Jens' lessons are essentially for any guitarist. That, at least to me, seems clearly evident: each lesson contains so many practical elements we can apply to our practice and playing right away. But what I've really come to appreciate in all Jens' lessons (including those on his Patreon and on his website) is how much MUSICAL knowledge, useful to anyone, even non-musicians, in understanding and appreciating so many memorable artists, songs, and styles.
I came from a Metal background. I felt a sort of a lack of content on UA-cam by metal guitarists teaching composition/improvisation stuff. I'm so glad I found your channel! Not only is good to acquire knowledge from someone else in other genre, indeed, your content is very rich and well done. You're a master on your craft Sir. Thanks so much!
Wow, this is a game changer of a video. You've masterfully distilled three things that automatically can't help but make us better soloists. Bravo, Jens.
I love these sorts of tips because it is so important to start with the more manageable tunes. I would suggest My Little Suede Shoes by Charlie Parker. Footprints by Wayne Shorter, All Blues is another. I would also add that it makes sense to choose a tune that you actually really like!
I saw a good meme about this that rings true. beginners stick to the scale, students worry too much about chromaticism, but pros also mostly just stick to the scale
@@JensLarsen Right! I learned Bird's first, then Benson's. I should give Jim Hall's version another good listen - in my mind the head is similar sounding to Benson's.
In the beginning when i saw your videos i couldnt understand anything. I told my partner that i would learn enought to understand you in three years. Now after three years, i did not change but you did. You have had a deeper realisation of music and now you speak about it in simple worda which i understand
Another Outstanding Video Jens. Your absolutely right. Just because a Guitarist or any Musician for that matter is playing the Quote Unquote, Right Scales and Arpeggios over a Chord, it doesn't mean it's going to sound like Jazz. When this happens, what's missing is Jazz Language, and Phrasing. Both are Umbrella Terms. For anyone that wants more information about Forward Motion Swing Feel, Certain Chord Tones on Down Beats 1 and 3, and Motive Development, please check out, Forward Motion by Hal Galper and Melodic Improvising For Guitar: Developing Motivic Ideas Through Chord Changes by Bruce Saunders. Thanks.
Thank you, Jens, this was wonderful to learn from. The playing and composing of these solos are far beyond me generally, but you illustrate the ideas so well that I am able to remember them and incorporate them (in simple fashion!) into my playing.
Good lesson content, Jens. Remember a jazz sax player who once remarked that playing jazz lines with old school "sass" nearly as important as the construction exercises. Can't find "Sass" exercises online. Ha..
Excellent content. I've been playing guitar for many years and too often my solos sound like the first example you gave (scales and arpeggios) superimposed onto the chord w/o any motif development or forward motion. I appreciate you taking the time to explain these improvisation concepts. Thanks. NickC
Glad you bring up Bach, instead of "finger exercises" that you see all over the internet, I warm up playing his Cello Suites. He's where Forward Motion comes from, Galper points that out.
Thanks for this great video Jens. Call me a Nerd, but I always like learning about approaches and listening to Motifs. They are so important and powerful. One tip I was taught is - if you're having difficulty listening out for Motifs, listen for repeated rhythmic patterns. The Rhythm of a Motif cannot be underestimated in importance as it is such an effective defining character - as you have demonstrated in this video. 😁
@@JensLarsen Yes, I agree. As you demonstrated, an identifiable rhythm pattern that shifts throughout the bar(s) sounds like it has more impetus / forward motion. The Jim Hall example(s) from 6:51 where he shifts the motifs and fragments them to third and fourth diads sound great as their changing accents become very interesting (as well as the melodic / harmonic development). Same thing applies with your Wes Montgomery examples. I also like the idea of moving through the changes with my own motif(s) in Rubato (from 10:38). That is a great idea - as well as trying to hear (in my inner ear) what my motifs would sound like in the changes. I really like the ways Wes shifts and fragments his 'call and response' motifs too. That's a lot more interesting than repeating a predictable motif. Repetition and Development - like the plot in a good story. The motifs are shifting rhythmically and harmonic / melodic interest (as aforementioned) through the changes is maintained also. Wes doesn't let the listener go either. He develops (reinvents ?) his motifs in call and response with his (signature) octaves - as per your examples.
