Phenomenal teacher and player. There's a million lesser teachers covering such material, but you fill in the missing gaps they always leave. Maybe following your lessons I will finally get the hang of jazz guitar!
Thank you especially for wise words about improvisation. Not many teachers talk about that topic this way. Learn your scales but when it comes to play forget about them and lean on your subconcious.
Great lesson, especially the part where you said "Where do I apply bebop scales? And my answer almost always is, don't". It's so easy for students to get into the thought process that knowing a scale will magically make them a better musician, rather than treating it as framework and exploring sounds with them.
+maximum805 This was great, thanks, I have been researching "7 major scales guitar" for a while now, and I think this has helped. Have you heard people talk about - Vonizabeth Strumming Magnitude - (Have a quick look on google cant remember the place now ) ? Ive heard some awesome things about it and my friend got excellent results with it.
I specifically work on fingerings that allow me to play one or two notes of a chromatic phrase on two adjacent strings, rather than one, as you mention. It's harder that way, and so demands more practice. On the other hand it makes chromaticism available in many place in would not otherwise be available.
Nice lesson! Usually the added note in a dorian bebop scale is the major third, in between the minor third and the perfect fourth. A D dorian bebop scale would be: D E F F# G A B C. That means that it shares the same notes as a G dominant bebop scale, which makes sense since a II-V originally is a reharmonization of just a V chord.
Yep. However, any scale works on any chord ... it just depends how it "aligns" rhythmically. For instance, using D E F F# G A B C on Dm7 makes the notes D-F-G-B fall on the beat. My opinion: the required resolution in the II-V progression happens when the C notes has to change to a B note on the G7 chord (right?). The G7 dominant bebop doesn't "carry" this change very strongly ...
jazz guitar lessons I agree. The point, I think, is to vary the sound so that the lines becomes smoother and less obviously scalar. Pat Martino, for example, often inserts a flat ninth in his lines. He might start a falling D dorian line with the notes E Eb D and so on.
Thanks for this lesson (5 years belated :) ), quick question. How do these scales need to change over a minor 2 5 1? Which I think would normally be Dm7b5 G7b9 and Cmin7
Hello, good question! There are many ways to do this. There is not really a "right" or "wrong" way to play bebop scales because the whole concept is to make the amount of notes played even, so that rhythmically, the chord tones line up with down beats, and the tensions with upbeats. So, in this case, for the iim7b5 chord you could use a Locrian scale (with a natural two to make it less jarring maybe?) and place the passing tone between b7th and the root, or between the b5 and b6, etc. Pretty much, take a scale that works for the chord and then experiment to see what chromatic passing notes sound better to you.
Salut! Désolé, il n'y en a pas sur ce channel. Cependant je t'invite à regarder cette vidéo sur l'improvisation sur une progression ii-V-I: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Q6SVr5InHHA.html Si tu comprends les concepts de ce vidéo, tu pourras les travailler sur une autre progression de ton choix ;-).
Hi Danny, if you click on the link in the video description and then click "PDF file" on the blog and fill out the form, you should get the correct PDF. Hope this helps!
There's a lot of jazz guitar videos on RU-vid, but you have a clear, simple style of presenting that's a pleasure to watch. I've mucked about a bit with treating the bebop major as a modal scale and there are definitely some interesting sounds in there. Even connecting, say, a I to a IV chord is a little more interesting. Lot of work, though. C bebop gives you some really nice chords over an E, because relative to E you get major and minor 3rds, the b7 and b6 but perfect fifth. Anyway, thanks for this. I wish the same-fingering-per-octave thing had been around when I was learning back in the 70s: it's still something I only address fitfully, I'm afraid. Great video and I'll be checking out the others. Liked & Subscribed.
Merci Marc - I particularly enjoyed the comparison between working in the gym to play a sport and working guitar exercises to play a performance. I think what overwhelms student musicians, particularly jazz students, and maybe especially guitarists, is that they think they have to catalog and instantly recall hundreds of formulas and rules and odd terms during every eight bars of their solo. But athletes don't think like that. They don't try and recall their bench press routine when they're in midst of trying to kick/throw/slap a ball/javelin/puck somewhere downrange. The "Gym Work" gives you the chops so your creative musician brain can do it's artistic thing. Demonstrate to student guitarists - "Play an E chord". They'll usually have no trouble just plain playing the thing. Remind them of the time, maybe the first hour of holding that guitar, when getting those three fingers into those three fret spaces seemed impossible, painful, confusing etc. And then, they " Went to the gym" for a few minutes/hours/days and suddenly "Play an E chord" was something you could do in your sleep. Didn't have to think or recall a thing. No formula needed. Thanks Again Marc, for all your great videos - Lumpy
It's a tune of mine called "Stand Under", it was recorded in 2011 on the EP "The Time it Took" by M-A Seguin. See this: jazzguitarstore.net/courses/the-time-it-took-marc-andre-seguin-trio/ Thanks! :-)
i've partially ingrained bop phrasing and to me, there are no scalar runs per se. more like zigzag patterns that don't follow any wholestep/halfstep predictable directions. a lot of bop licks are used and often become more and more fragmented. a bopline appears to be no more than 3 or 4 notes in any one direction. chromaticism is heavily used at times, along with minimal arp usage. repeating motif usage is minimal and starting a line on the 'and' before the 1, is common. i would like to encourage an ongoing dialog w the person on this vid as it would be valuable to all concerned. ps, i also listen to horn and piano players- is where i get my ideas.
You'd be surprised. Bop lines in general are pretty directed in terms of where they are in the chordscale and where they're headed. The concept of "target notes" (whether they're naturally occurring chord tones or extensions, or they're altered in any way) and chromatically approaching them so that they are played at specific moments in musical time is really valuable for understanding how they work. Bebop scales really help with that last part - making sure that the right notes happen at the right time (target notes ON the beat; passing notes, esp. chromatic notes off-the-beat). The scalar side of it obviously doesn't particularly jive with how bebop lines are actually played, but a scale isn't music - it's just a collection of notes to help you organize your understanding. But yes, LOTS of zig-zag. Lots of jumping, too.
thanks for the reply. i try to study why bop piano players have such great lines. i think because they see a linear path and to me- the intervals are much more quickly accessible. on guit, there's the challenge of 4,5 or 6 notes per string (if you include sliding into the run from the start or at the end) then the next adjacent string comes into play unless you do linear position switching. doesn't feel natural to me. personal ear training is 50/50 productive at times. i wished i started on trumpet instead.
For practice, it might help to check out the material in the link in the description so that you can follow along with a visual reference as you learn the scales. Just practicing the different positions while shifting the scales through all 12 keys is a great start to getting this stuff under your fingers!
