Rob, you need to start making these lessons again. They're probably the most helpful jazz guitar lessons I have found, especially in the sense that they just get you playing. I play as I watch the video, as opposed to just sitting there until its done or pausing it. And thank you so much!
Great Lesson and fantastic playing Rob. I'll be inquiring about those transcripts, also. Thanks! Seasons Greetings and Happy Holidaze to You and All of Yours....Aloha'z!
Hi David. The chromatic notes frequently surround chord tones, so a "g" note is approached by playing A,A flat, F sharp and finally G. To gain speed learn the lick at half speed and slowly increase the tempo. Go to my other modal bebop videos for a gradual approach to learn these licks. Thanks!
How are you forming these lines!? These are HOT lines. I'd like to understand the chromaticism and stuff behind them so I can understand them better and write my own in the future. Thanks!!!
Thanks! To start work each lick up to speed and be able to play the scale that it relates to. Most bop licks contain arpeggios to outline the harmony, so study those as well. Enclosures surround the notes in the chord you're playing over (see response to David 7 months ago). To get more in depth I'll do a follow up video to get into the theory.
I really digg your lessons, man. Some of the best I've ever found online, for sure. I'm totally inspired. Can you explain why all of these modes start on a scale degree lower than the root? In all of my studies of "traditional" modes, it seems my ear has been trained to hear the mode from the root. B Locrian for example in your first example of C Ionian.
Thanks! I like to sometimes avoid starting on the root, as the sound on the mode is already established by the chord your playing over. Also this gives the person practicing the exercises two positions in each mode instead of one. Most bop ideas do not start on the root, so it's better to move away from using it as a starting point.
Well played - I very much like the sound of these lines and I'm going to learn them. I use a similar "economy picking" technique to you I think but I sometimes accidentally turn the beat around or my lines go out of synch with the beat. I think this probably happens when I play an upstroke on the beat, although, of course, I might just not be hearing rhythms well in my head. You don't seem to have a problem with this at all and your lines seem very fluid. I'll try this drill and see if it helps.
I've spent a lot of time practicing alternate picking, particularly on scale and modes, to develop control. Also, using a metronome on beats 2 and 4 (and eventually only on 4), helps to hear and feel the phrases. Keep in mind that early soloist relied heavily on the downstroke in terms of picking attack, often to project better and swing harder. This evolved into more of an alternate picking to enhance speed, but of more downstrokes helps in terms of swing.
Rob Cohen hi rob. you're not using alternate picking here though are you? perhaps i should look again. what i had thought was particularly interesting was precisely that you got your upstroke nice and strong.
Matthew Wall Thanks Matt. For years I practiced the Frank Gambale Ultimate Guitar Workout video, but mostly for alternate picking skills (although I do some sweeps and economy picking). When I play, I try not to think of my picking, I try to forget about that and let it flow. I did start to emphasize downward picking as I emulated players like Django and Charlie Christian to get a harder swing happening. I also don't think I play any upstrokes on the beat. Try that mastering blues scales and picking video I put up. It may help strength the upstroke in your picking.
Rob, beautiful playing. And a great workout - just what I've been looking for. Can you perhaps send me the transcripts? I took screen shots... kind of blurred.
I know you're going through the modes, but it mostly sounds like the major scale to me. Especially when played really fast. But then again, I still have a great deal of ear training. Nonetheless, the licks are simply mesmerizing. I'm going to be chewing on the contents of this video for quite a while. Thanks.
All of the notes in each mode are the same, it is only the root that changes. also Lydian and mixolydian modes may sound similar to the ionian pattern because they each have only one different note -sharp four and flat 7 respectively.
The backing track decides on the modes. You can play the notes, call them C ionian, G mixolydian, B locrian, the backing track decides on the tonic. Not the note you end or start a pattern on. So indeed, this all has the same intervals.
This lesson was designed to help players get away from practicing straight scales and play more angular lines with one diatonic key. I think the best way to learn modulation is to practice any lick or melody in all 12 keys and try to stay in one position using different fingerings...but that's another lesson.
Is legato a no-no for bebop guitar? I want to make these licks more horn like by slurring and using legato but in the process end up sounding distinctly "fusiony".
Lots of Jazz guitarists use Legato, especially guys like Joe Pass who use the fingers a lot Also, play it how you want to play it, jazz shouldn't have confines, express you!
clarkewi thanks for the question! You should try to master each mode. An idea from one mode may sound great when applied to a different chord, i.e. a lick that you originally call "f Lydian" might sound great over B-7b5, becoming "locrian"! That said, Dorian is probably the most common in modal composition, but all are important.
