This is a great Jazz guitar lesson for those of us trying, mostly failing, to capture that Bebop "Feel". Because I took music theory through high school and know a lot of Jazz Standards and picked up complex ideas, I find that I am really missing fundamental concepts, just like this lesson. Thanks a million. This should be required learning for anyone wanting to learn Jazz guitar.
You’re an excellent teacher. I never could figure out why the extra note in the Bop scale mattered. But I get your point. If I start on 3rd my line will end there. How clever!
This is a great resource, it's a bit confusing that at the 3:55 adding arpeggios section that the music says Em7b5 but you are clearly playing Gm7b5 and then Dm7b5 even though the musical notes are correct.
Hi Richard! Thanks so much for your super!!! It really helps and shows me people still like the content :) If you want any free lesson material feel free to contact me through my website and I'll send you some! THANKS!
Very useful and clear lesson. First time I've seen a short and clear explanation of how to combine the "bebop" scale with other arpeggios. Definitely would like to see you extend it to minor and major applications too. Maybe include more etudes of all three played against some other classic changes, like the rhythm changes example for dom7 you did here. I also appreciate your always positive teaching style! I second Salvador comment. Muchas gracias maestro.
I must say, this is my favorite video from your channel, so far! You've shared some extremely useful information in a very clear and understandable manner. I'd definitely like to see more of your videos on how to use these concepts over various harmonies. I' look forward to the series!
good lesson. Well explained , easy to follow. Found myself becoming more fluid slowly and my fingers seem to be doing there own thing when i tried to improvise and they were actually doing some of your examples. Wow . Thank you I will keep practising. I class my self a s a beginner jazz player but some of it is slowly coming together.
I think that talking about the function, or purpose of the notes B natural and B flat is worthwhile- like they do in classical harmony books- the B flat is used to lead to the 4 chord- the B natural is used to go back up to the 1 chord, as the leading tone- why use them both? there must be a tonal reason-
I really appreciate your effort's . What i think is missing is showing how the information can be put into practice in real terms, say playing something simple like ALL of Me play the melody then play your "be bop" inspired improv, show how you integrated the concepts
There is a small Etude at the end that combines ideas together, though it’s not over a full tune. I would encourage you to check out my confirmation and Donna Lee videos which I believe do have full etudes showing how to play bebop lines in context
Do people really find their way around the neck by thinking about what chord they're playing and naturally just knowing what notes make up the chord, and then instantly seeing those notes on the neck? To me it seems impossible to do that spontaneously. Im self taught and i only rely on my ear to play the right notes as i visualize scales as kind of a map of where i can go.. I've found a way that works for me, but i'm frustrated that videos like this never make any sense to me.
I think that using your ears is the most important thing! However, this stuff is to help put labels to things that people are doing. Like if you hear some sort of sound in someones playing, it's easier to communicate with theory between people. I play both with visualization of the fretboard and ear! Thanks for your comment!
@@NathanBortonMusic Coming from a rock and blues direction and just getting into triads and trying to break away from just pattern playing, this completely blew my head. I guess jazz men really have to know their stuff if this is beginner level. No offence meant, its just a bit too advanced for me.
The idea behind jazz is to improvise (and colloborate) in service of the tune. People are usually curious about how others have done this and what tools enhance this ability. The greatest players acknowledge this and also carve their own path. As GB said, 'Once you hit that first note, it's all yours.' In my learning journey, I find this video's insights useful toward my personal approach to improvisation.
@@kevinogorman3374 The problem is that players seldom get past sounding and playing like others. Sure, the greats know what rules to break. But way too many depend on patterns and playing it safe.
@@darz3829 That's a phase that is not solved by ignoring or fuming over the basics but by eventually discovering what you, uniquely, have to say. Maybe encourage people to go further and extract principles from others, rather than adopt rigid rules. Either way, I found this valuable because my context is 'what can I learn?' not 'what is right?'
@@kevinogorman3374 You apparently have not played in modern jazz groups. Many guys get downright angry if you don't play like the "pioneer" musicians of their instrument. I'm saying that poorly but what I mean is (to them) a sax player should play like Coltrane, a trumpet like Miles, a pianist like Monk, etc. They take issue with playing melodically in solos. The faster, modal, higher, and not complementing others - the better in their view. To them "rigid rules" rule.
