Do you use octave displacement like this? Check out more on my videos on techniques and solos that will teach level up your bebop skills: th-cam.com/video/2iFZdLf7a1o/w-d-xo.html
Hi, I haven't had a chance to see all of your videos so I do not know if you addressed this previously, but could you explain more about that "half step" between F and E you mentioned at about 6:35 in this video? How do you get A as a half step between those two notes?
There is a difference between a lesson like this, and a "5 levels of octave displacement" type lesson. It progresses like a song or a solo with a basic concept (a strong simple melody), it's repeated in various contexts (motif), expanded upon and combined with other concepts, use some well known call-outs, and in the end its all musical and all connected. The lesson is effective in the same way a great piece of music is effective. Pretty astounding to me.
Jens, I took a chance when I found your channel. You Know now you have a following because you are easy to understand when things get complex. Thank you
No discussion about your skills in both playing and teaching but maybe the third reason for reaching so many musicians out there is simply because you seem to be a really calm and sympathic person - when in some places I can't follow you, I just keep on thinking: "Well, at least I like that guy..." :-) Thank you very much and please keep going!
The great thing about lessons in this format is I can approach the lessons at my speed... when I get frustrated with something I can step away and look at something else or work on another facet... thank you
lazy and more a watcher but renewed pleasure to watch you play and teach, such a smooth technic Thank you Dont stop Jens, one day I will get my dream guitar and join more into jazz jazz jazz
This is a really great lesson. Thanks so much. Sometimes on a blues scale I jump the third up an octave then come back down to continue, but that’s really the only time I tried this. I think this lesson will really help me a lot. Thanks again.
Sadly I'm not good enough to implement most of your lessons, but they're still amazing! Once I'm good enough, I'm going to go through all your stuff... meanwhile I just enjoy the concepts and playing!
So cool.Ive been singing like that-for years to make up for my lack of range but i never thought to play like that. Also I didn’t know that it had a name!
Jens - "Wake up, I want you to play something" Me - "But it's 3: 30 in the morning" Jens - "Trust me, it's a really cool lick, you're gonna love it" Me - "Hey, you were right, this is cool." Jens - "See, told ya, ok, you can go back to bed now" Me - "Aw, do I have to? I wanna keep playing this..."
Jens this is incredible and has really helped my jazz improvisation. Your videos really help me to contextualize and understand jazz without having to know broad and in-depth music theory. Thank you!
Thanks for making this lesson - very useful and interesting. I am always fascinated by lines that include this. Also pragmatic because it can compress melodic lines into less position movement.
Rhythm, phrasing and harmony, constantly compete with oneanother for dominance. This is true even for bass players whose primary job is to lay down the time with mostly quarter note based lines. BTW, I use octave displacement and pivot arpeggios in my bass lines all the time.
@@JensLarsen Yes. Walking bass is actually walking, skipping, leaping bass. My approaches to playing time and soloing merged many years ago after I started transforming my favorite soloists' licks into bassline phrases. The result is that my basslines are far more melodic as well as harmonically richer.
Octave displacement combined with "the most important exercize in Jazz" video gives me tons of stuff to build on. Tak for den fremragende præsentation. (Listening closely, I think at 4.29 you ment: "with the third as the highest note")
Thanks Jens! This is a great concept that not only helps my understanding of bebop, but I will use in many different genres now too. Also, 5:37 octave displacement of _The Licc:_ we have a winner! lols
The David Baker lick is one of the main Dexter Gordon ii-V licks, but he goes up to the 7th after the bebop 7th part. Octave displacement over the 9th chords, Dominant and Minor, really changed my playing! Another great lesson Jens!
