It's a nice little thing that could become a huge thing. When I started back on piano and trying to get my technique up, some guy told me to practice the scales with all kinds of dynamics and rhythms, but didn't specify like this. Of course, that's two hands and two lines, so you can also have contrasting dynamics and such. And chords on one side, these melodic variations on the other.
Very cool Nick. I've been thinking about this and I like how you apply this. I wanted to apply the idea to chord structures, but this makes sense to work on it freely the way you demonstrated. Love to see you do this concept in a 12 bar blues.
I was last week on a masterclass and the teacher told us to work on our rhythm but I didn’t have any idea in how to work on it, but I will incorporate what you show us on this video, thank you this information is gold
Hi Nick this is great. Been working on my rhythm lately, this will really help. Like the art work just behind your right shoulder, wondering what it is called and is it available anywhere. Thanks Tony Here are some timestamps 2 eighth notes, 1 eighth rest 4:22 4 eighth notes, 1 eighth rest 6:09 3 eighth notes, 2 eighth rest 6:54 5 eighth notes, 2 eighth rest 7:45
The 8-note “bebop scales” are good material for this concept, as they have the 4/4 time signature embedded in the structure of the scale, providing a nice counterpoint to the rhythmic content of this practice method.
Yup! Those could definitely work. Just be careful, because when you add the rhythmic displacement they don't line up note-wise like they should all the time. Would be a great exercise to investigate how it all works with the rhythmic stuff 💪
I like this idea a lot. I will implement with the addition of alternating up and down or down and up. Or up up down, down down up etc. music really is a bunch of math when you break it down.
Question.. so desonance is done with slurs and key signature in obscure keys (f#)etc. Then back to key of (c) but always tied in advart-guard during the solo on saxophone."
Hi. I don’t speak English by nature, so I’m not sure about the concept “even”? “Odd”? 🤔 but I get the idea hearing you play. And it’s a good way of make your own patterns and make your own personality playing as well. Great exercise.
@@hughanderson7285 You can hear them. I would recommend that instead of me describing them. I hope that makes sense. That's how I learned was from copying people! No explanation will come close to listening and imitating
Show an example for 16 th. notes and or 32nd. notes! Very good reverse even-odd, odd-even concept wow,wow! Oh by the way your concept works best in 4/4 time for best Bebop rythm and syncopation accents." Which of the 2 even-odd, odd- even concepts would equal advart- guard and normal classical jazz sounds of Bebop symutaeniously in a solo of desonance and non desonance at the same time...
Not really. If you slow down, and drop the need to be entertained (for the moment), you can see that everything he says pertains to a method for learning rhythms.
Oh-you mean: “blah blah blah [rest rest] blah blah blah [rest rest]…” but seriously, this video communicates a complete practice concept in 10 min, I think that’s quite concise.
This was so clearly applicable. Now, I'll go practice
This is a wonderful lesson! So useful for me. Thank you.
amazing ! Thanks for such a great concept. Boring scales exercises just became soooo cool !
It's a nice little thing that could become a huge thing. When I started back on piano and trying to get my technique up, some guy told me to practice the scales with all kinds of dynamics and rhythms, but didn't specify like this. Of course, that's two hands and two lines, so you can also have contrasting dynamics and such. And chords on one side, these melodic variations on the other.
Thanks for sharing.
ALWAYS love rhythmic content, thanks Nick!
Glad you enjoyed it!
Brilliant!!! Thank you!
Very cool Nick. I've been thinking about this and I like how you apply this. I wanted to apply the idea to chord structures, but this makes sense to work on it freely the way you demonstrated. Love to see you do this concept in a 12 bar blues.
I was last week on a masterclass and the teacher told us to work on our rhythm but I didn’t have any idea in how to work on it, but I will incorporate what you show us on this video, thank you this information is gold
Many thanks very good
Thank you. Very very good practice advice. 👍
Hi Nick this is great. Been working on my rhythm lately, this will really help.
Like the art work just behind your right shoulder, wondering what it is called and is it available anywhere.
Thanks Tony
Here are some timestamps
2 eighth notes, 1 eighth rest 4:22
4 eighth notes, 1 eighth rest 6:09
3 eighth notes, 2 eighth rest 6:54
5 eighth notes, 2 eighth rest 7:45
That’s an original piece by my friend Roger Goldenberg that he painted while we were playing music. Very special to me!
Really nice exercise!
Nice! A simple device which adds depth and coherence to the rhythmic content of improvised lines.
This is a great video, really inspiring, brief, to the point, with compelling examples. Exactly what I’ve been looking for. Thank you.
