That was super interesting, althought I'm not a guitar player at all. This gives a lot of insight how music can be thought and played more "naturally" outside of theory. Thank you Christiaan for this interview
Yes, but don't confuse that with "hearing lines he's never heard before". He's hearing and seeing lines on the guitar neck that he's played and practiced 1000s of times before. That's exactly what I try to teach on this channel: practice good lines endlessly and you'll start hearing them at the right time, no luck involved really!
I don't understand how they do it, it's so amazing. Especially without the van hemert system specificity Like I don't really understand how to develop the feeling of the chords. Like Ifor example I don't really know what a flat9 13 because I have no idea how to voice it or play over it but when you play the flat 9 and 13th he knows what the flat 9 13th sounds like and despite not specifically training your ear to recognize the altered sound but still being able to hear altered and being able to know and associates lines that would sound good is just shows you how much of a talent creative person he is Christiaan I know you said ear training is useless but can you make a video on how to recognize these kind of chords? Cause when I listen hard it's so hard to hear the quality and the degree of the notes
Great Video Christiaan,thanks! I think the second Chord in the song c#7 is more a a chord like Ddim than a dominantchord. The scale that i use is A harmonic major . in this scale also you have the C#7 arpeggio. C#7/D is a suspendet Chord like Fdim to Dmaj.Its a little doubledominant to D ! E7 =Fdim and E7 is dominant to A7 and so on. BUT yes many players dont think so ..they play also very simple C#7 lines like an Dominantchord Abminor 6 arpeggios and typical Dom.7 Lines like django. BUT the Problem is not many players understand this Chord (i say to this ,,a dim -chord with the same rootnot like the Tonic. A harmonic major scale A B C# D E F G# A over the diminished suspendet Chords in D. they are d,f,g#,b diminished. C#7 is a variation of this i think !!!!but not a dominant to the next. I hope you like this , a lot of work that i do is analysing Jazzsolos and creat exercises for guitar. Best regards !
@@ChristiaanvanHemert Thanks Christiaan for asking me !!! yes we have the same problem in Rhythm Changes in Bb. Bbmaj, Bdim,Cmin, and now C#dim ????whats this haha okay we can say it's a A7b9 to next Chord Dmin?? but often we play next Bbmaj/D ?? go back this C#dim goes to Cmin..crazy?? what that know?? In both Situation is C#dim a Part of F harmonic major scale ----this scale can be a A7 to Dmin or a Suspendet -doubledominant to the Tonic. C#dim is one side a C7 to F7 (Cmin7 is here not the important Chord) or a Dominat to Dmin ........Dmin is easy the Substitut Chord for Bb...........oh man haha!! Djangologie inclu. the same thing with Bbdim ......its a Dmaj harmonic scale . Django doesn't know this thing but he can hear all this melodic stuff of his time. he play other the D7 to Gmaj this Arpeggio C D Eb F# B this is an C-b5maj7 /9 Arpeggio from the G harmonic major scale (old Dominantscale) in Djangologie Chord Bbdim he play a Arpeggio G-b5 maj 7/9 from D major harmonic Scale............this is the best way in Djangostyle to unterstand this complex old fashion Jazzmusik. Why i talk this??? Students offten think we must play WTHT Scale ..but in Django's Time this Scale is not famous in Europe . hey best Regards an good time in this hart coronatimes .Karl
Thank you both for a fascinating insight into two guys with tons of natural ability sharing ideas with us, and how you approach your playing, open and honestly. What models are the two guitars ?
You're welcome, glad you enjoyed that. Not sure about the natural ability since we both practiced for 6 to 8 hours a day for years on end. I'm playing an Altamira TD (link in description of the video) and Gismo is playing a Mauro Freschi!
@@ChristiaanvanHemert Thank you for taking time to reply Christiaan. The Mauro Freschi appeals to me aestheicatlly. I am using a budget Richwood artist Series guitar. I would interest me to know if a guitar like this would restrict or dissapoint you if you had to play it for a gig or teaching ? My own opinion about natural ability is "the many years of intense focused practice is a catalyst to the natural ability that's within great players which becomes progressed by the level of determination enthusiasm and competitive drive and most importantly the ability to connect with other musicians and the listener." It is certain that many have a natural ability for something (be it music/sport/academic etc) but go through life never realising that they have this dormant within them. Just enjoying your incisively honest video again, as I type this. Many thanks to you both.
To be honest: scales are mostly useless for jazz guitar or at least it's the long, boring way to playing well. Gismo studied exactly what is needed to become a worldclass player: technique, lines, songs and plenty of jamming!
@@ChristiaanvanHemert I didn't try to belittle Gismo, just the opposite. You have to learn the sound you are searching for and then you can put a name to that sound. The vast majority follows the other path. The usual teachers throws twenty scales on you the first day expecting to know all them in all the fretboard. I think jazz education is full of shit.
