How do you tell Jazz Styles apart and do you use this in how you develop your playing? Content: 0:00 Intro 0:12 4 Solos From Different Styles 0:27 Working on knowing different Styles of phrasing and improvising 0:41 #1 Lester Young - All Of Me 0:52 Analysing Lester - Melodies on top of the chords 2:15 Example #1 Slow 2:37 #2 Charlie Parker - Anthropology 2:41 Bebop - Forward motion and Harmony 3:50 Example #2 Slow 4:00 #3 John Coltrane - Take The Coltrane 4:08 Painting on a Chord Progression - Abstraction on a Blues 5:36 Example #3 Slow 5:54 #4 Joe Henderson - Solid 6:07 Hardbop - New Melodies and Old Blues 7:38 Example #4 Slow 7:56 What Do You Think Is The Difference between the Styles 8:20 Like The Video? Check out my Patreon Page
Fantastic video. I'm not ready to advance to playing jazz guitar, but I'm a long time jazz fan. Analyzing music of the masters like this is jazz appreciation of the best kind and gives great grist for listening. Gonna check out the other videos. Thank you Jens!
Really like this phrase analysis, and I'd love to see more videos deconstructing what makes certain players phrases different, rather than purely the harmonic content!
Thank you, Jens❤️. I particularly love & appreciate this way of comparison among great plays with your intelligence analysis. This is extremely helpful. Please keep making this kind of videos with lot more other artists. Next time, maybe you can include various “pianists” [old to modern] to show how they play various standards. 🙏
Great video! There’s so much to learn from these sax players. Dennis Sandole, the Philadelphia guitarist, taught Coltrane music theory from 1946 to the early 50s. Sandole is mentioned as the primary source for knowledge about Arnold Schoenberg’s 12 tone method of composition among jazz musicians (There is an interesting paper available on such techniques as octave displacement and the use of tetrachords and hexachords that Sandole apparently derived from Schoenberg. That paper can be seen here: www.academia.edu/8749387/Arnold_Schoenberg_Dennis_Sandole_and_John_Coltrane-Arnold_Schoenberg_and_Jazz_Pedagogy ). Sandole’s picking style was a strong influence on Pat Martino’s, by the way. Jim Hall also praised Sandole as a teacher.
In an interview John Scofield told the story that he once had a beginning jazz improvisation class and no one knew how to play so he had them all memorize a Lester young solo. After that, memorize a Coltane solo and a couple of Joe Henderson solos and we're done right ? :)
This advise from Scofield is priceless!!! He is someone who is a great improviser (totally being here and now and spontaneous, not trying to play from his past memory), yet he reveals part of his secret to be able to get to that point. One of my beloved guitar teachers “Joe Diorio” [a legendary jazz guitarist] once told me 30 years ago it is one thing to intellectually having all the superb vocabulary in your head but other thing is to be able to perform those on your guitar “anytime”!!!! There is an anecdote that a great performance opportunity (a phone call) suddenly came to “Vladimir Horowitz” [One of the greatest classical pianists ever lived] early afternoon which is to perform “Tchaikovsky: Piano Concerto No. 1” [technically super demanding piece] that evening. Horowitz had not played that piece for months, and on that particular day, he didn’t even have the time to touch or practice piano at all. But he went ahead to the concert hall and played the piece (nearly perfectly) and completely dazzled the crowd! Why on earth he could do such a thing? Because he had practiced so hard (in the most effective, efficient manner!) whenever he had any spare time throughout his life! He said, in earlier in his life, he had worked (practiced) harder and longer than any pianists he knew of [he practiced less than 2 hours a day in last years though, interestingly]. There is a psychological term called “programming” which is you “repeat” certain tasks over, over, over, over again (like million times!) to deeply program all of your nervous system including your subconscious mind (1000 times more powerful than our conscious mind) as well as muscles, and the result is that you reach a certain point where all of your great acquired musical vocabulary comes out of your guitar flawlessly, even when you are not consciously thinking or trying to play the guitar. And I believe that should be our ultimate goal for all serious musicians (whether you are currently professional or not). I hope this comment will be helpful to some people 🙏
Don Rey. Depends on how you define “tenacity”. After all, I noticed some of the best players are very flexible in changing approaches, constantly trying new ways, being very open minded about everything, instead of rigidity sticking to only one approaches they have been families with which is called “closed mind”.
