Fantastic lesson! Gets to the issue of "How to play" rather than "what to play", which is much more in line with what I (and many others) need. Too many lessons just focus on note choice -- love to see stuff like this! Please keep it up. It is VERY appreciated.
And by the way, it's definitivelly a good topic. Not many classes about this in youtube. Very useful and more important that the people thinks. Thanks again and keep it going!
I play sax , and i find the triplet playing mostly in guitar and piano. With some exceptions-one being the tenor player Harold Vick. Thanks for showing me some ways of developing it in my own playing!
You're very welcome! I mostly took triplet ideas from piano players, especially Herbie Hancock, but if you check out some the Joe Henderson stuff he does it as well. Kurt Rosenwinkel is also a good source but he almost never uses groupings.
One idea for a lesson on phrasing might be "playing over the bar line". I'm at the point where I can play over chords but have more trouble playing lines through chords that aren't simply signposts to which chord in on at the time.
So you actually mean making sense melodically over a long er stretch than one chord? Over the barline is mostly used to describe extending harmony into the next bar. Did you check the lesson on Motifs on a Blues in F ?
Rhythm and feel are great topics. One of my teachers encourages me to use hammer-ons and pull-offs to sound like a horn or sax. He especially encourages me to pick on the upbeats and slur into the beat. It does mean I have to switch positions a lot to keep adjacent notes on the same string. Now I'm trying to figure out how to apply that over a triplet pattern. It seems like it could be a powerful tool to master because you don't have to pick every note and there are more choices for articulation, but It gets really tricky once I try to speed it up a little. Is that something you would do? In this video, it looks like you're picking each note. What do you think?
+Larry Siden Yeah Actually I was planning to make a lesson on exactly that subject: using hammer on/pull off and slides to phrase better in bop. For me it's something I work on but NEVER consciously use while playing, simply because I'd have to overthink what I am playing. You can always get pretty good phrasing with alternate picking anyway as long as you hear a dynamic contour to you line (ask Pat Martino or John McLaughlin..) That was actually the hurdle with making a lesson, because I was afraid that it will take the focus away from the music. I mostly worked on this in bebop themes and when copying solos off records, so I'd suggest using it there and then not worry too much about it for the rest. I hope I am not contradicting myself too much here :)
Sorry :) Dynamic contour is just a way to say which notes a accented or maybe ghosted, that and placement relative to the groove is the definition of phrasing to me.
great lesson BTW. I saw a thing in a guitar world lesson where Clapton would try to improvise licks in a context using triple rhythm. so like an extended jam in triple rhythm for like 4 minutes staying in context. ridiculous
+Bradley Stroup You have a few quite standard jazz grooves that are in 12/8 so equal to playing triplets all the time. You'll also often find Kurt Rosenwinkel uisng a lot of triplets when he is soloing on medium tempo tunes
Very nice - I just love seeing your lessons - thumbs up on this one! I hope you can stop by and check out my latest episode of Git Studio Live - Hallelujah it's a Guitarestra. I think you'd like it!
Fantastic lesson! Gets to the issue of "How to play" rather than "what to play", which is much more in line with what I (and many others) need. Too many lessons just focus on note choice -- love to see stuff like this! Please keep it up. It is VERY appreciated.
Thanks man! I am happy you can use it! I'll make sure to continue with this sort of lessons too!
i just cant believe its been here this whole time thank you again. i hope you are well.
One of the BEST lessons I've ever watched. I'd love to see more of these! Well, I have some practicing to do this evening! Thanks!
There is another one in the series 🙂
@@JensLarsen Yes, I just found it. Thanks!
And by the way, it's definitivelly a good topic. Not many classes about this in youtube. Very useful and more important that the people thinks. Thanks again and keep it going!
+render66 Thanks man! I'll try to make more stuff on rhythm! :)
Thank you sharing this on facebook, I've been searching for something that's been missing in my playing and this was exactly it. Absolutely fantastic.
+Vincent Jewell You're very welcome Vincent! Glad you can use it :)
I play sax , and i find the triplet playing mostly in guitar and piano. With some exceptions-one being the tenor player Harold Vick. Thanks for showing me some ways of developing it in my own playing!
You're very welcome! I mostly took triplet ideas from piano players, especially Herbie Hancock, but if you check out some the Joe Henderson stuff he does it as well. Kurt Rosenwinkel is also a good source but he almost never uses groupings.
Great lesson, rhythm is often much more important that note choices!
That is very true! In fact that is what I go with most of the time 🙂
Merci Jens pour cette nouvelle leçon.
Great Lesson, need more of this type.
Thank you very much Craig! I will keep that in mind!
Great class. Thank you !!
One idea for a lesson on phrasing might be "playing over the bar line". I'm at the point where I can play over chords but have more trouble playing lines through chords that aren't simply signposts to which chord in on at the time.
So you actually mean making sense melodically over a long er stretch than one chord? Over the barline is mostly used to describe extending harmony into the next bar.
Did you check the lesson on Motifs on a Blues in F ?
Great lesson many thanks.
+Paul Morgan You're welcome Paul!
Rhythm and feel are great topics. One of my teachers encourages me to use hammer-ons and pull-offs to sound like a horn or sax. He especially encourages me to pick on the upbeats and slur into the beat. It does mean I have to switch positions a lot to keep adjacent notes on the same string. Now I'm trying to figure out how to apply that over a triplet pattern. It seems like it could be a powerful tool to master because you don't have to pick every note and there are more choices for articulation, but It gets really tricky once I try to speed it up a little. Is that something you would do? In this video, it looks like you're picking each note. What do you think?
+Larry Siden Yeah Actually I was planning to make a lesson on exactly that subject: using hammer on/pull off and slides to phrase better in bop. For me it's something I work on but NEVER consciously use while playing, simply because I'd have to overthink what I am playing. You can always get pretty good phrasing with alternate picking anyway as long as you hear a dynamic contour to you line (ask Pat Martino or John McLaughlin..) That was actually the hurdle with making a lesson, because I was afraid that it will take the focus away from the music.
I mostly worked on this in bebop themes and when copying solos off records, so I'd suggest using it there and then not worry too much about it for the rest.
I hope I am not contradicting myself too much here :)
+Jens Larsen well now you got me wanting to know more about that "dynamic line".
Sorry :) Dynamic contour is just a way to say which notes a accented or maybe ghosted, that and placement relative to the groove is the definition of phrasing to me.
I would like to see a video incorporating triplets with picking technique.
What do you mean exactly? I think I just play them with alternate picking?
could you expand more on your motif lesson as well?
+Bradley Stroup I'll have a look, I could probably expand on it too!
Hello Jens! What is the caliber of your strings? Thank you!
I am using Sono-tone strings 0,13-,53 There's a link in the video description to their website!
great lesson BTW. I saw a thing in a guitar world lesson where Clapton would try to improvise licks in a context using triple rhythm. so like an extended jam in triple rhythm for like 4 minutes staying in context. ridiculous
+Bradley Stroup You have a few quite standard jazz grooves that are in 12/8 so equal to playing triplets all the time. You'll also often find Kurt Rosenwinkel uisng a lot of triplets when he is soloing on medium tempo tunes
Very nice - I just love seeing your lessons - thumbs up on this one! I hope you can stop by and check out my latest episode of Git Studio Live - Hallelujah it's a Guitarestra. I think you'd like it!