Well done Jeff. I have seen this exact video a few years ago when I first started playing the saxophone and I only listened to the first half of your video where you showed the scale. Me being new and impatient, I immediately tried practicing all the practices and try applying them at jam sessions without really understanding what it means to get the practices "under my fingers". I would get into this cycle of constantly being overwhelmed, taking a break and trying again. Fast forward until today, I now deeply respect the idea of patience and consistent work. I have a better gauge of my natural skill level and would practice what I should be practicing (even if it looks very 'simple'). Thank you for this amazing video. Coming back to this really lit a lightbulb in my head especially when I finally sat down and watched this entire video. You are an amazing teacher and I hope you continue inspiring others!
What a great story!! Thanks for sharing it, and I'm so happy that you are enjoying these videos. Please subscribe if you haven't yet. There is MUCH more good stuff coming. And 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!
Hello Jeff. First I wanna say what a great job you did presenting the dominant 7th bebop scale. I am an experienced player, but I spend most of my time in the recording studio writing and playing original smooth jazz. Beside that, I do try to practice 1 to 2 hours a day on my Tenor. I try to focus on etudes and scales that are more difficult instead of playing things a little more comfortable. It is paying off. My playing is improving. I like the idea of playing bebop scales down instead of up. Again VERY WELL PRESENTED. Thanks man...
Thanks for the great note. I LOVE that this is working for you. Man, I hope that you'll join us at www.JazzWire.net. We have a lot of very experienced players working together and getting a ton done there. Join us!
My favorite instructional bebop scale video and I've seen them all. Informative, clearly explained, musical and not overwhelming in scope. Four useful musical excercises in 12 keys is a concise way to start on these and I'm gonna start soon. Beyond that, the video gets right to the point with out a lot of extra fluff.
Thanks for taking the time to write, David. This is a small hint of what we do 24/7 at www.JazzWire.net. I hope we'll have the chance to work together there. It's really a blast!
Righteous, Jeff! Would love to see you focus on the blues too as a future topic. You might consider an episode combining blues and be-bop. Love what you do. Thank you!!!
Great idea, Chip. Is there anything specific about the blues that you are thinking about or getting hung up on? Let me know. Digging Deeper #16 (th-cam.com/video/gitHbz5msaY/w-d-xo.html) addresses a cool way to get little deeper into some hidden harmony in the blues (and other tunes). Look that over if you haven't yet, but please do write back.
Love the way you explained the beebop scale and i think you are correct about instructors jumping ahead of the student's abiliity or conceptual grasp of music theory. believe me , i was subjected to this and this is why i have not played my tenor for 20yrs,
I HATE hearing stories like that, Justin, but I'm so happy that you are back to the horn. Hey, please check out www.JazzWire.net. I'd love to work with you there. I built is fort EXACTLY people like you, folks who are looking for great direction, and a place to really vibe together. I think you'll love it.
Great Man!!!!! I am a guitaris however this information including your other lessons such as triad pairs and chord tone soloing helped me a lot Thanks!!
Thanks for enjoying it, and taking the time to write! I hope we'll get to work together at www.JazzWire.net, David. If you liked this, you'll LOVE Jazz Wire!
Brilliant, very informative and for once you showed the listener how to turn this information into music without assuming just because we are here- we know! Great teaching.
Thanks for the kind note Richard. That is my goal with ALL the Digging Deeper videos . . . no assumptions, and heavy on the application side. So glad you enjoyed it. I hope we'll be able to work with you at www.JazzWire.net one day soon.
Thank you, this was quite helpful! As one who is newly getting into bebop, it is so exciting to be learning bebop lines as a guitar player, especially since this type of playing/phrasing does not come as naturally on this instrument as it does to horns. On the last example, I was trying to understand why we can use (our ears accept) the use of the 6th of G7 on a downbeat and after analyzing the phrase I think I got it! The 6th of G is the 3rd of C! So, when using the 6th as a downbeat the phrase pulls the ear/line to the I chord! As a resolution to the 3rd of C! So our ears actually hear it as a resolution to the 3rd of the I chord as opposed to the 6th of G, since it occurs on a strong beat. I.E. the phrase is now a V-I as opposed to a static V. Is this a correct analysis?
