I agree with you on how you define creativity versus innovation! Interesting book. Thanks for the link as I've ordered one just now. I too love music jazz related books!
@@Mikkokosmos I will as I have enjoyed many a books you have recommended! I'm beginner in jazz but alsoa huge music theory nerd, learning via via books and also note reading as well as I would like to really learn more songs and not depend on tab. So it will be interesting how I approach this particular as a beginner. Right now when I improvise at a very ebntry level, it sounds monotonous though I always mention the intervals of the chord arpegios I play to know exactly where the root, 3rd, 5th etc lies and slowly noticing their sound. This is what attracted me to this book, when you described it's unique approach and the importance of knowing not just the notes but also the interbvals! Cheers! BTW I am in the US but I work with alot of folks in Gothenburg Seden! Needless to say, I''ve learned to love FIKA 😃
This book has been super helpful for me. What I did to help me out was to buy two 12-sided dice. I roll one dice to decide the Root (of the formula) and the 2nd dice tells me the Zone to play in. My natural inclination would be to practice a formula with a Root of A at the 5th fret, but this randomizes it.
Interesting book. Kinda fun to take those... scale fragments(?) and then come up with little diad chord progressions. Was messing around with applying contrary and parallel motion to the voicings and came up with some cool stuff. The limitation of staying within four frets is great. Forces you to work with what you've got instead of falling into option paralysis.
As always, thank you for your valuable content. I find the limitation of the four frets interesting, plus playing on a four-fret area is anatomically easier to achieve, it's like playing in a classical guitar position, without having to do stretches. Each finger of the left hand is actually attributed to a fret. If the guitar was tuned in major thirds we would be able to make all the notes without ever moving, it would be brilliant! However, I don't think I'm going to relearn the guitar tuned in thirds😂
Interesting. I've had the book for awhile but will have to revisit. The folks who do art-rock guitar trios have to sustain a lot of interest- over a long set- think Nels Cline, Brandon Ross et al... Also interesting that when you were playing his method on the Miles song you were swinging more. Even your body was moving in time while your body was pretty static in your Mikko licks version.
How would you implement if there is chird changes ? On the other hand do you mix 2 formulas at the same time in one chord or solo over chord changes ? Can you make a video to explain in dept ?
This seems a lot like that Allan Holdsworth video where he holds all these charts for us. He derived them all via exhaustive permutation and demonstrates his favorites and then plays some songs with his band
My impression, and I could be very wrong about this, is that this OS is a practice routine in the exploration of intervals and harmony. I don't think that the idea is to take these formulas over changes. My goal when working with this book is to try to come up with good melodies and ideas using an any groups of notes (for the sake of practice). In the real world, I don't believe a player is necessarily supposed to be thinking "which formula, etc".
Hi. I love the tone you are getting. Aside from that beautiful guitar which I appreciate being told what it is, HOW else are you getting that beautiful tone? Amp? Pedals? I bought the book. Great video and explanation. Thanks
Thanks. I hope you'll enjoy the book. I use a combination of pedals and amps and mics. (amp mic and room mics) ain sound is coming from a Tanglewood acoustic guitar amp. The processed sound is from a POG2 rev and delay are regular Boss pedals
Sounds interesting 🎶 Thank you for the demo 🙂 Another Book to sound "outside" / think different : Colicchio's Nu Art, technical exercices for all instrumentalists. John Scofield recommended this book to my old jazz teacher 😉 Love Tanpura Droid too ...and Tiny Decisions app to choose randomly (Key, ...)
Well, you just have to listen to Krantz for a bit to get the impression his target audience very likely *doesn't* want to hear the cliches and idiomatic phrases. The example you've given with the random phrase doesn't hold: being innovative and even leveraging randomness isn't in conflict with artistic judgement.
