I was one of those people who ditched the pentatonic rock/blues but went a different route, I went to school for classical guitar. My guitar teacher quit after my first year, and they hired a jazz guy. I then got into jazz and took jazz theory along with my traditional theory course. I threw away what people liked to hear for some complex ideas that no one but other music majors or Jazz people understand... I felt like I wasted so much money, time, and effort to develop something normal every day people don't care about or understand. If I play some Jimmy Hendrix or even Black Sabbath or RATM, people go wild.... Life is crazy. I appreciate this video.
@@bligotblam actually most of the jazz greats use pentatonic sounds and encourage pentatonic playing used with some chromaticism. The theory that jazz greats “threw away” these sounds is all in the heads of those who think they know what they’re talking about. It’s like repeating the modern day adage, “Don’t learn scales or theory because it’ll stunt your creativity.” Also, a bunch of bullshit. Had any of these morons developed their ear, none of these discussions would ever happen because people would play what they’re hearing, not what they THINK their jazz instructor would like them to play. Go listen to some of the great jazz pianists. If you don’t hear some rock n roll and blues licks in there peppered in, then you’ll need to adjust your hearing.
This is top quality as usual Dani, your insights and ability to connect the conceptual dots , are pure gold , thank you. Don't mind the clowns talking about your use of the whammy bar, not one of them has made a single legitimate criticism about the actual content of the FREE lesson. It takes a really selfish, and oblivious fun sponge of a human, to try and dictate how you should teach and play to better suit their tastes, their lack of self awareness is mind numbing.
holy shit THIS. this is the solutiion to my playing ive been looking for. ive gotten so stuck in the jazz theory and modal lines for every chord i forgot about such basic concepts.
Spends years in Mark Levine books and working all modes of harmonic major, melodic minor, etc… Transcribes one (part of) a solo off of Now He Sings, Now He Sobs… They (Chick and McCoy) took our jerbs, man. (Pentatonics and root fifth voicings low registers…)
@@jwinchester1320 Are you thinking Bill Leavitt? In both cases, great books - Levine's the Jazz Theory Book and Jazz Piano Book guy (who is the low hanging fruit target for folks who hate chord scale theory and should be mad at George Russell instead lol)
100% agree man. Understanding and feeling the blues is Imo fundamental for any aspiring & serious jazz musician. If somebody wants to follow Coltrane, Davis, Rollins, Parker, Scofield, Hancock, Robben Ford, Joe Henderson or any other jazz legend, they gotta master the blues...
Great approach that is pretty much exactly how I tend to play on these kinds of tunes. I got to say though that as a jazz guy the whammy sounded weird to me. It took me a while to work out why every note was scooped at first. Other than that great lesson.
@@marbinmusic Great for blues but stylistically a bit off for jazz in my (probably worthless) opinion. As I said great lesson and plating and all that. It's just a style thing I guess.
I'm learning as much from your replies to comments as from the lesson :) Cool video! I like the bass note comping, but having the full harmony in the background would make it much clearer to understand. Maybe next time some synth pads or guitar chords underneath the notes? Would be great
Wait...jazz players don't do this already?? As a blues rock player first one of the first things I learned about jazz is that the blues is a key part of it, that's why people like Miles and Coltrane are so great. No matter how crazy their playing was, there was always at least a bit of blues in there if not loads.
Great jazz players integreate this style of playing. It's just easy to get caught up in purely running arpeggios modal lines for each chord, especially when learning jazz.
Interesting and useful. Be careful not to fight the melody though. Improvising over the changes allows a blues based improv style, but if anyone is playing a known melody that depends on chord tones, the mix can be nasty.
Great Dani as always. Perhaps check out the Dorian b4; which is the same as the Major Blues scale with the addition of the b7. The parent scale is Ionian b5 and on the 7th degree of that scale is the Minor Blues scale with a b2 (a tough note, but doable). The Scale is Locrian bb6. Cheers mate be well!!!
You just single-handedly convinced me to actually learn pentatonics, normally I despise them as I do not like the sound of them as in my ears they are overused, but as a glue for shorter changes they prove to be very useful, then you can go back to modal stuff on longer ones. Thank you! 🙏
@jdl2180 I already stated my reasons and while I cannot say I stand fully by those convictions anymore, I can say I stand 75% by them but that does not mean Pentatonics are to be shunned away. This is the mistake I made. Pentatonics are part of the language, just do not overuse and over rely on them. Mix and match accordingly.
