Très bon reportage !et la personne qui fait ce reportage pose les bonnes questions ( pas comme à la télé ) et joue bien aussi ! Vraiment agréable ce petit reportage mitcho !
Très bon Demeter !!! Et j’aime aussi Lolia & Fardi avant aussi et oui un Rom qui joue largement comme un Manouche vraiment c’est intéressant ! Bravo et merci !
Great and unexpected Megadeth interlude! I´ve always said that Marty Friedman solos have some kind of manouche flavour, i played a cover of Symphony of Destruction´s solo some years ago in swing style: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-gAivyM2MNz0.html
@@DenisChangMusic I can certainly relate to that! Thank you for the books you've already written - they are excellent! If you can find time to write a Single Note Jazz Soloing book too that would be excellent!! haha
This is such a cool vid to see two great players practicing. Buut, this vid honestly just reminded me why I almost never practice with a metronome anymore. In my opinion , both of you can without question keep the beat and play in the pocket ..better than the metronome, bcz the metronome doesnt sound musical and real. Some points where you guys werent playing on beat it still sounded perfect and musical becouse yall actually focused more on playing together first, and secondly with the metronome , or better said, on the context itself. So why not practice " in the context" from the start. Even playing with the drummer , i think its the same thing. Its much easier to play beautifully following a good drummer than a perfect metronome.
You posed a very good question that I feel would be best addressed in another video! I ‘ve already uploaded the next few weeks’ videos, but maybe keep a look out sometime in late Oct or November! The very quick answer is that this is an exercise in awareness and not just a “metronome exercise”. Teaching awareness is the goal here, and there are lots of situations where awareness is critical!
Not sure that this is a learning exercise for others? None the less, it was very entertaining and very good music until that awful electronic metronome was used, the sound of it did my head in and I switched off. Why not get a more natural sounding one? Preferably not digital..
I come from Punk rock. I've five generations of folkmusicians (fiddlers) in my family. I've no formal music schooling. I've managed to survive and support myself professionally as an internationally recording and touring artist for 45 yrs, despite of this. Formal music schooling is wonderful. I envy everyone given the opportunity to formal music schooling. A lot of jazz music derives from or is influenced by classical music. Formal schooling can give you a fairly rapid and structured access to this. BUT: you can NEVER bypass the lessons learnt by performing with other musicians. That's how you hone your musicianship, performing musician or not. Music is no different to sports: the more you compete as an athlete, the more you develop your athletic skills. The same goes for music, reading, writing or any craft in society. Learning is an interactive process all the way from entry level to professional level. After 45 yrs I still learn new things from other professional musicians I play with. Learning and discovering new things from others, is the shit. That's what makes music fun. Spot on as usual, Denis! 👍
This phenomenon is quite unique to music, and this is why. This is by no mean condescending towards musician, but if a musician fucks up, no one gets hurt. The show may be bad (and even then many people in the audience won't notice because they don't know how to listen), or at a jam session with no audience no one gets hurt if a newbie takes more choruses than he should. So rules have to be enforced, or it has to be a personal initiative, like what you did, not to take too much space. In other fields, law, medicine, etc, trainees, newbies, junior staff, don't take a lot of responsibilities because if they fuck up the consequences can be devastating. So this problem doesn't really occur, because of the nature of the field. So I agree with what you're saying, and in any given field it is a given, but because of the nature of seemingly inconsequential mistakes in music, it's less obvious than in other fields. Or maybe when we go to marie de france or stan we re trained to know our place, it's ingrained our deep in our system.
I've had the good fortune of sitting-in regularly with some pros and everything you say is true. Be humble. Take a solo, but don't steal the oxygen from the really good players. In other words, know your place. The good players will be more willing to share their knowledge and coach you if you have an attitude that's easy-going, friendly, and receptive to genuine constructive criticism.
@@fretlessblunder thanks for corroborating! 😀 But really, I learned soooo so much more from small little tips from advanced players than I ever did through regular one on one lessons. These tips often came “out of nowhere” (pun intended) and sometimes it was just one little advice, but it made me reflect on it so much that it would change the way I think about things. Even small advice about my time feel , being draggy or rushy. It forced me to reflect and address the issue so I could hear it for myself.
