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In the passage about "diatonic triads," you refer to the part of the solo that, by that time, is off the upper part of the screen, so the listener has no notion of the specific notes to which you refer.
It is disconcerting to hear you talk over the solo. If you want to comment, stop the solo and comment. I am not familiar with some of your jargon, which I'd like you to explain, such as your talk about chords and notes placed over them. I would appreciate it if you would go slower and explain more fully.
Good Idea, but the half of all is missing. You have to hear to what the Lines are related- the harmony/chords! And the piano may played f.e. this Bbm-Sound… Music is more hearing/feeling, less calculating. Calculating-Stuff is nice for Authistics, Asberger‘s or AI‘s :-)
Nice job playing in the cracks! No stepping on other people's lines. 😊 One of my inspirations to move into jazz was Louis Armstrong's recording of that song with The Dukes of Dixieland. Also some Bix Biederbeck and the Wolverines. Tried to transcribe one of Bix's pieces (never finished). 😂 Good stuff. No temptation to play a Bird lick with that group? 😂 All good players.
Big fan of deep dive teaching resources like this for jazz. Classically trained bassoonist, was never able to fit jazz improv into my curriculum but always wanted to learn.
I have to think about this one. The act of learning the exercise will teach you what to focus on? I’ve been doing the opposite. On the Jazz Intensive site I’m playing major ii V Is with the diminished scale over the V chord. I decided what I wanted to focus on and THEN started playing the exercise
What I mean is that after you make that decision, the process will teach you a whole bunch of stuff that you didn’t anticipate. You’ll get benefits that only come through the process
@@jhartbassoon So I'm not trying to directly translate these into my playing. I'm trying to develop a deeper understanding of the underlying structure so that when I am playing, I have complete freedom with it. Make sense? But in terms of diminished, you find it in every style of jazz whether used directly over diminished chords or as a tension device over V--->I
I'm pretty sure Brecker thought of the first 2 measures as A7alt. all the notes except the Ab are in the altered scale. He liked to think of the altered as a half step above the V7, minor (major 7) (for example, here its BbmM7), but sometimes played the b7 too. Brecker used to play the whole II-V as a V7 for more tension. In the next measures he plays a "triton sub" (if you can call it that) on the Dm7 (G#m7). usually a Dm7 Triton sub is a Ab7 (G#7) but Brecker liked to play the minor II (in the triton sub - G#m7 C#7 to Cmaj7). I think its more likely as he used to do this kind of stuff a lot.
Nick, very well organized as usual 👍🏻. Just wondering how you’re defining “exercise .” Would a ii-V pattern, or melodic cell, etc. moved around in various intervals through all 12 keys be considered an exercise? Or is it more of a foundational technical thing? Thanks!
Thank you for the emphasis on (at least initial) simplicity, and reminding us there was jazz improvisation before bebop. Another wonderful source for licks and lines is Sidney Bechet, but let's not forget that those older cats had tone! And overtones in their tones for days; something either dismissed or not taught now compared to scale modes and ninja techniques. It's more than just the notes and rhythms... Not to generalize too much, but newer tastes and younger audiences have revealed that the long labored academic fever of math jazz and neglect of earlier styles and players in music schools is finally starting to relent.
I agree that jazz school not going back to the beginning of jazz is a huge problem. If you don’t think Bird and Trane were listening to Louis and Sidney, they were!! You hear their influence everywhere!
