Hope you are safe out there! Do you practice too many scales and exercises? Content: 0:00 Intro - Can you play Jazz without 2 years of scale practice? 0:34 How Most of us get into Jazz (me included) 1:16 Wes Montgomery Practicing Scales 1:36 Jazz is not a skill 1:56 Where does it go Wrong? 3:32 What Are You missing? 4:14 How To Fix It 4:46 A more simple approach 5:32 How It Works on a Song 5:58 Quick Analysis of the Chord Progression 7:07 The Scales we need 8:02 Making it a short compact amount of material to practice in 5-10 minutes, 8:45 Like the video? Check out my Patreon page.
I started learning Jazz guitar by learning lines by ear from Joe Pass, Wes Montgomery, George Benson etc... Not even understanding what they where Doing...then I started analyze it.
Jens, I have been playing guitar 10 years but have been trying to learn jazz the past 3 years (if that). I find myself asking, what to practice? And I do get overwhelmed to the point where I'm playing chords and solos that "sound jazzy" but isn't necessarily authentic jazz. I know the 2-5-1 very well, as well as other chords and I can make my pentatonic scales sound jazzy but that's it really.
I played lot of rock & metal in college days, and got stuck in scale patterns licks etc. On the other hand I had been listening to Bird, Dizzy, Mingus, Monk etc. always wondering how the hell I'm gonna ever play that. The first few jazz songs I tried out was not stuff like Autumn Leaves, Stella etc, but Kenny Burrell's Chitlins con Carne, and his amazing version of My Favourite Things - his solos and lines, are often simple and often times they are basically pentatonic, so it was easy for a rocker to follow. But at the same time Burrell's playing was far too melodic compared to anything I ever played in the blues& rock styles. Something clicked and I jumped ship from scales to melodies, and soon enough I started trying out some parts of songs like Mingus' Goodbye Porkpie Hat and Monk's Round Midnight... these songs literally challenged my whole notion of scales, and I began feeling that I need to break all those rock/riff/scale habits and start learning how to build melodic lines. Hope this makes sense?
I could be wrong here, but around 7:47 we see a G Major pattern with 3 consecutive strings with 1-3-4 fingering, I don't think it's right...pretty sure the bottom line is supposed to be 1-2-4 (7-8-10 frets of low E string).
Hi Jens! A very warm thank you from the bottom of my heart for your great videos! I'm playing the guitar now for 20 years, learning a lot of things by myself. But I never really got into playing Jazz, indeed I like the Music(Miles Davis, George Benson, John Scofield, etc.). Before the corona chaos I got to play into different bands, playing steely dan and a lot of different soul, blues, funk and (a kind of) jazzy tunes. But now I'm so motivated by your teaching style and your approach to go far more deeper into it. Thank's one more time and greetings from Austria! Stay healthy and well!
Jens, at 9:12 you show an Eb major scale but show A (not Ab) on the 2nd string in your diagram. However you play it correctly (Ab). Not sure if TH-cam will let you annotate the video to correct it....In any case thanks for your great videos. Update - Error in the Ab diagram as well (shows D not Db on 6th string). And of course the same error is in the G major scale. I should confess I sent a chart to a student last week that the student found tons of errors in.....LoL.
I couldn't agree more. Victor Wooten also has talked about how we get so caught up in _practicing_ music that we sometimes forget to just _play_ music, which is the whole point in the first place. In my personal experience, simply listening to a ton of jazz and learning tunes (whether it's with others, by yourself, or with a backing track) is by far the best method for improving. Nothing else comes remotely close. Theory, scales, chord voicings, are all part of it, but on their own, they're not music. They're just _parts_ of music. I've really grown a lot playing along with "simpler" recordings of standards... versions from Billie Holiday, Sarah Vaughan, Frank Sinatra, Miles, etc. Learning jazz by ear isn't really any different than learning any other genre by ear. You listen to it, and you learn the tunes you like. One other thing that has helped me a ton is playing Bach. He really teaches you how to write a melody. I feel like I could take any little motif of 3-4 notes, no matter how stupid it sounds, and turn it into something catchy because of hearing how Bach develops motives. Really helps when you hit a sour note... lol. Turn it into a motif!
Hi Jens. Love your videos! I have some suggestions you can take or leave: Bebop clichés Sheets of sound Being comfortable on fast moving changes Sonny Stitt analysis (Ill remember April, Scrapple from the Apple,...) Anyway, those are some of the things I would love to see. Love from Serbia
Something you said in another video Jens, made me realise how to practice my scales, and that is whatever line you are working on, move it through each of the 7 different major scale degrees. Then I go through a standard tune, repeating the same line, but constantly changing to fit to the moving harmony. Thank you. I wasn't expecting to all of a sudden have 12 free hours per day to practice, with this quarantine business, but I'm gonna make the most of it!
Great lesson as always - thanks Jens! You reminded me of something I always found useful... Discovering. I find that if I learn a scale, arpeggio, or progression in one key or position, discovering its translation or application in other keys or positions on my own is quite useful. The learning experience is very different from memorizing all the keys and positions.
thanks Jens one more time! I find it very hard to fill the gap between knowing the scales and using them in a musical way in my solos. I use this approach. I limit my playing to a narow region of the neck or a string set and first I find the chord notes in the region. Then I play over the progression only with chord tones. When I feel confident I start adding notes between the chord tones. Fist for instance I stard adding the 9th of each chord (major or minor), then the 6th or the 11th. This way I don't think of scales but about chords and notes filing the gaps and I'm aware of the degrees, what for me is the most important.
Jens' advice is quite valid. So are each and all of the other teaching methods. In other words, there's no one "best" or "perfect" way to learn or teach (ANYTHING). Because, most importantly, it depends primarily upon the individual and the specific aptitude and attributes of each player. There are great guitarists out there who cannot even read music (eg, Tommy Emmanuel); great guitarists using only 3 fingers (Django Reinhardt). There's guitarists both with and without superlative theoretical music knowledge; some with and some without perfect pitch; some obsessive compulsives happily drawn to endless rote scale practice, and some repulsed by such endeavours. So, ultimately, the best method of learning and teaching is indiosyncratic. Anyone who says "this is the best way" is simply a self-projecting wanker, literally saying MY WAY is the best for everyone.
I started my jazz guitar journey in my mid 50's. I concentrate mainly on learning standards (comping, melody). Can you teach a old dog new tricks? How can your course help this old dog with old fingers evolve into respectable jazz guitar player?
Nice video, but a few errors in the fingerings. Eb major should have Ab on B string, Ab major needs a Db on low ES, same mistake (#11 in low register) for G major.
