Jazz Lesson: Bebop Line Building - Part 1 - Scale Definitions (New York Jazz Academy)
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- เผยแพร่เมื่อ 2 ก.ค. 2024
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For part 2 of this video:
• Jazz Lesson: Bebop Lin...
For part 3 of this video:
• Jazz Lesson: Bebop Lin...
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Outstanding. Have never had Bebop explained this way. Very thankful for your time and effort.
You're voice is so soothing
your
Say that outloud twice.
@@jeikowbstfu
Brilliant. Exactly what I needed to understand.
Wow! Very informative, Please, be kind and do lots more of lectures on this sort of bebop basic understanding. Thank you so very much
video is very nice and very helpful for learning.
Javier, hello this is D'bra. Wow this is a pleasant surprise to see you teaching here. Keep up the good work.
D'bra, thank you. I hope all is well with you and your singing! So nice to hear from you. -Javier Arau (NYJA)
Great lesson
explained clearly! thanks a lot!
Muchas Gracias !
Tank You
Fantastic
What piano are you playing on in this video? I've never heard of such a beautiful sounding piano.
Daniel Herrera, simply gorgeous action, right?!
Nice..
cool
I have a very good question for you. I promise - a really good one!
In your explanation of the Bebop scales you emphasize the importance of landing on the same note (next measure, bit 1) if we start on a certain note on bit 1 of the current measure.
You also say that when you don't use a Bebop scale but use a 'normal' version of the scale you land on 2, 4 and 6 of the scale in the next measure which are essentially the upper tensions 9, 11 and 13 that are so popular in Bebop.
And now the question: "Why when describing the Bebop scale you don't mention this: if you want to imply a clean tension-less sound you play a bebop scale - BUT - when you want to emphasize the tensions in the next measure, that is to build more tension in your lines - you don't want to play the Bebop scale?"
VinniePaah You are bringing up an important question. Ultimately, to play bebop, we must know much more than simply how to run a bebop scale up and down and arrive on chord tones. This video simply explains one function for the scales (major and dominant bebop scales). Players certainly must understand how to use the extensions and land on extensions when they want.
Good point and an honest answer - thanks!
VinniePaah to further asking, and something I teach my students comma it is that certain totalities don't agree.
for example, in a major 7 chord or a dominant 7 chord, the unaltered 11th is extremely poor in nature. in the major 7, raising it a half step is very common.
but what's important about this scale is much more than just what it allows you to do, it's what it actually does is to bring into play notes that work well as passing tone period even if you take the scale in a piecewise fashion, you can still create a lot with it. That sharp 5 in the major be-bop scale really matches nicely on a dominant 7 chord, because most of the time other players will be omitting the 5.
now let's suppose you wanted to jump from there from the sharp 5 to the 2 over the 1(dominant)7 and then you change from the one to the four chord. well from that 2, you can jump up to the flat 3 a half step up, which perfectly coincides with the dominant 7 of the four chord. the previously sharp 5 can now be raised to the 6 to make the 3rd of the four chord, but even more fun is to play the minor third of the four chord, which is the Flat 6/#5.
see, one of the things I like to teach is that phrasing and phrases are important, but being able to connect the phrases is even more important. these scales act as great segues. as he says in the video, you'll have strong beats, and strong, but you still need to chain them together.
it's not enough just to Simply play those strong tones and strong phrases.
the chance to play with a lot of excellent, legendary jazz players, and that's one thing that I took away from all of them, they could all connect one phrase to another seamlessly.
That was 1 year ago that I asked the question! I now realize that all these simplifications including "BeBop" scales are good for teaching the uninitiated but they have very little to do with real Jazz improvisation. I watched a live masterclass with Howard Alden where he was asked a question over the Internet chat: "Tell me about BebBop scales". What he replied? - "Not sure what Bebop scales are" - I use lots of passing notes. Another revelation comes from Jimmy Bruno. He breaks down a 12 pitch collection for each scale into "inside" and "outside" notes - no more complicated than that. "It's your ear what matters when you deal with those notes and how you spice up your solo" - says Jimmy. I now also realize that it's more important to resolve the "biting" notes properly rather than to avoid them and sound "sterile". Jazz is about dissonances and "wrong" notes - that's what makes it unique, not the "right" notes. In other words you have to take chances and listen intensely: if it works for you - well, it becomes a part of your style, however edgy it is, if it doesn't work for you - forget it and move on! Another of my favourites id this one: "When you make a mistake, repeat it immediately so that every one knows you made the first "mistake" on purpose" . It's probably a good idea to evaluate the mistake later and see whether it's a "good one" ;-)
Sure, he plays guitar, not a horn ;)
I reckon Charlie Parker never knew what "Bebop scale" was either. "Bebop scale" was a term coined by David Baker when he theoreticized Bebop players' improvisation methods. People who read David Baker's books know what Bebop scales are but they need to know that because they cannot learn directly from masters of the style due to not having enough talent.
Howard Alden apparently didn't read David Baker's books because he is good enough to learn directly from masters. He is a talented and great musician.
Charlie Parker used what appears as "fragments" of Bebop scales but in his solos there are also many chromatic descending runs. If he had notes in between those chromatic steps I'm sure he'd never think twice whether to play them or not - he would!
To run scales with passing notes up and down and call it "Bebop" is good enough for selling a book for uninitiated. However C.Parker wasn't famous for his ability to run scales. His solos were highly motivic and creative. "Bebop scales" is such a negligible element of the C.Parker's sophisticated style that they don't deserve focusing on, maybe only a brief mention at most.
And, to sum it up: in order to play Bebop you don't have to know what "Bebop scales" are. You need to listen to Charlie Parker and hear what he does and he does a lot. Sometimes he uses such weird harmonic implications in his lines that it's hard to believe that they would work but they work! A true genius who didn't like term "Bebop".
@2:06 Major 6th and Major 7th do not sound similar to me, one is Rocket Man, the other isn't.
Yes, very much agreed--those two, depending on context, can sound quite dissimilar.
Channeling Barry Harris for this one....
Why run the scale straight up or straight down? you're free to leap from any where to anywhere-
Thanks, Norman, yes, definitely leap, skip, etc. The freedom that you're mentioning is essential.
This felt like someone was playing piano making a terrible attempt to follow your finger and just kind of played