I think probably mastering dexterity is key. I know Django only used two fingers, but building strength and dexterity to make your fingers do what your head wants, whether it be with two, four or however many you've got must be a big factor
NO. Nine year olds have enough strength, strength needn't be developed. Your fingers already do what your mind tells them, so the FIRST thing is clarity of thought, dexterity follows that not vice versa. How many fingers to use is only interesting when talking to people who have missed the point and like to argue tediously over minutia for years on end whilst continuing to fail to learn.
@@davidfreel1451 really? And yet Tommy Immanuel talks about needing strength, all great fiddle players have forearms like Popeye, and most rock guitarists can do jack with their little finger 🤔
gypsy improvisation music is based on repetition of licks ,modes and pentatonics all over again,but you master that after years of playing.I started playing rock and became interested in gypsy jazz while living in ny and gained speed and accuracy after like 10 years of repeating an repeating and learning by ear how to link patterns ,it will not happen in just one year.youtube -jucamo007-and will see my videos when i started and the ones now 15 years after,and did not do anytihng special ,just by playing and playing and playing for years.shocking difference
Gismo's lick at 10:55 starts with and upstroke for any of you playing along. I'll be borrowing that technique for a triplet lick on high e.......just sounds strong
Great video! I think Gizmo is just "feeling the music based on the changes, I don't think he's thinking at all? The lines are ingrained his subconscious, but I don't believe he plays them the same way " all " the time. You cannot play and think while running the changes. He sees the voicing's/chords/notes, inverted ALL over the neck.
This is so insightful - I love the way you asked each follow up question. Thank you!
Am gonna watch this again and take notes.
You're welcome Az. I'm planning to transcribe Gismo's solo for my patrons when I'm back from Taiwan/Uk/Germany in April!
@@ChristiaanvanHemert sweet!
@@ChristiaanvanHemert are you still planning on transcribing Gismo´s solo? Here´s my vote for it! :-)
Merci pour cette genial vidéo, c'est vraiment un témoignage plein d'honnêteté, et extrêmement touchant. Ta chaine est vraiment super, bravo.
He asks perfect questions. Perfect
Christiaan asking all the right questions, very cool 👍
This is such a great video! Thanks!
Fantastic video friends.
Thanks!
Such clean lines!
Indeed!
I wish I was 14 when I started :( omg his timing is so perfect.
Thank you Christiaan!
You're welcome Mitchell!
you guys sound great! Now on to watching the whole clip!
Thanks! I hope you enjoyed the rest of the clip as well!
@@ChristiaanvanHemert Very insightful, i've been on a "low" period and this sparked my interest again.
Great interview, Christiaan!
Thanks man!
Now That was Kool! Gismo is a great artist and guest.
Thanks Marcus!
Sick guy in person. Very kind and super on guitar!
Agreed!
Very interesting. Thanks!
You're welcome Pete!
That was super interesting, althought I'm not a guitar player at all. This gives a lot of insight how music can be thought and played more "naturally" outside of theory. Thank you Christiaan for this interview
Thanks! You hit the nail on the head, in fact I think learning like this is by far the fastest and most fun way!
sweet guy and a great player....
Yes and yes!
Haha I know what you're saying Christiaan. Here it is - me too!
just found this one Christian. excelent
Gizmo just plays what he hears.Lucky man!
Yes, but don't confuse that with "hearing lines he's never heard before". He's hearing and seeing lines on the guitar neck that he's played and practiced 1000s of times before. That's exactly what I try to teach on this channel: practice good lines endlessly and you'll start hearing them at the right time, no luck involved really!
I don't understand how they do it, it's so amazing. Especially without the van hemert system specificity
Like I don't really understand how to develop the feeling of the chords. Like Ifor example I don't really know what a flat9 13 because I have no idea how to voice it or play over it but when you play the flat 9 and 13th he knows what the flat 9 13th sounds like and despite not specifically training your ear to recognize the altered sound but still being able to hear altered and being able to know and associates lines that would sound good is just shows you how much of a talent creative person he is
Christiaan I know you said ear training is useless but can you make a video on how to recognize these kind of chords? Cause when I listen hard it's so hard to hear the quality and the degree of the notes
Great Video Christiaan,thanks! I think the second Chord in the song c#7 is more a a chord like Ddim than a dominantchord. The scale that i use is A harmonic major . in this scale also you have the C#7 arpeggio. C#7/D is a suspendet Chord like Fdim to Dmaj.Its a little doubledominant to D ! E7 =Fdim and E7 is dominant to A7 and so on. BUT yes many players dont think so ..they play also very simple C#7 lines like an Dominantchord Abminor 6 arpeggios and typical Dom.7 Lines like django. BUT the Problem is not many players understand this Chord (i say to this ,,a dim -chord with the same rootnot like the Tonic. A harmonic major scale A B C# D E F G# A over the diminished suspendet Chords in D. they are d,f,g#,b diminished. C#7 is a variation of this i think !!!!but not a dominant to the next. I hope you like this , a lot of work that i do is analysing Jazzsolos and creat exercises for guitar. Best regards !