I like your suggestions. I'm a bass player who has also plays guitar. Soloing has always been very hard for me once I leave the comfort of my walking lines. I have asked teachers to create an 8 lesson course where we would take maybe 3 songs: A jazz blues, an older standard with simple harmonic content and a simpler bop song and stay on those songs for the entire course. Start the course with working on the chord tones. Then focus on picking a different ways to create a solo. Maybe a few weeks doing chord tones to get the songs under our fingers. Then a few weeks working on playing groups of 2 or 3 measures and taking rests for a bunch of measures so we are not rushing to play notes. Perhaps we would focus on doing 1 or 2 measure motifs for these short solo segments and maybe even write out out the rhythms for a reference. Then gradually add different groups of measures we play vs how long we rest. Finally put it all together and keep working on more motifs and maybe even write out a few solos completely just to see if we understand what makes a good solo, even if we need more time to be able to play it. I find that teachers often get bored with students sticking on a few songs and we move on way before we pulled all that we could out of a few songs.
Hi Jens! As always, Great Video and Great Message and Lesson! Thank you for sharing your Knowledge. Best regards. Ps: I wish some guitarist would play more lines and less scales..
Hi Jens, first of all tks for all the great info you have been provinding us. I have a question. Supposing (in C major) we have a tipical Fm7 Bb7(#4) to come back to C. Where does the Bb7(#4) comes from? It cant be from any minor scale bacause of the E natural... How would you analize/notate this... I've been thinking about and cant really find a coherent answer. Thanks a lot and keep safe man All the best Marcelo
This is great! Two of my favorite teachers communicating. Marcelo wouldn't Bb7#11 come from F melodic minor? Now i'm trying to find how F melodic minor relates to C major. I usually see it as a sub for G dominanant
Oi Aldair, nice to meet you here...esse é o ponto - how this chord it's realated to C major and (above all) how should we notate since we cant say it is coming from any minor/paralel key... modal mixture? It goes the same for V7/V chords...
Wait... Danish Major (1:43)? I want a lesson on that scale--NOW! And I want you to teach it while eating a Danish (I know that's not what they're called-humor me). Love the videos, Jens! Thanks for keeping our minds and spirits active during this troubled time!
There are definitely better ways to go about learning Jazz Guitar than your traditional ways, no doubt! Fond of ye to talk and discuss here about such!
Great advice Jens! I'm most of the way through learning Parker's solo on Now's The Time, and so far I've managed to stay mostly in a single position, with a slight shift for some of the very highest notes.
But why would you learn it in a single position--to learn the notes in that location? In terms of learning it to play it--I don't even think that George Benson or even Joe Pass (who are often cited as positional players) would stay in one position. To get all those horn articulations and general "naturalness" of the lines under your fingers, don't be afraid to move around. Look at videos of Wes playing guitar, Grant Green, or Jimmy Raney. All that movement was no accident. Neither was it the result of poor technique. The way you finger a phrase, the strings you play, and where you play it--all effect the sound of the line. So, definitely use those heads to even up position playing--but don't force phrases to lay in places that are actually awkward and could be executed more efficiently in other areas of the neck. Get used to shifting around the neck. That's another downfall of scale studies--they often force you into certain positions. That's why I use those evil Segovia scale studies--to practice shifting (Johnny Smith's long form arpeggio's are great as well)--and make up my own as well. I love Jimmy B's playing and teaching--but this is the ONE thing that I disagree with him about :) Speaking of which, don't forget to catch Jimmy Bruno playing house concerts and streaming them onto TH-cam. He's a true jazz gentleman--even if he swears like a sailor (I appreciate that as well).
@@pickinstone I agree with pretty much all you said, but I'm just beginning, and so this enables me to learn to play a real tune without having to learn arpeggios and scales right across the neck, which is quite an undertaking. I'm only beginning to get fluid at a decent set in a single position. I think that's what the video is advising too.
@@CliffieVanR Not criticizing either of you. Just saying that there are a lot of people on the internet that say "play it all in one position" and then the say something totally asinine like, "playing like Wes is playing with poor technique". Jens doesn't say either of those things, but you can definitely find poor advice like that throughout the web. By the way, working up a Parker tune isn't easy for any guitarist--no matter the level. If you get frustrated, give yourself a pat on the back--learning Parker on the guitar is challenging, but rewarding :)
Jens, you are a rare combination of great player and great teacher. Your lessons are lean and get right to the point without any extraneous info. Thank you, sir !
thanks for all your eypertise and advice but is there a bug in the diagramm for the Eb-major scale (7:12)? Isn't there an A written on the B-string where an Ab should be or do you mean it like a #4 which as far as I understood woul be lydian? sorry, no critic, just a question! all the bass-t from kayo
This is why I disagree with you on the value of Aebersold. Of course we need to be able to solo over thin air and a metronome but to just let one's melodic invention work less consciously listening to the whole chord and playing by ear another approach. Turn off your mind and let your fingers find melody sometimes seems to balance relying on chord scale theory
Absolutely, the best teacher of guitar and jazz. I’m a bass player but have learned so much about approaching music and practice from you. Thank you Jens. I’m grateful.
I have taken some notes of your harmonic analyse of "Lady bird" and i' m gonna try playing the basis Major scales (Eb ,, Ab , G and the tritone at the end) but also trying to play " on " the structure of each chord that is adding chromatisms etc....just playing the basic Major scales can be quickly "boring" for at a moment there is no more "surprises" when playing...it sounds not enough musically "astonishing" for me. When l' m listening to Bird, i just tell myself: " wahou this is the musical approach i want to achieve !!!! ...though i know l' m just on the beginning of the jazz musical path and that i have to walk and walk with patience to go forward. I am reading the autobiography of Chan Parker "my life in E flat"....what a greeeaaat woman !!!!! Charlie is in every pages, every words she wrote...this is musik through silent words..."a kind of blue" expression... Thanks Jens... Now l' m "really" learning jazz...