Jens. Would you ever do a break down video of a Kenny Burrell song? He’s one of my favourite jazz guitarists up there with grant green and joe pass ( thanks to you ) cheers for all the videos.
This is a fantastic lesson. Keep up the great work 🤘. I’m primarily a metal guitarist that has been playing for about 12 years. This last year I’ve been delving into jazz. Your lessons are always informative. My main goal is to incorporate this type of playing into my own to create some really unique Melodie’s while still maintaining fast or intense playing.
I wonder how many of your viewers got into Jazz by hearing Wes Montgomery? He was self taught and developed his sound and style by trying not to wake the neighbors. Your videos are informative and honor these Jazz giants. ❤
@@whimpypatrol5503 that’s true. Myself, I had to seek out Jazz. I grew up on 90’s Country and Classic Rock. Despite being from Louisiana, there isn’t much jazz outside New Orleans. I’m glad I live in a time where we have so much available to listen to.
Fantastich. Necessary concepts for PRACTICE for all instruments. Oh, lordy, once again the mountain in front of me looms large. You pulled me back into the work with this one. I was offended by the title at first. "i NEVER sound as those guys? B´BAH! Yes i do!": No i don't. Played a gig last night, and even without hearing a recording of it, I am fairly sure that not many, or probably none of the 4 bar segments I played would compare favorably. Back to the shed.
I've watched several videos and not even once he mentioned that he wrote a book. Thanks for not doing like Rick Beato, Beato book, Beato bundle... Blah blah. The quality of the videos is great, surly also the book. I might buy it eventually. Thanks for all your lessons
Great video, sir! I was wondering if you had advice for gaining comfort with smaller subdivisions? I can play fast, but don't feel like I can say anything meaningful with faster notes yet. How do you bridge the gap? Thanks!
Practice a lot of fast tempos and then get used to playing more dense in those. That the makes it easier to translate it to double-time stuff. Besides that I just practice playing double time on medium tunes as well.
ABSOLUTELY NECESSARY not to stress about your rhythm section!! Jen’s, these are the guys that l heard as an embryo,& all my life; my DAD💔 had the turntable on every second he could . He left me with such a beautiful legacy. I learned classical piano ( OSCAR PETERSON IS GOD! 🎹 And BEETHOVEN is GOD too. ) Then l learned jazz guitar. I played i in a rock band. Had to pay the rent😆✨🎸🎹😈✨
I might be wrong but when you combine your skills with, emotional experiences you have had, your playing will cease to be your playing, and it will be something you reveal too yourself
I like that. Like when the music plays itself… or the band… all the study and preparation just increase the frequency and likelihood of having truly revelatory experiences in improvisation… and in being able to communicate real emotion. Anyway, well said.
Go to your room, lock yourself in, throw away the key, take your guitar and don't come out for 2 years. The recommendations from this video are all you need.
Il y a le bon et le mauvais guitariste. Le bon il joue des bons great solos. Le mauvais il joue des bons great solos mais...... c'est un mauvais guitariste😁👍
i disagree. Some people advance very quickly, especially when they start young and have “ natural talent”… but anybody except the completely tone deaf can learn to make very satisfying music if they work at it… there are some levels of musicianship that only a few people ever reach but that’s not important, except in deciding whether you find them inspiring or discouraging. I recommend the former.
But we can't learn anything from them having talent, we can only learn from what they played. The lesson to learn from Elon Musk or Steve Jobs is also not that they were lucky, even if they were that too.
