You don't make connections . You only give fragment knowledge. If you were a fireman , you would probably only show the student where the fire hose is. In other words , you don't give true insight. That might be your plan. You are just getting paid to sell books.
I think the ultimate goal here is to get the sound and feel of bebop in the player with these licks so you won't have to think about licks when improvising
If you want to be spoonfed, go to a safe space and play Twinkle Little Star on your toy xylophone! Mikko's teaching and recommendations are solid and informative.
The cliches are important. If you listen and study all the greats they all use them to a greater or lesser extent - the thing is they’ve internalised them to such an extent they’ve got their own variations that make them personal to them. It means they have material that they can use in any situation - if they start to run out of ideas they’ve always got something they can use in a split second to get them through the changes. Great video by the way! 👍
I think your advice is spot on! The short cut to the palace is 10,000 miles out of the way. The principles that these cliches are based on are what creative players will use and bend to shape their own individual approaches to playing.
Thanks. (Make sure when ordering the book its the guitar edition. I almost bought the trombone version!) I really like how you teach us how to learn. And your playing has gotten really good or at least you are showing us more of what you can do!
Or, get the Omni Book, learn some complete Charlie Parker solos, then extract individual lines, analyze the melodic/rhythmic/harmonic content of said line, take the line through all 12 keys, then create exercises/variations/patterns/etudes/etc. derived from that line, rinse and repeat.
A teacher of mine used to tell me bebop language lies between the themes. I spent a great amount of time reading the omnibook. Solos and themes. This guy tells the truth. Learn the stuff
If people that see them as cliche's, listen how you use them, with dymamics and integrated, that moment, you turn them in your own and you prove immediately the stupidity of people that think they don't need those things...As i told, I am learning piano for 5 or 6 years now, I still have also guitar lessons, as a concidence, my piano teacher asked me to write some lick out that I like, so you imagine that your lesson's is just the right timing and as always a great inspiration...your lessons are far more complete than lots of other teachers that don't want to spend too much time, your lessons are always a hole in themselves, I already did recommend your lessons to someone who wanted to learn guitar...
This book is really good IMO. The licks are very typical of Parker. I work on them extensively (changing the pitch, place of the neck or the chords behind the licks). I find it very useful to build a vocabulary in jazz.
Having worked on this stuff since 1975 I totally agree with you. I would guarantee any student that Scofield, Metheny, Abercrombie, Rosenwinkel, and even Holdsworth could nail Blues for Alice, or any other standard changes in their sleep.
gustavoblues Hey brother how's going? So you wanna sound like Parker. So get yourself David Baker "How to play bebop "3 Books. Plus Jody Fisher Guitar Chord-melody
I was looking into buying this book until I saw who wrote it (Corey Christensen). I bought a book of his a long time ago and I did not like his lines. Do you know any more about the author? Are the lines on this book actual transcriptions of Parker's lines, or is it his?
I have the “bebop licks” book by Hal Leonard that you made a video about some months ago. Do you advise to get this one too or there licks are very similar in both of them? KEEP MAKING THIS GREAT VIDEOS❤️
I've been working on Blues for Alice (and other tunes) using the Bebop licks for Guitar book you've reviewed in the past. Seems there is a lot to work with in that book so unless you suggest otherwise I'll probably hold off on the book you are reviewing here.
First, Mikko, thank you for your videos. I've learned a lot from them, and they make me think! That said, I've been debating (with myself) whether the advice to work on scales/cadences/phrases in all 12 keys is sensible for guitarists. Yes, this was advice that Jamey Aebersold liked to give, but he was a saxophonist. Scale patterns for linear instruments like the saxophone, piano, trumpet, etc. have different patterns for each of the 12 keys, but that isn't true for the guitar. Practically, guitarists only make use of three, four scale, or perhaps five different scale patterns. All twelve keys are covered by shifting positions. Perhaps I'm in error, but I'm thinking that it is a waste of time to practice vocabulary over all twelve keys... time that could be more productively used elsewhere. I'd love to get your views!
Thanks 😎 Yes that's a good question. Ultimately we should be able to play anything in any key, that's the goal. But it's easy to get obsessed with playing in all 12 keys and it might not be what one should be practicing. It depends. But going through the process of playing standards and licks in all 12 keys is something we all work on at some point. But trying to play everything in every key is not realistic. But I wouldn't separate the guitar from the saxophone or any instrument and ideally we shouldn't be concerned with scale patterns or positions at all when we're improving. So it depends.