BRAVISSIMO Nick! So great Inspiring!! Excellent GRAZIE
Thanks Nick, amazing information.
Great idea thanks for sharing
Fantastic, thank you!
This is stunning! Great video, thanks.
Great idea!!! Thanks
GREAT!!!!!! no more sleep at night this is an amazing point of view and inspiration
Hahaha. Please, make sure you get some sleep 😁
Fantastic video 🙏 thank you man
I love this. Thanks.
Thanks Nick. Simple idea but as you say makes the simple scale sound more like jazz.
Good stuff, Nick, thanks!
Great ideas!
It actually was midnight at home so…I’ll start practicing this tomorrow.. it sounds like a great exercise. Thank you!
🤣
great stuff!!
Thanks this was very helpful
Nice work! (I'm a drummer, and appreciate the way you think about rhythm.)
Thank you!!
The 8-note “bebop scales” are good material for this concept, as they have the 4/4 time signature embedded in the structure of the scale, providing a nice counterpoint to the rhythmic content of this practice method.
Yup! Those could definitely work. Just be careful, because when you add the rhythmic displacement they don't line up note-wise like they should all the time. Would be a great exercise to investigate how it all works with the rhythmic stuff 💪
instant subscription, this is gold ♥
and its also surprisingly hard to maintain over a long time but inspiring, definitely going to implement that into my practice routine!
Hey there. Thank you for the video! I hava a quick question: did u apply any ghost note tonguing on those?
Thanks..👍🏽
Really inciteful - thanks Nick, I’m off to try this now! Noel
Do you mean, "insightful"?
yes, clearly too excited to spell correctly😂
Hi nice painting
I like this idea a lot. I will implement with the addition of alternating up and down or down and up. Or up up down, down down up etc. music really is a bunch of math when you break it down.
Great great concept!
Agree 💯%
I think this is great stuff. Thanks a lot.
excelente
Thanx
Cool stuff ty
🎉😂❤😮 Great Video thanks
Question.. so desonance is done with slurs and key signature in
obscure keys (f#)etc. Then back to key of (c) but always tied in
advart-guard during the solo on saxophone."
Hi Nick, with metronome or without?
Great question! Both 😁
Really Cool.
thank you for this concept! now we can play jazz crimes by joshua redman >:)
Hi. I don’t speak English by nature, so I’m not sure about the concept “even”? “Odd”? 🤔 but I get the idea hearing you play. And it’s a good way of make your own patterns and make your own personality playing as well. Great exercise.
Hi Odd is 1, 3, 5 etc. Even is 2, 4, 6, etc. Hope this helps.
Even numbers are divisible by two with no remainder. Odd numbers have remainder one when divided by two.
Pares e impares
Just ❤
Very cool- it does sound like you are accenting notes too...?
I think it’s more about the note length but I’m sure I’m accenting as well without thinking about it
@@nickmainellaand the accents are what makes your examples work. You have to describe them. Without them this isn’t jazz.
@@hughanderson7285 You can hear them. I would recommend that instead of me describing them. I hope that makes sense. That's how I learned was from copying people! No explanation will come close to listening and imitating
@ I could say that about all jazz.
@@hughanderson7285 You're not wrong about that....I just find that things like articulation and accents are difficult to explain but easier to copy.
Show an example for 16 th. notes and or 32nd. notes! Very good reverse even-odd, odd-even
concept wow,wow!
Oh by the way your concept works best in 4/4 time for best Bebop rythm and syncopation accents." Which of the 2 even-odd, odd- even concepts would equal advart-
guard and normal classical jazz sounds of Bebop symutaeniously in a solo of desonance and non desonance
at the same time...
Very interesting. I believe if I can pull this one off, I could play exactly what I feel inside 😂
What if you tried it through the changes to a tune?
That would be fantastic. I would start with something simple though just to make sure you get the concept 👍
Clever
Eureka!!!!! Where's my sax?
❤
Are you hitting ‘one and two one’?
Waouw
Too bad I can;t transfer over to my piano practice.
Oh, wait. Maybe I can?
Merci.
😇
Simply talk and talk and talk too much
Toooo much bla bla I agree 😴😴😴
Too much blah blah blah
Hope you have a great rest of your day!
Not really. If you slow down, and drop the need to be entertained (for the moment), you can see that everything he says pertains to a method for learning rhythms.
No one is forcing you to watch...not to mention you have probably missed some pretty cool stuff but hey do I care?
I assume you’re referring to yourself.
Oh-you mean: “blah blah blah [rest rest] blah blah blah [rest rest]…” but seriously, this video communicates a complete practice concept in 10 min, I think that’s quite concise.
How you know where is ONE ??????????????????????????????????????