Hey, thanks for sharing a digestible bebop primer. As a non-jazz guitarist, bebop has been mostly impetratable to me. Even with the three bebop techniques you show (I totally get there is a whole lot more behind this), a good deal of bebop-inflected jazz now opens up to me. It is great to understand how chromaticism is applied in bebop in a way that removes the "magic" from it. Also, that is a kickass semi-hollow guit-fiddle you have there. Cheers.
Great lesson with some helpful techniques for making bebop. Question: Wouldn't the A7 in that 2-5-1 line be considered a secondary dominant, e.g., the 5 of the 2 (Dm)?
Excuse me, but I have to ask you something unrelated to this video. Some of your fantastic backing tracks that I love to practice on have completely disappeared from youtube. Could you look into this? Your tracks are the best. Thank you
Thanks so much! We are glad to know you like our backing tracks. Please click the "subscribe" button and visit our channel for a complete list of the videos.
Hi Brent. Just wondering if the Jazz Standards Playbook 1 available in a hard copy? I recommended it to a friend who’d rather not use a PDF. Thanks so much.
I followed your ideas until about halfway through. Then you threw me because I was looking for a "rule" that stated, for example, play the target note on the downbeat and play the enclosing notes on the upbeats. Then the example you played had one measure of 8th notes, target note on "2" followed by a phrase with the same target note on "1&".
Wonderful. Very informative and great to hear how you transformed a simple phrase into awesome bebop
Studying the Omnibook is such a great way to expedite some of the early stages of players bebop development.
Hey, thanks for sharing a digestible bebop primer. As a non-jazz guitarist, bebop has been mostly impetratable to me. Even with the three bebop techniques you show (I totally get there is a whole lot more behind this), a good deal of bebop-inflected jazz now opens up to me. It is great to understand how chromaticism is applied in bebop in a way that removes the "magic" from it. Also, that is a kickass semi-hollow guit-fiddle you have there. Cheers.
Thanks!
wow! super helpful. lots of information. thanks
Great tutorial! Thanks for sharing.
Thanks!
Very good, how you break it down so its easy and understandable. And great tips for practice in the end. Thank you!!
Glad it was helpful!
Great lesson with some helpful techniques for making bebop. Question: Wouldn't the A7 in that 2-5-1 line be considered a secondary dominant, e.g., the 5 of the 2 (Dm)?
bebop's two note feet are in iambic pentameter.. legato-stacato.. whose woods these are i think i know ;
I wish all of your videos had the on-screen tab (like this one).
Great class!
Glad you enjoyed it
Excuse me, but I have to ask you something unrelated to this video.
Some of your fantastic backing tracks that I love to practice on have completely disappeared from youtube.
Could you look into this? Your tracks are the best. Thank you
Thanks so much! We are glad to know you like our backing tracks. Please click the "subscribe" button and visit our channel for a complete list of the videos.
Hi Brent. Just wondering if the Jazz Standards Playbook 1 available in a hard copy? I recommended it to a friend who’d rather not use a PDF. Thanks so much.
Hey there! It's only available in PDF form. We do have some folks who print it out though!
Thanks Brent.
The most important thing which should be emphasised is RHYTHM. We begin there before everything else.
I followed your ideas until about halfway through. Then you threw me because I was looking for a "rule" that stated, for example, play the target note on the downbeat and play the enclosing notes on the upbeats. Then the example you played had one measure of 8th notes, target note on "2" followed by a phrase with the same target note on "1&".
LISTEN MUSIC AND TRANSCRIBE SOLOS......THAS IS ALL!!!!