Hereby I want to mention that your other today's tutorial about Lady Bird, it would maybe interesting to instead use the Gb major scale, of course for beginners, that (as is clear, they're a lot of guitar players or piano players (like myself) looking to you channel and also learning from you while definitely not beginners!) so maybe it is interesting to have the following scale: Gb Ab A Bb Cb Db D Eb F Gb the interesting thing is that we could play it over both Db7(tritone sub) and over the G7 regular dominant why??? because the Ctriad is omitted so 9 tones of the 12 Great hé??? its emphasis are on every three tones and the last is the one who is repeated like this: Gb Ab A> ABbB >BDbD>DEbF>Gb resolving...the nice thing is that we don't use the root the altered scale does that I stress the fact that playing NOn-root as much as possible gives lots of opportunities...My wish is that this could be helpful for any guitarist that wants something beyond the Altered scale, and please let me know if you find some interesting patterns, I am always willing to learn new stuff! I studied the majb6 pentatonic pattern of Jens Larsen thoroughly and I was having a piano lesson (New teacher) I did study one year without one) and the 2nd lesson I was able to use material of those licks I learned secretly form Jens lessons the result was very positive..on my playing, I had internalized it really I guess I have played & studied it on all 12 keys and later checked my self if I could play t during one bar now I found reading written solo's that I used that very pattern a lot...!!! Thanks, Jens again!!!
Hi Jens, on Starlight you very quickly rattled through saying over these chords play this scale, over those chords play that scale. You explained that groups of chords within the tune were the ii V i (or whatever) of certain scales. How do you figure out where to group the chords in order to determine the relevant scale, please? Thx.
When you start to learn tunes then you also get used to recognizing the different shorter chord progressions that make up a song. It is not a formula as much as it is experience 🙂
@@JensLarsen So you know Am7 followed by D7 must be ii V in the key of Gmaj because mathematically no other key has an Am and a D7 together in its scale (I'm just scanning my wall chart of chords and positions for each scale)?
It is not that simple, you need to recognize the context. That is why you can better learn this while learning songs, that way you are learning the context and not over simplified rules.
Hello Jens, great to hear what you' re saying... I' am not at a high level in jazz improvisation but i start to understand that learning scales etc in a "scholar" manner only, in a long term "destroys " our own imagination that is "creating" while in a same time playing. We have to "sing" mélodies we hear in our inner self and reproduce them on the guitar neck and not apply "typical licks" issued from "scholary approach" of harmony and chords. Listening and listening again great jazz improvisators help a lot to "hear" and developp our own finally "scales"... Your d.v.d collection Jens is just so various that it just confirme what I feel (but a d.v.d by W.Shorter is turned upside down..).and it is I think a great metaphor that is we have sometimes to turn inside down all what we have learned , practiced etc to achieve our own " interprétation ", our own "creative process", without forgeting of course the basis theories applied in jazz for they are the "ground" from where all is built, all that we can explore and develop... I ' m gonna work "Lady bird"... Thanks Jens
Hi Jens, first off i hope you're doing well amid this global crisis and thanks for putting up all these great videos, it gives us a lot of quality practice material in quarantine times. My question is, when you analysed Lady Bird, you think of the ii V as the I major scale. But there is also the possibility of thinking on the scales of each chord, like ii dorian and V mixolydian. What is your favorite approach and why?
Like everyone else, I suddenly have a bit more practice time these days. Although I've been fumbling toward these points lately, trying to find and efficient, practical way to practice all there is to learn, this video just pointed me clearly in the direction I need to take. In less that ten minutes, you've laid out what I'm thinking of "My COVID Quarantine Curriculum" (even though I'm not really under quarantine . . . I just like the alliteration). Thanks, Jens -- hope all is well with you during these strange days.
@@JensLarsen This is a good approach Jens! I don't focus in the particular notes or voicing you play. Is the general concept and the way you explain your approach that is of high value for us the infected by the jazz virus! Lot of time to play the guitar these days!
I suscribe to the theory that practising minor scales is a bit less important than practising major scales. Later, when the impro comes, the A minor key is similar to the C major key, but it's actually easier. Why? Because it'more flexible and you choose what happens with notes 6 & 7. (At this point pedantics will refer to the three minor varieties.) So, improvising with a C major key is harder because the scale is more fixed - less forgiving. If you have learned how to improvise in a simple C major sequence, you already know how to improvise in an equivalent A minor sequence. The same goes for all relative major/minor scales & keys. I practise all the scales and arpeggios, but I give priority to the 12 common major scales. In a perfect world we wouldn't need to think of notes and scales during impro at all. We would simply imagine each sound we desire (without naming the note) and play it without delay. In the real world most of us can do that some of the time. But we should remember that the note concept is just a vehicle for delivering the music art. Scales are there to help us when our ears or fingers can't keep up otherwise. But let's use our ears and muscle memory to choose the notes/sounds as much as possible, and let's not bury our musicality in pedantic adherence to scales.
Hey jens, did you say casey blues by charlie parker? I just wanted to check cause I've listened to a lot of Bird and I've never known that song existed
@@JensLarsen ooooohhhh. . Hey jens, im sorry i bother you but i dont know where else to ask. There's a song of bird's im learning . Its called segment tune x or diverse tune x, it's in the swedish schnapps album same as kc blues. Do you know any song that may have the same progression? I've asked everywhere and i think no one's ever heard of it. I've been transcribing it for a while and it would be tremendous to know the progression. Sorry to bother man. Great video as usual. Right on the spot:)
What is the best material to learn all the shapes and scales? On the internet almost every tutorial is different and focuses on different things. Should I learn the notes of the scale and try putting them in shapes or should I learn the patterns and then try to make sense of the notes in that shape? Thanks for your help and for the awesome tutorials!
Watch some of my videos on scale positions and learning the major scale? But be sure not to focus only on a bunch of scales because that is not everything you need to learn :)
Jens ! You are Fantastic and I agree with everything you said and I’d like to add that one must also just play and figure out what to avoid ( notewise) . Joe pass once pointed out, “it’s not magic , learn chords, leave some notes out and just try to play something pretty”. I I love the lessons!
Yes. Scales, intervals, extended harmony and substitutions have to be rooted in what the music is trying to say. Learning them in context , and seeing how the scale shapes relate to chord tones, how different scales can be played in position, allowing better connections to the changes. Its also a safety net... if you get lost, you can always find a good note close by or close your eyes and go further outside 😛
Jealous of you guitar guys. "Now we change from a Cmaj scale to a Gmaj scale" **slides hand over** Great advice as always. Doesn't hurt to try and break down bits and pieces of more complex songs either. There is a lot of cool stuff going on in the Giant Steps... chorus?
Well said Jens! Too many students get the fun and interest drilled out of them by over-zealous systematic teaching methods. I particularly like your idea of choosing a tune and working on the scales etc which apply to it. Contextual learning is great. The scale variation I do often encourage beginner jazz students to include, is the (broken) 2 steps forward, 1 back, 2 forward, etc, ideally with a syncopated rhythm. It can be applied to any scale and gets students used to turning around quickly and employing syncopation confidently, when needed.
