Couldn’t help but being reminded of that great patterns book I had in college by Oliver Nelson. :) My favorite on saxophone a private teacher once showed me is 3-5-8-b7, 3-5-1-b7 in the circle of fourths. People think I have amazing skills when I warm up on that haha. Keeps my brain active as well as my technique.
A great warm up pattern is the 7th arpeggio followed by a falling scale: 1 3 5 7 6 5 4 3 2 4 6 8 7 6 5 4 etc. You get real fluency in all chords if the scale. Do it in all 12 keys, then learn it backwards!
ok this a little bit late of a response but...if I were to ask you: are those seventh intervals in your warm-up min OR maj sevenths and those thirds min OR maj thirds ? would you reply YES ?!!
Great video. One of my favorite patterns to practice is 5-3-1-5 - 6-4-2-6 ... , just like the triplet exercise, but returning to the 5th of one chord to voice lead into the next.
To wed technical proficiency with being a feel player who has assimilated rhythmic acuity is desirable. To put it in a Biblical perspective, "It is good to grasp the one and not let go of the other." This particular proverb from the Book of Ecclesiastes really helps me in my decision making process when I'm torn between two different modes of thought. Another useful principle is from t he tradition of the Taoists, the idea of Yin and Yang. I was reading through Niccolo Paganini's 5th Caprice for Violin Solo. And in the beginning of the piece, Paganini did what would be done as a free form introduction, and he ascended in scalar fashion and descended arpeggiacally, and the dualism reminded me of Yin and Yamg: Yin up, Yang down. Ascend in scales and descend in arpeggios, not that this is necessarily the only way to think. For instance, let say you are playing in the Key 9f A major, but in the Mixolyd8an mode. Ascend 8n Musician fashion, the descend in either the A major, Pentatonic scale or with the A Chromatic Scale. Etc.
Savvas Anastasiou that’s a great question! The first step is getting them under your fingers as I’ve presented. Then try composing musical ideas over chord progressions such as on a 2-5-1, using these intervalic relationships
Following these chords, C, Eflat, G flat, A, F, Aflat, B,D, B flat, D flat, E, G. 1, 3, 5, 7, for each, meaning scale degrees. Next, convert to minor for a change. Practice ascending, descending, ascending etc. I will practice this now, been awhile.
I think this is geing to be very helpful. I broke my terrible habit of running scales by learning all the arpeggios. This seems like another way of developing finger patterns that break the predictability whilst those patterns actually sound like theycsn be used go highlight the chords.
Thanks for the good pattern exercises ideas. At the moment I'm working on 1357/8642/3579/10864, etc. In all major keys, in the whole extension of the instrument (clarinet), but it's very, very difficult…
great video, can I ask one question please. Say in example 2 we are playing 1-2-3-5 ascending through the C major scale. The pattern on the C major chord stays true to the construction of the chord and the diatonic notes of the scale. When we shift to Dm and play 1-2-3-5 we stay true to the chord construction (1 b3 5) but the 2 is a b2 in relation to the Dm chord (if that makes sense) - stays true to the key of C Major but Im struggling to marry this info. I'm probably confusing myself but any explanation would be helpful :)
basically you are playing the triads of each scale degree as you go through the exercise. (in relation to C Maj) eg.. C major triad. D minor, E minor, F major, G major, A minor and B diminshed. but because you have the 2 in there as well. you can think of it as the triad +9 or as a passing note from 1- 3 or as modal sound (E dorian, E phrygian etc..) only E and B have a b2 (B-C and E-F) but they are still diatonic to the key of C so there will not be any dissonance. hope that makes sense.
I think these are agilities, not real patterns.. The good thing is to try to transpose these ones on modal scales and take them on your extention.. Like starting with G o F for girls (mezzosoprano) on violin key. Patterns are like phrases that we can put inside a standard to make impro easier.
I'm actually surprised to see that you didn't include A LINK to download THESE 4 PATTERNS ON 1 PAGE. But never mind, I'll see what google has in store with regard to these patterns....Thanks Anyway........P.s.: No Offence Intended!!!
My guitar teacher says it's useless to learn such patterns. He says you should just make melodies and licks that sound good. I told him I might need these patterns so I have inspiration to make such licks, but he says that's not true. Nobody cares about the patterns you play, it's all about sounding good.