Interesting stuff. Been playing guitar about twenty years and sax about twelve self taught. It's only recently I'm understanding changing chords within a key which then changes melody. Although I've written melody over one set of chords before then changed the chords. Music really is unlimited! There's only twelve notes but there's only ten numbers and and maths can pretty complicated!
Your comment between 7:56 and 8:13 is the crux. 😮😉 Enjoyed the video! Cheers Jens. Nothing to add, but was wondering what model of Gibson that you have there?
Jens Larsen - Very nice! I’m sure you feel extremely blessed 😉👨🏻 Enjoy and and keep up the great work. It’s nice to see and hear you on another side of the planet, lol.
Jens, great video. When you transcribe parts of great solos, do you practice the lines to the point of being able to play it at the tempo of the original and/or along with the recording? I know it is necessary to learn lines slowly, but sometimes when playing a line at a slower tempo (especially bebop or hard bop) it has a different feel than the original
Thank you! I have indeed mostly learned the solo along with the record. It's very time consuming but also worth it if you are working on phrasing and timing. Those two do indeed change if you play the line at a slower tempo. In the cases where I did that I almost never wrote out the solo and just learned to play it. I found that to work a lot better for me because I don't want to read it, I want to play it.
I really like how we are having a healthy mix of "practise this" and "understand this" because with you posting videos TWICE a week there's no way I could remotely catch up (I'm still going back to your 251 videos from time to time). Anyway can't thank you enough.
A word of rescpect: Thank you Jens, for you reminding of the Great sacophone players and there specifics! would it be possible to do a lesson where we gradually go through two or three chorusses (or maybe each lesson one chorus and than a few weeks till the last chorus, and than maybe a solo of for instance Michael Brecker or Chris Potter or Don Braden or Ghasam Batamuntu, or Even a guitar player like thomas Hilbrandie, or Wim Overgaauw, or Martijn Van Iterson, or Jesse van Ruler, Roben Ford(his solo on Broadway )George Benson?
Check out Dan Weiss record "Starebaby". On that record they really explore a cool sonic territory where Jazz and heavy music meet. Ben Monder play some really cool and heavy shit on that record.
You can do rhythmic things with your solos that's typical in jazz solos. (Not starting on beat 1, playing over the bar, odd note groupings, and many more)
Glad you like it! No, I don't think he only thought about one scale or key in that way. He is really connecting with the harmony sometimes and it isn't random at all.
Well, still too advanced for me. It was quite funny when I was trying to follow melodies with Jens and thought I'm just starting to get it, and then came the clips... damn man, those clips! x) Well, I guess it wouldn't be fun if we'd be able to play like that in no time so... Thanks for the lesson in any case! :)
How do you tell Jazz Styles apart and do you use this in how you develop your playing?
Content:
0:00 Intro
0:12 4 Solos From Different Styles
0:27 Working on knowing different Styles of phrasing and improvising
0:41 #1 Lester Young - All Of Me
0:52 Analysing Lester - Melodies on top of the chords
2:15 Example #1 Slow
2:37 #2 Charlie Parker - Anthropology
2:41 Bebop - Forward motion and Harmony
3:50 Example #2 Slow
4:00 #3 John Coltrane - Take The Coltrane
4:08 Painting on a Chord Progression - Abstraction on a Blues
5:36 Example #3 Slow
5:54 #4 Joe Henderson - Solid
6:07 Hardbop - New Melodies and Old Blues
7:38 Example #4 Slow
7:56 What Do You Think Is The Difference between the Styles
8:20 Like The Video? Check out my Patreon Page
When I play different styles of jazz the big thing that changes is groove. Earlier jazz has a very different sense of groove.
Fantastic video. I'm not ready to advance to playing jazz guitar, but I'm a long time jazz fan. Analyzing music of the masters like this is jazz appreciation of the best kind and gives great grist for listening. Gonna check out the other videos. Thank you Jens!
Thank you very much! That is really great to hear and exactly what I found fun about making this video :)
The beautiful thing about jazz and music in general is all the countless different styles a musician can have to define who they are
Joe henderson plays huge intervals like he's playing on a piano. Very interesting and great video!
Thank you! Turns out Joe was a really good piano player :)
As always, an insightful look at the basics of jazz while showing the complexity of phrasing.