Jens - I noticed when you are finding the scales for Lady Bird you are only using major scales. Can you use associated modes from the scales you find (e.g. could you use the A Aeolian position over a C Major 2-5-1 or Db Phrygian Dominant over a Gb Minor 2-5-1)? Thanks!
That leaves me a lot more confused. Without modes, how would you visualize a complex tune like Moment’s Notice in one position with minimal hand movement on the fretboard? Wouldn’t you have to jump around to accommodate the large intervals that the keys are changing by (in terms of root motion)?
No you don't the notes are the same. Just play the changes in whatever position you without having to think about playing Em7 Dorian in the C# locrian position 😁
Ok I understood most of what you said, thank you (been watching so many of your videos lately as I am almost done learning Summertime, my 1st jazz standard!) Just two questions: 1. What's a tritone substitute dominant? 2. And how do you know which Major/Minor scale certain II V chords come from?
Great! I just published a video on Tritone subs last Thursday, go check that out. I know which scale to use on a II Vs in this song because the II and the V are the degrees in the scale, so if I know what II is then I also know what I is 🙂 Does that help?
@@lorenzosyquia4769 ...hey L ..there are four minor positions in one Major Scale(2367) Gmii in FM... Gmiii EbM Gmvi(BbM)...Gm7b5(G#/AbM)simply 1357 each mode...yet...as G is b7 in A7...I cant answer what chord "can be" built off the b7 (but G... in A...."would usually" be A7) hence G - B..which is a major interval ..b7 to 2 in A...so Im not sure its a productive way to think ..ie..Gm in A ? ..its all very interesting...and possibly totally logical somehow as well ?...as one gets into more complex jazz harmony....there are Major/minor chords ...and minor 4 context...but overall..in basic harmony..minors are 1357s...built on the 2 3 6 and 7 positions of the MajorScale...maybe Jen's can correct me on this if he has the time?...but as for the basics...try that
@@pedromariano2100 pedro, el dice que no le gustan las escalas bebop porque no sirven en un conexto musical o para aprender a tocar bebop. Es mejor que escuches canciones bebop y trates de copiar lineas de bebop de los maestros. Jens Tiene razon, porque cuando aprendes esas escalas , crees q asi suena el bebop y cuando escuchas las grabaciones no suena igual. Las escalas bebop fueron inventadas despues de el pasaje del bebop por el mundo. Trabaja en tu oido eso es lo mas importante. Hay muchos ejercicios en los videos de Jens larsen que tienen ensenanzas de bebop. Busca en TH-cam : bebop jens larsen, y mira esos videos. Puede ser raro al principio. Pero esas ensenanzas suenan mas al estilo bebop que las escalas bebop. Las escalas bebop son una perdida de tiempo hermano
A technical note: For a few of your recent vids, your camera settings are set so that the image is looking a bit under-exposed (it's darker than it should be, so we lose your eyes a bit) Of course this has nothing to do with what you're communicating but, as someone who also works in video, I thought I would mention it. Increase your ISO or the amount of light in the room or open up your lens a little more for better exposure. Cheers!
Thanks! I will keep that in mind! I am doing a lot of experiments with how I shoot (only way it will get better) and the extremely low ISO is indeed one of them 🙂
When I heard early Louis Armstrong from the 20's when I knew I loved jazz, when I heard " bird gets the worm" by parker when I knew I wanted to play jazz. I knew right away scales wasn't too important cuz the twisting around sound . I started at firs learning everything in the 10th fret position because the fatter darker sound there then for a while learned just that one position it seemed natural
![The SMART Way To Think About Chord Names and Labels [+FREE PDF] [MUSIC THEORY LESSON]](/img/n.gif)
Hope you are safe out there! Do you practice too many scales and exercises?
Content:
0:00 Intro - Can you play Jazz without 2 years of scale practice?
0:34 How Most of us get into Jazz (me included)
1:16 Wes Montgomery Practicing Scales
1:36 Jazz is not a skill
1:56 Where does it go Wrong?
3:32 What Are You missing?
4:14 How To Fix It
4:46 A more simple approach
5:32 How It Works on a Song
5:58 Quick Analysis of the Chord Progression
7:07 The Scales we need
8:02 Making it a short compact amount of material to practice in 5-10 minutes,
8:45 Like the video? Check out my Patreon page.
I started learning Jazz guitar by learning lines by ear from Joe Pass, Wes Montgomery, George Benson etc... Not even understanding what they where Doing...then I started analyze it.
Jens, I have been playing guitar 10 years but have been trying to learn jazz the past 3 years (if that). I find myself asking, what to practice? And I do get overwhelmed to the point where I'm playing chords and solos that "sound jazzy" but isn't necessarily authentic jazz. I know the 2-5-1 very well, as well as other chords and I can make my pentatonic scales sound jazzy but that's it really.
I played lot of rock & metal in college days, and got stuck in scale patterns licks etc. On the other hand I had been listening to Bird, Dizzy, Mingus, Monk etc. always wondering how the hell I'm gonna ever play that. The first few jazz songs I tried out was not stuff like Autumn Leaves, Stella etc, but Kenny Burrell's Chitlins con Carne, and his amazing version of My Favourite Things - his solos and lines, are often simple and often times they are basically pentatonic, so it was easy for a rocker to follow. But at the same time Burrell's playing was far too melodic compared to anything I ever played in the blues& rock styles. Something clicked and I jumped ship from scales to melodies, and soon enough I started trying out some parts of songs like Mingus' Goodbye Porkpie Hat and Monk's Round Midnight... these songs literally challenged my whole notion of scales, and I began feeling that I need to break all those rock/riff/scale habits and start learning how to build melodic lines. Hope this makes sense?
I don’t care about music I only want to learn the Youtubian Subdominant scale to impress my friends!
That is fair! 😂
How do you create negative harmony for that? Redtube Locrian?
I almost died laughing at 1:23 Wes Montgomery playing scales 😂😂
oummffff 5 scales to start a standard... maybe too much for a start, no ?
I could be wrong here, but around 7:47 we see a G Major pattern with 3 consecutive strings with 1-3-4 fingering, I don't think it's right...pretty sure the bottom line is supposed to be 1-2-4 (7-8-10 frets of low E string).
No that is just a typo :)
Hi Jens! A very warm thank you from the bottom of my heart for your great videos! I'm playing the guitar now for 20 years, learning a lot of things by myself. But I never really got into playing Jazz, indeed I like the Music(Miles Davis, George Benson, John Scofield, etc.). Before the corona chaos I got to play into different bands, playing steely dan and a lot of different soul, blues, funk and (a kind of) jazzy tunes. But now I'm so motivated by your teaching style and your approach to go far more deeper into it. Thank's one more time and greetings from Austria! Stay healthy and well!