This is an amazing lesson thank you for posting this. I have a question about the take the a train example. The D7 is not in the key of C major right? Are you mentally making adjustments to the pentatonic scale or being especially mindful over that chord because of that? In general when there are chords that are not diatonic, is it less “safe” to use a pentatonic approach?
@@moeh9834 I’m playing over the keys and eating out the notes from the blues scale. You don’t think harmonically when playing blues scales but that’s not to say you don’t think. The ear learns where to go to with the scale over the moving harmony after a while
I enjoyed the sax effect whammy work. It's gotta be a whammy cos' your mammy don't wobble like that. Setting the dear old major scale to a jazz groove made me laugh, fabulous, it works (sorta). I'm going to re-listen a few times.
Honestly brother, it's people like you. Why jazz musicians think they are superior If you had studied jazz further, you realize we use Pentatonix all the time and not just built off of the root. And also, if you studied some Barry Harris method, you would understand how to use the minor and major third as well as the flat fifth in an eight note scale. But whatever dude you do you and keep thinking you know more than others Hilarious!
A quick Google search would have saved you the time it took you to write this comment. He's a prolific jazz musician. Just cause he's pointing out something many jazz musician miss when they play rock doesn't mean that's all he does.
@dannymarkovitchslor626 it's a logical fallacy just because who he is. If he's teaching information that is just dumbing things down. I can disagree if I like it. And thank you for playing
@@blindteo5808 I need a refresher, chromatic scale is 12 disciples, they break up into two groups power ranger style to form Adam an Eve whole tone scales and then ba boo do ba diminished chords?
In an educational sense, the vibrato bar is annoying. Also too much chromatics, so doesnt sound like blues at all. You played G# then G when showing major pentatonic. That note is not part of the scale; ooh chromatics, thats why
@@phonodella5273 when you’re Jewish and you wake up some morning and see that your baby left you, all you do is play chromatic with your whammy bar. It’s a cultural thing.
Gee, Jeff Beck was doing this shit way before, nothing new here, and you might want to check out Mike Stern, he doesn’t play only bebop, but also like a rock musician, but way better 😂 And try to play melodic ….thats harder when doing changes
God damn it, that’s bad news for me about the Beck thing. I was certain that I was the first to touch that metal thing on the bridge. I’m going to have to rethink things. I’m any case, thank you for letting me know about Mike Stern. Just googled him and he’s one hell of a player. Not sure about the layered mullet but to each his own. It’s nice to get hip to these unknown musicians through the comments section.
I feel like this is the sort of playing that might actually get a jazz musician laid. Probably by a girl with lots of cats, but still, it’s something.
That’s the only kind of pussy musicians get regardless unless you’re Jimmy Page or Justin Bieber
Maybe the cats
@@marbinmusic😂😂
@@adamwright7954 😂😂😂
It beats a girl who wears a Fanny pack…. To be clear 😂🤣
Jeff Beck would have approved of that very musical way you use the whammy bar. Bravo.
I was one of those people who ditched the pentatonic rock/blues but went a different route, I went to school for classical guitar. My guitar teacher quit after my first year, and they hired a jazz guy. I then got into jazz and took jazz theory along with my traditional theory course. I threw away what people liked to hear for some complex ideas that no one but other music majors or Jazz people understand... I felt like I wasted so much money, time, and effort to develop something normal every day people don't care about or understand. If I play some Jimmy Hendrix or even Black Sabbath or RATM, people go wild.... Life is crazy. I appreciate this video.
@@bligotblam actually most of the jazz greats use pentatonic sounds and encourage pentatonic playing used with some chromaticism. The theory that jazz greats “threw away” these sounds is all in the heads of those who think they know what they’re talking about. It’s like repeating the modern day adage, “Don’t learn scales or theory because it’ll stunt your creativity.” Also, a bunch of bullshit. Had any of these morons developed their ear, none of these discussions would ever happen because people would play what they’re hearing, not what they THINK their jazz instructor would like them to play.
Go listen to some of the great jazz pianists. If you don’t hear some rock n roll and blues licks in there peppered in, then you’ll need to adjust your hearing.
I love Hendrix ,Van Halen , George Benson and Wes Montgomery..I tried to figure out what they had in common ...It hit me THE BLUES!!!
This is top quality as usual Dani, your insights and ability to connect the conceptual dots , are pure gold , thank you.