Last month I was criticized "you just think of chords in your improvisation". Maybe Wes and Grant Green's idea can be a new practice target. Btw, can you make content about Grant Green's playing style on each of his albums? (I see a different styles)
What Makes A Solo Great? 😎
Why Grant Green is Bebop 101 for guitar:
ua-cam.com/video/DGWIUTY1XPM/v-deo.html
Jens you are quickly becoming the necessary guitar instructor. At this point, you've surpassed every other guitar instructor on the web, and by a lot.
Thank you! :)
Seconded!
It is the same thing ibt also for the piano.... 😊🙏
Jens' lessons are essentially for any guitarist. That, at least to me, seems clearly evident: each lesson contains so many practical elements we can apply to our practice and playing right away. But what I've really come to appreciate in all Jens' lessons (including those on his Patreon and on his website) is how much MUSICAL knowledge, useful to anyone, even non-musicians, in understanding and appreciating so many memorable artists, songs, and styles.
Thank you, Boomer! I really appreciate the recommendation!
I came from a Metal background.
I felt a sort of a lack of content on UA-cam by metal guitarists teaching composition/improvisation stuff.
I'm so glad I found your channel! Not only is good to acquire knowledge from someone else in other genre, indeed, your content is very rich and well done.
You're a master on your craft Sir. Thanks so much!
As a jazz drummer I love your videos because they help me understand why I dig some people’s solos and others not so much.
Thank you, Jack!
Wow, this is a game changer of a video. You've masterfully distilled three things that automatically can't help but make us better soloists. Bravo, Jens.
You're very welcome!
Jim hall is one of the most slept on artists of his generation. Always happy to see him referenced as a staple of culture
He is indeed a bit overlooked 🙂
Hearing Jim Hall playing with Paul Desmond is like listening to heaven!
This is one of your best videos ever. Simple, to the point and sensible.
Thank you 🙂
G B is our mentor me and my friend in all the time since young age in Haiti.
Thanks GB
And always listen to the people you’re playing with. It makes you think less, which is always good.
That is indeed important 🙂
If you can’t hear it, don’t play it. You will never phrase something effectively if you can’t hear it first.
The best online teacher I have ever encountered. Congratulations, and keep up the good work! Thank you
Thank you!
"Forward Motion" is fantastic, great to hear you highlighting it. That book totally changed my playing and approach to learning.
It is indeed a great book!
Jazz solos really make a song! Gotta learn from the greats to see what makes them great! Cheers
Thanks Ron!
@@JensLarsen Always!
I love these sorts of tips because it is so important to start with the more manageable tunes. I would suggest My Little Suede Shoes by Charlie Parker. Footprints by Wayne Shorter, All Blues is another. I would also add that it makes sense to choose a tune that you actually really like!
I saw a good meme about this that rings true. beginners stick to the scale, students worry too much about chromaticism, but pros also mostly just stick to the scale
I guess that is mostly about how if you can easily use whatever notes you want THEN you can worry about connecting phrases and make it more melodic 🙂
no
This is a very wonderful clarification! You gave the key to understanding. Thank you!
Glad it was helpful!
@@JensLarsen 🙏
“Just like Benson…” is my quote of the day! ☮️💟☯️
Great lesson, thanks.
Glad you liked it!
Always great information 😎
Glad you think so!
I’ll be Bach” killed me 😂, also love the simple approach and very easy to understand.
Ive been listening to that Benson version of Billie's Bounce tons lately - at first just to get the way he plays the head. The solo is so smooth.
That solo is great! You have to watch out because he is playing the theme wrong in one place, but I forget what it is.
@@JensLarsen Right! I learned Bird's first, then Benson's. I should give Jim Hall's version another good listen - in my mind the head is similar sounding to Benson's.
In the beginning when i saw your videos i couldnt understand anything. I told my partner that i would learn enought to understand you in three years. Now after three years, i did not change but you did. You have had a deeper realisation of music and now you speak about it in simple worda which i understand
That's almost a great Mark Twain quote 😁👍 Glad you like the videos!
