4:33 “The truth is: There are 10 chord scales that are by far the most common and are used 99% of the time”: 1.-7. THE 7 MODES (listed from "brightest" to "darkest") _Useful over Major chords:_ *- 1. Lydian: 1 2 3 #4 5 6 7* → the C Lydian scale (enharmonic to G Ionian): C D E F# G A B *- 2. Ionian ("Major"): 1 2 3 4 5 6 7* → the C Ionian scale: C D E F G A B _Useful over Dominant-7 chords:_ *- 3. Mixolydian: 1 2 3 4 5 6 b7* → the C Mixolydian scale (enharmonic to F Ionian): C D E F G A Bb _Useful over Minor chords:_ *- 4. Dorian: 1 2 b3 4 5 6 b7* → the C Dorian scale (enharmonic to Bb Ionian): C D Eb F G A Bb *- 5. Aeolian ("Natural Minor"): 1 2 b3 4 5 b6 b7* → the C Aeolian scale (enharmonic to Eb Ionian): C D Eb F G Ab Bb *- 6. Phrygian: 1 b2 b3 4 5 b6 b7* → the C Phrygian scale (enharmonic to Ab Ionian): C Db Eb F G Ab Bb *- 7. Locrian: 1 b2 b3 4 b5 b6 b7* → the C Locrian scale (enharmonic to Db Ionian): C Db Eb F Gb Ab Bb 8.-10. THE 3 ALTERED SCALES _Useful over Dominant-7 chords:_ *- 8. Lydian-b7 / Mixolydian-#4: 1 2 3 #4 5 6 b7* → the C Lydian-b7 scale: C D E F# G A Bb *- 9. Altered: 1 b2 #2 3 #4 b6 b7* (assembled from the notes of the altered chord: 1 b9 #9 3 #11 b13 b7) → the C Altered scale: C Db D# E F# Ab Bb *- 10. Symmetrical-Diminished: 1 b2 #2 3 #4 5 6 b7* (built from the rule: alternate: half-step, whole-step, etc.) → the C Symmetrical-Diminished scale: C Db D# E F# G A Bb ... I hope this is useful to you
Gary just gave all the secrets right here. The simple truth is most people think it’s raw talent. That will take you a part of the journey. The rest is what a lot of folks don’t like. The hard word, repetition, practice, thinking aka visualization and it takes a high level of intelligence to put the theory and muscle memory together and play in time with vibe and flow. You have to look at it like going to school to become a surgeon. You do not get a free pass, you cannot fake it, you have to put in the work.
@@virtualpilgrim8645 The most common 1000 words in the English language make up the vast majority of all things ever said or printed, but genius lies in arranging those words to form beautiful prose which is more than the sum of its parts.
@@thomasgrady3103 good analogy. Except language losses it’s meaning real quickly with certain amount of wordplay. Whereas musical performance appears to be limitless communicating meaning.
Man, the under 30 generation has no idea how good we've got it now! I remember paying $40+ to purchase videos like this and all of the other great material out there for musicians (DCI videos, anyone?). To be able to get lessons like this for free??? Amazing.
I hear you, but when we had to pay for them, we watched every second, treasured the video cassettes like family heirlooms and watched them over and over. There is so much on TH-cam, it's sometimes difficult to stay with one thing for more than 10 minutes, regardless of how good it is. PS 3 and a half minutes later - when Gary started talking about Stan Getz, saying that the latter played by ear, adding that he had a limited knowledge of chords, I'm here for the duration!!!
Exactly. That's why we have so many child musical prodigies these days. TH-cam and the internet has made learning anything so easy, that people in our generation had virtually no information by comparison.
40yrs ago I was meant to be his student at Berklee College of Music,but my mama changed her mind.The Big Apple was not for me. 40yrs on I sat in his class today.Thanks TH-cam.
I am replying to your comment no less than 9 years (!) later to ask you this: Big Apple is "nickname" for New York, but Berklee College of Music is in Boston, right?!
Perhaps every music student should hear this, especially those who are serious about composing and playing rich, melodic chords and orchestral movements. It's the universal language, and it's communication through music. It's even artful.
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Gary Burton, what a great honest human being!! I am a Berklee Alumni and I'm very proud to have shared the halls with Gary Burton. We are always learning, music is a life's journey. Today I've learned even more from Mr. Burton. Great information about music, life and our responsibility as musicians. Thank you Loyola U for this great clinic. Always remember you can't fake it. I love this. LISTEN! Ralph Fava guitarist of 52 years.
..another one of the great videos on TH-cam..when i was trying to learn improvisation at Berklee back in the 1970’s, there were very few options as far as good instruction goes besides expensive classroom learning, an amazing teacher, jamming with people that were way better than you, or if you were lucky, a parent or relative who would be able to pass their knowledge along..Gary Burton is the kind of musical guide who’s priceless..there are so many so called music teachers now on TH-cam or online who learned a few blow away licks and can deliver them cleanly at 220bpm and somehow feel that they are qualified to teach others as self appointed experts!..ego bullshit in it’s most basic form..in music, you got to work hard, eventually find your own voice, and then go beyond emulating the same 10 or 20 stereotypical people a lot of folks are stuck on.. Thank you for sharing this video..incredibly valuable if you really want to learn..stay safe an stay strong..music is life, jazz lives..New York November 27, 2021..