Thank you, Phil! That is really great to hear 🙂 Go for it!
Jens, at 9:12 you show an Eb major scale but show A (not Ab) on the 2nd string in your diagram. However you play it correctly (Ab). Not sure if TH-cam will let you annotate the video to correct it....In any case thanks for your great videos. Update - Error in the Ab diagram as well (shows D not Db on 6th string). And of course the same error is in the G major scale. I should confess I sent a chart to a student last week that the student found tons of errors in.....LoL.
Thank you Mark. Annotations don't exist anymore on TH-cam, so it is what it is 🙂
I couldn't agree more. Victor Wooten also has talked about how we get so caught up in _practicing_ music that we sometimes forget to just _play_ music, which is the whole point in the first place.
In my personal experience, simply listening to a ton of jazz and learning tunes (whether it's with others, by yourself, or with a backing track) is by far the best method for improving. Nothing else comes remotely close. Theory, scales, chord voicings, are all part of it, but on their own, they're not music. They're just _parts_ of music.
I've really grown a lot playing along with "simpler" recordings of standards... versions from Billie Holiday, Sarah Vaughan, Frank Sinatra, Miles, etc. Learning jazz by ear isn't really any different than learning any other genre by ear. You listen to it, and you learn the tunes you like.
One other thing that has helped me a ton is playing Bach. He really teaches you how to write a melody. I feel like I could take any little motif of 3-4 notes, no matter how stupid it sounds, and turn it into something catchy because of hearing how Bach develops motives. Really helps when you hit a sour note... lol. Turn it into a motif!
True! Great Victor Wooten quote!
people who suck LOVE to misinterpret that quote, also ;)
Hi Jens. Love your videos!
I have some suggestions you can take or leave:
Bebop clichés
Sheets of sound
Being comfortable on fast moving changes
Sonny Stitt analysis (Ill remember April, Scrapple from the Apple,...)
Anyway, those are some of the things I would love to see.
Love from Serbia
Thank you! I have covered a lot of that already or not? 🙂
@@JensLarsen Yes, but more wouldn't hurt :)
@@sergej100qca4 fair enough!
"Youtubian Subdom Scale".....ha, ha....very funny! :)
Something you said in another video Jens, made me realise how to practice my scales, and that is whatever line you are working on, move it through each of the 7 different major scale degrees. Then I go through a standard tune, repeating the same line, but constantly changing to fit to the moving harmony. Thank you.
I wasn't expecting to all of a sudden have 12 free hours per day to practice, with this quarantine business, but I'm gonna make the most of it!
Go for it Jerry! :)
Great content as usual, this video was extremely helpful!!
Great to hear! :)
Quick question: how do you record the DrumGenius loops to use them in your videos? Thanks!
I actually use my Fractal Audio AX8 as a preamp a d record them in my DAW
Great lesson as always - thanks Jens! You reminded me of something I always found useful... Discovering. I find that if I learn a scale, arpeggio, or progression in one key or position, discovering its translation or application in other keys or positions on my own is quite useful. The learning experience is very different from memorizing all the keys and positions.
thanks Jens one more time! I find it very hard to fill the gap between knowing the scales and using them in a musical way in my solos. I use this approach. I limit my playing to a narow region of the neck or a string set and first I find the chord notes in the region. Then I play over the progression only with chord tones. When I feel confident I start adding notes between the chord tones. Fist for instance I stard adding the 9th of each chord (major or minor), then the 6th or the 11th. This way I don't think of scales but about chords and notes filing the gaps and I'm aware of the degrees, what for me is the most important.
That sounds like a solid approach 🙂
Jens' advice is quite valid. So are each and all of the other teaching methods. In other words, there's no one "best" or "perfect" way to learn or teach (ANYTHING). Because, most importantly, it depends primarily upon the individual and the specific aptitude and attributes of each player. There are great guitarists out there who cannot even read music (eg, Tommy Emmanuel); great guitarists using only 3 fingers (Django Reinhardt). There's guitarists both with and without superlative theoretical music knowledge; some with and some without perfect pitch; some obsessive compulsives happily drawn to endless rote scale practice, and some repulsed by such endeavours. So, ultimately, the best method of learning and teaching is indiosyncratic. Anyone who says "this is the best way" is simply a self-projecting wanker, literally saying MY WAY is the best for everyone.
I started my jazz guitar journey in my mid 50's. I concentrate mainly on learning standards (comping, melody). Can you teach a old dog new tricks? How can your course help this old dog with old fingers evolve into respectable jazz guitar player?
Nice video, but a few errors in the fingerings. Eb major should have Ab on B string, Ab major needs a Db on low ES, same mistake (#11 in low register) for G major.
Jens, you put live extracts from your band and you playing...so greeaaat but too short ones !!!! put some more !!!
I like your suggestions. I'm a bass player who has also plays guitar. Soloing has always been very hard for me once I leave the comfort of my walking lines. I have asked teachers to create an 8 lesson course where we would take maybe 3 songs: A jazz blues, an older standard with simple harmonic content and a simpler bop song and stay on those songs for the entire course. Start the course with working on the chord tones. Then focus on picking a different ways to create a solo. Maybe a few weeks doing chord tones to get the songs under our fingers. Then a few weeks working on playing groups of 2 or 3 measures and taking rests for a bunch of measures so we are not rushing to play notes. Perhaps we would focus on doing 1 or 2 measure motifs for these short solo segments and maybe even write out out the rhythms for a reference. Then gradually add different groups of measures we play vs how long we rest. Finally put it all together and keep working on more motifs and maybe even write out a few solos completely just to see if we understand what makes a good solo, even if we need more time to be able to play it. I find that teachers often get bored with students sticking on a few songs and we move on way before we pulled all that we could out of a few songs.
Hi Jens! As always, Great Video and Great Message and Lesson! Thank you for sharing your Knowledge. Best regards.
Ps: I wish some guitarist would play more lines and less scales..
Glad you like it Davide!
@@JensLarsen thank you very much Jens for teaching us out there! I always recommend you to all my young guitar students. Best regards.
Was asking me what I'm gonna do today. Since 10 min, I know!
Thx and be safe Jens!
You too, Emanuel.
Play that thing, be a champion of your own creative energy. Be free live free 😎
Hi Jens, first of all tks for all the great info you have been provinding us.
I have a question. Supposing (in C major) we have a tipical Fm7 Bb7(#4) to come back to C. Where does the Bb7(#4) comes from? It cant be from any minor scale bacause of the E natural... How would you analize/notate this... I've been thinking about and cant really find a coherent answer.