Awesome lesson Mr Jens, i always love the examples you teach us... they always carry such strong melodies, and straight away usable... i would suggest everybody that loves this music and wants to get on with it quickly (and it's a layman like me using none but ears), to just get 1 or 2 of these phrases, ( not all of them at once) ( and the shorter, the better) sing them a lot , and use them in context. i always use the Jazz Blues in Bb or F, bearing in mind the movements of the song... and just right down apply them... just repeat repeat, repeat, and then forget, and then repeat:) and also to change the examples, i like to practice triplets a lot, Barry said once in a video of the Hague, " if you practice triplets, you'll be the most different musicians in the world" Jens as always you're the man:) wish you much success:) thanks for the lesson:)
I just stumbled onto to your channel. I'm currently learning how to play bebop and jazz in general. I really like what you're discussing and how you're going about it. It's very welcoming and makes it all much less intimidating. Thanks for the lessons in all things jazz.
@@JensLarsen Jens.. I finally get the simplicity of this... it seems really really very interesting .. for hearing "in or out".. beautiful melodic lines.. and then the tension of Ab next to the D ... and the B next to the F.. Ive been exploring this all day.. and Im not even past the 2 minute mark yet !!! ..what a wonderful and revealing lesson .. it really is TOP SHELF GOLD... I take my hat off to you ( you have brought me soooo far along the jazz journey ) .. Cheers
😎 I appreciate how all your videos (even when selected at random) fit nicely with the Jazz Guitar Roadmap. I’m on chapter 3 and I’m able to apply(or a least understand) some of the concepts here to my studies.
Thanks Jens ! A good example of octave displacement is George Benson's solo on Brother Jack Mcduffs live version of his hit " Rock Candy" .This is also a " Triple Play" type solo ,Blues ,Jazz,with a couple of Chuck Berry licks thrown in for "good measure" ! LOL !
@@JensLarsen You bet i really love your channel your video montage or editing work is very good also. As I wrote in a private e-mail, It just goes fast for me but I can always slow down mind you..
Hi Jens! I've got to say you keep opening my mind with your on-the-spot video lessons. These ones on bebop especially are giving me so much to work on and I love it. I have a question though, and I hope it makes sense. I've been wondering what is the best way to practice inversions of arpeggios along with octave displacement? I mean, to me it looks like there are so many options to play arpeggios (which is great but also kind of confusing). I hope I made myself understood. Keep it up. You're the best! Greetings from Italy.
Thank you! Explore what is there and practice the ones that sound good. They don't all make great melodies and trying to do all possible variations is usually a waste of time. Does that help?
@@JensLarsen thanks for the prompt reply! Yes it makes perfectly sense. Sometimes it's easy to get bogged down with details and it definitely results in a waste of time. I'm going to follow your PRECIOUS advice for sure. I say it again: You're a great and thorough teacher because you do the only thing a teacher should do, that is enabling students to get the most out of themselves in a purely creative way!
So great to have you simplify &explain these technical terms. May i ask if you think sight reading is an important skill to have or overrated? I have started sight reading just because I figured it would help me be more familiar w/ fretboard, but wondering if its not wasting time???
Your literally changing my life....thank you for the awesome explainations. Can I just check my guess about why you are using the arpegios you are? Often your using the 3rd note of the chord for your arpegios, but also seem to be the voicing based on the key E.g. Dm7 is the 2 chord in cmaj7. So you'd use a Fmaj7 arpegios as F is the 3rd of D chord, but the Maj7 is the correct expression of F in C major?
Yes, it is based on the key and the chord. It is using diatonic chords. Check out this video for some more examples th-cam.com/video/2Ze22BNftAA/w-d-xo.html
Studying my Fundamental Changes' Major ii v i Mastery and Jazz Guitar Chord Mastery books seems to be paying off - I understood at least 60% of this video! Previously, it would've been about 0.05%..... Good lesson here, Jens.
quick and maybe stupid question: on patreone... what do i have to do to get all the pdfs and licks from your several bebop videos? is there something like a whole course available? i really want to know this and to have it somehow structured. thisis more than amazing knowledge that i want to have as solid pdfs in solid files... :)
The PDFs are on Patreon, but there is not a complete Bebop course available for all Patrons. Actually you might want to look at my online course since it is about learning the foundation of improvising and playing bebop lines. It doesn\t cover all the topics but is structured with the option to get feedback on your progress.