Thank you very much! Glad you like it!
ahh Jazz soloing is a whole other ball game when it comes to its techniques and unique ideas prone to it! Great lesson indeed my man!
Thank you :) Glad you like it!
@@JensLarsen Ahhh you're very welcome my man!
Really like this phrase analysis, and I'd love to see more videos deconstructing what makes certain players phrases different, rather than purely the harmonic content!
Thanks! I actually had the impression I always included that when I analyzed stuff?
Another amazing job, bravo Jens. Keep on!
Thank you! :)
Thanks Jens you have an amazing understanding of the subject!
Thank you! I am very glad you think so!
Thank you, Jens❤️. I particularly love & appreciate this way of comparison among great plays with your intelligence analysis. This is extremely helpful. Please keep making this kind of videos with lot more other artists. Next time, maybe you can include various “pianists” [old to modern] to show how they play various standards. 🙏
Great video! There’s so much to learn from these sax players.
Dennis Sandole, the Philadelphia guitarist, taught Coltrane music theory from 1946 to the early 50s. Sandole is mentioned as the primary source for knowledge about Arnold Schoenberg’s 12 tone method of composition among jazz musicians (There is an interesting paper available on such techniques as octave displacement and the use of tetrachords and hexachords that Sandole apparently derived from Schoenberg. That paper can be seen here: www.academia.edu/8749387/Arnold_Schoenberg_Dennis_Sandole_and_John_Coltrane-Arnold_Schoenberg_and_Jazz_Pedagogy
). Sandole’s picking style was a strong influence on Pat Martino’s, by the way. Jim Hall also praised Sandole as a teacher.
Great video! I really like the way you focus on the important differences in between your examples! 🎸🎶
Thank you Harry! Glad you like it!
This was a very interesting video. I'll check out the playlist you suggest. Thanks
You
e very welcome! I hope you find something you can use!
Excellent video
Thaks Christian!
great video, thank you jens!!
Thanks, António Pacheco. Glad you found it useful!
Thank you! Love Prez!
Glad you like it!
Thanks Master
You're very welcome 🙂
Nice lesson, I like this new lesson concept - between all the phrases I still like much Charlie Parker one and as construction/arp the Joe Henderson_
In an interview John Scofield told the story that he once had a beginning jazz improvisation class and no one knew how to play so he had them all memorize a Lester young solo. After that, memorize a Coltane solo and a couple of Joe Henderson solos and we're done right ? :)
Cause I belive that was exactly what Sco himself did years in the past
This advise from Scofield is priceless!!! He is someone who is a great improviser (totally being here and now and spontaneous, not trying to play from his past memory), yet he reveals part of his secret to be able to get to that point. One of my beloved guitar teachers “Joe Diorio” [a legendary jazz guitarist] once told me 30 years ago it is one thing to intellectually having all the superb vocabulary in your head but other thing is to be able to perform those on your guitar “anytime”!!!! There is an anecdote that a great performance opportunity (a phone call) suddenly came to “Vladimir Horowitz” [One of the greatest classical pianists ever lived] early afternoon which is to perform “Tchaikovsky: Piano Concerto No. 1” [technically super demanding piece] that evening. Horowitz had not played that piece for months, and on that particular day, he didn’t even have the time to touch or practice piano at all. But he went ahead to the concert hall and played the piece (nearly perfectly) and completely dazzled the crowd! Why on earth he could do such a thing? Because he had practiced so hard (in the most effective, efficient manner!) whenever he had any spare time throughout his life! He said, in earlier in his life, he had worked (practiced) harder and longer than any pianists he knew of [he practiced less than 2 hours a day in last years though, interestingly]. There is a psychological term called “programming” which is you “repeat” certain tasks over, over, over, over again (like million times!) to deeply program all of your nervous system including your subconscious mind (1000 times more powerful than our conscious mind) as well as muscles, and the result is that you reach a certain point where all of your great acquired musical vocabulary comes out of your guitar flawlessly, even when you are not consciously thinking or trying to play the guitar. And I believe that should be our ultimate goal for all serious musicians (whether you are currently professional or not). I hope this comment will be helpful to some people 🙏
@@Ashun1970 Tenacity rules the day!
Don Rey. Depends on how you define “tenacity”. After all, I noticed some of the best players are very flexible in changing approaches, constantly trying new ways, being very open minded about everything, instead of rigidity sticking to only one approaches they have been families with which is called “closed mind”.
great video Jens! thank you. :)
Thank you very much, Benjamin!