I don't even play, just a lover of Jazz and huge fan of Gary Burton. Amazing to listen to him teach and pass on his knowledge to these students. He's truly a legend.
It was 1974 I believe and Gary Burton had just won Jazzman of the year from downbeat magazine. I was working at a college in New York City and one of the things that I would do would be to book concerts. I received a call from a booking agent who said the Gary Burton quartet was in New York on its way do a European Tour and wanted to do an afternoon gig and perhaps do a little teaching to a jazz class. we didn't have a very big budget and even though they weren't asking for a whole lot just living expenses I went to the music department and they kicked in a few bucks. For about an hour and a half Gary talked to the jazz class and demonstrated on the vibes what he was talking about. sitting in the front row of the class were the four members of the faculty string quartet. at the end of the class the jazz professor came to me to say how pleased he was. He said Gary Burton emphasized the same things that he did in class and it was one thing for him a lowly jazz professor to say something but here was the jazz man of the year saying the same thing. Afterwards the quartet played for about a hour and a half. I have to say Gary Burton was one of the most warmest performers I ever encountered and I encountered many performers famous and not so famous.
20:45 "this is what the listeners are doing, they deal in contrast. They can tell the difference between major and minor (happy sad), pulses (steady beat), fast/slow, dissonant/consonant, loud/soft... etc" This
10:22 Learning the Scales and practicing them 16:43 Voice Leading - Getting from one chord to the next 30:27 Understanding Songs and Presenting them to your Audience 1:14:10 - Student Performance 2:01:00 - Gary Burton Critique and suggestions
Love this. He touches on most of the important things in this one class. When you think of all the greats that emerged from under his mentorship as a teacher and bandleader, it's staggering.
No kidding..... empty seats! Any aspiring musician would be crazy to miss a chance to listen to Gary Burton talk about improvisation. Probably the improviser and jazz educator of our generation!
The BEST clinics ever on youtube on inside modes, chord scales, and common tone melodious movement on whatever complex piece of music that is in question, utilizing a basic vocabulary of the most used scale forms. AND----observing previous harmony/chords/keys esp. when there is no melody to guide what are the most inside smooth scales to utilize in those complex pieces of music.
I’ve recently been watching Comedy improv and thought this recommended video was a master class on comedy. As an amateur musician, I’ll keep this video on my watch list
I am pleased and astounded at how generous top players seem to be in a teaching environment. What a treat to hear the straight liquor in performance and critique from Mr. Burton.
Yeah, Gary talks very admiringly about Stan's playing in his autobiography. There are also some laugh-out-loud, surreal moments involving Stan in the book. But you're right, Stan was one of the most lyrical players I can remember.
Wow. I bought a Gary Burton album over fifty years ago. I was seventeen, I think I liked the album cover, didn't really know what to make of it back then. So great to see him here. A wonderful lesson and what a recital of that Keith Jarrett piece! Simply amazing.
May be both aside the point and obvious, but the "Non-stop 8th note" tip around @1:40:57 can also be applied to vocal freestyling, whether you're scatting or speaking.
Ah, gosh, I loved all that. And particularly what he said about comping. And I love that the second combo played Land's End, written by glorious tenor player Harold Land (best known for playing with Clifford Brown). Fabulous tune.
Gary is amazing at teaching and playing ! His voice always reminds me of warren buffet for some reason lol He does have a wealth of musical knowledge. :)
The segment from 1:12:12 to 1:13: 12 and beyond ... is a snippet from a piece by Gary that I've been haunted by for 45 years ... back in 1977, while I was in High School, Gary gave a workshop at the Hilton Hotel in Pittsburgh, PA and played a composition that I believe he introduced as "Arizona Sunrise" or "Santa Fe Sunrise" or something similar ... I'm hoping a fellow fan might provide the correct title and album that I might find it on ...
@@Jimmysage3273 Perfect, my most sincere thanks. Since you offered the Title of the Track, I was able to find the Album it is featured on, "Common Ground". It was released in 1973 so it would make sense to have been in his "Playlist" back then ...
Lots of very useful stuff here, as well as insights into Gary's thinking about improvisation and into his history. I would advise beginning as well as intermediary and advanced improvisers to really think about everything that Gary says and revisit this video. It's a useful roadmap for the big improv picture.
That little farming town Gary is from is my hometown Princeton Indiana. He is a little older than me and was gone by the time I was going through school but I’ve followed his career from home. He’s simply the best.
First, let me say how much I value this video. It has solved a number of persistent conceptual problems for which I have not received answers in the past. I refer back to it and have taken lots of notes. I am extremely grateful to Mr. Burton and to Loyola for making this available. However, it has raised a question, too. At 14:00, he says to find the notes of the appropriate scale for a chord and play around on it. I understand the importance of the play element in order to have the sound and shape of the scale become reflexive for the player. I also get that practicing the scales rotely in a specific pattern is not the way he advises to go. But can anyone point me in a direction to get started with just fooling around? I understand his advice and am able to fool around. But 10 scales in 12 keys is a challenge that may require some organizing principle. One idea might be to break down a standard to its chord scales, then fool around with them in the context of the song, and then transpose into other keys. You might not get them all, but you will certainly make progress. Any thoughts?