Hi, got a question I think I get that your building the arpeggio to use on the 3rd of the chord, based in the tonic. E.g the D chord, 3rd is F, and it's an F because we're in C Maj, the 4th chord is F Maj, so of the D, Fmaj arpeggio works as F is part of D and it's extension (the Maj) is part of the key we're in. However, for the scale tones, what are you doing to identify that scale? Or rather, are you making a choice, such as looking at a 5th mode of C (a scale starting on G) or am I over complicating it? In one example, you look to be playing a G7 arpeggio, then moving to scale tones, which include an Ab and Eb which (in my admittedly limited music theory) wouldn't exist in the 5 mode of Cmaj. TLDR : how are you identifying scale notes to pair with your arpeggio choices?
These progressions (and bebop in general) is tonal music so I relate the chords to the key. I have some videos on analyzing songs and hearing/understanding harmony if you are interested
Hey Jens - I've just been working through the examples again. Am I right in thinking all of the examples of octave displacement on a scalar line involve jumping up and octave, while all the examples of octave displacement/pivotting on an arpeggio involve dropping to continue the arpeggio on the octave below? Any reason why these directions can't be switched around?
@@JensLarsen Thanks Jens - will do. I'm trying not tot take on too much at once, so I'll probably with these directions for now, but this is good to know.
@@JensLarsen indeed. It looked like a nice fat pick from the side. Have you always used/preferred that sort of thickness or did you gradually increase?
@@JensLarsen thank you dearly for your response. I'm about to move up to a thicker pick from a dunlop jazzIII...and kind of anxious about losing my strum. Do you find a way through this even with a thick pick?
You trick me every time. I see an 8 minute video and think it'll be an quick watch. It takes me three repeated watches to absorb it, play it, and then integrate it.
Great lesson - nice and succinct, but plenty of meat to chew on! Could you clarify your distinction between rhythm and phrasing? I tend to think of them together, as you can't have phrasing w/o rhythm. Perhaps phrasing is a marriage between rhythm and harmony? Either way I'd argue that phrasing is the most important: knowing the alphabet and a few words doesn't matter if you don't know how to form a sentence. IMO phrasing seems to be the missing link between seasoned pros and kids who need to "wash the college off" (which I certainly was and still feel like sometimes, ha!).
![[UNCUT] The Loyal Pin ปิ่นภักดิ์ EP.4 (4/4)](http://i.ytimg.com/vi/d3l5rxl5CVo/mqdefault.jpg)
Do you use octave displacement like this?
Check out more on my videos on techniques and solos that will teach level up your bebop skills:
th-cam.com/video/2iFZdLf7a1o/w-d-xo.html
Hi, I haven't had a chance to see all of your videos so I do not know if you addressed this previously, but could you explain more about that "half step" between F and E you mentioned at about 6:35 in this video? How do you get A as a half step between those two notes?
There is a difference between a lesson like this, and a "5 levels of octave displacement" type lesson. It progresses like a song or a solo with a basic concept (a strong simple melody), it's repeated in various contexts (motif), expanded upon and combined with other concepts, use some well known call-outs, and in the end its all musical and all connected. The lesson is effective in the same way a great piece of music is effective. Pretty astounding to me.
Thank you very much Ben! Nice of you to say so :)
The knowledge presented here is absolutely stellar! Jens - You are liberating minds with this channel - Thank you so much!
Thank you! :)
Glad you think so!
Inflated with superlatives but true ;-p
The Morpheus of jazz guitar ...haha
Now I know what I was actually doing by intuition, and I can afford it methodically. Golden tip, Master. Thanks once again!
Great! Go for it 🙂
Some gold right here! JS Bach used this technique to stunning effect.
Glad you like it 🙂
you are awesome~~I can't imagine how you learn so much in music. it takes whole life.
Thank you!
Jens, I took a chance when I found your channel. You Know now you have a following because you are easy to understand when things get complex. Thank you
You are easily one of the best teachers out there! Keep up the good work Jens!
Thank you 🙂
Great lesson! After 50 years as a guitarist and teacher I still can learn from you.