Great analysis. Actually, the 6th (the E on the G7) doesn't technically "resolve" to the C chord . . . it is a member of the C chord. So, it isn't really pulling to that C chord, but it IS consonant in that C chord, so our ears accept it. Slight tweak in your analysis there. Really, that E on a G7 is a consonant sound . . . it's that easy. It's just a nice sound, so your ear is happy with it. I love how you are digging into this material. I hope you make your way over to the subscription web site at www.JazzWire.net. You would have a BLAST there, given how you are thinking about this stuff!
haha! Yes, I've had to triage my time and make sure I get to things like paying the rent and learning bebop scales. When all that is done, I'll get back to the alphabet. Thanks for listening my friend. Please subscribe if you haven't yet!
It's hugely important, but harder to talk about. All the great players have a "momentum" in their playing, a force motion. It's related to time and feel. This is something that needs to be worked on (for most of us) back and forth with a teacher. It's cool, because we are getting into it with folks at www.JazzWire.net, and really helping them get more of a pro sound and feel with this.
At www.JazzWIre.net, we have the time and bandwidth to expand all kinds of ideas . . . things that I personally think would be good to work on, of course, but the community (the biggest, coolest thing about Jazz Wire) really helps steer the topics, the songs and the direction. It's a blast, and I hope we'll see you there.
Nice. Like your whole approach. May I ask a question? Dexter Gordon's solo to 'Lady-bird' begins with a bebop-scale line down (G-bebop) and then a quik b9 (Ab) to approach Cmajor Is Dexter's thinking G7 or G7b9 here?. Also, lol, can the bebop scale be harmonised? like modally? with an even number of notes? Thanks for your great spirit.
Harmonized . . . absolutely!! Cool idea. As for the Dexter lick, I would imagine we'd want to think of that b9, the Ab, as an enclosure note to the C major. Sure, it's a b9 on the G7, but let's think FORWARD, to where he's going, not so much to where he's been. Doc, I hope you'll consider joining us at www.JazzWire.net. With your great questions and obvious understanding, you'd have a BLAST!
@@JeffAntoniukEducator Thanks (again, lol; see my other thanks). Having a look now. - I like trying to put myself into the player's mind (eg. Dexter, lol, in his Giraffe suit). The nasty EbM7-AbM7-DbM7-CM7 turnaround on Ladybird is a demon and the Ab thus would sound over the DbM, but that line is played tacet as the outro from the head into the solo (ie implied G7). It sounds 'right' and I guess you're rite, he's just playing the minimum to get into Cmajor. The other idea I had, is that he goes for a Gtriad/C sound, since the tension chord is Fm (sub for G7) and he needs to stay off the A-natural and F. Is he using G-bebop to give the G/C sound? You have already honoured my with one reply, so I ask merely for others' interest. Thanks again for the direction.. FORWARD !
@@kewlfonz Sorry, but no idea! Probably . . . ? That said, as BIG a person as David Baker is in jazz education, I don't think you'll get particularly far with the book. It might be interesting and illuminating, but as far as becoming a *better player*, I don't think so. It's just the nature of trying to teach yourself out of a book. It rarely works. If you are eager to really move ahead (fast), I hope you'll join me and 100's of great jazz players from around the world at www.JazzWire.net. You'll get a TON of traction there, I promise!
Well done Jeff. I have seen this exact video a few years ago when I first started playing the saxophone and I only listened to the first half of your video where you showed the scale. Me being new and impatient, I immediately tried practicing all the practices and try applying them at jam sessions without really understanding what it means to get the practices "under my fingers". I would get into this cycle of constantly being overwhelmed, taking a break and trying again. Fast forward until today, I now deeply respect the idea of patience and consistent work. I have a better gauge of my natural skill level and would practice what I should be practicing (even if it looks very 'simple'). Thank you for this amazing video. Coming back to this really lit a lightbulb in my head especially when I finally sat down and watched this entire video. You are an amazing teacher and I hope you continue inspiring others!
What a great story!! Thanks for sharing it, and I'm so happy that you are enjoying these videos. Please subscribe if you haven't yet. There is MUCH more good stuff coming. And 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!