The segment from 1:12:12 to 1:13: 12 and beyond ... is a snippet from a piece by Gary that I've been haunted by for 45 years ... back in 1977, while I was in High School, Gary gave a workshop at the Hilton Hotel in Pittsburgh, PA and played a composition that I believe he introduced as "Arizona Sunrise" or "Santa Fe Sunrise" or something similar ... I'm hoping a fellow fan might provide the correct title and album that I might find it on ...
Thank you so much, but I cannot see anything you wrote on the chalk board. Perhaps a white board would provide more contrast. Thank you to @PlayLikeTheGreats for the clear listing of the modes. It was very helpful! PS I also greatly enjoyed the “real” improvisations by the students! Take care. 👌
I would change the name of the video to "Gary Burton Music Class", he is talking about many important aspects of being an musician, about studing, about stage etc... Great class!
I thought this was about improv theatre. But I also play the piano so this still extremely helpful. I have definitely learned a lot to incorporate into my playing.
One of the most miraculous concerts I’ve ever seen was Gary Burton/Chick Corea Duo at Montreux 2007. He runs down the basics so well, so thoroughly, and insightfully-a fine clinician. However, I honesty question a lot of what he shared with the ensembles and SOMETIMES wondered if he had any understanding of each musician’s goals or if he had any “ears”. Perhaps, that would have to be “next-level” teaching.
At around 56 minutes, he talks about listening to others in the band while accompanying. I’ve been on both sides of that gap, although not in a jazz format. It’s wonderful to always be tuned in to the rest of the band. But, on the other hand, sometimes if I am soldiering on, hitting the right chords at the right time, the soloist can find their way back to the song after losing the thread of what they are singing or playing. And, in another variation of that scene, we sort of both hear the problem and “move towards each other” on the rhythm or harmony. Gary explains so much here that even a person like me who is only a fan of jazz improvisation can get a deeper appreciation for the process and the joy of improvisation.
Hi Mike how are you doing today. I wish you a happy new year. I believe you are in good health. I hope this year brings happiness, good health, prosperity love and peace all over the world, I live in Duluth, Minnesota.
I had the good fortune to hear Gary Burton playing with Chick Correa at the Barbican Centre in London. What came across was a dialectic being refined. It was a thoroughly enjoyable occaission. “ This is what we’re going to fool around with” he said during the course of the evening. ‘Fool around’ some more Sir.
Great lecture. Gary is amazing. So great to hear from an improvisor that really understands the importance of melodic structure as well as scale knowledge. I have to say, I always wince when people refer to the altered scale - the 7th mode of the melodic minor - as "The Berklee Scale". That's a little like calling a blues progression the "Jerry Lee Lewis progression". Actually, that would make more sense than calling the altered scale the Berklee scale.
Would love to benefit from so honest and to the point feedbacks. Not only a great artist but a great teacher too. Question of high awareness and humility. Top notch!
Gary can play anything. And with anybody. Whether Tango or Classical Jazz , Chic Corea or Bela Fleck, most versatile player on his instrument, class of musicianship second to nobody.
For the scales/chords thing, for me, it's MUCH easier to think in terms of substitutions in order to reduce the workload. Instead of learning all those modes in every key, learn every major scale and what notes each mode starts on in every key. For example, all the white keys on the piano. 1 is C, C to C = ionian, 2nd is D, D to D = dorian, 3rd is E, E's = phrygian, 4th is F, F's = Lydian, 5th is G, G's = Mixylydian, 6th is A, A's = Aeolian, 7th is B, B's = Locrian. Learn that in EVERY KEY and you've got all your modes down. Then with that knowledge, instead of thinking aeolian, dorian, phrygian or locrian modes over a Dm7 chord for example, think F major, C major, Bb major, or Eb major respectively. Much easier for me this way, especially as a guitarist. Another example, a Dm7b5 is the same thing as a Bb9 in my mind, so play Bb dominant stuff. Just take the root of the chord into consideration for what to emphasize. At 12:57, Gary makes reference to an F#m7b5 chord as a trouble chord....think D7. Further, if you look closely, the lydian flat 7 and altered scale = each other. An ascending melodic minor scale. It's all on where you emphasize the root. C D E F# G A Bb. This is a G melodic minor scale (ascending only) in my mind. If you start on C you get C lydian flat 7, but if you start on F# you get F# altered. Same exact thing....the position of the root determines the color. So basically learn all ascending melodic minor scales and start on the 4th and the 7th accordingly depending on the chord. Melodic minor according to the books flats the 7th and 6th on the way down. Don't do that in this case. Same exact concept as the modes I mentioned in the first paragraph. There are only 3 symmetrical diminished scales. They repeat once you hit the minor third from where you started.....so there you go. You can turn 10 scales into 3 that easily. And of the last one you only have to learn in 3 "keys." There are infinite examples of substitutions, but it's so much easier to think about it this way in my head than to slave away learning what seems like hundreds of different scales and chords. Change how you think about it, so you don't have to think about it....just my opinion. You can take a whole series of changes and say to yourself "Okay, what am I REALLY playing here?" Most chords and modes are really just masking something much much simpler...