I don't think I said that being innovative and even leveraging randomness is in conflict with artistic judgement? Anyway I'm glad I can enjoy both sides; music that is avoiding traditional idioms and music that embraces it
@@Mikkokosmos your argument went like this: A random arrangement of random words doesn't bring any value by itself, even though you just improvised them. You don't really go anywhere with it and it's not easy to see your point. It sounds as if you're implying the book operates at a too low of level (individual notes and not patterns/sequences/idiomatic phrases) and it's somehow an oversight or deficiency.
@@ZoomRmc Wow that's really not what I'm suggesting at all. I think the book is brilliant. I only cover books that I like. I think it's healthy to disagree to a certain level with a teacher when trying to find your own way in Jazz improvisation. What I disagree with is this notion that some musicians have that you have to invent something new to be creative. Wayne even says somewhere in the book that tradition is the enemy of innovation, or something like that. I think Jazz is a language and you need standard phrases and traditional idioms to communicate with the audience and other musicians. But I can at the same time appreciate the idea that we every now and then have to step outside of conventional systems to keep things fresh. That's where books like this come in handy.
@@Mikkokosmos I agree with you in general and that's how I understood your position from the video. All I wanted to say is that example you gave with the sentence was a bit awkward as it's not a direct parallel with how anyone really plays. Just a stupid nitpick!
It's nice, but this is a pretty old concept, both in what it presents and how it's written. This might be only my perception but it looks like the guy is kind of making fun of the book?🤔… maybe
Wayne might be the best living guitarist today, unreal musician
Excellent Lesson! Thank you for your patience and generosity in sharing some great concepts from "An Improviser's OS".
Now that there's an OS for the OS I feel I might be able to tackle it. You're a legend Mikko mate.
I agree with you on how you define creativity versus innovation! Interesting book. Thanks for the link as I've ordered one just now. I too love music jazz related books!
I hope you'll enjoy he book
@@Mikkokosmos I will as I have enjoyed many a books you have recommended! I'm beginner in jazz but alsoa huge music theory nerd, learning via via books and also note reading as well as I would like to really learn more songs and not depend on tab. So it will be interesting how I approach this particular as a beginner. Right now when I improvise at a very ebntry level, it sounds monotonous though I always mention the intervals of the chord arpegios I play to know exactly where the root, 3rd, 5th etc lies and slowly noticing their sound. This is what attracted me to this book, when you described it's unique approach and the importance of knowing not just the notes but also the interbvals! Cheers! BTW I am in the US but I work with alot of folks in Gothenburg Seden! Needless to say, I''ve learned to love FIKA 😃
This book has been super helpful for me. What I did to help me out was to buy two 12-sided dice. I roll one dice to decide the Root (of the formula) and the 2nd dice tells me the Zone to play in. My natural inclination would be to practice a formula with a Root of A at the 5th fret, but this randomizes it.
Great explanation of the book. Thanks a lot Mikko🎉
Interesting book. Kinda fun to take those... scale fragments(?) and then come up with little diad chord progressions. Was messing around with applying contrary and parallel motion to the voicings and came up with some cool stuff. The limitation of staying within four frets is great. Forces you to work with what you've got instead of falling into option paralysis.
Is improvising to a sitar in the book?
As always, thank you for your valuable content. I find the limitation of the four frets interesting, plus playing on a four-fret area is anatomically easier to achieve, it's like playing in a classical guitar position, without having to do stretches. Each finger of the left hand is actually attributed to a fret. If the guitar was tuned in major thirds we would be able to make all the notes without ever moving, it would be brilliant! However, I don't think I'm going to relearn the guitar tuned in thirds😂
Interesting. I've had the book for awhile but will have to revisit. The folks who do art-rock guitar trios have to sustain a lot of interest- over a long set- think Nels Cline, Brandon Ross et al... Also interesting that when you were playing his method on the Miles song you were swinging more. Even your body was moving in time while your body was pretty static in your Mikko licks version.
