An extract from Gilad Hekselman's masterclass at the Birmingham Conservatoire. For more from Gilad head over to: jazzheaven.com/... / birmconsjazz / birmconsjazz
This lesson is very similar to something Peter Bernstein teaches, which is interesting. Really the oldest way to improvise in jazz and often overlooked. Thanks for sharing. I often think one of the hardest things to do is as a guitarist is to play a melody convincingly...
I think you are absolutely right. Thats were it all started. I just had a class with Daan Kleijn and he mentioned a similar exercise. Melody first, worry about all the other things later.
@@Shrimpilla Why would you suggest that? I would assume so that it'd be easier to conduct his lesson and the drummer doesn't have to sit there on 2 + 4 for 4 minutes
When he says that he doesn't usually like to use "such close metronome markings", does he maybe mean he just sets it to beat on every "one" of the bar?
He initially set it to be just the "two". Jazz cats usually set it to the 2 and the 4 of the bar. But he prefers to only have one beat per bar, so he has to keep up with the time himself instead of relying too much on the metronome.
Robert Klokkpp if he has set it at one beat per bar it must be incredibly fast. Try counting ONEandtwoandthreeandfourand. It now seem to be one click per beat.
Gilad- you're getting a really nice sound- could you talk a bit about how you are tuning? Is A,E or D your starting note? Some start with A in the middle, and tune down. Some start with low E and tune up. It would be very interesting to hear things like this. Thanks
@@eladguitar tuning down a 5th is different than tuning up- if you accept the idea of tempered tuning, that 5ths are slightly flat. Notes are different on the guitar, depending on what string or fret you are making them. I feel that having 1 reference note,such as A440, is the best basis of your tuning. Maintaining your 1st note as a reference impacts all of your choices. All of the E notes, and E harmonics are different, so arranging all of your sounds is part of the problem. Most intervals cannot be tuned- they are imperfect, and will never make a consonance.
It's the microphone that is used to record is overly sensitive so it's picking up atmospheric sound. Impossible to remove if you have an ultra sensitive microphone. This is why people use concrete rooms!
Great but the rhythm section is just sitting there board. Should have used them instead of the metronome. Players are not going to be using a metronome live.
most of the time you play, you practice, usually a whole lot more than your gigs. if you want to be a pro, practicing is the foremost thing to do, and what else but a metronome can give you an indication/notice about where your real timing is? so many players(including me) have neglected the use of it, until realizing how fruitful your practice can be with it.
This is not impressive at all for me. it sounds soulless. Jazz has lost its way in the schools, it´s not supposed to be conserved, jazz was contemporary music. John Coltrane was an innovator, not a traditionalist.
You're completely clueless bud. Everyone with two ears and half a brain knows that Gilad is a master, and can hear that his playing is distinctly modern. If you want exaggerated emotionalism listen to Stevie Ray Vaughan or something. Given that he's demonstrating a practice exercise with a metronome in front of a room of students he's playing as soulfully as you could hope for.
You should check out some of Gilad’s work. Hard to say that he isn’t an innovator once you listen to at least one of his albums. This was meant to be instructional so of course he wasn’t going to play something too outside