I think this way of learning doesn't allow you to flow as you should because you're thinking of lines you've learned. rather listen to LOTS of bebop and practice enclosure, arpeggios and flowing between random changes (including cycle stuff). You will start playing the vocabulary which you listen to for an hour or 2 per day. It will all come together if you stick with it. If you don't, it won't. Stick with it!:)
I told this guy to play shell voicings of Blue Bossa, I thought there were no teachers on youtube, doing that, then i saw again your lesson on Blue Bossa, coincidental, and yes you were doing so, I mean is the basics of Jazz difficult? Are shell voicings on guitar difficult? I don't think so...
You don't make connections . You only give fragment knowledge. If you were a fireman , you would probably only show the student where the fire hose is. In other words , you don't give true insight. That might be your plan. You are just getting paid to sell books.
Definitely the most cryptic and judgmental post I have ever seen on a jazz guitar TH-cam video 😶
I think the ultimate goal here is to get the sound and feel of bebop in the player with these licks so you won't have to think about licks when improvising
Ask for your money back.
@@pacoltrane 😅👍
If you want to be spoonfed, go to a safe space
and play Twinkle Little Star on your toy xylophone!
Mikko's teaching and recommendations are solid and informative.
The cliches are important. If you listen and study all the greats they all use them to a greater or lesser extent - the thing is they’ve internalised them to such an extent they’ve got their own variations that make them personal to them. It means they have material that they can use in any situation - if they start to run out of ideas they’ve always got something they can use in a split second to get them through the changes. Great video by the way! 👍
Yes! Very well put!
totally
I think your advice is spot on! The short cut to the palace is 10,000 miles out of the way. The principles that these cliches are based on are what creative players will use and bend to shape their own individual approaches to playing.
Thanks. (Make sure when ordering the book its the guitar edition. I almost bought the trombone version!) I really like how you teach us how to learn. And your playing has gotten really good or at least you are showing us more of what you can do!
Mikko you are a superb player. I very much like your approach. It also makes you more sincere to show your mistakes while playing. Thanks a lot
Mikko is a solid teacher. I had a private lesson with him and he's great. Loved the video as well Mikko. Thanks for the encouragement
I have been waiting years to come across a "short II V" lesson! Finally found it in this lesson! Thank you so much Mikko!
Or, get the Omni Book, learn some complete Charlie Parker solos, then extract individual lines, analyze the melodic/rhythmic/harmonic content of said line, take the line through all 12 keys, then create exercises/variations/patterns/etudes/etc. derived from that line, rinse and repeat.
A teacher of mine used to tell me bebop language lies between the themes. I spent a great amount of time reading the omnibook. Solos and themes. This guy tells the truth. Learn the stuff
One cant do both?
If people that see them as cliche's, listen how you use them, with dymamics and integrated, that moment, you turn them in your own and you prove immediately the stupidity of people that think they don't need those things...As i told, I am learning piano for 5 or 6 years now, I still have also guitar lessons, as a concidence, my piano teacher asked me to write some lick out that I like, so you imagine that your lesson's is just the right timing and as always a great inspiration...your lessons are far more complete than lots of other teachers that don't want to spend too much time, your lessons are always a hole in themselves, I already did recommend your lessons to someone who wanted to learn guitar...
This book is really good IMO. The licks are very typical of Parker. I work on them extensively (changing the pitch, place of the neck or the chords behind the licks). I find it very useful to build a vocabulary in jazz.
I get so excited when you hold up a book. Thanks
Having worked on this stuff since 1975 I totally agree with you. I would guarantee any student that Scofield, Metheny, Abercrombie, Rosenwinkel, and even Holdsworth could nail Blues for Alice, or any other standard changes in their sleep.
I’ve always enjoyed that Christiansen series. Fun to see its utility demonstrated. Cheers, Daniel
I would like to sound like Charlie Parker!!. I love bebop, classic jazz and cliches!!.
Thanks for you videos.
gustavoblues Hey brother how's going? So you wanna sound like Parker. So get yourself David Baker "How to play bebop "3 Books. Plus Jody Fisher Guitar Chord-melody
Great lesson, Mikko. I'm going to try this approach.
Beautiful guitar.
Definitely looking forward to the next one where you talk about connecting the licks! That's sort of a mystery to me
I’ve used that book. Great and comprehensive content.
Great advice on here Mikko,i shall get the book it looks great.
Do you have more on targeting? Thank you in advance
Damn, that sounds jazzy!