I don't quite understand all the comments misunderstanding Gary's comment on Stan Getz.. There's more than one way to improvise. Gary Burton is showing how a knowledge of modes can improve your articulation in improvisation. By that extent, there's no one way to learn a language! Stan Getz's approach to improvising can't be considered wrong, regardless of his formula. You can be a great jazz musician just learning phrases, how and when to use them. Gary is showing how in a contemporary style, one can create lots of different flavours and colours using theory knowledge as well.
Well it's interested us in Stan Getz's style anyway ... just been reading about him he practicised 8 hours a day as a kid ... sounds like a different approach
Great information. I’m a self taught guitarist, playing now in my 53rd year. Beautiful to see/hear this info. I’ve been playing it but never knew the names associated with the chord scales. 😎🤘
I really love this lesson. Especially theme and development. But the question remains on how to get all this stuff into your subconscious. I've practiced a lot of different things and they don't seem to come out when it's time to improvise. Practicing scales doesn't seem to help. Transcribing and learning phrases is good but you don't often remember them. Composing solos is what I'm working on now to see if that helps.
Nice to hear the great Gary Burton speak so articulately about the subject , but surely the Harmonic Minor ( or 5th Mode of it) is a pretty 'essential' sound on a Minor 2 , 5 , 1 progression particularly . Spelling out the 5 chord as Dom 7 b9 b13 .
4:33 “The truth is: There are 10 chord scales that are by far the most common and are used 99% of the time”:
1.-7. THE 7 MODES (listed from "brightest" to "darkest")
_Useful over Major chords:_
*- 1. Lydian: 1 2 3 #4 5 6 7* → the C Lydian scale (enharmonic to G Ionian): C D E F# G A B
*- 2. Ionian ("Major"): 1 2 3 4 5 6 7* → the C Ionian scale: C D E F G A B
_Useful over Dominant-7 chords:_
*- 3. Mixolydian: 1 2 3 4 5 6 b7* → the C Mixolydian scale (enharmonic to F Ionian): C D E F G A Bb
_Useful over Minor chords:_
*- 4. Dorian: 1 2 b3 4 5 6 b7* → the C Dorian scale (enharmonic to Bb Ionian): C D Eb F G A Bb
*- 5. Aeolian ("Natural Minor"): 1 2 b3 4 5 b6 b7* → the C Aeolian scale (enharmonic to Eb Ionian): C D Eb F G Ab Bb
*- 6. Phrygian: 1 b2 b3 4 5 b6 b7* → the C Phrygian scale (enharmonic to Ab Ionian): C Db Eb F G Ab Bb
*- 7. Locrian: 1 b2 b3 4 b5 b6 b7* → the C Locrian scale (enharmonic to Db Ionian): C Db Eb F Gb Ab Bb
8.-10. THE 3 ALTERED SCALES
_Useful over Dominant-7 chords:_
*- 8. Lydian-b7 / Mixolydian-#4: 1 2 3 #4 5 6 b7* → the C Lydian-b7 scale: C D E F# G A Bb
*- 9. Altered: 1 b2 #2 3 #4 b6 b7* (assembled from the notes of the altered chord: 1 b9 #9 3 #11 b13 b7) → the C Altered scale: C Db D# E F# Ab Bb
*- 10. Symmetrical-Diminished: 1 b2 #2 3 #4 5 6 b7* (built from the rule: alternate: half-step, whole-step, etc.) → the C Symmetrical-Diminished scale: C Db D# E F# G A Bb
... I hope this is useful to you
thank you :)
Wholetone scale occurs often enough to be mentioned as well.
Muchas gracias, no hablo inglés pero entendí perfectamente su explicación de las 10 escalas, saludos desde Lima-Perú.
@@tatin71 Perfecto, Javier, de nada! :D saludos desde Copenhagen-Dinamarca.
Wonderful tip.
THE BEST lesson on playing jazz, improvisation, and music in general I have ever seen. Amazing player and teacher. Thank you Gary Burton.
Agreed
Go to Barry Harris Videos here on TH-cam. it's just as informative for BeBop improvisation.
@@skineyemin4276 thanks for the tip
@@skineyemin4276 I was about to say the same.
You ain’t seen nothing yet check out this cat Barry Harris.
Gary just gave all the secrets right here. The simple truth is most people think it’s raw talent. That will take you a part of the journey. The rest is what a lot of folks don’t like. The hard word, repetition, practice, thinking aka visualization and it takes a high level of intelligence to put the theory and muscle memory together and play in time with vibe and flow. You have to look at it like going to school to become a surgeon. You do not get a free pass, you cannot fake it, you have to put in the work.
Improv is just a series of cliches.
@@virtualpilgrim8645 The most common 1000 words in the English language make up the vast majority of all things ever said or printed, but genius lies in arranging those words to form beautiful prose which is more than the sum of its parts.
@@virtualpilgrim8645 for you, yes. you’re a casual.
@@thomasgrady3103 good analogy. Except language losses it’s meaning real quickly with certain amount of wordplay. Whereas musical performance appears to be limitless communicating meaning.
@@virtualpilgrim8645 Fascinating take...
Man, the under 30 generation has no idea how good we've got it now! I remember paying $40+ to purchase videos like this and all of the other great material out there for musicians (DCI videos, anyone?). To be able to get lessons like this for free??? Amazing.