Thanks a lot and keep safe man
All the best
Marcelo
This is great! Two of my favorite teachers communicating. Marcelo wouldn't Bb7#11 come from F melodic minor? Now i'm trying to find how F melodic minor relates to C major. I usually see it as a sub for G dominanant
@@aldairneves8439 well F melodic minor could indicate an Fm6, which would be a minor plagal cadence back to C
Oi Aldair, nice to meet you here...esse é o ponto - how this chord it's realated to C major and (above all) how should we notate since we cant say it is coming from any minor/paralel key... modal mixture? It goes the same for V7/V chords...
Wait... Danish Major (1:43)? I want a lesson on that scale--NOW! And I want you to teach it while eating a Danish (I know that's not what they're called-humor me). Love the videos, Jens! Thanks for keeping our minds and spirits active during this troubled time!
There are definitely better ways to go about learning Jazz Guitar than your traditional ways, no doubt! Fond of ye to talk and discuss here about such!
Glad you like it RC
@@JensLarsen My pleasure my man
Wait - I have what amounts to a full playlist of your videos with scale exercises? What happened? :)
Hopefully that's not all you practice :D
@@JensLarsen 20 min max and then my mind goes for a walk
Great advice Jens! I'm most of the way through learning Parker's solo on Now's The Time, and so far I've managed to stay mostly in a single position, with a slight shift for some of the very highest notes.
That is awesome Cliff! Go for it!
But why would you learn it in a single position--to learn the notes in that location? In terms of learning it to play it--I don't even think that George Benson or even Joe Pass (who are often cited as positional players) would stay in one position. To get all those horn articulations and general "naturalness" of the lines under your fingers, don't be afraid to move around. Look at videos of Wes playing guitar, Grant Green, or Jimmy Raney. All that movement was no accident. Neither was it the result of poor technique. The way you finger a phrase, the strings you play, and where you play it--all effect the sound of the line. So, definitely use those heads to even up position playing--but don't force phrases to lay in places that are actually awkward and could be executed more efficiently in other areas of the neck. Get used to shifting around the neck. That's another downfall of scale studies--they often force you into certain positions. That's why I use those evil Segovia scale studies--to practice shifting (Johnny Smith's long form arpeggio's are great as well)--and make up my own as well. I love Jimmy B's playing and teaching--but this is the ONE thing that I disagree with him about :) Speaking of which, don't forget to catch Jimmy Bruno playing house concerts and streaming them onto TH-cam. He's a true jazz gentleman--even if he swears like a sailor (I appreciate that as well).
@@pickinstone nobody says to stay in one position, just start in one position
@@pickinstone I agree with pretty much all you said, but I'm just beginning, and so this enables me to learn to play a real tune without having to learn arpeggios and scales right across the neck, which is quite an undertaking. I'm only beginning to get fluid at a decent set in a single position. I think that's what the video is advising too.
@@CliffieVanR Not criticizing either of you. Just saying that there are a lot of people on the internet that say "play it all in one position" and then the say something totally asinine like, "playing like Wes is playing with poor technique". Jens doesn't say either of those things, but you can definitely find poor advice like that throughout the web. By the way, working up a Parker tune isn't easy for any guitarist--no matter the level. If you get frustrated, give yourself a pat on the back--learning Parker on the guitar is challenging, but rewarding :)
Great information! And very practical
What's that fluffy thing at the head/nut of your guitar??
Jens, you are a rare combination of great player and great teacher. Your lessons are lean and get right to the point without any extraneous info. Thank you, sir !
Thank you Brian!
Cookbook man. The Ronnie Cuber solo on "All Of Me" not to mention Benson's comping. Fackkkkkk
Stellar album for sure!
Love the Wes Montgomery shred on 1.23 :)
Always great teaching and advice Jens and thank you.
Regards,
David D.
Glad you like it, David 🙂
We should call you Jazz Larson
Thanks Jan!! Great video!!! Great help for keeping on the focus.
Glad you like it 🙂
thanks for all your eypertise and advice but is there a bug in the diagramm for the Eb-major scale (7:12)? Isn't there an A written on the B-string where an Ab should be or do you mean it like a #4 which as far as I understood woul be lydian? sorry, no critic, just a question! all the bass-t from kayo
Thank you! Probably, I sometimes have some mistakes in stuff like that 🙂
At 7:20 the Ebmaj graphic has a #4 in it.
What would be some good jazz songs on guitar to learn to play?
Go search on my channel for 10 first jazz standards :)
This is why I disagree with you on the value of Aebersold. Of course we need to be able to solo over thin air and a metronome but to just let one's melodic invention work less consciously listening to the whole chord and playing by ear another approach. Turn off your mind and let your fingers find melody sometimes seems to balance relying on chord scale theory
If you don't hear the harmony inside you are just moving your fingers.
Great advice Jens think the same way ,make it simple and make it happened regards from Spain😉😉😉
Great Lesson Jens, thanks
Absolutely, the best teacher of guitar and jazz. I’m a bass player but have learned so much about approaching music and practice from you. Thank you Jens. I’m grateful.
Pardon if I am wrong but in the last bar shouldn't be G major instead Gb major?
No, it is a Db7 🙂
I have taken some notes of your harmonic analyse of "Lady bird" and i' m gonna try playing the basis Major scales (Eb ,, Ab , G and the tritone at the end) but also trying to play " on " the structure of each chord that is adding chromatisms etc....just playing the basic Major scales can be quickly "boring" for at a moment there is no more "surprises" when playing...it sounds not enough musically "astonishing" for me.
When l' m listening to Bird, i just tell myself: " wahou this is the musical approach i want to achieve !!!! ...though i know l' m just on the beginning of the jazz musical path and that i have to walk and walk with patience to go forward.
I am reading the autobiography of Chan Parker "my life in E flat"....what a greeeaaat woman !!!!! Charlie is in every pages, every words she wrote...this is musik through silent words..."a kind of blue" expression...
Thanks Jens...
Now l' m "really" learning jazz...
Wow Jens! Thanks for the lesson. Very much appreciated! Check out the scale positions for Ab major and G major on 7:36 and 7:45.