Another Outstanding Video Jens. Your absolutely right. Just because a Guitarist or any Musician for that matter is playing the Quote Unquote, Right Scales and Arpeggios over a Chord, it doesn't mean it's going to sound like Jazz. When this happens, what's missing is Jazz Language, and Phrasing. Both are Umbrella Terms. For anyone that wants more information about Forward Motion Swing Feel, Certain Chord Tones on Down Beats 1 and 3, and Motive Development, please check out, Forward Motion by Hal Galper and Melodic Improvising For Guitar: Developing Motivic Ideas Through Chord Changes by Bruce Saunders. Thanks.
Thank you Michael! I don't know that book, but Bruce is great so probably the book is as well 🙂
Thank you, Jens, this was wonderful to learn from. The playing and composing of these solos are far beyond me generally, but you illustrate the ideas so well that I am able to remember them and incorporate them (in simple fashion!) into my playing.
Glad it was helpful!
Always comes back to the basics, motivic development, call & response, etc. Great video, Jens. Thanks
Absolutely!
Great stuff Jens. I love listening to Jim Hall And Ron Carter duos.
Glad you enjoyed it
Great lesson. Beethoven’s 5th is incredible to listen to for developing a motif, one motif for almost the whole thing.
Yes indeed!
I think Wes & George always sound better than me...because they ARE better than me. Gotta set some high goals!
Truly a master class! Well developed
Thank you 🙂
THANKS, JENS!
Great video. I'm looking forward ro working on some of these things this weekend. Thanks @JensLarsen 🎸🎶🎵
You got this!
It would be really nice to have the list of examples on the description, maybe with links. Love your videos
Maybe just watch the video on my website with the written out examples?
Thanks. Btw, that was a really fast reply
Good lesson content, Jens. Remember a jazz sax player who once remarked that playing jazz lines with old school "sass" nearly as important as the construction exercises. Can't find "Sass" exercises online. Ha..
The problem with that is that you don't know what "Sass" is so you don't know what to look for. That doesn't mean they are not out there thought... 😁
Excellent content. I've been playing guitar for many years and too often my solos sound like the first example you gave (scales and arpeggios) superimposed onto the chord w/o any motif development or forward motion. I appreciate you taking the time to explain these improvisation concepts. Thanks. NickC
Glad it was helpful!
Excellent video Lars!
Glad you liked it!
I like this man’s German accent and sensibility 👍👍 thank you
Thank you 🙂
Glad you bring up Bach, instead of "finger exercises" that you see all over the internet, I warm up playing his Cello Suites. He's where Forward Motion comes from, Galper points that out.
Excellent lesson. Thank you!!
You're very welcome!
Excellent presentation of these key ideas! Well done, and inspiring.
Glad you liked it!
Your style is good way to learn guitar
Thanks for this great video Jens. Call me a Nerd, but I always like learning about approaches and listening to Motifs. They are so important and powerful.
One tip I was taught is - if you're having difficulty listening out for Motifs, listen for repeated rhythmic patterns. The Rhythm of a Motif cannot be underestimated in importance as it is such an effective defining character - as you have demonstrated in this video. 😁
Thanks Kevin! Don't you find that the best motifs are the ones where the rhythm is shifting? those are the ones I like the most at least -🙂
@@JensLarsen Yes, I agree. As you demonstrated, an identifiable rhythm pattern that shifts throughout the bar(s) sounds like it has more impetus / forward motion.
The Jim Hall example(s) from 6:51 where he shifts the motifs and fragments them to third and fourth diads sound great as their changing accents become very interesting (as well as the melodic / harmonic development). Same thing applies with your Wes Montgomery examples.
I also like the idea of moving through the changes with my own motif(s) in Rubato (from 10:38). That is a great idea - as well as trying to hear (in my inner ear) what my motifs would sound like in the changes.
I really like the ways Wes shifts and fragments his 'call and response' motifs too. That's a lot more interesting than repeating a predictable motif.