Great to hear!
That last line is incredible
Glad you like it!
Oh brother, I have no words to describe how your content is, you’re an amazing educator. Your method and pedagogy is great. Thank you very much man!
I appreciate that, Thanks Karim!
No discussion about your skills in both playing and teaching but maybe the third reason for reaching so many musicians out there is simply because you seem to be a really calm and sympathic person - when in some places I can't follow you, I just keep on thinking: "Well, at least I like that guy..." :-)
Thank you very much and please keep going!
Thank you very much, that is a very nice thing to say 🙂
The great thing about lessons in this format is I can approach the lessons at my speed... when I get frustrated with something I can step away and look at something else or work on another facet... thank you
Glad you have a way that works perfectly for you :)
lazy and more a watcher but renewed pleasure to watch you play and teach, such a smooth technic Thank you Dont stop Jens, one day I will get my dream guitar and join more into jazz jazz jazz
Glad you like the videos :)
This is a really great lesson. Thanks so much. Sometimes on a blues scale I jump the third up an octave then come back down to continue, but that’s really the only time I tried this. I think this lesson will really help me a lot. Thanks again.
Sadly I'm not good enough to implement most of your lessons, but they're still amazing! Once I'm good enough, I'm going to go through all your stuff... meanwhile I just enjoy the concepts and playing!
So cool.Ive been singing like that-for years to make up for my lack of range but i never thought to play like that. Also I didn’t know that it had a name!
Thank you. Very helpful. I'm pulling towards better melody and this is an important lesson and tip.
Glad it was helpful! I think that is a very useful way to look at it and focus your study!
Jens - "Wake up, I want you to play something"
Me - "But it's 3: 30 in the morning"
Jens - "Trust me, it's a really cool lick, you're gonna love it"
Me - "Hey, you were right, this is cool."
Jens - "See, told ya, ok, you can go back to bed now"
Me - "Aw, do I have to? I wanna keep playing this..."
Haha! Thanks, I admire your discipline 🙂
Yeah, pretty much.
That last line is sweet!! Thank you
Glad you like it 🙂
Very informative, thank you so much Jens Larsen. Great content also for a jazz pianist, much appreciated !
Excellent lesson. Opens up even more possibilities. Lots of great materials in under 8 min. “Simplicity is a most complex form”. Duke Ellington.
Thank you, Salim 🙂
Jens this is incredible and has really helped my jazz improvisation. Your videos really help me to contextualize and understand jazz without having to know broad and in-depth music theory. Thank you!
Glad it is useful 🙂
IMO it is deep music theory and I get so much out of this. Great for building lines in standards such as Night and Day a la Doug Rainey
This is a game changer for my ii/V/I lines ascending and descending from the b3 or 5 of the iim7 AND iim7b5...
This is a great lesson! Thanks
Glad you like it 🙂
Thanks for making this lesson - very useful and interesting. I am always fascinated by lines that include this. Also pragmatic because it can compress melodic lines into less position movement.
Glad you like it!
Thanks for your great content and insight, Jens!
My pleasure!
These videos are excellent.
Glad you think so!
Rhythm, phrasing and harmony, constantly compete with oneanother for dominance. This is true even for bass players whose primary job is to lay down the time with mostly quarter note based lines. BTW, I use octave displacement and pivot arpeggios in my bass lines all the time.
You probably want to get the different ingredients to work together in balance :)
@@JensLarsen Yes. Walking bass is actually walking, skipping, leaping bass. My approaches to playing time and soloing merged many years ago after I started transforming my favorite soloists' licks into bassline phrases. The result is that my basslines are far more melodic as well as harmonically richer.
Thanks for another great video!
Glad you enjoyed it!
Why have I never explored this before? Dang. Great insights!
Glad you find it useful 🙂
Octave displacement combined with "the most important exercize in Jazz" video gives me tons of stuff to build on. Tak for den fremragende præsentation. (Listening closely, I think at 4.29 you ment: "with the third as the highest note")
So very helpful Jens! Thank you!!!