Hereby I want to mention that your other today's tutorial about Lady Bird, it would maybe interesting to instead use the Gb major scale, of course for beginners, that (as is clear, they're a lot of guitar players or piano players (like myself) looking to you channel and also learning from you while definitely not beginners!) so maybe it is interesting to have the following scale: Gb Ab A Bb Cb Db D Eb F Gb the interesting thing is that we could play it over both Db7(tritone sub) and over the G7 regular dominant why??? because the Ctriad is omitted so 9 tones of the 12 Great hé??? its emphasis are on every three tones and the last is the one who is repeated like this: Gb Ab A> ABbB >BDbD>DEbF>Gb resolving...the nice thing is that we don't use the root the altered scale does that I stress the fact that playing NOn-root as much as possible gives lots of opportunities...My wish is that this could be helpful for any guitarist that wants something beyond the Altered scale, and please let me know if you find some interesting patterns, I am always willing to learn new stuff! I studied the majb6 pentatonic pattern of Jens Larsen
thoroughly and I was having a piano lesson (New teacher) I did study one year without one) and the 2nd lesson I was able to use material of those licks I learned secretly form Jens lessons the result was very positive..on my playing, I had internalized it really I guess I have played & studied it on all 12 keys and later checked my self if I could play t during one bar now I found reading written solo's that I used that very pattern a lot...!!! Thanks, Jens again!!!
Hi Jens, on Starlight you very quickly rattled through saying over these chords play this scale, over those chords play that scale. You explained that groups of chords within the tune were the ii V i (or whatever) of certain scales. How do you figure out where to group the chords in order to determine the relevant scale, please? Thx.
When you start to learn tunes then you also get used to recognizing the different shorter chord progressions that make up a song. It is not a formula as much as it is experience 🙂
@@JensLarsen So you know Am7 followed by D7 must be ii V in the key of Gmaj because mathematically no other key has an Am and a D7 together in its scale (I'm just scanning my wall chart of chords and positions for each scale)?
It is not that simple, you need to recognize the context. That is why you can better learn this while learning songs, that way you are learning the context and not over simplified rules.
Yet another excellent instructional video with perfect pacing and clear, compact and highly useful information. Thank you Jens!
You’re messing with my head, Jens - you have another room?!?! Great video as always - definitely going to check out “Ladybird”
Haha! No, it's the same room just a different angle 😁 you should definitely check out Ladybird
Jens Larsen Ah ha! 👍🙏 Stay safe!
Hello Jens, great to hear what you' re saying...
I' am not at a high level in jazz improvisation but i start to understand that learning scales etc in a "scholar" manner only, in a long term "destroys " our own imagination that is "creating" while in a same time playing.
We have to "sing" mélodies we hear in our inner self and reproduce them on the guitar neck and not apply "typical licks" issued from "scholary approach" of harmony and chords.
Listening and listening again great jazz improvisators help a lot to "hear" and developp our own finally "scales"...
Your d.v.d collection Jens is just so various that it just confirme what I feel (but a d.v.d by W.Shorter is turned upside down..).and it is I think a great metaphor that is we have sometimes to turn inside down all what we have learned , practiced etc to achieve our own " interprétation ", our own "creative process", without forgeting of course the basis theories applied in jazz for they are the "ground" from where all is built, all that we can explore and develop...
I ' m gonna work "Lady bird"...
Thanks Jens
Hi Jens, first off i hope you're doing well amid this global crisis and thanks for putting up all these great videos, it gives us a lot of quality practice material in quarantine times.
My question is, when you analysed Lady Bird, you think of the ii V as the I major scale. But there is also the possibility of thinking on the scales of each chord, like ii dorian and V mixolydian. What is your favorite approach and why?
Like everyone else, I suddenly have a bit more practice time these days. Although I've been fumbling toward these points lately, trying to find and efficient, practical way to practice all there is to learn, this video just pointed me clearly in the direction I need to take. In less that ten minutes, you've laid out what I'm thinking of "My COVID Quarantine Curriculum" (even though I'm not really under quarantine . . . I just like the alliteration). Thanks, Jens -- hope all is well with you during these strange days.
Hi lens, can you please do some videos in other keys than the c major position on the 8th fret. Keep up the good work it's much appreciated
Well, videos in that key and that position just appeal to more people, so it is difficult to ot use that 🙂 but I am trying...
@@JensLarsen This is a good approach Jens! I don't focus in the particular notes or voicing you play. Is the general concept and the way you explain your approach that is of high value for us the infected by the jazz virus!
Lot of time to play the guitar these days!
I suscribe to the theory that practising minor scales is a bit less important than practising major scales. Later, when the impro comes, the A minor key is similar to the C major key, but it's actually easier. Why? Because it'more flexible and you choose what happens with notes 6 & 7. (At this point pedantics will refer to the three minor varieties.)
So, improvising with a C major key is harder because the scale is more fixed - less forgiving. If you have learned how to improvise in a simple C major sequence, you already know how to improvise in an equivalent A minor sequence. The same goes for all relative major/minor scales & keys.
I practise all the scales and arpeggios, but I give priority to the 12 common major scales.
In a perfect world we wouldn't need to think of notes and scales during impro at all. We would simply imagine each sound we desire (without naming the note) and play it without delay.
In the real world most of us can do that some of the time. But we should remember that the note concept is just a vehicle for delivering the music art. Scales are there to help us when our ears or fingers can't keep up otherwise. But let's use our ears and muscle memory to choose the notes/sounds as much as possible, and let's not bury our musicality in pedantic adherence to scales.
Hey jens, did you say casey blues by charlie parker? I just wanted to check cause I've listened to a lot of Bird and I've never known that song existed
K. C. Blues 🙂
@@JensLarsen ooooohhhh. . Hey jens, im sorry i bother you but i dont know where else to ask. There's a song of bird's im learning . Its called segment tune x or diverse tune x, it's in the swedish schnapps album same as kc blues. Do you know any song that may have the same progression? I've asked everywhere and i think no one's ever heard of it. I've been transcribing it for a while and it would be tremendous to know the progression. Sorry to bother man. Great video as usual. Right on the spot:)
@@usmc1875 no worries, I don't know what segment is based on, sorry 🙂
You are the coolest cat on youtube Jens... and I've never said the phrase cool cat before right now but it just seems right :D !
What is the best material to learn all the shapes and scales? On the internet almost every tutorial is different and focuses on different things. Should I learn the notes of the scale and try putting them in shapes or should I learn the patterns and then try to make sense of the notes in that shape? Thanks for your help and for the awesome tutorials!
Watch some of my videos on scale positions and learning the major scale? But be sure not to focus only on a bunch of scales because that is not everything you need to learn :)
@@JensLarsen Thanks!
Jens ! You are Fantastic and I agree with everything you said and I’d like to add that one must also just play and figure out what to avoid ( notewise) . Joe pass once pointed out, “it’s not magic , learn chords, leave some notes out and just try to play something pretty”. I I love the lessons!