This is a great Jazz guitar lesson for those of us trying, mostly failing, to capture that Bebop "Feel". Because I took music theory through high school and know a lot of Jazz Standards and picked up complex ideas, I find that I am really missing fundamental concepts, just like this lesson. Thanks a million. This should be required learning for anyone wanting to learn Jazz guitar.
You’re an excellent teacher. I never could figure out why the extra note in the Bop scale mattered. But I get your point. If I start on 3rd my line will end there. How clever!
Love how you illustrate the concept step by step and summarize it with a tune.
Cant wait for the major and minor version of it!
Thanks for the feedback! More lessons to come!
Amazing album! And a great lesson, thank you!
This is a great resource, it's a bit confusing that at the 3:55 adding arpeggios section that the music says Em7b5 but you are clearly playing Gm7b5 and then Dm7b5 even though the musical notes are correct.
You make my JAZZ life beautiful ❤️😍 thank you. I don't know how limited would have been without bebops I just love it
Thanks so much!
Superb! Thanks n please do some more on bebop lessons. 👍🙏
More to come!
Thanks!
Hi Richard! Thanks so much for your super!!! It really helps and shows me people still like the content :) If you want any free lesson material feel free to contact me through my website and I'll send you some! THANKS!
Jesus , this is bebop gold! Thanks for sharing this information, it really is great stuff! More please!!
Thanks so much Ian! Appreciate it!
Hi Nathan. I’d like you to learn more on this. Great job!
Excelente como siempre. Muchas gracias maestro.
Thanks Salvador!
Great lesson. Thank you ! Can't wait for the major and minor lessons.
More to come!
Your teaching style is practical. I'm impressed.
Thanks!
Very useful and clear lesson. First time I've seen a short and clear explanation of how to combine the "bebop" scale with other arpeggios. Definitely would like to see you extend it to minor and major applications too. Maybe include more etudes of all three played against some other classic changes, like the rhythm changes example for dom7 you did here. I also appreciate your always positive teaching style! I second Salvador comment. Muchas gracias maestro.
Thanks so much Menlo! More to come!
This is a very good video excellent presentation on the scale
Incredibly useful, great content and clearly explained! Thanks so much for this!
You're very welcome!
@@NathanBortonMusic please DO make this a series and cover Maj and minor bebop scale options etc. Thanks!
this is great. i like your idea of using these arpeggios for transitions... thanks
Great! So happy to help!
Great lesson! Thank you very much. Please continue with major and minor as so speak.
I posted the part 2 and 3! The links should be in the video description or in my pinned comment. :)
Great lesson 👍🎸 thanks so much!
Glad you liked it!
I must say, this is my favorite video from your channel, so far! You've shared some extremely useful information in a very clear and understandable manner. I'd definitely like to see more of your videos on how to use these concepts over various harmonies. I' look forward to the series!
Thanks so much James!
Fantastic as always, Nathan! Great lesson clearly explained.
Thanks Ron! Hope things are going well and keep on swingin!!
I'd love to see more on how to use the scale over minor chords. I've been working on playing over ii-V-I progressions.
Here is the video! The Secret To Soloing Over Minor Tunes (and Chords)
th-cam.com/video/Vu4n8x0YEUM/w-d-xo.html
Super clear explaination. And for the Mobley gold stuffs, just suscribed!
Thanks so much!!
Another Great Lesson:) Thanks Nathan your starting to be my Morning Wake up:)
So glad your diggin the channel! Thanks!
Excellent lesson,thank you.
Thanks for watching!
good lesson. Well explained , easy to follow. Found myself becoming more fluid slowly and my fingers seem to be doing there own thing when i tried to improvise and they were actually doing some of your examples. Wow . Thank you I will keep practising. I class my self a s a beginner jazz player but some of it is slowly coming together.
Really appreciate that! Glad it helped you!
I'm definitely working on this
Hope it helped you!
Very good lessons ❤🎉
I think that talking about the function, or purpose of the notes B natural and B flat is worthwhile- like they do in classical harmony books- the B flat is used to lead to the 4 chord- the B natural is used to go back up to the 1 chord, as the leading tone- why use them both? there must be a tonal reason-
Best explanation on youtube !!!
Wow, thanks!
Awesome lesson.thank you.
Glad you liked it!