Hot licks or just "safe notes"...great stuff for beginners but not what I call hot licks...linear scales sounding and not very melodic..but again great for beginners...just not "hot"
Wow i watched this 4 years ago and here i am loving this lesson again. Fantastic stuff
Rob, you need to start making these lessons again. They're probably the most helpful jazz guitar lessons I have found, especially in the sense that they just get you playing. I play as I watch the video, as opposed to just sitting there until its done or pausing it. And thank you so much!
Great teacher! Thanks for the licks. Your lesson is so so good, exactly what i need to get down and have been looking for! Very cool, gold!!👌🏽🎸🕺🏼🎼❤️
Heaven have sent you, Rob!
Very USEFUL lesson!
Congratulations from Brazil!
one of the most beautiful guitar sounds i have heard - ever
Great Lesson and fantastic playing Rob. I'll be inquiring about those transcripts, also. Thanks! Seasons Greetings and Happy Holidaze to You and All of Yours....Aloha'z!
Skip to 3:18 to see some guitar playing .
HotRodSixString God bless you
never understood why so many of these video casters add so much bs at the beginning of their clips. Nevertheless, nice exercise.
easy to learn. awesome!!! thank you Mr. Rob. you're the best :)
excellent phrasing and super clear shooting. Thank you! And even charts!! What else??
Very well put, Rob. Sounds good!
Rob, thanks for the tab! cant wait to play it. Awesome
Thanks a lot for sharing this Mr. Rob!
you are great brother Rob
Thanks Luke, glad you liked it!
Dang thanks for your most wonderful lesson
Jonas Bylund thanks, enjoy!
This is AWESOME! I love it!
This is just playing the major scale, starting and ending on different notes.
BEST VIDEO EVER !
Hi David. The chromatic notes frequently surround chord tones, so a "g" note is approached by playing A,A flat, F sharp and finally G.
To gain speed learn the lick at half speed and slowly increase the tempo. Go to my other modal bebop videos for a gradual approach to learn these licks. Thanks!
Nice job.
Awesome stuff.
awesome playing
love the workout sir! :D
How are you forming these lines!?
These are HOT lines. I'd like to understand the chromaticism and stuff behind them so I can understand them better and write my own in the future.
Thanks!!!
This is an awesome video. I have a tacoma archtop too. Mine is blond though. I dont make mine sound quite as good.
Thanks for the lesson! Do you happen to have the backing track? Excellent!
Happy that it was useful to you!
C'est plus-que magnifique.
Thanks! To start work each lick up to speed and be able to play the scale that it relates to. Most bop licks contain arpeggios to outline the harmony, so study those as well. Enclosures surround the notes in the chord you're playing over (see response to David 7 months ago). To get more in depth I'll do a follow up video to get into the theory.
I really digg your lessons, man. Some of the best I've ever found online, for sure. I'm totally inspired. Can you explain why all of these modes start on a scale degree lower than the root? In all of my studies of "traditional" modes, it seems my ear has been trained to hear the mode from the root. B Locrian for example in your first example of C Ionian.
Thanks! I like to sometimes avoid starting on the root, as the sound on the mode is already established by the chord your playing over. Also this gives the person practicing the exercises two positions in each mode instead of one. Most bop ideas do not start on the root, so it's better to move away from using it as a starting point.
Makes sense. Thanks.
Thanks Man! i was looking for something like that
Shalom :-)
Well played - I very much like the sound of these lines and I'm going to learn them. I use a similar "economy picking" technique to you I think but I sometimes accidentally turn the beat around or my lines go out of synch with the beat. I think this probably happens when I play an upstroke on the beat, although, of course, I might just not be hearing rhythms well in my head. You don't seem to have a problem with this at all and your lines seem very fluid. I'll try this drill and see if it helps.
I've spent a lot of time practicing alternate picking, particularly on scale and modes, to develop control. Also, using a metronome on beats 2 and 4 (and eventually only on 4), helps to hear and feel the phrases. Keep in mind that early soloist relied heavily on the downstroke in terms of picking attack, often to project better and swing harder. This evolved into more of an alternate picking to enhance speed, but of more downstrokes helps in terms of swing.
Rob Cohen hi rob. you're not using alternate picking here though are you? perhaps i should look again. what i had thought was particularly interesting was precisely that you got your upstroke nice and strong.
Matthew Wall Thanks Matt. For years I practiced the Frank Gambale Ultimate Guitar Workout video, but mostly for alternate picking skills (although I do some sweeps and economy picking). When I play, I try not to think of my picking, I try to forget about that and let it flow. I did start to emphasize downward picking as I emulated players like Django and Charlie Christian to get a harder swing happening. I also don't think I play any upstrokes on the beat. Try that mastering blues scales and picking video I put up. It may help strength the upstroke in your picking.
