Pro Tip: The tritone trick works best on dominant 7 licks that don’t have altered notes e.g. b9, #9, #11, b13. Transposing up or down a tritone generates those tensions!
Craig Caver if you look at Jeff's earlier videos he demos a lot on sax, he's an awesome player. Also a very good keys player. His info on Jazz is spot on.
The reason for this: The b13 of G is the 9 of Db, the b9 of G is the 5 of 5 of Db. Let me summarise: The altered notes of G are (almost...) the mixolydian notes of the tritone. Now let's elaborate on the altered dominant scale...
I’m loving the motion graphics, Jeff! Your videos have always been very professional, but the new graphics have added another layer of quality - and fun!
This is awesome! For me the lightbulb went on when I started looking at licks as sentences - like learning a new language. Up to that time I was concentrating on learning scales, etc. As I learned more licks I started stringing them together and my solos started sounding much better. One of the best books I ever bought was "The BeBop Bible", just full of licks to learn and use.
When you're learning a lick, what attributes do you give it to recall later? Do you learn it in every key? Is there a set process you go through in terms of working over a lick again and again until you internalise it? Thats the sort of content I want .... like, OK, if you allocate 15 minutes of your practice time to licks exclusively, what is the best way to spend those 15 minutes?
I had already typed "Is this Jeff Schneider or Bradley Cooper?" but before I hit reply, I decided to ctrl + f "Bradley" and I see you beat me too it sir.
this is a good tutorial even for guitarists . I didn't even realize it was suppose to be for pianists until i watched your other videos . I am sitting here with a guitar learning these licks.
Hi, you convinced me of the usefulness of working with licks. I never felt like doing it because I didn't want to feel like a parrot. But the comparison with common expressions is more than convincing. Thank you, and I can already feel the benefits. Thx from France. 👍
Nice new format! I know I've been farming it but I like how when you take the David Baker Bepop lick and immediately play it a tritone apart you get a 12 tone row. I also like to displace the last two notes an octave up
Spot on analysis - Dexter and Sonny always quoted other tunes and "simple" riffs - that's what makes their sound so authentic AND appealing in my opinion.
I have never done tritone subs on the melody. I use different ways (hacks).. to find the tritone In G I mentally form the dim. triad from G. G Bb Db. are consecutive -3rd intervals. The Db is the tritone. Of course this alreadyis known by experienced players. There are much easier ways to do this. First a fee things that are helpful ..not part of the process. The fifth is 3 whole tones away either way C to Gb or Gb to C..That is s basic check I use. No need to do that if you know the
O lord. You are proof, that nothing is original especially you... this was great, my music teacher this back in 1989 at Watertown described it as normal English and or southern voice. Good shit...
I just want to say I love how you put your ideas into the context of the music philosophically. Personally, I just can't seem to learn well when I'm just told what to do and not given context. A good context is like walking into a lighted room.
On the last, descending lick: You could think of them melodically rather than harmonically. Both the b9 and the b13 go down chromatically to a chord tone that's on the beat. So you can think of them as chromatic approach notes. Which is why they really work. Not a lot of people hear those notes harmonically when they're played in a single-line solo - they just pull you outside, and then resolve to a chord tone before you can think about them.
OK Jeff, I am still stuck in the pentatonic improvising and getting a little tired. I didn't know about the Bebop scale, but I feel a little directionless. But going to implement these. Nice look (with the hair).
great vid man. david baker and jerry coker's books/materials really opened my eyes on the "dialect" of different styles/genres/eras by looking at idiomatic licks and phrasing approaches. first it helped me recognize how to approach that improvising jazz, but then i saw how that concept extended out to any genre, whether it was bluegrass or baroque or whatever. they're all using the same note "alphabet" but knowing different idioms/phrases allows you to fit into those different musical dialects (it also helps with analysis/quicker sight reading). i think of it like an actor speaking different dialects depending on the role.
Just came across your channel and happy to say you've earned a subscriber! Couldn't be happier with the free download. I feel like I need to grasp the technical stuff. Maybe not all of it, but the chord progression along with major scales is really a good start. If you offer a beginner's crash course on analyzing music/music theory in relation to jazz, I would be interested 😁 thanks again for the free download!
These licks are great. But nothing replaces learning straight off the records. If you hear something you like learn it for yourself. These 3 licks won't give you that "classic sound." Practicing for years working to imitate the sounds of the masters is what will do it
@@archimedislapaz4070 Wrong, you develop your ideas after learning from the greats. You acquire a vocabulary through learning the solos of the greats, then say what you want with that vocabulary. Freedom, no bars, no confinement.
Thanks Jeff, fantastic quality content as ever. I don't think it's too nerdy or technical - we come here for music theory and you make it accessible. Not spoon fed, but enough to make us do the work and get the results. Keep it coming!
Thank you for the generous chord charts and the licks for days. They are both great resource materials for the shed. I just watched another video that said scales are the alphabet and although I got the guys point it just resonated more when you said notes are the alphabet. Which in my mind makes the licks like words. And of course I could try to carry out the analogy ad infinitum but instead I’ll just thank you again for pointing out the yellow brick road.
Great tutorials and many many thanks for the Last Chord Scale charts. Utterly brilliant and excellent video. Have been looking for this for ages. I’m a beginner/ perhaps just intermediate of a ‘certain age’ and playing alto. A bit passionate about jazz !
Thanks Jeff I really appreciate these licks and will definitely be using them. Though, right now I’m really working on gaining fluidity in enclosures, approach notes, and altered extensions.
Great Video! using the example from Donna Lee was super helpful, I'll have to go back and pick some favorite bebop phrases to transpose and use alterations... It made a lot of sense with the visual example.
Jeff, good job bro! I especially like you’re pacing how articulate you are with no blah blah blah. That first lick that ended on E and D? I had fun taking liberties and playing E flat, which of course is the flat 13 in resolving down was to five, or playing E natural which is the 13 and resolving on the flat which is a flat five on the Dom seven cord. And so on and so forth. Music! Never a doll moment. Keep up the good work and please forgive my Siri inspired spelling typographical error‘s