Here is Part 2! (Major Bebop Scale): th-cam.com/video/z2vxlRhFuIo/w-d-xo.html
I really appreciate your effort's . What i think is missing is showing how the information can be put into practice in real terms, say playing something simple like ALL of Me play the melody then play your "be bop" inspired improv, show how you integrated the concepts
There is a small Etude at the end that combines ideas together, though it’s not over a full tune. I would encourage you to check out my confirmation and Donna Lee videos which I believe do have full etudes showing how to play bebop lines in context
Great explanation! Thanks.👍👍👍
Thanks for watching! Glad it was helpful!
Very useful. Thanks for sharing
Appreciate you watching, thanks!
great lesson, thanks!
Glad you liked it!
Bravissimo!
Thanks!
Straight to the point ❤Thanks for sharing your knowledge 💪🏻🔥😎🙏
of course!
Good Job
great lesson!!
Glad you liked it!
Superb lesson more please 🙏
Here is part 2: th-cam.com/video/z2vxlRhFuIo/w-d-xo.html and part 3: th-cam.com/video/Vu4n8x0YEUM/w-d-xo.html
@@NathanBortonMusic Fantastic Thanks so Much Nathan.
Bravoooo!
Thank you!
Please sir can I play minor-7 on the fifth (V) of the dominant scale?
Yes! That works just fine! I use that all the time
Did u ever make the videos for Major and minor?
Yes! Here is the minor one: th-cam.com/video/Vu4n8x0YEUM/w-d-xo.html and the major one: th-cam.com/video/z2vxlRhFuIo/w-d-xo.html
10+
❤
Thanks for watching!
Do people really find their way around the neck by thinking about what chord they're playing and naturally just knowing what notes make up the chord, and then instantly seeing those notes on the neck? To me it seems impossible to do that spontaneously.
Im self taught and i only rely on my ear to play the right notes as i visualize scales as kind of a map of where i can go.. I've found a way that works for me, but i'm frustrated that videos like this never make any sense to me.
I think that using your ears is the most important thing! However, this stuff is to help put labels to things that people are doing. Like if you hear some sort of sound in someones playing, it's easier to communicate with theory between people. I play both with visualization of the fretboard and ear! Thanks for your comment!
it is actually quite easy just do arpeggios matched to scales to chord shapes. Keep it that simple
Do it
BBOP BBOP BBOP BBOP
BBOP BBOP BBOP BBOP!
❤ BBOP ❤ BBOP BBOP BBOP
BBOP BBOP BBOP BBOP BOP BOP!!!!
my brain hurts
:( sorry
@@NathanBortonMusic Coming from a rock and blues direction and just getting into triads and trying to break away from just pattern playing, this completely blew my head. I guess jazz men really have to know their stuff if this is beginner level. No offence meant, its just a bit too advanced for me.
@@fenthedog ok, ok....
Just what I was looking for!
Happy to help!
John Paul jones does this
Justin Bieber as well.
Yes, the idea behind jazz is to learn to play exactly like everyone else. Forget about ideas and imagination - far more important to sound the same.
Sorry this video upset you :( Still appreciate you watching!
The idea behind jazz is to improvise (and colloborate) in service of the tune. People are usually curious about how others have done this and what tools enhance this ability. The greatest players acknowledge this and also carve their own path. As GB said, 'Once you hit that first note, it's all yours.' In my learning journey, I find this video's insights useful toward my personal approach to improvisation.
@@kevinogorman3374 The problem is that players seldom get past sounding and playing like others. Sure, the greats know what rules to break. But way too many depend on patterns and playing it safe.
@@darz3829 That's a phase that is not solved by ignoring or fuming over the basics but by eventually discovering what you, uniquely, have to say. Maybe encourage people to go further and extract principles from others, rather than adopt rigid rules. Either way, I found this valuable because my context is 'what can I learn?' not 'what is right?'
@@kevinogorman3374 You apparently have not played in modern jazz groups. Many guys get downright angry if you don't play like the "pioneer" musicians of their instrument. I'm saying that poorly but what I mean is (to them) a sax player should play like Coltrane, a trumpet like Miles, a pianist like Monk, etc. They take issue with playing melodically in solos. The faster, modal, higher, and not complementing others - the better in their view. To them "rigid rules" rule.
Very useful information. Thank you.
Thanks for watching Rich, really appreciate it!