Yes! I remember those videos I couldn’t afford them. Now they are all free
I hear you, but when we had to pay for them, we watched every second, treasured the video cassettes like family heirlooms and watched them over and over. There is so much on TH-cam, it's sometimes difficult to stay with one thing for more than 10 minutes, regardless of how good it is.
PS 3 and a half minutes later - when Gary started talking about Stan Getz, saying that the latter played by ear, adding that he had a limited knowledge of chords, I'm here for the duration!!!
Exactly. That's why we have so many child musical prodigies these days. TH-cam and the internet has made learning anything so easy, that people in our generation had virtually no information by comparison.
Fact.
Great isn't it! Why should knowledge be available to a privileged few!
Props to the guy at 1:09:00 who decides to turn the snare off-- thank you!
LukeTheringMusic Jack Giannini. He’s a phenomenal musician.
Not the hero we asked for but the hero we deserve.
This is one of the best lectures ive heard tbh. Makes me realize how much doorbells give me anxiety.
40yrs ago I was meant to be his student at Berklee College of Music,but my mama changed her mind.The Big Apple was not for me. 40yrs on I sat in his class today.Thanks TH-cam.
Berklee is in Boston
Hahaha yeah, Berklee isn't in New York lol
@@coryhill6575 LOL I literally said the exact same thing just before I read your reply 🤣
Uhhh Last time I checked, ‘The BiG Apple’ meant NYC, not Boston….DUH!!!!
I am replying to your comment no less than 9 years (!) later to ask you this: Big Apple is "nickname" for New York, but Berklee College of Music is in Boston, right?!
I started and couldn't stop. PRECIOUS info. I think this should be the first thing any student of jazz should hear.
Perhaps every music student should hear this, especially those who are serious about composing and playing rich, melodic chords and orchestral movements. It's the universal language, and it's communication through music. It's even artful.
Not just students of jazz but music in general.
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I have watched this video a few times over the years and I understand it better and better each time I watch it.
Gary Burton, what a great honest human being!! I am a Berklee Alumni and I'm very proud to have shared the halls with Gary Burton. We are always learning, music is a life's journey. Today I've learned even more from Mr. Burton. Great information about music, life and our responsibility as musicians. Thank you Loyola U for this great clinic. Always remember you can't fake it. I love this. LISTEN! Ralph Fava guitarist of 52 years.
Highest respect for Gary, his playing, his teaching and his personality.
..another one of the great videos on TH-cam..when i was trying to learn improvisation at Berklee back in the 1970’s, there were very few options as far as good instruction goes besides expensive classroom learning, an amazing teacher, jamming with people that were way better than you, or if you were lucky, a parent or relative who would be able to pass their knowledge along..Gary Burton is the kind of musical guide who’s priceless..there are so many so called music teachers now on TH-cam or online who learned a few blow away licks and can deliver them cleanly at 220bpm and somehow feel that they are qualified to teach others as self appointed experts!..ego bullshit in it’s most basic form..in music, you got to work hard, eventually find your own voice, and then go beyond emulating the same 10 or 20 stereotypical people a lot of folks are stuck on..
Thank you for sharing this video..incredibly valuable if you really want to learn..stay safe an stay strong..music is life, jazz lives..New York November 27, 2021..
Who are some of favorite improvisers/musicians?
I don't even play, just a lover of Jazz and huge fan of Gary Burton. Amazing to listen to him teach and pass on his knowledge to these students. He's truly a legend.
I can't believe this is free. Explained all the topics so well and covered everything that I always took for granted.
A class for a few people, with value for 350.000+ That's how good a teacher he is. Amazing talk!!
from the bottom of my heart! thank you so much for this video, after 11 years this is so enlightening!
Thank you for posting these videos. What an education TH-cam can offer.
Fantastic class. Worth each minute. The secrets, detaiils, tips, real examples and so. Thanks Gary
It was 1974 I believe and Gary Burton had just won Jazzman of the year from downbeat magazine. I was working at a college in New York City and one of the things that I would do would be to book concerts. I received a call from a booking agent who said the Gary Burton quartet was in New York on its way do a European Tour and wanted to do an afternoon gig and perhaps do a little teaching to a jazz class. we didn't have a very big budget and even though they weren't asking for a whole lot just living expenses I went to the music department and they kicked in a few bucks. For about an hour and a half Gary talked to the jazz class and demonstrated on the vibes what he was talking about. sitting in the front row of the class were the four members of the faculty string quartet. at the end of the class the jazz professor came to me to say how pleased he was. He said Gary Burton emphasized the same things that he did in class and it was one thing for him a lowly jazz professor to say something but here was the jazz man of the year saying the same thing. Afterwards the quartet played for about a hour and a half. I have to say Gary Burton was one of the most warmest performers I ever encountered and I encountered many performers famous and not so famous.
Gary is a fantastic player!...after watching this video I can say he's a great teacher and a very inspiring human being too!
20:45 "this is what the listeners are doing, they deal in contrast. They can tell the difference between major and minor (happy sad), pulses (steady beat), fast/slow, dissonant/consonant, loud/soft... etc"
This
Lovely to spend precious moments with this great musician. Thanks for your great pointers Gary.