@@DenisChangMusic Absolutely agree. I've had so many little suggestions about time, phrasing etc... that really made me stop and take stock of 'little things' that turn out to be the big things.
Mercy Mercy Mercy as you know was written by Zawinul for the Cannonball Adderly band. It’s in the Real book. It’s a jazz number . It’s not a swing rhythm, it’s a soul feel, but it’s still a jazz standard.
What Anton failed to realize is the fact that there are no two guitar players alike. Each has their own way of playing and executing certain techniques. Some of his claims and observations in that video were absurd and ludicrous! He made that video and took a shot at those legendary cats in a futile attempt to promote his overrated system.
Marty Friedman and Zakk Wylde are two metal shredders that have right hand forms incredibly similar to the Gypsy form and go plenty fast with it. Great video!
Hi Denis. Can I ask you to do a video on tone production? I've been playing this style for some 30 years but the one aspect that eludes me is getting the tone that the great players in our style achieve. There's something about the contact between both hands and the guitar that allows some players to produce a clear note that projects (regardless of the speed, quality of guitar). It seems to go beyond just picking technique and includes fretting finger placement and the coordination between the hands. It's something frequently talked about in classical guitar circles but rarely if at all in GJ. Many thanks.
I ve talked a lot about it previously and mentioned it briefly in the intro video here but if i can think of something good and useful to say i can certainly try!!!
@@DenisChangMusic Thanks for your reply Denis. It always fascinated me how the great maestro Tico can play so fast and each note rings clear and with such great projection and tonal quality. Seriously!!! Chapter 5 'The Play Relax-Technique' in Lee F. Ryans book The Natural Classical Guitar is a good read, somebody must have given Stochelo a copy at a very young age!
thank you for this clear, no nonsense explanation. I'm just beginning to learn some things about this style of playing, though I have listened to Django forever. I happen to really enjoy Nando Reinhardt's playing, and I've noticed that he takes a different right hand approach. I tend to like players that have an idiosyncratic approach. I'm curious how you understand the effectiveness of his picking style. It appears to be much more a movement of the thumb and index than a movement of the wrist. check out his rendition of Please Be Kind. thanks!
I think Nando’s an amazing player!! Amazing musicality and sound! It’s true that his technique is a variation and different from what I’m talking about here. I talk about this in my book. In the end, it depends on what you are trying to achieve. When I play this style of music, I’m coming more from a traditional approach whereby I barely use any amplification whenever possible. I try to play as acoustically as possible and have everything come from my hands. Nowadays, with technology, one does not necessarily have to develop a right hand technique for projection. It’s a different approach. He is not the only one. The way he uses his picking hand and the way it’s angled, doesn’t “naturally” provide the power but on the other hand, it allows a player to play more intricate lines than the traditional technique. I don’t think there’s a right answer. It really depends on the kind of lines you want to play and the sound you want to achieve. For instance, Bireli is another player who generally favors much lower action so that he can do some of his percussive tricks.
@@DenisChangMusicthank you Denis! I’m very appreciative of your comment here. It really helps me think about these things and parse out the various aspects of technique, skill, sound, equipment, and personal expression. And yes, the musicality of Nando!
Although I love Benson's playing--especially his bluesy bebop earlier in his career--I STILL think that there is way too much emphasis on his picking technique all across the internet. I can recall photographs in the old George Van Eps Method book (before his Harmonic Mechanisms) where he spoke about plectrum playing. A lot of the techniques look like pure Manouche jazz technique. Bebop picking technique is a bear because it wasn't built on the guitar, but that rest stroke style just sounds so much fuller and dynamically varied. I wish there was a way to bridge the two musical stylings... You play great with both techniques, btw!
Denis je trouve ton improvisation au début de la vidéo très très intéressant vraiment dans l'esprit du Jazz manouche. Je vais le déchiffrer et l'apprendre par coeur :)