@@JeffAntoniukEducator That's awesome to hear! I shall check out JazzWire! Thank you very much!
@@RanggaLuksatrio Excellent! Yes, take the Free Trial or just sign up. I'd love to work more closely with you and get you to your goals. 👍
Hello Jeff. First I wanna say what a great job you did presenting the dominant 7th bebop scale. I am an experienced player, but I spend most of my time in the recording studio writing and playing original smooth jazz. Beside that, I do try to practice 1 to 2 hours a day on my Tenor. I try to focus on etudes and scales that are more difficult instead of playing things a little more comfortable. It is paying off. My playing is improving. I like the idea of playing bebop scales down instead of up. Again VERY WELL PRESENTED. Thanks man...
Thanks for the great note. I LOVE that this is working for you. Man, I hope that you'll join us at www.JazzWire.net. We have a lot of very experienced players working together and getting a ton done there. Join us!
My favorite instructional bebop scale video and I've seen them all. Informative, clearly explained, musical and not overwhelming in scope. Four useful musical excercises in 12 keys is a concise way to start on these and I'm gonna start soon. Beyond that, the video gets right to the point with out a lot of extra fluff.
Thanks for taking the time to write, David. This is a small hint of what we do 24/7 at www.JazzWire.net. I hope we'll have the chance to work together there. It's really a blast!
Righteous, Jeff! Would love to see you focus on the blues too as a future topic. You might consider an episode combining blues and be-bop. Love what you do. Thank you!!!
Great idea, Chip. Is there anything specific about the blues that you are thinking about or getting hung up on? Let me know. Digging Deeper #16 (th-cam.com/video/gitHbz5msaY/w-d-xo.html) addresses a cool way to get little deeper into some hidden harmony in the blues (and other tunes). Look that over if you haven't yet, but please do write back.
Love the way you explained the beebop scale and i think you are correct about instructors jumping ahead of the student's abiliity or conceptual grasp of music theory.
believe me , i was subjected to this and this is why i have not played my tenor for 20yrs,
I HATE hearing stories like that, Justin, but I'm so happy that you are back to the horn. Hey, please check out www.JazzWire.net. I'd love to work with you there. I built is fort EXACTLY people like you, folks who are looking for great direction, and a place to really vibe together. I think you'll love it.
Awesome tenor sound Jeff, great video thanks
Great Man!!!!! I am a guitaris however this information including your other lessons such as triad pairs and chord tone soloing helped me a lot Thanks!!
Great to hear!
Thanks Jeff!
You bet Doug!
Muchas Gracias !
Thanks for taking the time to write, Rafael.
Yet more great stuff, Jeff. Thanks
MrHeadingSouth thanks for tuning in. There are some cool things coming around the corner. I'll let you know!!
Good video master! Thanks so much
Thanks for enjoying it, and taking the time to write! I hope we'll get to work together at www.JazzWire.net, David. If you liked this, you'll LOVE Jazz Wire!
Brilliant, very informative and for once you showed the listener how to turn this information into music without assuming just because we are here- we know! Great teaching.
Thanks for the kind note Richard. That is my goal with ALL the Digging Deeper videos . . . no assumptions, and heavy on the application side. So glad you enjoyed it. I hope we'll be able to work with you at www.JazzWire.net one day soon.
Thank you, this was quite helpful! As one who is newly getting into bebop, it is so exciting to be learning bebop lines as a guitar player, especially since this type of playing/phrasing does not come as naturally on this instrument as it does to horns.
On the last example, I was trying to understand why we can use (our ears accept) the use of the 6th of G7 on a downbeat and after analyzing the phrase I think I got it!
The 6th of G is the 3rd of C! So, when using the 6th as a downbeat the phrase pulls the ear/line to the I chord! As a resolution to the 3rd of C! So our ears actually hear it as a resolution to the 3rd of the I chord as opposed to the 6th of G, since it occurs on a strong beat. I.E. the phrase is now a V-I as opposed to a static V. Is this a correct analysis?
Great analysis. Actually, the 6th (the E on the G7) doesn't technically "resolve" to the C chord . . . it is a member of the C chord. So, it isn't really pulling to that C chord, but it IS consonant in that C chord, so our ears accept it. Slight tweak in your analysis there. Really, that E on a G7 is a consonant sound . . . it's that easy. It's just a nice sound, so your ear is happy with it.