Yes the Db7 is just #IV dim chord. I made several videos about that!
@@ChristiaanvanHemert Thanks Christiaan for asking me !!! yes we have the same problem in Rhythm Changes in Bb. Bbmaj, Bdim,Cmin, and now C#dim ????whats this haha okay we can say it's a A7b9 to next Chord Dmin?? but often we play next Bbmaj/D ?? go back this C#dim goes to Cmin..crazy?? what that know?? In both Situation is C#dim a Part of F harmonic major scale ----this scale can be a A7 to Dmin or a Suspendet -doubledominant to the Tonic. C#dim is one side a C7 to F7 (Cmin7 is here not the important Chord) or a Dominat to Dmin ........Dmin is easy the Substitut Chord for Bb...........oh man haha!! Djangologie inclu. the same thing with Bbdim ......its a Dmaj harmonic scale . Django doesn't know this thing but he can hear all this melodic stuff of his time. he play other the D7 to Gmaj this Arpeggio C D Eb F# B this is an C-b5maj7 /9 Arpeggio from the G harmonic major scale (old Dominantscale) in Djangologie Chord Bbdim he play a Arpeggio G-b5 maj 7/9 from D major harmonic Scale............this is the best way in Djangostyle to unterstand this complex old fashion Jazzmusik. Why i talk this??? Students offten think we must play WTHT Scale ..but in Django's Time this Scale is not famous in Europe . hey best Regards an good time in this hart coronatimes .Karl
Thank you both for a fascinating insight into two guys with tons of natural ability sharing ideas with us, and how you approach your playing, open and honestly. What models are the two guitars ?
You're welcome, glad you enjoyed that. Not sure about the natural ability since we both practiced for 6 to 8 hours a day for years on end. I'm playing an Altamira TD (link in description of the video) and Gismo is playing a Mauro Freschi!
@@ChristiaanvanHemert Thank you for taking time to reply Christiaan. The Mauro Freschi appeals to me aestheicatlly. I am using a budget Richwood artist Series guitar. I would interest me to know if a guitar like this would restrict or dissapoint you if you had to play it for a gig or teaching ?
My own opinion about natural ability is "the many years of intense focused practice is a catalyst to the natural ability that's within great players which becomes progressed by the level of determination enthusiasm and competitive drive and most importantly the ability to connect with other musicians and the listener."
It is certain that many have a natural ability for something (be it music/sport/academic etc) but go through life never realising that they have this dormant within them.
Just enjoying your incisively honest video again, as I type this. Many thanks to you both.
Straight G
Gismo can't explain a scale for save his life! I have the theory but not the chops, He has the chops.
To be honest: scales are mostly useless for jazz guitar or at least it's the long, boring way to playing well. Gismo studied exactly what is needed to become a worldclass player: technique, lines, songs and plenty of jamming!
@@ChristiaanvanHemert I didn't try to belittle Gismo, just the opposite. You have to learn the sound you are searching for and then you can put a name to that sound. The vast majority follows the other path. The usual teachers throws twenty scales on you the first day expecting to know all them in all the fretboard. I think jazz education is full of shit.
Agree!
I think probably mastering dexterity is key. I know Django only used two fingers, but building strength and dexterity to make your fingers do what your head wants, whether it be with two, four or however many you've got must be a big factor
NO. Nine year olds have enough strength, strength needn't be developed. Your fingers already do what your mind tells them, so the FIRST thing is clarity of thought, dexterity follows that not vice versa. How many fingers to use is only interesting when talking to people who have missed the point and like to argue tediously over minutia for years on end whilst continuing to fail to learn.
@@davidfreel1451 really? And yet Tommy Immanuel talks about needing strength, all great fiddle players have forearms like Popeye, and most rock guitarists can do jack with their little finger 🤔
@@maddi62 One of us knows a lot about guitar. It's not you.
@@davidfreel1451 good god who invited you to come barging in like an internet troll. Stfu before you get us both banned
There there fellas, no need to fight! Let's hold hands and sing kumbaya or play minor swing!
gypsy improvisation music is based on repetition of licks ,modes and pentatonics all over again,but you master that after years of playing.I started playing rock and became interested in gypsy jazz while living in ny and gained speed and accuracy after like 10 years of repeating an repeating and learning by ear how to link patterns ,it will not happen in just one year.youtube -jucamo007-and will see my videos when i started and the ones now 15 years after,and did not do anytihng special ,just by playing and playing and playing for years.shocking difference
He gets a good mileage out of that pinky.
Gismo's lick at 10:55 starts with and upstroke for any of you playing along. I'll be borrowing that technique for a triplet lick on high e.......just sounds strong
Yes that is a good habit for triplet runs!
Great video! I think Gizmo is just "feeling the music based on the changes, I don't think he's thinking at all? The lines are ingrained his subconscious, but I don't believe he plays them the same way " all " the time. You cannot play and think while running the changes. He sees the voicing's/chords/notes, inverted ALL over the neck.