Yeah this is so great, a shift from that universal bad habit of starting on the + of 1 (or on one) which is so engraved. So this “after 3” discipline is not so easy but satisfying to do.. Thanks for enlarging our scope Jeremy !!
Thank you for a wonderful topic, which is not usually considered ! I really liked the idea of scribbling improvisation on notes with a preliminary definition of all target points that can serve as an internal counterpoint. I think that Bird, with his phenomenal memory, used this principle immediately in improvisation.
I love your videos! This one is very timely for me as I have been struggling to create improv lines in my practice. Your insight is so helpful for us "would be" improvisors who are yearning to know what an experienced professional thinks and does. And the way you organize and present your ideas makes it possible for us to understand and put them into action. Great job! I appreciate so much what you are doing to share your knowledge with us.
Great idea! By starting your phrase on the "and of 3" or on beat "4", you are forced to carry your improv idea OVER the barline and connect to the next chord.
Very astute analysis and instruction, almost a classical approach to your methodology for teaching the bebop idiom. I’ve been watching a number of other videos of yours on closely related topics, like the arpeggio patterns, crossing over, crossing under, targeting notes, thirds on downbeats, chromaticism, etc. Your material is terrific, and I love working on it, but one thing that occurs to me is “how do you do this and not sound like everybody else?” Certainly, there’s a lot of possibilities, but are there really so many Possibilities that you don’t sound like everyone else?
Great lesson, had a question regarding your advice about enclosures though. I am pretty sure there are numerous occasions where the target note doesn't land on the 1 beat for old school bebop players , that kind of displacement creates a nice rythmic feel
You’re absolutely right! They’re not always on beat 1. i give this advice because I find that students nearly always start enclosures on beat 1, which is not ideal, but enclosures *could* ultimately lead into any of the beats of the measure. I think they are most common on the strong beats (1 and 3)
@@counterflow5719 hey Gary - I’ll have to look back at the video to remember what I did with my left hand! That wasn’t my focus. 😂 I do lessons - there’s a link to sign up for a time in the video description. Let me know if it doesn’t work or if you have trouble.