Repetition and Development - like the plot in a good story. The motifs are shifting rhythmically and harmonic / melodic interest (as aforementioned) through the changes is maintained also. Wes doesn't let the listener go either. He develops (reinvents ?) his motifs in call and response with his (signature) octaves - as per your examples.
@@kevindonnelly761 Exactly, there is a story-telling element to Wes' solo buildup
Jens avisa porfavor con tiempo si regresas a España... No fui a tus clases porque me enteré muy tarde. Anuncia con tiempo 🙏🙏🙏🙏
what a masterclass!
Thank you 🙂
Great lesson! Love that benson lick so much
Great video!
Glad you enjoyed it
very practical lesson
Thank you 🙂
Excellent!!! Thank you
You are welcome!
Jens. Would you ever do a break down video of a Kenny Burrell song? He’s one of my favourite jazz guitarists up there with grant green and joe pass ( thanks to you ) cheers for all the videos.
Here's one video and there is one more in the playlist ua-cam.com/video/g9If9TAmK44/v-deo.html
It pays off to search on the channel 😁
Thanks for another great video!
Glad you like them!
I like this video. It is very true
Glad it was useful 🙂
Gior Spinson is one of my favorite players ever ❤ All joking aside, love the channel, Jens. Thanks for sharing your knowledge 🙏
Zen, this is a eureka momment
This is a fantastic lesson. Keep up the great work 🤘. I’m primarily a metal guitarist that has been playing for about 12 years. This last year I’ve been delving into jazz. Your lessons are always informative. My main goal is to incorporate this type of playing into my own to create some really unique Melodie’s while still maintaining fast or intense playing.
Great! Go for it!
I wonder how many of your viewers got into Jazz by hearing Wes Montgomery? He was self taught and developed his sound and style by trying not to wake the neighbors. Your videos are informative and honor these Jazz giants. ❤
Thank you! My impression is that Joe Pass and George Benson are drawing in more people to Jazz, but I never really checked.
@@JensLarsen And they should be! Giblet Gravy is absolute Fire!
Self-taught, maybe, but thourghly exposed to hard core jazz greats through his family.
@@whimpypatrol5503 that’s true. Myself, I had to seek out Jazz. I grew up on 90’s Country and Classic Rock. Despite being from Louisiana, there isn’t much jazz outside New Orleans. I’m glad I live in a time where we have so much available to listen to.
Great! Thank's💯
No problem 👍
Another fantastic video! Thanks Jens 👍
Glad you enjoyed it, Fionn! 🙂
I don't know if you'll see this but you should make a playlist of some of your favorites!!
Fantastich. Necessary concepts for PRACTICE for all instruments. Oh, lordy, once again the mountain in front of me looms large. You pulled me back into the work with this one. I was offended by the title at first. "i NEVER sound as those guys? B´BAH! Yes i do!": No i don't. Played a gig last night, and even without hearing a recording of it, I am fairly sure that not many, or probably none of the 4 bar segments I played would compare favorably. Back to the shed.
Haha! No worries, just go for it 🙂 You anyway want to sound like you
I've watched several videos and not even once he mentioned that he wrote a book. Thanks for not doing like Rick Beato, Beato book, Beato bundle... Blah blah.
The quality of the videos is great, surly also the book. I might buy it eventually.
Thanks for all your lessons
Thank you! 🙂
Thank you!
👍
Great video, sir! I was wondering if you had advice for gaining comfort with smaller subdivisions? I can play fast, but don't feel like I can say anything meaningful with faster notes yet. How do you bridge the gap? Thanks!
Practice a lot of fast tempos and then get used to playing more dense in those. That the makes it easier to translate it to double-time stuff. Besides that I just practice playing double time on medium tunes as well.
Will do! Thank you sir!