It's an exercise, not a masterpiece of creativity. Boxers still hit heavy bags when they are champions, golfers still go to the range after they win tournaments, etc.
He’s right yet so very very wrong. You need to have the muscle memory of these patterns built into engrams and then create melodies over the chords by fusing all this information from all the time spent in the woodshed. These are the tools to practice to begin to take your playing to another level.
Abel Ton I think your teachers intentions are good. But like some others have insinuated, you can’t paint a picture without first exercising the skills you need to execute it. Sure, working on a pattern by itself may not be musical. But if you are also working on learning and creating musical ideas, patterns will only propel your technical abilities to execute interesting ideas
Couldn’t help but being reminded of that great patterns book I had in college by Oliver Nelson. :) My favorite on saxophone a private teacher once showed me is 3-5-8-b7, 3-5-1-b7 in the circle of fourths. People think I have amazing skills when I warm up on that haha. Keeps my brain active as well as my technique.
Laurence G awesome thanks for sharing!
I love this one (3-5-1-b7). Another useful variation is to take it through a diatonic cycle of 4ths progression (1st 8 bars of Fly Me to the Moon).
A great warm up pattern is the 7th arpeggio followed by a falling scale:
1 3 5 7 6 5 4 3
2 4 6 8 7 6 5 4
etc. You get real fluency in all chords if the scale. Do it in all 12 keys, then learn it backwards!
codswallop321 thanks for sharing!
ok this a little bit late of a response but...if I were to ask you: are those seventh intervals in your warm-up min OR maj sevenths and those thirds min OR maj thirds ? would you reply YES ?!!
Patterns with approach notes and enclosures on chord tones.
MrToritonaranja yes! Definitely great for conceptualizing jazz language
Great video. One of my favorite patterns to practice is
5-3-1-5 - 6-4-2-6 ... , just like the triplet exercise, but returning to the 5th of one chord to voice lead into the next.
Underrated comment
There's a great book by Jerry Coker called Patterns for Jazz
Have that book! Great resource
To wed technical proficiency with being a feel player who has assimilated rhythmic acuity is desirable. To put it in a Biblical perspective, "It is good to grasp the one and not let go of the other." This particular proverb from the Book of Ecclesiastes really helps me in my decision making process when I'm torn between two different modes of thought.
Another useful principle is from t he tradition of the Taoists, the idea of Yin and Yang. I was reading through Niccolo Paganini's 5th Caprice for Violin Solo. And in the beginning of the piece, Paganini did what would be done as a free form introduction, and he ascended in scalar fashion and descended arpeggiacally, and the dualism reminded me of Yin and Yamg: Yin up, Yang down. Ascend in scales and descend in arpeggios, not that this is necessarily the only way to think. For instance, let say you are playing in the Key 9f A major, but in the Mixolyd8an mode. Ascend 8n Musician fashion, the descend in either the A major, Pentatonic scale or with the A Chromatic Scale. Etc.
Interesting perspective! Thanks for sharing.
Great patterns, already struggling with first one in different keys.
henryburner you’re not alone! They are trickier than they seem at first
Fingerings would be nice to know.Thank you.
Another valuable lesson, and some great comments and recommendations of different patterns in comments. Thanks.
Hey man, Could you talk about how to go on using this kind of stuff during playing a solo? How do you make these patterns practical?
Savvas Anastasiou that’s a great question! The first step is getting them under your fingers as I’ve presented. Then try composing musical ideas over chord progressions such as on a 2-5-1, using these intervalic relationships
@@Learnjazzstandards pls show us through a video.. Thank you in advance
Working hard with this video
Right on!
Really good lesson！
Thanks! 😃
Thanks a lot
David Nuñez my pleasure!
Following these chords, C, Eflat, G flat, A, F, Aflat, B,D, B flat, D flat, E, G. 1, 3, 5, 7, for each, meaning scale degrees. Next, convert to minor for a change. Practice ascending, descending, ascending etc. I will practice this now, been awhile.
I think this is geing to be very helpful. I broke my terrible habit of running scales by learning all the arpeggios. This seems like another way of developing finger patterns that break the predictability whilst those patterns actually sound like theycsn be used go highlight the chords.
Great exercises. Are they available for purchase in PDF anywhere?
Thanks!
Is it possible we get the prayer time of this message?
How about taking these patterns through the modes for each key, e.g. 1-3-2-1 ascending Ionian, descending Dorian, ascending Phrygian, etc.