Don't mind the clowns talking about your use of the whammy bar, not one of them has made a single legitimate criticism about the actual content of the FREE lesson. It takes a really selfish, and oblivious fun sponge of a human, to try and dictate how you should teach and play to better suit their tastes, their lack of self awareness is mind numbing.
holy shit THIS. this is the solutiion to my playing ive been looking for. ive gotten so stuck in the jazz theory and modal lines for every chord i forgot about such basic concepts.
I use lots of rock n roll licks in my jazz playing. Sounds awesome and I realized a lot of jazz pianists do too
Spends years in Mark Levine books and working all modes of harmonic major, melodic minor, etc…
Transcribes one (part of) a solo off of Now He Sings, Now He Sobs…
They (Chick and McCoy) took our jerbs, man. (Pentatonics and root fifth voicings low registers…)
@ mark levine books are great!! Completed all 3 method books. Changed my path and understanding on guitar
@@jwinchester1320 Are you thinking Bill Leavitt? In both cases, great books - Levine's the Jazz Theory Book and Jazz Piano Book guy (who is the low hanging fruit target for folks who hate chord scale theory and should be mad at George Russell instead lol)
@ yea I am thinking of bill Levitte!! And I also recall working out of the Levine book as well!! Been a long time but that’s great material!!
100% agree man. Understanding and feeling the blues is Imo fundamental for any aspiring & serious jazz musician. If somebody wants to follow Coltrane, Davis, Rollins, Parker, Scofield, Hancock, Robben Ford, Joe Henderson or any other jazz legend, they gotta master the blues...
The real core of advanced blues is adding in all of those notes outside of the blues scales when they are appropriate.
Great approach that is pretty much exactly how I tend to play on these kinds of tunes. I got to say though that as a jazz guy the whammy sounded weird to me. It took me a while to work out why every note was scooped at first. Other than that great lesson.
The boomers told me I should play with feel and I felt like pressing with the wang bar.
@@marbinmusic Great for blues but stylistically a bit off for jazz in my (probably worthless) opinion. As I said great lesson and plating and all that. It's just a style thing I guess.
I'm learning as much from your replies to comments as from the lesson :)
Cool video! I like the bass note comping, but having the full harmony in the background would make it much clearer to understand. Maybe next time some synth pads or guitar chords underneath the notes? Would be great
Wait...jazz players don't do this already?? As a blues rock player first one of the first things I learned about jazz is that the blues is a key part of it, that's why people like Miles and Coltrane are so great. No matter how crazy their playing was, there was always at least a bit of blues in there if not loads.
Great jazz players integreate this style of playing. It's just easy to get caught up in purely running arpeggios modal lines for each chord, especially when learning jazz.
Interesting and useful. Be careful not to fight the melody though. Improvising over the changes allows a blues based improv style, but if anyone is playing a known melody that depends on chord tones, the mix can be nasty.
I am a shredder at heart. The melody is my enemy and I will fight it until one of us is no more.
Amazing lesson man. I wish i had this infos when i was 16 :) but never too late.😊 Glad that you shared. ❤❤❤
This didn't need the whammy to go so hard but im personally delighted it was involved anyway!
wayyyyyy too much whammy
I wish I could remake to video and add dive bombs and pinch harmonics
@@marbinmusic *furiously starts typing 'patreon' into search bar
Super great lesson and very tasteful playing. Thanks a lot.
Glad you liked it!
Ha! You've been using the bar so much that you're still making the motion even when you're not using the bar! Lol
@@cobyup10in Canada it’s a hate crime to criticize the use of the whammy.
Great Lesson.. Thanks!
Great Dani as always. Perhaps check out the Dorian b4; which is the same as the Major Blues scale with the addition of the b7. The parent scale is Ionian b5 and on the 7th degree of that scale is the Minor Blues scale with a b2 (a tough note, but doable). The Scale is Locrian bb6. Cheers mate be well!!!
Great explanations as always, thank you!
That whammy bar thing really reminds me of some cassiopea songs, i really need to get one for my strat cos i lost the one it came with
You just single-handedly convinced me to actually learn pentatonics, normally I despise them as I do not like the sound of them as in my ears they are overused, but as a glue for shorter changes they prove to be very useful, then you can go back to modal stuff on longer ones. Thank you! 🙏
I don't see how you could play the guitar without using pentatonics.