Jimmy Bruno has a pretty unique view of learning jazz 😁
ABSOLUTELY NECESSARY not to stress about your rhythm section!! Jen’s, these are the guys that l heard as an embryo,& all my life; my DAD💔 had the turntable on every second he could . He left me with such a beautiful legacy. I learned classical piano ( OSCAR PETERSON IS GOD! 🎹 And BEETHOVEN is GOD too. ) Then l learned jazz guitar. I played i in a rock band. Had to pay the rent😆✨🎸🎹😈✨
Ok, but I kind of want to know the Emperor Palpatine E7 lick. 0:28
Haha! Maybe a later video 😎
I can't imagine how slow guitar progress was before the internet... THANK YOU!
Glad you can put it to use 🙂
It was fast because sheet music and learning by listening and playing with real
People is still the best way
2:59 Where did you get my licks from? 😂😂😂
Haha! I am not allowed to reveal my sources 😁
great stuff, thx. plz mention Beethoven regarding motific development.
I did, didn't I? 🙂
"Avoid the butter notes" -Miles Davis
Currently working on that hall's solo. Is garper's book too hard for a beginner sight Reader? Cheers
Nice! The Hal Galper book is not really the type of method that you play exercises from, so it can be worthwhile even if you don't read too fast.
does it (Forward Motion) have tablature for the examples ?
Thank you,for excellent lesson(s!).🙏🏻
@@adamcrary1602no tablature because it’s not specific to guitar.
Maybe start from the original song and see if you have something to add to it's mood and message, this way you are focused on music, not technicality.
I might be wrong but when you combine your skills with, emotional experiences you have had, your playing will cease to be your playing, and it will be something you reveal too yourself
I like that. Like when the music plays itself… or the band… all the study and preparation just increase the frequency and likelihood of having truly revelatory experiences in improvisation… and in being able to communicate real emotion. Anyway, well said.
I like guitars but I can’t buy one 💔💔
👍
The only rule is the music that one makes, becoming a good listener is more important than any music theory. Gospel.
I feel attacked 😂
😂🙏
Go to your room, lock yourself in, throw away the key, take your guitar and don't come out for 2 years. The recommendations from this video are all you need.
Il y a le bon et le mauvais guitariste. Le bon il joue des bons great solos.
Le mauvais il joue des bons great solos mais...... c'est un mauvais guitariste😁👍
music is simple eather u have it or u dont .
i disagree. Some people advance very quickly, especially when they start young and have “ natural talent”… but anybody except the completely tone deaf can learn to make very satisfying music if they work at it… there are some levels of musicianship that only a few people ever reach but that’s not important, except in deciding whether you find them inspiring or discouraging. I recommend the former.
😊
Great concepts but directed to jazz
Are all jazz guitar players 'readers' ? How does a 'play by ear' non reader learn this stuff?
Knowing theory and being aware of what you play is not the same as being able to read. Maybe check out this: ua-cam.com/video/K7OO-s31pOU/v-deo.html
At 7:02 it sounds like a rat scratching is in the maze ..weird !
It (your earlier soloing) actually sounded a bit like Manhattan Transfer doing "Ray's Rockhouse":
ua-cam.com/video/fUNGh75qR58/v-deo.html
I appreciate your videos, but in all fairness I think the biggest difference between 'they' and us-is that they have immensely more talent. 😂
But we can't learn anything from them having talent, we can only learn from what they played. The lesson to learn from Elon Musk or Steve Jobs is also not that they were lucky, even if they were that too.
@@JensLarsen I didn't mention luck. I mentioned talent.
Frankly I think Wes Montgomery is far more talented than Musk or Jobs; maybe both combined.
@@allancerf9038 Feel free to switch talent for luck with Musk and Jobs. I don't think it really makes a difference for my point.
why do u have to teach ? when u knw all u must be some ones magic ?
Amazing Video. Learn a lot. I agree with @markslist1542. Thanks for producing such a great content. Practice Time!
My pleasure!
Last month I was criticized "you just think of chords in your improvisation". Maybe Wes and Grant Green's idea can be a new practice target.
Btw,
can you make content about Grant Green's playing style on each of his albums? (I see a different styles)
Kontrapunkt. Solei deo gloria