Awesome Class Mikko thank you for .
I was looking into buying this book until I saw who wrote it (Corey Christensen). I bought a book of his a long time ago and I did not like his lines. Do you know any more about the author? Are the lines on this book actual transcriptions of Parker's lines, or is it his?
Great lesson again. Thank you.
I have the “bebop licks” book by Hal Leonard that you made a video about some months ago. Do you advise to get this one too or there licks are very similar in both of them? KEEP MAKING THIS GREAT VIDEOS❤️
Yes you should have both! 😎🤠
Mikko Hilden thanks
Awesome video! Thank you
Ahh this is literally exactly what I have been looking for!!
I've been working on Blues for Alice (and other tunes) using the Bebop licks for Guitar book you've reviewed in the past. Seems there is a lot to work with in that book so unless you suggest otherwise I'll probably hold off on the book you are reviewing here.
Mikko!! thanks a lot! 👍
Glad you like it
Hi Mikko, does contain the book guitar-specific information? Can I use it for any concert-C instruments?
It's for guitarists for sure with tabs. But you could definetily use it for other Jazz instruments as well
Great lines to work on, I will order the book.
Happy practicing 🙂
What a great lesson, thank you!
First, Mikko, thank you for your videos. I've learned a lot from them, and they make me think! That said, I've been debating (with myself) whether the advice to work on scales/cadences/phrases in all 12 keys is sensible for guitarists. Yes, this was advice that Jamey Aebersold liked to give, but he was a saxophonist. Scale patterns for linear instruments like the saxophone, piano, trumpet, etc. have different patterns for each of the 12 keys, but that isn't true for the guitar. Practically, guitarists only make use of three, four scale, or perhaps five different scale patterns. All twelve keys are covered by shifting positions. Perhaps I'm in error, but I'm thinking that it is a waste of time to practice vocabulary over all twelve keys... time that could be more productively used elsewhere. I'd love to get your views!
Thanks 😎 Yes that's a good question. Ultimately we should be able to play anything in any key, that's the goal. But it's easy to get obsessed with playing in all 12 keys and it might not be what one should be practicing. It depends. But going through the process of playing standards and licks in all 12 keys is something we all work on at some point. But trying to play everything in every key is not realistic. But I wouldn't separate the guitar from the saxophone or any instrument and ideally we shouldn't be concerned with scale patterns or positions at all when we're improving. So it depends.
Thanks Mikko, that was really useful.
glad you like it
Hi Mikko, great review and great playing, thanks! Just wondering if you've used the Wes Montgomery book from the same series?
I have seen it. I just might have to get a copy 😎
@@Mikkokosmos Thanks Mikko, I think I'm going to get it as well, along with this one!
Keep up the good work.
I want to master the clichés!
Thanks
Hi, I need that book. Where can I buy it
Depends on where you are located. I recommend a quick google search
Does that book have tabs or just notation. If you dont mind.
Hello, is there a cd with this book ?
Eddy Neerdael it comes with online audio. They give you a code and you download the online audio.
Great video!
What about if you don’t read music or read music well?
Hmm are you asking about tabs? 🤔 the book has tabs as well as audio so you can hear the examples 😎
This is the one by Corey Christiansen, right? I don't think you mentioned that.
Yes. There is a link to the book in the description 😎
haha My buddy played with Alan Holdsworth.
Hmm-- I just happen to have that!
I think this way of learning doesn't allow you to flow as you should because you're thinking of lines you've learned. rather listen to LOTS of bebop and practice enclosure, arpeggios and flowing between random changes (including cycle stuff). You will start playing the vocabulary which you listen to for an hour or 2 per day. It will all come together if you stick with it. If you don't, it won't. Stick with it!:)
Mikko or you could play All d minor7 over G7..to Cmaj7 (Emin7)Cmaj9
I don't understand the question 😶 could you elaborate?
Oh you mean thinking D dorian over G7?
Ive heard that play Dmin7 over both Dim7 and G7...since Dmin gives you a the extensions and Emin7 givesyou Cmaj9.over C bass note
@@Mikkokosmos yes..Pat Martino?
@@Mikkokosmos but I'm not thinking dorian...just G11
I told this guy to play shell voicings of Blue Bossa, I thought there were no teachers on youtube, doing that, then i saw again your lesson on Blue Bossa, coincidental, and yes you were doing so, I mean is the basics of Jazz difficult? Are shell voicings on guitar difficult? I don't think so...
We?
Pardon? 🤔