Great video
How would you implement if there is chird changes ? On the other hand do you mix 2 formulas at the same time in one chord or solo over chord changes ? Can you make a video to explain in dept ?
This seems a lot like that Allan Holdsworth video where he holds all these charts for us. He derived them all via exhaustive permutation and demonstrates his favorites and then plays some songs with his band
th-cam.com/video/wts2Mw6Nb5s/w-d-xo.htmlsi=JD4iFCadewkg2Ppy
@@mrkrud thanks. Can you share the video link of allan ?
@@ejderazizpeker8308 th-cam.com/video/wts2Mw6Nb5s/w-d-xo.htmlsi=xmMzHWUxnmQmOAyj
My impression, and I could be very wrong about this, is that this OS is a practice routine in the exploration of intervals and harmony. I don't think that the idea is to take these formulas over changes.
My goal when working with this book is to try to come up with good melodies and ideas using an any groups of notes (for the sake of practice). In the real world, I don't believe a player is necessarily supposed to be thinking "which formula, etc".
Good explanation of the book. As you say it gets you out of the Lick playing, and definitely read the "words" they are entertaining too.
Hi. I love the tone you are getting. Aside from that beautiful guitar which I appreciate being told what it is, HOW else are you getting that beautiful tone? Amp? Pedals?
I bought the book.
Great video and explanation.
Thanks
Thanks. I hope you'll enjoy the book. I use a combination of pedals and amps and mics. (amp mic and room mics) ain sound is coming from a Tanglewood acoustic guitar amp. The processed sound is from a POG2 rev and delay are regular Boss pedals
Sounds interesting 🎶 Thank you for the demo 🙂
Another Book to sound "outside" / think different : Colicchio's Nu Art, technical exercices for all instrumentalists.
John Scofield recommended this book to my old jazz teacher 😉
Love Tanpura Droid too ...and Tiny Decisions app to choose randomly (Key, ...)
Thanks I'm not familiar with that book. Will check it out 😎👍
I have this tiny book like a decade ago, it is just a way of presenting Charlie Banacos's chromatic approach.
Wayne is a character. He seems to be regressing. Wishes he was David Byrne Talking Heads circa 1980.
sure
Well, you just have to listen to Krantz for a bit to get the impression his target audience very likely *doesn't* want to hear the cliches and idiomatic phrases.
The example you've given with the random phrase doesn't hold: being innovative and even leveraging randomness isn't in conflict with artistic judgement.
I don't think I said that being innovative and even leveraging randomness is in conflict with artistic judgement? Anyway I'm glad I can enjoy both sides; music that is avoiding traditional idioms and music that embraces it
@@Mikkokosmos your argument went like this: A random arrangement of random words doesn't bring any value by itself, even though you just improvised them.
You don't really go anywhere with it and it's not easy to see your point. It sounds as if you're implying the book operates at a too low of level (individual notes and not patterns/sequences/idiomatic phrases) and it's somehow an oversight or deficiency.
@@ZoomRmc Wow that's really not what I'm suggesting at all. I think the book is brilliant. I only cover books that I like. I think it's healthy to disagree to a certain level with a teacher when trying to find your own way in Jazz improvisation. What I disagree with is this notion that some musicians have that you have to invent something new to be creative. Wayne even says somewhere in the book that tradition is the enemy of innovation, or something like that. I think Jazz is a language and you need standard phrases and traditional idioms to communicate with the audience and other musicians. But I can at the same time appreciate the idea that we every now and then have to step outside of conventional systems to keep things fresh. That's where books like this come in handy.
@@Mikkokosmos I agree with you in general and that's how I understood your position from the video. All I wanted to say is that example you gave with the sentence was a bit awkward as it's not a direct parallel with how anyone really plays. Just a stupid nitpick!
It's nice, but this is a pretty old concept, both in what it presents and how it's written. This might be only my perception but it looks like the guy is kind of making fun of the book?🤔… maybe
meh