Thanks for the good pattern exercises ideas. At the moment I'm working on 1357/8642/3579/10864, etc. In all major keys, in the whole extension of the instrument (clarinet), but it's very, very difficult…
Zeca Moraes awesome ! Thanks for sharing
Recomendadicimo..
You forgot heavily used 1 3 4 2 (3 5 6 4 (...)) (symetric on descent). Works on many scales (major minor diminished)
Frédéric Jeanmougin thanks for sharing!
These all looked rather easy to me until I went to play them. I have some work to do. :-)
Totally Danielle! When I first started working on these years ago I had the same feeling
Chromatic exercises help me out by working on accidentals and how they fit in to my solos
Drew Herter yes! Chromaticism is definitely something worth working on when it comes to jazz
I don’t read sheet music
Please what’s the notes for the 3rd and 4th pattern exercises
1,3,5-9,11,13 inside/outside triad pairs
Donald K Wilson thanks for sharing!
Do you have a pdf of these exercises?
Hi Thomas! I do have a pdf for my 30 Steps to Better Jazz playing course, but not publicly
A bit confused when you talk about 1 2 3 or 1 2 3 5 etc are you referring to fingering or scale degrees? Thanks
Its scale degrees
Scale degrees!
great video, can I ask one question please. Say in example 2 we are playing 1-2-3-5 ascending through the C major scale. The pattern on the C major chord stays true to the construction of the chord and the diatonic notes of the scale. When we shift to Dm and play 1-2-3-5 we stay true to the chord construction (1 b3 5) but the 2 is a b2 in relation to the Dm chord (if that makes sense) - stays true to the key of C Major but Im struggling to marry this info. I'm probably confusing myself but any explanation would be helpful :)
basically you are playing the triads of each scale degree as you go through the exercise. (in relation to C Maj) eg.. C major triad. D minor, E minor, F major, G major, A minor and B diminshed. but because you have the 2 in there as well. you can think of it as the triad +9 or as a passing note from 1- 3 or as modal sound (E dorian, E phrygian etc..)
only E and B have a b2 (B-C and E-F) but they are still diatonic to the key of C so there will not be any dissonance.
hope that makes sense.
But the fingerings ?
2 1 5 6
Dan Urech that’s an interesting one! Thanks for sharing
Show fingers too.
How about just 3rds? 1,3,2,4,3,5.....
Sure!
What happened to the numbers brother? I was following you nicely....
The numbers?
This is cool, but why not just learn Hanon?
Calymos could do that too! Or both?
@@Learnjazzstandards haha, that is a great point! both would definitely be preferred.
I think these are agilities, not real patterns.. The good thing is to try to transpose these ones on modal scales and take them on your extention.. Like starting with G o F for girls (mezzosoprano) on violin key.
Patterns are like phrases that we can put inside a standard to make impro easier.
they should add subtitles in Spanish.
luis fernand wish we had the resources to do that. I do know that people can contribute that though ;)
Or 7,1,3, #1, 2,4, #2, 3,5......
I'm actually surprised to see that you didn't include A LINK to download THESE 4 PATTERNS ON 1 PAGE. But never mind, I'll see what google has in store with regard to these patterns....Thanks Anyway........P.s.: No Offence Intended!!!
once you get them in your ear you dont need sheet music. in fact, never use sheet music for patterns
My guitar teacher says it's useless to learn such patterns. He says you should just make melodies and licks that sound good. I told him I might need these patterns so I have inspiration to make such licks, but he says that's not true. Nobody cares about the patterns you play, it's all about sounding good.
It's an exercise, not a masterpiece of creativity. Boxers still hit heavy bags when they are champions, golfers still go to the range after they win tournaments, etc.
You need a new teacher.
He’s right yet so very very wrong. You need to have the muscle memory of these patterns built into engrams and then create melodies over the chords by fusing all this information from all the time spent in the woodshed. These are the tools to practice to begin to take your playing to another level.
If you want to play Jazz, you definitely need a new teacher. Actually get a new teacher anyway, he's holding you back.
Abel Ton I think your teachers intentions are good. But like some others have insinuated, you can’t paint a picture without first exercising the skills you need to execute it. Sure, working on a pattern by itself may not be musical. But if you are also working on learning and creating musical ideas, patterns will only propel your technical abilities to execute interesting ideas