@jdl2180 I already stated my reasons and while I cannot say I stand fully by those convictions anymore, I can say I stand 75% by them but that does not mean Pentatonics are to be shunned away. This is the mistake I made. Pentatonics are part of the language, just do not overuse and over rely on them. Mix and match accordingly.
Great stuff!
Really nice job with the vibrato bar
Not for the clarity of a lesson.though
Haha pentatonic scale goes brrrrr
Killer reverb, is that the Source Audio? Great info in this vid
It’s an FM9
Even his replies to the comments are jazz 😭
Ba doo ba di bup
This is an amazing lesson thank you for posting this. I have a question about the take the a train example. The D7 is not in the key of C major right? Are you mentally making adjustments to the pentatonic scale or being especially mindful over that chord because of that? In general when there are chords that are not diatonic, is it less “safe” to use a pentatonic approach?
@@moeh9834 I’m playing over the keys and eating out the notes from the blues scale. You don’t think harmonically when playing blues scales but that’s not to say you don’t think. The ear learns where to go to with the scale over the moving harmony after a while
I enjoyed the sax effect whammy work. It's gotta be a whammy cos' your mammy don't wobble like that. Setting the dear old major scale to a jazz groove made me laugh, fabulous, it works (sorta). I'm going to re-listen a few times.
Awesome!!
this is awesome
Also known as horizontal vs vertical approach
That comment does not sum up this entire video by any means...
Outstanding
Awesome
This sounds like Ren and Stimpy background music
@@GreenpointRemembers they were always hip
@ exactly 🔥🔥🔥
More blues lessons!!!!!!!!!
great stuff as always but what's up with the excessive use of whammy?
Jeff Beck's influence.
When god gives you a bar, you wiggle it.
listen to more Scott Henderson and Jeff Beck and it will start to be normal...like they say 'it's only kinky the first time'....
@@marbinmusic 😂👍
IMO the harmony lesson would be easier to understand without the whammy bar.
Correct, but way less fun for me to make so here we are.
👍❤️😁
Honestly brother, it's people like you. Why jazz musicians think they are superior
If you had studied jazz further, you realize we use Pentatonix all the time and not just built off of the root. And also, if you studied some Barry Harris method, you would understand how to use the minor and major third as well as the flat fifth in an eight note scale. But whatever dude you do you and keep thinking you know more than others
Hilarious!
A quick Google search would have saved you the time it took you to write this comment. He's a prolific jazz musician. Just cause he's pointing out something many jazz musician miss when they play rock doesn't mean that's all he does.
Hi Brother, Berry Harris method is a lot like the pull out method. Works for some of the people some of the time.
Hilarious!
@marbinmusic yeah I guess I should take into account that a lot of you will never figure it out because you know talent and knowledge and stuff
@dannymarkovitchslor626 it's a logical fallacy just because who he is. If he's teaching information that is just dumbing things down. I can disagree if I like it. And thank you for playing
@@blindteo5808 I need a refresher, chromatic scale is 12 disciples, they break up into two groups power ranger style to form Adam an Eve whole tone scales and then ba boo do ba diminished chords?
The country guys got it all
Except for teeth
@ bet I can name more blues musicians with fucked up teeth lol
In an educational sense, the vibrato bar is annoying. Also too much chromatics, so doesnt sound like blues at all. You played G# then G when showing major pentatonic. That note is not part of the scale; ooh chromatics, thats why
@@phonodella5273 when you’re Jewish and you wake up some morning and see that your baby left you, all you do is play chromatic with your whammy bar. It’s a cultural thing.
It's called a tremolo bar!
@@marbinmusic😁
@@jdl2180 only by nerds and the British. In America we say wang bar.
I thought it was the metzitzah b'ar??
Not a fan of the wammy and the 10 second reverb. Thanks
Whammy is not for everyone. As for the verb, you can’t see it in the shot but I actually film in a cathedral.
Wouldn't be my first choice, but there were some phrases that really worked, to my ear.
@@marbinmusic the electric church 😁
Gee, Jeff Beck was doing this shit way before, nothing new here, and you might want to check out Mike Stern, he doesn’t play only bebop, but also like a rock musician, but way better 😂
And try to play melodic ….thats harder when doing changes
God damn it, that’s bad news for me about the Beck thing. I was certain that I was the first to touch that metal thing on the bridge. I’m going to have to rethink things.
I’m any case, thank you for letting me know about Mike Stern. Just googled him and he’s one hell of a player. Not sure about the layered mullet but to each his own. It’s nice to get hip to these unknown musicians through the comments section.