Hi Nick, just purchased your Donna Lee Master Class download... I gotta tell ya, with this four minutes (and repeated watching) I've finally got a bite on how to actually practice (and apply!) the bebop mystery language. Been struggling for years, off and on, giving up then going at it again, without much headway... but with your few examples here I'm breaking through - and yesterday I was improvising over Donna Lee with some fluency for the first time! (Took two months straight everyday practice to get Donna Lee under my fingers, and yeah, it's a master class all by itself) So what I learned from this one vid, I'm now beginning to apply to Rhythm Changes stuff well as just about anything else in the jazz playbook. All the elements of the jazz language roll out of the bebop language, so I thank you so much for breaking it down as you've done here. By the way, I'm a 78 year old dog learning a lot of new tricks!
You quickly find that even the quarter note step requires thinking and planning to make them smooth up and down like he has written. So reading his examples of one thing and writing our own is another. Solid systematic process though!
Why I still can't play jazz? Because I have been missing this all. I know so much of it "in theory" but it is not in my fingers and does not come out naturally. Back to the shed 😅 Thank You Nick!
You asked for comments. While you are one of the best sources I have seen on UA-cam, and it is amazing how much you can swing it with just the chord tones - I have longstanding criticiems that relate mostly to terminology in jazz. Target Notes? While don't you call them chord tones? Not just sometimes, but all the time. Also, when pedogogy seeks to create something akin to a learning ladder, your "target" should not be the middle floor of the skyscraper. And by that i mean, chord tones can also be points of departure. That is, mastering the approach to chord tines is just an intermediary target. But all that said, this tube shows an excellent strategy - which I would call a gradual increase of motivic variation - is the basis of all systematic study on how to compose melodic jazz improvisations..
Great video! Such a simple but powerful concept. First make lines with eight notes using the chordtones, than erase some of them to makes the lines rhythmically interesting.
I was at a session in NYC and I mentioned you. Bro..... Nick, you gotta get over to the U.S and do some performances. There is a lot of love for you here ( Im not kidding. Pros here know who you are ) and people would pay a serious amount of money to see you and just spend an hour with you taking instructions. Please consider. :)
@@JazzDuets Oh, stop it! :D We have to get you over here! You do not have to be in NYC. I'm in the west coast for example and I think you would enjoy the west coast. But, make no mistake, you have a fan base here. :)
I guess to stir things up, I generally feel it's worth acknowledging that you can't prioritize rhythm until after you pick notes to play, especially in a teaching context. So while rhythm is totally more important in your final product, you can't focus on it until after choosing at least one note (or many) to play over changes. I've seen students get understandably frustrated at the maxim of "prioritize your rhythm" when they feel stuck on notes. Jeff Berlin got my wheels turning in this direction. Just my two cents, cheers!
I friggin loooove your channel
Hi Nick, just purchased your Donna Lee Master Class download... I gotta tell ya, with this four minutes (and repeated watching) I've finally got a bite on how to actually practice (and apply!) the bebop mystery language. Been struggling for years, off and on, giving up then going at it again, without much headway... but with your few examples here I'm breaking through - and yesterday I was improvising over Donna Lee with some fluency for the first time! (Took two months straight everyday practice to get Donna Lee under my fingers, and yeah, it's a master class all by itself) So what I learned from this one vid, I'm now beginning to apply to Rhythm Changes stuff well as just about anything else in the jazz playbook. All the elements of the jazz language roll out of the bebop language, so I thank you so much for breaking it down as you've done here. By the way, I'm a 78 year old dog learning a lot of new tricks!
You quickly find that even the quarter note step requires thinking and planning to make them smooth up and down like he has written. So reading his examples of one thing and writing our own is another. Solid systematic process though!
Agree!!! Rhythm is the most important...
Useful insights!
Why I still can't play jazz? Because I have been missing this all. I know so much of it "in theory" but it is not in my fingers and does not come out naturally. Back to the shed 😅 Thank You Nick!
BRILLIANT! It is understood very clearly, in addition to the fact that the progressive method allows you to go step by step
Need this book
Brilliant video, Nick! Simple concepts are well explained. Cheers! 🎷
You asked for comments. While you are one of the best sources I have seen on UA-cam, and it is amazing how much you can swing it with just the chord tones - I have longstanding criticiems that relate mostly to terminology in jazz.
Target Notes? While don't you call them chord tones? Not just sometimes, but all the time. Also, when pedogogy seeks to create something akin to a learning ladder, your "target" should not be the middle floor of the skyscraper. And by that i mean, chord tones can also be points of departure. That is, mastering the approach to chord tines is just an intermediary target.
But all that said, this tube shows an excellent strategy - which I would call a gradual increase of motivic variation - is the basis of all systematic study on how to compose melodic jazz improvisations..
Great video! Such a simple but powerful concept. First make lines with eight notes using the chordtones, than erase some of them to makes the lines rhythmically interesting.
Excelente maestro, su aporte es inmenso Dios lo bendiga por compartir sus conocimientos.
you are always a great communicator very good 👍
Great Stuff
Thanks. So helpful! Great content!
Awesome explanation!
"Please not your thoughts know in the comments"
That is some cryptic wording, sir.
I was at a session in NYC and I mentioned you. Bro..... Nick, you gotta get over to the U.S and do some performances. There is a lot of love for you here ( Im not kidding. Pros here know who you are ) and people would pay a serious amount of money to see you and just spend an hour with you taking instructions. Please consider. :)
wow, cool! thanks. I get easily intimidated by the NYC cats!
@@JazzDuets Oh, stop it! :D We have to get you over here! You do not have to be in NYC. I'm in the west coast for example and I think you would enjoy the west coast. But, make no mistake, you have a fan base here. :)
it's very interesting / Thank you !
Rhytm is everything
great, top, thank U !
very good, thx!
Excelente trabalho
Top top top
Cuanto cuestan esas lecciones en pesos argentinos .gracias maestro
Yes.
Rhythm is more important.
Rhythm > Notes
I guess to stir things up, I generally feel it's worth acknowledging that you can't prioritize rhythm until after you pick notes to play, especially in a teaching context. So while rhythm is totally more important in your final product, you can't focus on it until after choosing at least one note (or many) to play over changes. I've seen students get understandably frustrated at the maxim of "prioritize your rhythm" when they feel stuck on notes. Jeff Berlin got my wheels turning in this direction. Just my two cents, cheers!