Digging Deeper
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- Опубліковано 16 жов 2024
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FOR ALL INSTRUMENTS - Welcome to DIGGING DEEPER. In video #113, I share an important lesson I learned in my 30+ years studying with Charlie Parker. Granted, we were never in the same room together, but I learned a LOT about his vision and what musical ideas he valued in my work with him. And I feel like sharing today, so aren't you luck! Enjoy.
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Thanks for this lesson Jeff. I've been into Parker's music for years and I too have worn out the Omni Book. I play along with his recordings and find the biggest challenge to be keeping up with his tempos. I've come to a point where the similarities in his solos have become very apparent, and your identifying this pattern is spot on. You are right about the time you need to invest in this, and agree that it's definitely worth it. I get a lot out of your lessons and hopefully will be able to join you on Jazz Wire soon. I appreciate you man!
Thanks Jack. I can't wait to work with you at www.JazzWire.net. All I can say is "don't wait." Man, you are going to improve like crazy once you get there. The Communities that you'll be working with are like jet fuel. You'll love it!
Its easy and pretty smooth.
Thanks, Maestro Jeff. This will keep me busy for sure.
blacklonggadogg love it!! Stay in touch and let me know how it goes for you.
excellent video. Thanks Jeff
vincita51 so happy you enjoyed it. Thanks for taking the time to write.
Great video Jeff. Thanks again. Some people may not be aware of Thomas Owens' UCLA PhD Dissertation from 1974 on Charlie Parker's use of motifs. Owens identified Parker's 100 most used motifs and his dissertation is a gold mine of information, and maybe too much of a good thing!. It is still to be found on the interwebs.
Thanks for taking the time to write. Sounds like a great resource. You nailed it, however. That info is NOT AT ALL what we should look at if we want to actually "play better." We need ONE lick, and then a month to get it into our playing!! Reading the dictionary doesn't make us a better communicator, and reading a dissertation won't get us sounding any better! :)
Your teaching style is unique.
Thanks! I really love helping folks get a LOT better, a LOT faster than they ever thought possible. I love that these videos, and especially www.JazzWire.net are working for people.
Yeaaa the bebop i was hopping to see
In the 1st example D-7, you start with C#, you say it is a D-7 with a -7 I:e a C natural, but you did not printed that by leaving the last C blank, and I learned that once an accidental at the beginning of a measure, it carries over on all those notes throughout the measure. I had to double verify by playing it . It may confuse some people
Tremendous.
Pdfdrive.com has a free download of the Omnibook in pdf format. I just got it.
Although this is a lick that I am familiar with, and not difficult to play, I never had a clue how to use it, and how to apply it to a given chord sequence. Now I know, thanks to yet another of your explanations. Nice edgy but full sound from the mouthpiece/neck combination on this vid. On one of your earlier vids, I remember you were using Gonzalez reeds. I tried a couple and liked them, but in terms of consistency, how do you rate them?
I've been using Gonzalez for years now, and find them VERY consistent. Give them a try if you haven't. Everyone I know who has tried them is now playing them.
@@JeffAntoniukEducator Thanks Jeff. I normally use a Rico jazz select 3 medium. What is the rough equivalent for Gonzalez?
Sweet! Glad to be a part of the visuals for JazzWire and trust me, if you join, it'll improve your playing forever!🎷😎
Thanks for the kind words, William. Man, you have been doing GREAT at www.JazzWire.net. Let's get more people signed up and sounding better!
@@JeffAntoniukEducator Thank you!
Nice mouthpice and kb neck btw
It's all good stuff!
Nice, Jeff! I really appreciate your videos! These are the kind of associations that I like to learn. It is clear that the arpeggios of the Dm7 and G7 come from diatonic chords in C major. That makes sense because D is Dorian and G is Mixolydian. My only problem is trying to reign in those extensions to maintain the root sound. Any tips for a bass line?
KlevonOfJesup so glad you are enjoying the Digging Deeper videos! You ask a great question, which has no “one sentence “ answer. This is what we do day in and day out at www.JazzWire.net. It sounds like you are 100% ready for it. Hope to see you there.
I've always thought if it the other way round: D Dorian (and G Mixolydian, F Lydian etc.) IS c major. So not that G mix is an altered G maj scale (flat 7th) that seems much harder to my simple brain.
@@jaywills5776 I think we're on the same track. Since D Dorian is the second mode of C major, you can build chords off of each degree of D Dorian, starting with Dm7 (D,F,A,C). When you build the next chord from the third, you get F, A,C,E (Fmaj7, the IV chord of C major). Next is A,C,E,G (Am7, the VI chord of C, then C,E,G,B (Cmaj7, the I chord of C major). Then just add a leading tone a half step in front of the first note of each chord arpeggio. My understanding is that altered chords contain notes that are different from the V dominant chord, i.e. G7 has G,B,D,F. A as the "normal' 9, so an altered chord might have a flat nine or a sharp nine (Ab or A#). Or a flat 13 (Eb)or a sharp or flat five (D# or Db.) Alterations would be of these non-diatonic notes that you see in the diminished half-whole or diminished whole-half scale.
@@KlevonOfJesup yes, finding those non-diatonic notes is the FUN stuff. The trick is how to use those notes musically, and in a historically "typical" way to begin with. Hope I'll get the chance to work with you on this all. It's great stuff.
Good practice here, Jeff. What iReal backing track are you using for that Dominant arpeggios?, thanks
if you go to the iReal forums, from within the app, you should be able to find examples of "Exercise" chord progressions. Just search for that word. Or you can just pick any song within your iReal library that ends in a 2-5-1, that's 90% of them :), and loop that section. OR, you can write your own 4 bar progression in iReal. It's pretty simple to do. There are quick tutorials to create your own.
Thanks for tuning in, Tito!! Bruce has a good idea for you here. Personally, I just picked a random jazz song with a ii-V-I in it, and looped that!
Same thing with the 1st 2 examples of G7 from the root and the 3rd; I think it is OK in the major but please advise
I transcibed these examples out of curiosity to have a closer look at the improv. What is going on harmonically with the G7 chord and the solo at 6:41? Why does the notes Bb, Ab, Eb suddenly sound so good and fitting, master Jeff?
There are a lot of ways to think about those notes and how to make them work. That is the kind of stuff we dig in to every day at www.JazzWire.net. It is really a long, ongoing discussion, but they are the b9, #9 and b13 of the G7. Great “altered notes.” I hope we have the chance to really dig into this material together one day!
@@JeffAntoniukEducator Thank you, that's very interesting! Yeah I'd love to join the jazz wire community. Really, really like your style of teaching!
@@Kookosnakki excellent. I'll look forward to seeing you there. We have a fantastic community of adult jazz players from all over the world, working together and having a blast. Use the code "diggingspring" when you register to save 50% off the initial registration fee (for you Practice Plan and Playing Evaluation). I'm not sure how much longer the code will be working, so jump on that sooner rather than later.
wouldn't the 11ths be sharped on the C major 7ths?
On a Major7 chord, #11 would be most the most typical note/sound to use. But, we see plenty of times when Bird, playing such a fast line that only lasts about 1/100th of a second, just plays diatonic (ie. natural 11). You have a good understanding of this stuff! You are DEFINITELY ready for www.JazzWire.net, if you are at the point of really wanting to invest in yourself and your playing. I hope to see you there!