I love how you are digging into this material. I hope you make your way over to the subscription web site at www.JazzWire.net. You would have a BLAST there, given how you are thinking about this stuff!
This video is really basic about beebop scales but I've learnd too much!
"Basic" and foundational is where it's at, for sure. Hope you enjoyed it!
< Wonderful insights, Thanks Jeff !¡ >
Great teaching Jeff. I couldn't find the "next video" about articulation - did you do one ?
Good stuff Jeff…A little disappointed you don’t know the alphabet backwards…I thought you were better than that! LOL…
haha! Yes, I've had to triage my time and make sure I get to things like paying the rent and learning bebop scales. When all that is done, I'll get back to the alphabet. Thanks for listening my friend. Please subscribe if you haven't yet!
Hi Jeff could you please explain what forward motion is
Cheers mate
It's hugely important, but harder to talk about. All the great players have a "momentum" in their playing, a force motion. It's related to time and feel. This is something that needs to be worked on (for most of us) back and forth with a teacher. It's cool, because we are getting into it with folks at www.JazzWire.net, and really helping them get more of a pro sound and feel with this.
Looks like u dug out the Mark 6 Sounds good, Thanks once again. Dick
The Eastman was in the shop. The MK VI is still a lot of fun!!
#4 is making my fingers go where they normally wouldn't. Different is really good. Do you expand on the Bebop scale in JazzWire.com?
At www.JazzWIre.net, we have the time and bandwidth to expand all kinds of ideas . . . things that I personally think would be good to work on, of course, but the community (the biggest, coolest thing about Jazz Wire) really helps steer the topics, the songs and the direction. It's a blast, and I hope we'll see you there.
Nice. Like your whole approach. May I ask a question? Dexter Gordon's solo to 'Lady-bird' begins with a bebop-scale line down (G-bebop) and then a quik b9 (Ab) to approach Cmajor Is Dexter's thinking G7 or G7b9 here?. Also, lol, can the bebop scale be harmonised? like modally? with an even number of notes? Thanks for your great spirit.
Harmonized . . . absolutely!! Cool idea. As for the Dexter lick, I would imagine we'd want to think of that b9, the Ab, as an enclosure note to the C major. Sure, it's a b9 on the G7, but let's think FORWARD, to where he's going, not so much to where he's been.
Doc, I hope you'll consider joining us at www.JazzWire.net. With your great questions and obvious understanding, you'd have a BLAST!
@@JeffAntoniukEducator Thanks (again, lol; see my other thanks). Having a look now. - I like trying to put myself into the player's mind (eg. Dexter, lol, in his Giraffe suit). The nasty EbM7-AbM7-DbM7-CM7 turnaround on Ladybird is a demon and the Ab thus would sound over the DbM, but that line is played tacet as the outro from the head into the solo (ie implied G7). It sounds 'right' and I guess you're rite, he's just playing the minimum to get into Cmajor. The other idea I had, is that he goes for a Gtriad/C sound, since the tension chord is Fm (sub for G7) and he needs to stay off the A-natural and F. Is he using G-bebop to give the G/C sound? You have already honoured my with one reply, so I ask merely for others' interest. Thanks again for the direction.. FORWARD !
Which David Baker book is this?
Wow! No idea. The last time I opened the book was in 1984. It turned to dusk at least a decade ago! :)
@@JeffAntoniukEducator Is this the first David Baker book?
@@kewlfonz Sorry, but no idea! Probably . . . ? That said, as BIG a person as David Baker is in jazz education, I don't think you'll get particularly far with the book. It might be interesting and illuminating, but as far as becoming a *better player*, I don't think so. It's just the nature of trying to teach yourself out of a book. It rarely works. If you are eager to really move ahead (fast), I hope you'll join me and 100's of great jazz players from around the world at www.JazzWire.net. You'll get a TON of traction there, I promise!
If some of you complainers don’t like the lesson. Quit listening. See ya🤷♂️🤷♂️
Haha! Seems like a pretty simple fix, doesn't it?!