Thanks for the video! 6:20 Loop 1 Maj7 (G) position one starting on root 9:28 Loop 1 bluesy version 11:17 Loop 2 Position 2 13:11 Loop 2 bluesy 17:24 Loop 3 from 5th 21:25 Loop 3 bluesy 27:00 jamming on all loops
Best content on RU-vid as far as I know. You really pave the way for all of us, aspiring jazz players. And I also love how in one video you both answer a big question (flow, constructing a coherent solo) and a small question (the details, the how to, which notes...). This is perhaps the best part IMO- your ability to make all the bits and pieces into a unified strategy one can follow. Thanks again!
What I love about your approach is that you apply the feel of a phrase opposed to the theory of its components.This tells me you have a profound understanding of music.
Thanks Christiaan. You are officially my lead teacher. I have been playing guitar for years but never really knew what I should practice when it came to lead. Sure a lot of lead playing is instinctive, but at some point one becomes repetitive and needs to branch out. You are helping me to do that.
Love this stuff Christiaan!! I remember buying the Ray Brown, "Summertime" cd way back when and being amazed with Ulf's playing!! I simply put it on the back burner and listened only. I did not try and copy him as I figured that it was out of my league. You have energized me and helped me believe that it's definitely attainable! Thanks for re-kindling my passion! You make a great teacher and I would love to see you live! I live in Vancouver, B.C. Canada (westcoast) and would be front and center in the crowd if you ever breezed through our neck of the woods! Thanks for what you do and making it so abundantly clear to us non-professionals!! Great stuff!!
Congrats on passing the 5K subscribers mark. I'm sure you can easily add a lot more if you engage with people slightly outside GJ, your content is just as relevant for other jazz audiences.
Well, I'm playing on an archtop in most videos! To me the biggest difference between GJ and bebop is mainly the keys and the tunes. My lines are smack down the middle as it is since I've transcribed both a ton of gypsy jazz as a ton of bebop! I actually really like the sound of the mix.
Oh, absolutely agree. That's what I meant - your content is (already) relevant to other jazz audiences. I was just suggesting that you can bring in tons of viewers by somehow engaging with audiences of a few key channels.
To be honoust, what I learn from a saxophone player is to treat each chord the same. How?? Cmaj7 G7 over it or a B dim or even Cdim resolves back to the Tonic or maj7 this way the I II III etc seven steps could always substitue so a Dm7 could substitute Dominant and Vice versa with dominants the Maj7 sound nice on the relative IV bVI(George Benson) the bII(for Instance Joe henderson, (more a Phrygian sound)...so Tonic SD dim or Dominant give always possibilitie's to suggest different function different motion a Amaj7 over B7 works delaying a aminor works more dramatic a Eb over a A7 works modern a F#over a A7 is octatonic and not so often in Gypsie Jazz, but I think that French Great Giant knows those things...but still... Django- Parker(what about coltrane?) even the dimished scale in a gypsie way is different from normal jazz it is descending the opposite from ascending and like wise it offers the possibility to use vilon technique...to use the 4th finger to go up(Paganini actually) and the first finger to go down so switches and a strong glissando way of flow is than constant I love this Bridge between jazz and Gypsie music... I see you use a Lot of enclosure hole steps...put them together with a half step and there we go but make it half hole when gong down of course you know this but still for those who don't know...Amazing New Discoverie's!!!
I really like these lines! I learn one , and I'm am like ," this is so natural i won't forget " But then the next day i forgot . I am writing them down , position #1 , Position 2, Blues lick .
Yeah, I forget phrases often. Sometimes even the same day! It usually takes endless repeating in different sessions to cement them in my mind and fingers. Then I might actually never play them. Eventually though some of the lines will start appearing in your soloing and those will be lines that will feel completely natural to you, almost like they are YOUR lines (which at that point they kind of are). Just keep at it and don't care about the result, just care about the work and trust that eventually you will improve!
Thanks so much for this: it's exactly what I was hoping you would do, every idea you present is top drawer. The loops are a really clever way of getting the shapes under your fingers and the sounds in your ears without unnecessary theory. I came to Gypsy Jazz fairly recently via straight ahead and listening to Pat Martino and Pat Metheny for 20 years, and it's a case for me of sifting through what works from that world and getting an authentic gypsy vocabulary going. Your videos are really helping me to pull it all together. I'm fascinated by the distinction between Dutch and French approaches to the fretboard, would love to hear more about this. You mention George Benson frequently: so does he essentially use Gypsy Picking but in a different hand position?