Jens, you're the best! Another excellent video, with a great example to start right in on. Thanks!
Yes. Scales, intervals, extended harmony and substitutions have to be rooted in what the music is trying to say. Learning them in context , and seeing how the scale shapes relate to chord tones, how different scales can be played in position, allowing better connections to the changes. Its also a safety net... if you get lost, you can always find a good note close by or close your eyes and go further outside 😛
Western Unión???
6:00 alright coach
hello Jan
i think your diagram for ab major and g major ar wrong there is no the 9b of she phrygyen scale
thanks for all you do
bruno
That could very well be, I am sometimes getting the notation stuff wrong 🙂
@@JensLarsen yeah...the Eb major one as well ?
Jealous of you guitar guys. "Now we change from a Cmaj scale to a Gmaj scale" **slides hand over**
Great advice as always. Doesn't hurt to try and break down bits and pieces of more complex songs either. There is a lot of cool stuff going on in the Giant Steps... chorus?
wow production quality + info quality :0 this feels like we are stealing LOL thank you for all your hard work!!!
Out of topic questio , but do you listen to tomo fujita?
I did at NAMM, really liked it!
Jens I think there's an error on the chart of the Eb major scale? There's an A in there instead of Ab!
That would be typical for one of my videos 🙂 but thanks for letting me know!
@@JensLarsen Thanks for making these videos! They are very helpful and I really appreciate it!
The production on your videos has improved a lot recently, Jens. Great stuff 👍
This is life changing, thank you sir.
Glad you found it useful 🙂
The "wrong" approach you mention is how music is taught in conservatories and music schools. It's quite terrible smothers the joy of playing music.
No it isn't, at least not in the places where I was taught or where I teach 🙂
I really like how you've broken all this down. Thanks.
shred
Well said Jens! Too many students get the fun and interest drilled out of them by over-zealous systematic teaching methods. I particularly like your idea of choosing a tune and working on the scales etc which apply to it. Contextual learning is great.
The scale variation I do often encourage beginner jazz students to include, is the (broken) 2 steps forward, 1 back, 2 forward, etc, ideally with a syncopated rhythm. It can be applied to any scale and gets students used to turning around quickly and employing syncopation confidently, when needed.
You mean like c b c d c d e d e f e f g and so on?
Jens - I noticed when you are finding the scales for Lady Bird you are only using major scales. Can you use associated modes from the scales you find (e.g. could you use the A Aeolian position over a C Major 2-5-1 or Db Phrygian Dominant over a Gb Minor 2-5-1)? Thanks!
No, I don't really like modes that much, and I really hate(!!!) associating positions with mode names, that is such an unmusical mess in my opinion :)
That leaves me a lot more confused. Without modes, how would you visualize a complex tune like Moment’s Notice in one position with minimal hand movement on the fretboard? Wouldn’t you have to jump around to accommodate the large intervals that the keys are changing by (in terms of root motion)?
No you don't the notes are the same. Just play the changes in whatever position you without having to think about playing Em7 Dorian in the C# locrian position 😁
OHHH so don't think about it as a separate scale just consider it a position of its parent without considering the mode?
Ok I understood most of what you said, thank you (been watching so many of your videos lately as I am almost done learning Summertime, my 1st jazz standard!)
Just two questions:
1. What's a tritone substitute dominant?
2. And how do you know which Major/Minor scale certain II V chords come from?
Great! I just published a video on Tritone subs last Thursday, go check that out.
I know which scale to use on a II Vs in this song because the II and the V are the degrees in the scale, so if I know what II is then I also know what I is 🙂
Does that help?
@@JensLarsen I see! I get it! So for example for Gm the major scale it comes from is A?
@@JensLarsen btw yes, good timing. I love your videos. I'll check that one out, sir
@@lorenzosyquia4769 go for it 🙂
@@lorenzosyquia4769 ...hey L ..there are four minor positions in one Major Scale(2367) Gmii in FM... Gmiii EbM Gmvi(BbM)...Gm7b5(G#/AbM)simply 1357 each mode...yet...as G is b7 in A7...I cant answer what chord "can be" built off the b7 (but G... in A...."would usually" be A7) hence G - B..which is a major interval ..b7 to 2 in A...so Im not sure its a productive way to think ..ie..Gm in A ? ..its all very interesting...and possibly totally logical somehow as well ?...as one gets into more complex jazz harmony....there are Major/minor chords ...and minor 4 context...but overall..in basic harmony..minors are 1357s...built on the 2 3 6 and 7 positions of the MajorScale...maybe Jen's can correct me on this if he has the time?...but as for the basics...try that
Thanks Jens! You're the best! !
Fedt, Tak Jens
You can show .bebop scales?
No, I don't really like them 🙂
@@JensLarsen ok...sorry
@@pedromariano2100 no problem, Pedro 🙂
@@pedromariano2100 pedro, el dice que no le gustan las escalas bebop porque no sirven en un conexto musical o para aprender a tocar bebop. Es mejor que escuches canciones bebop y trates de copiar lineas de bebop de los maestros. Jens Tiene razon, porque cuando aprendes esas escalas , crees q asi suena el bebop y cuando escuchas las grabaciones no suena igual. Las escalas bebop fueron inventadas despues de el pasaje del bebop por el mundo. Trabaja en tu oido eso es lo mas importante. Hay muchos ejercicios en los videos de Jens larsen que tienen ensenanzas de bebop. Busca en TH-cam : bebop jens larsen, y mira esos videos. Puede ser raro al principio. Pero esas ensenanzas suenan mas al estilo bebop que las escalas bebop. Las escalas bebop son una perdida de tiempo hermano
@@JensLarsen Gracias por tudo.Jens
A technical note: For a few of your recent vids, your camera settings are set so that the image is looking a bit under-exposed (it's darker than it should be, so we lose your eyes a bit) Of course this has nothing to do with what you're communicating but, as someone who also works in video, I thought I would mention it. Increase your ISO or the amount of light in the room or open up your lens a little more for better exposure. Cheers!
Thanks! I will keep that in mind! I am doing a lot of experiments with how I shoot (only way it will get better) and the extremely low ISO is indeed one of them 🙂
When I heard early Louis Armstrong from the 20's when I knew I loved jazz, when I heard " bird gets the worm" by parker when I knew I wanted to play jazz.
I knew right away scales wasn't too important cuz the twisting around sound .
I started at firs learning everything in the 10th fret position because the fatter darker sound there then for a while learned just that one position it seemed natural
I got to hang with Pat Martino for a couple hours, after a NYC gig of his. Super sweet man,