Probably the best and most practical explanation about improvisation we'll ever have. Thanks Gary and Loyola, this is gold!
Gary Burton is a great player. It was good to see him, teaching and sharing. Thanks Loyola University for sharing this video.
10:22 Learning the Scales and practicing them
16:43 Voice Leading - Getting from one chord to the next
30:27 Understanding Songs and Presenting them to your Audience
1:14:10 - Student Performance
2:01:00 - Gary Burton Critique and suggestions
Thanks!
Love this. He touches on most of the important things in this one class. When you think of all the greats that emerged from under his mentorship as a teacher and bandleader, it's staggering.
No kidding..... empty seats! Any aspiring musician would be crazy to miss a chance to listen to Gary Burton talk about improvisation. Probably the improviser and jazz educator of our generation!
The BEST clinics ever on youtube on inside modes, chord scales, and common tone melodious movement on whatever complex piece of music that is in question, utilizing a basic vocabulary of the most used scale forms. AND----observing previous harmony/chords/keys esp. when there is no melody to guide what are the most inside smooth scales to utilize in those complex pieces of music.
what an amazing masterclass. I went to music school and can't remember a class being so informative and positive. Thank you to gary and Loyola.
This is what i love about youtube… free education from a master musician… thank you!! 🙏
Thanks a lot. This is gold, lots of useful information. Gary is such a brillant musician and a great teacher.
I’ve recently been watching Comedy improv and thought this recommended video was a master class on comedy. As an amateur musician, I’ll keep this video on my watch list
I am pleased and astounded at how generous top players seem to be in a teaching environment. What a treat to hear the straight liquor in performance and critique from Mr. Burton.
I’m struck by the parallel between improvising and composing music.
Similar to the parallel between speed chess and classical slow chess.
Wow how I feel this comment
Improvising IS composition. It’s just not written down immediately.
Mozart didn’t write things down immediately.
Schoenberg wrote an entire book dedicated to finding different ways to develop musical motives and phrases.
@@staringcontest9733 wow! which book is it?
Most 16th-19th century composers did both
So lucky to have a class with a legend like Gary, hope these young guys appreciate that!
This was refreshing, informative and absolutely one of the most interesting videos I have had the pleasure of seeing. Thanks so much.
And yet Stan getz was one of the most entertaining, original, beautiful, and inventive improvisors.
Yeah, Gary talks very admiringly about Stan's playing in his autobiography. There are also some laugh-out-loud, surreal moments involving Stan in the book. But you're right, Stan was one of the most lyrical players I can remember.
Simplicity, common sense, ears, mastery - A real human being is indeed Gary Burton
This is BEYOND priceless. Thank you for this!! Gary, thank you for being YOU!
lucky kids for having such a great guy doing a seminar and lucky us for you tube so we can all see it
This is great ! Thank goodness for TH-cam.Thanks for download CFMAE.
Now THIS is a masterclass!
Gary Burton... what a great tecaher speaker and lesson,,, please watch this i promise
Thanks for the upload, this lesson is very helpful, interesting and fun! Watched twice in a row.
Wow. I bought a Gary Burton album over fifty years ago. I was seventeen, I think I liked the album cover, didn't really know what to make of it back then. So great to see him here. A wonderful lesson and what a recital of that Keith Jarrett piece! Simply amazing.
very inspiring, thank you Gary and Loyola University for sharing this!
this is actualy the best lesson in ltfe ive ever seen
May be both aside the point and obvious, but the "Non-stop 8th note" tip around @1:40:57 can also be applied to vocal freestyling, whether you're scatting or speaking.
Ah, gosh, I loved all that. And particularly what he said about comping. And I love that the second combo played Land's End, written by glorious tenor player Harold Land (best known for playing with Clifford Brown). Fabulous tune.
Gary is amazing at teaching and playing ! His voice always reminds me of warren buffet for some reason lol He does have a wealth of musical knowledge. :)
Your performance at around 1:10 brought tears to my eyes. You really brought that sad, hopeful chord progression alive!
The segment from 1:12:12 to 1:13: 12 and beyond ... is a snippet from a piece by Gary that I've been haunted by for 45 years ... back in 1977, while I was in High School, Gary gave a workshop at the Hilton Hotel in Pittsburgh, PA and played a composition that I believe he introduced as "Arizona Sunrise" or "Santa Fe Sunrise" or something similar ... I'm hoping a fellow fan might provide the correct title and album that I might find it on ...
@@pastateconstablesofficehe says the name a few minutes before the time you mentioned it’s a quite place just the ending
@@Jimmysage3273 Perfect, my most sincere thanks. Since you offered the Title of the Track, I was able to find the Album it is featured on, "Common Ground". It was released in 1973 so it would make sense to have been in his "Playlist" back then ...
@@Jimmysage3273 My most sincere thanks, appreciate the info
Soo appreciative of this lecture!!! I have been looking for something like this for a long time… so direct and helpful!!!
Lots of very useful stuff here, as well as insights into Gary's thinking about improvisation and into his history. I would advise beginning as well as intermediary and advanced improvisers to really think about everything that Gary says and revisit this video. It's a useful roadmap for the big improv picture.