Rob, beautiful playing. And a great workout - just what I've been looking for. Can you perhaps send me the transcripts? I took screen shots... kind of blurred.
Shoot me an e-mail robco770@gmail.com and I'll get those to you. Thanks!
Rob Cohen Cheers Rob. Sent you an email over.
awesome thanks!
great lesson...... nice sound cheers from venezuela...is it posible to get the TAB o music sheet?
I know you're going through the modes, but it mostly sounds like the major scale to me. Especially when played really fast. But then again, I still have a great deal of ear training. Nonetheless, the licks are simply mesmerizing. I'm going to be chewing on the contents of this video for quite a while. Thanks.
All of the notes in each mode are the same, it is only the root that changes. also Lydian and mixolydian modes may sound similar to the ionian pattern because they each have only one different note -sharp four and flat 7 respectively.
The backing track decides on the modes. You can play the notes, call them C ionian, G mixolydian, B locrian, the backing track decides on the tonic. Not the note you end or start a pattern on.
So indeed, this all has the same intervals.
Great 👍 stuff
nice lesson! would love tabblature!
thank you!
Thanks for sharing this lesson, Rob. Could anyone tell me what is this backing track?
Hey man. Thanks or the video. Could I please get a copy of the tabs. That would be ace !
awesome video man where can i get the transcripts to practice thank you
This is a great lesson! What happened to your website? thanks for sharing - Luther
Excelente tutorial, muchas gracias. En que tonalidad esta profesor????
nice practice . Can I have the transcription in form of pic or doc files? Thank you very much.
Hey man, Great Vids. Where can I find the pdf tabs for your lessons ? Thanks alot and keep up the good work. Good on ya !!
gooood ideas
Hi! This is awesome! thx for the lesson. really like the tone pls tell me what strings and what amplifire used?
Thank You, Robert
Thanks! The amp is a fender deluxe blackface, re-issue. I believe the strings are d'addario ribbon wound 12's
Nice nice!! Thank you!:)
Great video, is it possible to get the backing track by any chance? or anyone here can send it to me?
No tendrá la partitura o tablatura suena super genial??
gracias!!!
Is your site still active? I tried emailing you but it came back.
where's the transcription
I don't usually comment on anything but thanks!
nice lesson, do you still have the
guitar pro version of them?
thanks thanks thanks!!!!!
nice
what about if the harmony is modulating in to various keys ? How will this help
This lesson was designed to help players get away from practicing straight scales and play more angular lines with one diatonic key. I think the best way to learn modulation is to practice any lick or melody in all 12 keys and try to stay in one position using different fingerings...but that's another lesson.
is the notation right for the lydian lick? i know they're written as double time lines, but doesn't it start earlier?
Hi Matt, I believe that it is correct, but I've been wrong before.
mi puo mandare in pdf il tabulato delle note
Is legato a no-no for bebop guitar? I want to make these licks more horn like by slurring and using legato but in the process end up sounding distinctly "fusiony".
Lots of Jazz guitarists use Legato, especially guys like Joe Pass who use the fingers a lot
Also, play it how you want to play it, jazz shouldn't have confines, express you!
I like what you're doing. Which modes are most important to bebop.
clarkewi thanks for the question! You should try to master each mode. An idea from one mode may sound great when applied to a different chord, i.e. a lick that you originally call "f Lydian" might sound great over B-7b5, becoming "locrian"! That said, Dorian is probably the most common in modal composition, but all are important.
Rob, do you ever give private lessons? I would like to get the tabs on those runs.
clarkewi I'm not currently giving lessons, but I'll send you transcription, email me: robco770@gmail.com.
Bebop is functional harmony which means there are no modes.
When you are playing the modes are you just playing them up and down adding chromatics here and there? And how do you play those patterns so fast?
Lardbat?
where is the tab thanks
Gracias por tus vídeos
Hey man I recon you could easily be in the Rolling Stones or the Beatles being able to play that well
Hot licks or just "safe notes"...great stuff for beginners but not what I call hot licks...linear scales sounding and not very melodic..but again great for beginners...just not "hot"
yeah, I get too critical at times.. character flaw I'm still working on
Went to your youtube channel and found zero licks of any kind. Hmmmmm.
fhank you
Awesome ! Thank you very much for posting! I just send you an email!
Thanks for the video but please can you find another sound for the first time please! This "ring " kills my ears ;)
What's that guitar please?
Rob your Cool..........
5:03
Needs to be written out🤔
.
Rob Cohen 2 weeks ago
Hey, Thanks! Shoot me an e-mail at robco770@gmail and I'll send them to you.
***********
Hey, Thanks! Shoot me an e-mail at robco770@gmail and I'll send them to you.
Rob Cohen hello do hou have the tabs of bebop modes? thanks¡