Thanks Jens! This is a great concept that not only helps my understanding of bebop, but I will use in many different genres now too.
Also, 5:37 octave displacement of _The Licc:_ we have a winner! lols
The David Baker lick is one of the main Dexter Gordon ii-V licks, but he goes up to the 7th after the bebop 7th part. Octave displacement over the 9th chords, Dominant and Minor, really changed my playing! Another great lesson Jens!
oh that´s a great concept! i have to practice that...it makes moving over the whole fretboard much easier - thank you fro the lesson!
Thank you Tina! Great to get a compliment from a colleague!
Very beautiful lines
Man, I learn so much from you I really don't know how to thank you enough. Great stuff as usual, Mr Larsen.
That's really great to hear!
I learnt more in this lesson than I have for ages..really useful thank you 😊
Really great to hear 🙂
learned more in this lesson than i have in years. great vid
Such an amazing lesson Jens! Great work my friend.
Glad you like it 🙂
Awesome lesson Mr Jens, i always love the examples you teach us... they always carry such strong melodies, and straight away usable...
i would suggest everybody that loves this music and wants to get on with it quickly (and it's a layman like me using none but ears), to just get 1 or 2 of these phrases, ( not all of them at once) ( and the shorter, the better) sing them a lot , and use them in context. i always use the Jazz Blues in Bb or F, bearing in mind the movements of the song... and just right down apply them... just repeat repeat, repeat, and then forget, and then repeat:)
and also to change the examples, i like to practice triplets a lot, Barry said once in a video of the Hague, " if you practice triplets, you'll be the most different musicians in the world"
Jens as always you're the man:) wish you much success:) thanks for the lesson:)
Glad you can put it to use 🙂
Thank you!
Glad you like it 🙂
I just stumbled onto to your channel. I'm currently learning how to play bebop and jazz in general. I really like what you're discussing and how you're going about it. It's very welcoming and makes it all much less intimidating. Thanks for the lessons in all things jazz.
Welcome aboard!
This lesson is stellar! Thanks Jens
Glad it was helpful!
Great stuff. Great presentation.
Great lesson! Thank you so much!
top shelf gold
Thank you 🙂
@@JensLarsen Jens.. I finally get the simplicity of this... it seems really really very interesting .. for hearing "in or out".. beautiful melodic lines.. and then the tension of Ab next to the D ... and the B next to the F.. Ive been exploring this all day.. and Im not even past the 2 minute mark yet !!! ..what a wonderful and revealing lesson .. it really is TOP SHELF GOLD... I take my hat off to you ( you have brought me soooo far along the jazz journey ) .. Cheers
Makin it digestible, tasteful and enjoyable. Jens, you da man!
Thank you 🙂
Thanks! This definitely helps to make arpeggios sound interesting (just up and down starting from the root is super annoying to me)
Thank you very much for the quality teaching material !!!
You are very welcome!
Lots of great players out there but not many great teachers. Jens is both
Thank you, James
😎 I appreciate how all your videos (even when selected at random) fit nicely with the Jazz Guitar Roadmap. I’m on chapter 3 and I’m able to apply(or a least understand) some of the concepts here to my studies.
That is great to hear :) See you in there!
This is one of your best Jens.
Very helpful video; thanks!
THANK YOU! now i get a lot more!
Nice video. Thanks
Glad you like it 🙂
Thanks Jens ! A good example of octave displacement is George Benson's solo on Brother Jack Mcduffs live version of his hit " Rock Candy" .This is also a " Triple Play" type solo ,Blues ,Jazz,with a couple of Chuck Berry licks thrown in for "good measure" ! LOL !
Nice 🙂
So many great phrases to practice! Thanks!
Glad you like them 🙂
@@JensLarsen You bet i really love your channel your video montage or editing work is very good also. As I wrote in a private e-mail, It just goes fast for me but I can always slow down mind you..
Siempre sencillo y magistral. Gracias
Glad you like it 🙂
Muy buenos consejos,estupendas ideas ,eres un crack
Amazing videos, thanks so much
You never fail to amaze me.
