What you said @6:00 was brief, so I wanted to emphasize those words here. Knowing WHERE you are in the harmonic rhythm is of equal--if not MORE importance--compared to what you WHAT you play. My teacher also has me count out lines--rhythmically--as I play them. Rhythm colors the notes just as the notes color the harmony. Learning licks is important, but there is more to the phrase than the notes and how they are arranged--the theory. Sometimes SLOW transcription--as Sam Yahel teaches--helps us understand more than just the notes themselves. If we SLOW down and match all the details, we get into the very fingerprint of our favorite players--that of articulation, rhythm, and time feel. If we move to quickly into analysis, we overlook the nuance of the music--and we risk creating rules instead of listening to opportunities. For instance, Bud Powell plays phrases where chord tones line up on the beat. He also plays phrases where chord tones land on off-beats. Those phrases create a rhythmic/ harmonic dissonance that pushes the pulse. If we always play on the beat as a rule, than we miss the beauty of playing off-beat phrases. Love your videos, and I could study Barry Harris pedagogy till the day I can't play music anymore. Just offering a different perspective--food for thought.
This seems short and straight forward, which is good because new jazz players can take something out of it, but it hides a complexity in that it is training the ear, consolidation of rhythm, getting fundamentals sorted to allow freedom of playing and making the most of phrases/ideas rather than chasing something more exotic. That will come if you build the foundations.
I'm not going to say I want to freeze a Bud Powell phrase then put the ice cubes into my chicken soup to cool it off... wait a minute 🤔... YES I AM! 😘😘😘
You are completely right. Don’t try play the lick when you’re improvising, learn it’s magic and it will find its way into your playing!
Exactly. If I manage to play it - great. However, if not, it has many more secrets to help me.
What you said @6:00 was brief, so I wanted to emphasize those words here. Knowing WHERE you are in the harmonic rhythm is of equal--if not MORE importance--compared to what you WHAT you play. My teacher also has me count out lines--rhythmically--as I play them. Rhythm colors the notes just as the notes color the harmony.
Learning licks is important, but there is more to the phrase than the notes and how they are arranged--the theory. Sometimes SLOW transcription--as Sam Yahel teaches--helps us understand more than just the notes themselves. If we SLOW down and match all the details, we get into the very fingerprint of our favorite players--that of articulation, rhythm, and time feel. If we move to quickly into analysis, we overlook the nuance of the music--and we risk creating rules instead of listening to opportunities.
For instance, Bud Powell plays phrases where chord tones line up on the beat. He also plays phrases where chord tones land on off-beats. Those phrases create a rhythmic/ harmonic dissonance that pushes the pulse. If we always play on the beat as a rule, than we miss the beauty of playing off-beat phrases.
Love your videos, and I could study Barry Harris pedagogy till the day I can't play music anymore. Just offering a different perspective--food for thought.
This seems short and straight forward, which is good because new jazz players can take something out of it, but it hides a complexity in that it is training the ear, consolidation of rhythm, getting fundamentals sorted to allow freedom of playing and making the most of phrases/ideas rather than chasing something more exotic. That will come if you build the foundations.
Great lessons
Great! Thank you.
You are welcome!
I'm not going to say I want to freeze a Bud Powell phrase then put the ice cubes into my chicken soup to cool it off... wait a minute 🤔... YES I AM! 😘😘😘
what is this, a lick for ANTS !!?? haha
...because the notation is tiny