a genius man . Thanks or making a huge impact .
Hola. Qwe. Tal. Muy. Buenas. Clases. Cuando. Suena. Recuerdo. Las. Peliculas. De. Pistoleros muy. Walk. That. Basa. Yo. Estudio. Basa. Gracias. Charly
Awesome lesson 🔥🙌🏾😎💫
This is one of the clearest and straight to the point explanation. Thank you.
thank you for this!
1 2 b3 4 5 6 (b7:passing tone) 7
is a kind of bebop melodic minor?
I'd say so
Seems to me alls you gotta think in is modes and just pay close attention to the 5, #4 & 4. of the root chord...even if/when your playing ii or V. And in V (here C major that is) you can still think solely of your G7 exclusively in that chord too. (i.e., you also can descend D, C#, C (i.e.:5, #4, 4) if your thinking in the V chord, or 2,#1,1 if you're thinking in to root way. Actually in effect you have two sets of chromatics to toggle on then no matter what...your 5,#4, 4 PLUS your 2,#1,1. Just a thought.
고마워요.동영상 잘 봤습니다~~^^
I agree
VWLZ x2
Excellent,thank you.
Bee-badda-badee-bada-baddar.
It sounds to me like the best note to use to get the weak beat strong beat is to go from minor 7th to major 7th on all of the modes
I have always loved songs that played with a half-step before concluding.
That little extra note to fit it right.
Couple of examples that come to mind is the Entertainer and a few of the Super Mario Soundtrack.
Now it is nice to know there is a name and some theory on these scales.
Great video! Congrats
er...try adding C# for D dorian. That way you get all the chord tones on the downbeats.
Add C# for D dorian? What does that mean? Do you mean "Add C# TO dorian? Or do you mean SUBSTITUTE C# for C in D dorian? Adding a note puts too many notes in the scale and defeats the symmetry he's trying to establish, which is whole point of the tutorial.
I still don't understand why the dorian bebop scale doesn't have the major seventh as a passing note.
Just go to 10:05 to get the scales
Excellent video. Bebop dominant keeps the chord tones on the downbeats when ascending and descending. It appears that bebop dorian does maintain the chord tones on the downbeats when descending, but not ascending; ie: third beat is G, but the chord tone is A. I noticed a similar problem for bebop major. Can someone shed some light on my misunderstanding?
Interestingly, if you transcribe a Parker or Gillespie solo, they generally only play the bebop scale when descending and just the regular scale ascending.
What's a swung Note
Loved it, loved it, loved it! ... Excellent description. Can't wait to review your other material. Muchas Gracias!!!
This was a very Goo explaination! Thanks
Perfect explanation, thank you for the video!
+Wilq59r No worries. Thanks for the comment.
That microphone is brutal.
speak a lot
Helped me out. This is to cool. Subscribed.
which bepop variation do u recommend learning first
Do you mean which bebop scale? I would use the Bebop Dominant first - it's a hand and nice sounding scale to play over V7 chords.
Thanks for clearing that up
Illuminating! Thanks.
THANKS MR MAGIC!
i have few questions
Go for it. Ask away.
the downbeat in Dorian BB gives 1 b3 4 6 b7 1.
we get "4" instead of "5". isn't it a problem?
It works because the Dorian scale is the same as the mixolydian scale. So instead of thinking of it as a D Dorian think of it as a G mixolydian being used over the 2. Doing this turns the strong beats of a Dorian (1 b3 4 6 b7 1) into strong beats of a dominant progression (5 b7 1 3 5). Isolating each chord instead of analyzing it in the entire progression makes it harder to understand
You have the best music channel ever on TH-cam
trying to send a music attachment
Let me know how you go.
no luck how do I get an email or at least an attachment..
Thanks alot buddy
No worries, Saad
This is all wrong.
thnx...
careful w/ the fingerings
Thanks!
No worries :)
Too much talking than performing
this is soooooooooo bori h
You know what's boring. A guy trying to play Bad Moon Rising and failing at it.
Stemma3, you cracked me up! LOL
Poor guy, he deleted all of his videos
LOL