Thank you, Gordon 🙂
Really useful lesson with some great ideas, thanks! By the way, the quality of the videos is always getting better.
Thanks! Glad you think so
Formidable, esta clase será de gran ayuda. Muchas gracias maestro.
You're very welcome! I am glad you like it! 🙂
Really but really great lesson! Gracias maestro!
Great, Great, Great!!!!!!!!!!!!
Thank you 🙂
Love this video. If I only listen to it it’s almost like Arnold Schwarzenegger is teaching me jazz guitar. Great stuff!
Worthy of careful study!
Great one, Jens.
Thank you, Brad 🙂
Hi Jens! I've got to say you keep opening my mind with your on-the-spot video lessons. These ones on bebop especially are giving me so much to work on and I love it.
I have a question though, and I hope it makes sense. I've been wondering what is the best way to practice inversions of arpeggios along with octave displacement? I mean, to me it looks like there are so many options to play arpeggios (which is great but also kind of confusing).
I hope I made myself understood.
Keep it up. You're the best!
Greetings from Italy.
Thank you! Explore what is there and practice the ones that sound good. They don't all make great melodies and trying to do all possible variations is usually a waste of time.
Does that help?
@@JensLarsen thanks for the prompt reply!
Yes it makes perfectly sense. Sometimes it's easy to get bogged down with details and it definitely results in a waste of time. I'm going to follow your PRECIOUS advice for sure.
I say it again: You're a great and thorough teacher because you do the only thing a teacher should do, that is enabling students to get the most out of themselves in a purely creative way!
This very helpful.
First! Just finished my mathematics midterm and Jens has uploaded a new lesson!
Go for it!
I sort of stumbled on this concept playing in D Major because the lowest note is E(on guitars)…so WHOOPS, gotta jump up an octave!!!
Great video!! Thanks
Thank you, James
CURTO MUITO SUAS AULAS !! OBRIGADO!!
You're very welcome! I am glad you like it! 🙂
Great stuff Jens ! I’m a fan and thanks for your work. Can you touch on Barry Harris’ 6th diminished scale ? Much Thanks Again !
Awesome 👌
1:40 Octave displacment on arpeggios
rad lesson
good work
be safe, be happy, work hard
peace \m/
you just opened a long time closed door for me with this lesson, thank you ! (by the way, where did you get your shirt? I want the same!)
Thank you! The shirt was a gift from my girlfriend, I don't know where she got it
@@JensLarsen tell her it's a hit! I live in Belgium, as soon as I can I go to your country to find the same ;-)
So great to have you simplify &explain these technical terms. May i ask if you think sight reading is an important skill to have or overrated? I have started sight reading just because I figured it would help me be more familiar w/ fretboard, but wondering if its not wasting time???
Amazing content man, love your channel. Also can we see you playing the gibson or the epiphone one day😂😂
Thank you! Just check out some of the other videos, there are quite a few with those guitars
Great lesson again, Jens. Thanks. (The link to the PDF seems to be broken.)
In what way? Seems to work when I click it?
Nice !!
Thank you 🙂
Your literally changing my life....thank you for the awesome explainations. Can I just check my guess about why you are using the arpegios you are? Often your using the 3rd note of the chord for your arpegios, but also seem to be the voicing based on the key E.g. Dm7 is the 2 chord in cmaj7. So you'd use a Fmaj7 arpegios as F is the 3rd of D chord, but the Maj7 is the correct expression of F in C major?
Yes, it is based on the key and the chord. It is using diatonic chords. Check out this video for some more examples th-cam.com/video/2Ze22BNftAA/w-d-xo.html
New level: Bebop powers unlocked!
Haha! 👍
Imo, one of the best and most difficult things about jazz is changing a fuckload of keys in very little time… otherwise, a great lesson ☺️🙏
Jazz doesn't actually change key very often, and the thing you want to learn to get that to make sense is probably target notes.
Studying my Fundamental Changes' Major ii v i Mastery and Jazz Guitar Chord Mastery books seems to be paying off - I understood at least 60% of this video! Previously, it would've been about 0.05%..... Good lesson here, Jens.