I am going to have to watch this a few times, I don't want to miss anything in this lesson in virtuosity. :)
Thanks for sharing this wonderful video. Very helpful to many serious musicians. I love Gary Burton.
Mr Burton - What a master educator - this is gold - it would be useful in any improv class.
this is the best music class i've ever seen, not just the video, but the coments too.
you guys are awesome
That little farming town Gary is from is my hometown Princeton Indiana. He is a little older than me and was gone by the time I was going through school but I’ve followed his career from home. He’s simply the best.
This is absolute gold.
First, let me say how much I value this video. It has solved a number of persistent conceptual problems for which I have not received answers in the past. I refer back to it and have taken lots of notes. I am extremely grateful to Mr. Burton and to Loyola for making this available. However, it has raised a question, too.
At 14:00, he says to find the notes of the appropriate scale for a chord and play around on it. I understand the importance of the play element in order to have the sound and shape of the scale become reflexive for the player. I also get that practicing the scales rotely in a specific pattern is not the way he advises to go.
But can anyone point me in a direction to get started with just fooling around? I understand his advice and am able to fool around. But 10 scales in 12 keys is a challenge that may require some organizing principle.
One idea might be to break down a standard to its chord scales, then fool around with them in the context of the song, and then transpose into other keys. You might not get them all, but you will certainly make progress.
Any thoughts?
Just start with a few! It seems extremely overwhelming at first, just now getting into this tonal stuff way more after drumming for the past 11 years.
If you're learning the scale shapes, formulas and intervals, why do you need to practice them in every key?
@@ElrondHubbard_1 you must be a guitarist. Playing scales in different keys requires different fingerings for other instruments
@Jackson Manning lol. I was wondering what I could have said. Busted! Yes; guitarist. Isn't everyone? 😉🙃
@@jacksonmanning5477 if musicians are listening to this and are at the appropriate level to really learn from it, they already know their scales
lesson for life for these lads in the combos. Real Master class. Thanks CFMAE for sharing.
The segment from 1:12:12 to 1:13: 12 and beyond ... is a snippet from a piece by Gary that I've been haunted by for 45 years ... back in 1977, while I was in High School, Gary gave a workshop at the Hilton Hotel in Pittsburgh, PA and played a composition that I believe he introduced as "Arizona Sunrise" or "Santa Fe Sunrise" or something similar ... I'm hoping a fellow fan might provide the correct title and album that I might find it on ...
Wow! I wish I could go to a Gary Burton class!
I am not a very good "musician" ..I realize this, But I love to play and I got So much from this!!! Changed me!
Thank you so much, but I cannot see anything you wrote on the chalk board. Perhaps a white board would provide more contrast.
Thank you to @PlayLikeTheGreats for the clear listing of the modes. It was very helpful!
PS I also greatly enjoyed the “real” improvisations by the students! Take care. 👌
Essential advice on improvisation for all jazz musicians’ from a jazz master. A masterclass of the highest order.🙏🌞🇬🇧👍☯️🙏2022.
I would change the name of the video to "Gary Burton Music Class", he is talking about many important aspects of being an musician, about studing, about stage etc... Great class!
I had this in my watch later for about a year thinking it was for acting and only upon watching it now, I realize that it is in fact for music
Thanks so much for the upload, Loyola U.
This is an astounding lecture. Incredibly valuable
I thought Loyola University was in Chicago?
There's more than one Loyola.
Anyone by any chance have a picture of what he wrote on the board? Especially the conscious/subconsious information. Btw....great lecture.
awesome class ! 2:23 -- is the guy on the right drinking beer ?!
Haha, looks like it
I thought this was about improv theatre. But I also play the piano so this still extremely helpful. I have definitely learned a lot to incorporate into my playing.
This is great. Thanks for posting this master class
One of the most miraculous concerts I’ve ever seen was Gary Burton/Chick Corea Duo at Montreux 2007. He runs down the basics so well, so thoroughly, and insightfully-a fine clinician. However, I honesty question a lot of what he shared with the ensembles and SOMETIMES wondered if he had any understanding of each musician’s goals or if he had any “ears”. Perhaps, that would have to be “next-level” teaching.
muito obrigado pelo vídeo.
estou acompanhando a aula daqui do Brasil e achei extremamente proveitosa.
what a privilege to watch this masterclass!
At around 56 minutes, he talks about listening to others in the band while accompanying. I’ve been on both sides of that gap, although not in a jazz format. It’s wonderful to always be tuned in to the rest of the band. But, on the other hand, sometimes if I am soldiering on, hitting the right chords at the right time, the soloist can find their way back to the song after losing the thread of what they are singing or playing. And, in another variation of that scene, we sort of both hear the problem and “move towards each other” on the rhythm or harmony. Gary explains so much here that even a person like me who is only a fan of jazz improvisation can get a deeper appreciation for the process and the joy of improvisation.
Hi Mike how are you doing today. I wish you a happy new year. I believe you are in good health. I hope this year brings happiness, good health, prosperity love and peace all over the world, I live in Duluth, Minnesota.
I had the good fortune to hear Gary Burton playing with Chick Correa at the Barbican Centre in London. What came across was a dialectic being refined. It was a thoroughly enjoyable occaission. “ This is what we’re going to fool around with” he said during the course of the evening. ‘Fool around’ some more Sir.