Thanks! Dutch style is called that way because of the peculiar and sometimes counter intuitive way Stochelo navigates the fretboard. Tons of people started to copy that and thus the "Dutch Style" was born. The "French Style" has the same story but substitute Stochelo with Bireli! Georbe Benson uses something called "Benson picking" which is with the other side of the pick than usual. Gypsy picking is completely different!
What is the player's name you refer to at 4:53? The one who put Joe Pass and George Benson ideas together? Eua Fakalius? I want to look him up but have no idea how to spell his name. Thanks.
This site is a great find. Very informative. What was the name of the guitarist you discovered that had all the transcriptions of players like joe pass, wes, etc? Are those transcriptions you mentioned in a book?
Thanks. His name is Ulf Wakenius and what I meant is that I just transcribed him because I could hear in his playing that he checked out all those other greats before him!
I wonder if you know the fretboard that well as you always seem to be able to call the notes out or if you learn these as you make the prepping and the videos..
Hey Christiaan, just found your videos and I've been binge watching them. Very big fan of your approach to music, and agree with you about learning phrases instead of theoretical minutia. Just had a quick question... are you playing those bluesy loops over Gmaj6 chords (as opposed to maj7). Is it important to make the distinction, or do you just play them anytime the song sheet says major. They seem almost dominant, which is why I imagine they sound so cool and bluesy. Great videos.
I had a question for you... I know you're into learning phrases instead of theory, but when I learn licks like the ones in this video, I can't help but connect them to the music theories I know. Like the maj7 loop looks like a major scale without the avoid 4 note. Do you think this is a good way to evaluate licks, or do you think it's better to just learn them without getting too concerned with the theory behind them?
Hi, Christiaan. Trying to get into your Patreon page for the last week. Failed due to the incompetence on their part. Have account with them cannot login. keeps tellng there is another with same email address when I have tried to re-join. Waiting now for two days for a replying from them. Any other way I can contact you?
Yes right out of Charlie Parker. That, bebop scales, altered scales, diminished, maj 7. Essentially you are playing bebop. Just add some enclosures, chromaticism , play over tunes that are more complex harmonically and rhythmically...you will be playing bop!
Those ARE the real blues licks. Listen to T bone Walker, Gatemouth Brown. Blues licks are different nowadays because of the influence of BB King who introduced extreme bending in imitation of slide guitar. He influenced the modern blues cats Albert King, Freddie King, Otis Rush, Buddy Guy (BB started " choking" the neck [Buddy Guy]) and the rockers in the 60s Clapton et al
Thanks for reply Trying to join so as I can get pdf's of various vids. Are you on FB as I could message you? I do not want to in public. Otherwise will wait for Patreon to sort themselves out.
Ulf Wakenius, check him out! Of course he didn't literally help me, I just transcribed about 20 of his solos to tap into his blues playing. I think he's the ultimate source for that!
+ALEXANDER MAGER The two albums he made with the Ray Brown Trio: "Summertime" and "Seven Steps to Heaven". Also check out the course that DC music school produced with him. I made many of the transcriptions for that course!
I was checking some of his playing, it sounded a lot like Oscar Peterson's bluesy stuff. Then I saw him playing with Oscar and that explained it! I love how Oscar Peterson makes it bluesy.
There's a great spanish teacher (Felix Santos) that claims all that bluesy sound comes from, traditional african ornaments to the major pentatonic. it works extremely well. You can use any note of the major pentatonic. And if you want to use a note from the minor pentatonic you kind of treat it as a tension and resolve it with some melodies... here is that part of the video in spanish. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1C0mF-utIlI.html here it is what is he saying... it seems complicated this way but it is really simple if you just listen to it. If you play #2, you have to resolve it to 3 an you dont play regular 2 on that phrase If you play b3 you have to resolve it to 2 an you dont play regular 3 on that phrase. If you play 4, you have to resolve it to 2#, 3 an you dont play regular 2 on that phrase. #4 has 2 chromatic aproaches so you would ... 3,4 #4 5 #2 3 and you dont play regular 2 on that phrase. If you play b5, you have to resolve it to 4, "#2 4 #2 3 Also he doesnt mention it on this video. but in other he says the b7 you can reslove it to 6 5 or just to 5