Thank you Fraxinus! I am glad you found it useful! 👍
My wife wants a awood deck out back. Would you build it for us. The measuring must be precise, and the material top notch!
I’ve heard of wood shedding but I don’t think that’s what he had in mind lol
@@icecreamforcrowhurst It is bebop magic!
quick and maybe stupid question: on patreone... what do i have to do to get all the pdfs and licks from your several bebop videos? is there something like a whole course available? i really want to know this and to have it somehow structured. thisis more than amazing knowledge that i want to have as solid pdfs in solid files... :)
The PDFs are on Patreon, but there is not a complete Bebop course available for all Patrons. Actually you might want to look at my online course since it is about learning the foundation of improvising and playing bebop lines. It doesn\t cover all the topics but is structured with the option to get feedback on your progress.
Hi, got a question
I think I get that your building the arpeggio to use on the 3rd of the chord, based in the tonic. E.g the D chord, 3rd is F, and it's an F because we're in C Maj, the 4th chord is F Maj, so of the D, Fmaj arpeggio works as F is part of D and it's extension (the Maj) is part of the key we're in.
However, for the scale tones, what are you doing to identify that scale? Or rather, are you making a choice, such as looking at a 5th mode of C (a scale starting on G) or am I over complicating it? In one example, you look to be playing a G7 arpeggio, then moving to scale tones, which include an Ab and Eb which (in my admittedly limited music theory) wouldn't exist in the 5 mode of Cmaj.
TLDR : how are you identifying scale notes to pair with your arpeggio choices?
These progressions (and bebop in general) is tonal music so I relate the chords to the key. I have some videos on analyzing songs and hearing/understanding harmony if you are interested
I'll do some digging in your back catalogue of videos :) thanks
Quite Joe Pass! ❤️
Indeed!
Hey Jens - I've just been working through the examples again. Am I right in thinking all of the examples of octave displacement on a scalar line involve jumping up and octave, while all the examples of octave displacement/pivotting on an arpeggio involve dropping to continue the arpeggio on the octave below? Any reason why these directions can't be switched around?
You can do it the other way around as well, these are just the most common examples. Go with what sounds good
@@JensLarsen Thanks Jens - will do. I'm trying not tot take on too much at once, so I'll probably with these directions for now, but this is good to know.
Jens, what kind of plectrum do you use? Do you have any thoughts on that subject?
I use ChickenPicks Badazz 3.5 mm🙂
@@JensLarsen indeed. It looked like a nice fat pick from the side. Have you always used/preferred that sort of thickness or did you gradually increase?
@@Llirik_Kuynorov I have been using stuff like this for years, but have tried a ton of different things
@@JensLarsen thank you dearly for your response. I'm about to move up to a thicker pick from a dunlop jazzIII...and kind of anxious about losing my strum. Do you find a way through this even with a thick pick?
@@Llirik_Kuynorov yes, strumming works just fine
octave displacement
You trick me every time. I see an 8 minute video and think it'll be an quick watch. It takes me three repeated watches to absorb it, play it, and then integrate it.
Haha! I hope you at least feel that it helps your playing 🙂
Great lesson - nice and succinct, but plenty of meat to chew on!
Could you clarify your distinction between rhythm and phrasing? I tend to think of them together, as you can't have phrasing w/o rhythm. Perhaps phrasing is a marriage between rhythm and harmony?
Either way I'd argue that phrasing is the most important: knowing the alphabet and a few words doesn't matter if you don't know how to form a sentence.
IMO phrasing seems to be the missing link between seasoned pros and kids who need to "wash the college off" (which I certainly was and still feel like sometimes, ha!).
What is the software you're using to write and transcribe your phrases?
GuitarPro. It doesn't transcribe, I do that myself 😁
GuitarPro. It doesn't transcribe, I do that myself 😁
Thanks Jens. It looked like notes were appearing as you played.
Charlie Parker or George Benson? I’d go with Charlie Benson personally ...