Great lecture. Gary is amazing. So great to hear from an improvisor that really understands the importance of melodic structure as well as scale knowledge. I have to say, I always wince when people refer to the altered scale - the 7th mode of the melodic minor - as "The Berklee Scale". That's a little like calling a blues progression the "Jerry Lee Lewis progression". Actually, that would make more sense than calling the altered scale the Berklee scale.
You WINCE?? 🙄🙄🙄🙄
We never called it "the Berklee Scale" (at Berklee). We called it the Altered scale, and the 1/2 symmetrical diminished we called Demented.
You are extremely generous for posting This. Watched every minute
Perfect. cant stop watching this awesomeness. Gary is Great.
I could have filled that empty bench. Such a great class class. Gary Burton is such an awesome teacher.
Great video. Great way to understand improvisation.
I wish I could see the board. This is really interesting!
Would love to benefit from so honest and to the point feedbacks. Not only a great artist but a great teacher too. Question of high awareness and humility. Top notch!
I am going to steal so much of this for my students. Great musician and great teacher.
Gary can play anything. And with anybody. Whether Tango or Classical Jazz , Chic Corea or Bela Fleck, most versatile player on his instrument, class of musicianship second to nobody.
Fluteristic he is technically the best player of his instrument
excellent lecture!! Thank you so much for posting this!!!
Man I love the guitar solo, simple, groovy, loots of feeling
I greatly appreciate him for sharing his genius!
For the scales/chords thing, for me, it's MUCH easier to think in terms of substitutions in order to reduce the workload. Instead of learning all those modes in every key, learn every major scale and what notes each mode starts on in every key. For example, all the white keys on the piano. 1 is C, C to C = ionian, 2nd is D, D to D = dorian, 3rd is E, E's = phrygian, 4th is F, F's = Lydian, 5th is G, G's = Mixylydian, 6th is A, A's = Aeolian, 7th is B, B's = Locrian. Learn that in EVERY KEY and you've got all your modes down. Then with that knowledge, instead of thinking aeolian, dorian, phrygian or locrian modes over a Dm7 chord for example, think F major, C major, Bb major, or Eb major respectively. Much easier for me this way, especially as a guitarist. Another example, a Dm7b5 is the same thing as a Bb9 in my mind, so play Bb dominant stuff. Just take the root of the chord into consideration for what to emphasize. At 12:57, Gary makes reference to an F#m7b5 chord as a trouble chord....think D7.
Further, if you look closely, the lydian flat 7 and altered scale = each other. An ascending melodic minor scale. It's all on where you emphasize the root. C D E F# G A Bb. This is a G melodic minor scale (ascending only) in my mind. If you start on C you get C lydian flat 7, but if you start on F# you get F# altered. Same exact thing....the position of the root determines the color. So basically learn all ascending melodic minor scales and start on the 4th and the 7th accordingly depending on the chord. Melodic minor according to the books flats the 7th and 6th on the way down. Don't do that in this case. Same exact concept as the modes I mentioned in the first paragraph.
There are only 3 symmetrical diminished scales. They repeat once you hit the minor third from where you started.....so there you go. You can turn 10 scales into 3 that easily. And of the last one you only have to learn in 3 "keys."
There are infinite examples of substitutions, but it's so much easier to think about it this way in my head than to slave away learning what seems like hundreds of different scales and chords. Change how you think about it, so you don't have to think about it....just my opinion. You can take a whole series of changes and say to yourself "Okay, what am I REALLY playing here?" Most chords and modes are really just masking something much much simpler...
I don't quite understand all the comments misunderstanding Gary's comment on Stan Getz..
There's more than one way to improvise. Gary Burton is showing how a knowledge of modes can improve your articulation in improvisation. By that extent, there's no one way to learn a language!
Stan Getz's approach to improvising can't be considered wrong, regardless of his formula.
You can be a great jazz musician just learning phrases, how and when to use them.
Gary is showing how in a contemporary style, one can create lots of different flavours and colours using theory knowledge as well.
Well it's interested us in Stan Getz's style anyway ... just been reading about him he practicised 8 hours a day as a kid ... sounds like a different approach
I like this Bn playin 4 50 ears This is deep 2 complicated 4 me Thank u 4 sharing Dr T
Seek and Listen! Thank you Gary Burton!
Great information. I’m a self taught guitarist, playing now in my 53rd year. Beautiful to see/hear this info. I’ve been playing it but never knew the names associated with the chord scales. 😎🤘
I really love this lesson. Especially theme and development. But the question remains on how to get all this stuff into your subconscious. I've practiced a lot of different things and they don't seem to come out when it's time to improvise. Practicing scales doesn't seem to help. Transcribing and learning phrases is good but you don't often remember them. Composing solos is what I'm working on now to see if that helps.
it s been 9 years have you got it in your subconscious?
This was great! Thanks! Love Gary, the musician and the man.
Nice to hear the great Gary Burton speak so articulately about the subject , but surely the Harmonic Minor ( or 5th Mode of it) is a pretty 'essential' sound on a Minor 2 , 5 , 1 progression particularly . Spelling out the 5 chord as Dom 7 b9 b13 .
Cheers to the guy in the striped shirt who turned the snare off... :)