Just what I need, something to make me bring my guitar out at 9pm Cheers from PH
Go for it Michael! :)
Interesting stuff. Been playing guitar about twenty years and sax about twelve self taught. It's only recently I'm understanding changing chords within a key which then changes melody. Although I've written melody over one set of chords before then changed the chords. Music really is unlimited! There's only twelve notes but there's only ten numbers and and maths can pretty complicated!
Your comment between 7:56 and 8:13 is the crux. 😮😉 Enjoyed the video! Cheers Jens. Nothing to add, but was wondering what model of Gibson that you have there?
Thanks! My Gibson is a '69 ES335 🙂
Jens Larsen - Very nice,
Jens, I thought there was something special about that guitar when I saw you playing it 👍👨🏻
My Ibanez and that are the guitars I play the most :)
Jens Larsen - Very nice! I’m sure you feel extremely blessed 😉👨🏻 Enjoy and and keep up the great work. It’s nice to see and hear you on another side of the planet, lol.
Great picture of John Coltrane! I love how thin he was here
On Tomasz Stanko Quintet album Purple Sun (and C.O.C.X. 1985)
there is few great moments with harmony and solo for analysis :)
Zbigniew Seifert - Man of The Light (1976) also
Jens, great video. When you transcribe parts of great solos, do you practice the lines to the point of being able to play it at the tempo of the original and/or along with the recording? I know it is necessary to learn lines slowly, but sometimes when playing a line at a slower tempo (especially bebop or hard bop) it has a different feel than the original
Thank you! I have indeed mostly learned the solo along with the record. It's very time consuming but also worth it if you are working on phrasing and timing. Those two do indeed change if you play the line at a slower tempo.
In the cases where I did that I almost never wrote out the solo and just learned to play it. I found that to work a lot better for me because I don't want to read it, I want to play it.
I really like how we are having a healthy mix of "practise this" and "understand this" because with you posting videos TWICE a week there's no way I could remotely catch up (I'm still going back to your 251 videos from time to time). Anyway can't thank you enough.
Thank you! It is actually three times every week :D But that is indeed the mix I am trying to put together.
A word of rescpect: Thank you Jens, for you reminding of the Great sacophone players and there specifics! would it be possible to do a lesson where we gradually go through two or three chorusses (or maybe each lesson one chorus and than a few weeks till the last chorus, and than maybe a solo of for instance Michael Brecker or Chris Potter or Don Braden or Ghasam Batamuntu, or Even a guitar player like thomas Hilbrandie, or Wim Overgaauw, or Martijn Van Iterson, or Jesse van Ruler, Roben Ford(his solo on Broadway )George Benson?
Thanks! That would not work at all on TH-cam the way it is right now, so no I won't do a video like that :)
I guess, besides TH-cam rules, this will be heck of a hard job as well
@@SuperBromberg It's not really about the rules, it is about what an audience would want to watch :)
How can I apply jazz frasing into metal?
Im tryint but it sounds so happy or chromatic
I don't know I don't play metal :)
Check out Dan Weiss record "Starebaby". On that record they really explore a cool sonic territory where Jazz and heavy music meet. Ben Monder play some really cool and heavy shit on that record.
You can do rhythmic things with your solos that's typical in jazz solos. (Not starting on beat 1, playing over the bar, odd note groupings, and many more)
Great lesson, I've commented before and will say it again, CONTEXT, otherwise it's just a bunch of notes...! Thank You. 😎
Excatly! 👍🙂
Thanks for the video. Would it be accurate to say that Lester Young would be thinking mostly in terms of key centres, rather than individual chords?
Glad you like it! No, I don't think he only thought about one scale or key in that way. He is really connecting with the harmony sometimes and it isn't random at all.
Well, still too advanced for me. It was quite funny when I was trying to follow melodies with Jens and thought I'm just starting to get it, and then came the clips... damn man, those clips! x) Well, I guess it wouldn't be fun if we'd be able to play like that in no time so... Thanks for the lesson in any case! :)
The hardest part, for me anyway,is connecting ideas and not having a start and stop feel to it.
But you could practice that by improvising rubato and after each phrase give yourself the time to hear what should come next. Did you ever try that?
Jens Larsen Thanks