dude.... thank you for this. seriously. i'm in my school's show band and jazz has been the biggest hurdle for me to cross in the 10 years i've played, but watching you and listening to what you're saying has really helped a lot.
Amazing video man! I continued to work on All The Things You Are after we last talked, and I can now solo over it pretty easily. However, I struggle with hearing the music in my head and the melody simultaneously. The anchoring point and triads practice in this video seems to be really great ways to work on that. So I'm gonna try that next. Thank you so much!
enhance what's being said by writing and displaying images on the video, Rotem it's already enjoyable, now imagine it when you do this support with texts and images
At around :34 you mentioned the ease and inclination towards blues and modal playing. I've heard you play blues and I've heard myself and others in my circle... there's a gap in that type of playing as well and it has nothing to do with theory or chops. Your blues sounds like story telling that projects your thumbprint into our ears (ew). Mine sounds... not like that, hehehe. I've been knee deep in the blues as of late, seems to fit 2020 quite well. Anyway, playing the blues convincingly--whether you are chasing Grant Green or Albert King--is quite challenging. Sticking to a theme, elaborating on a theme, call and response. These words are empty phrases until you really apply them to your craft. I think playing modal is one of the most challenging things to do as an improviser. I mean, doing it convincingly--like Miles or 'Trane did. Could you teach a lesson on the blues or modal playing that has little to do with theory or chord sub's and more to do with melodicism? Could you do another lesson on that? Loved this lesson as well, it just made me think of the blues and playing modal--the way that we amateurs often fall short of taking the time to learn everything that these "basic forms" have to offer because we yearn for more "advanced" theoretical concepts. Most of the old masters, including Dexter Gordon, said that they continued to refine their blues and rhythm changes playing throughout their playing careers. "There ain't no jazz without the blues" is the constant refrain.
Yes pickinstone. There are formula's and formats that the greats seem to follow (of course there is no one specifically and feeling it in the sub conscious is important. I have walked away from jazz and am going back to Freddie King and Charlie Christian transposing to ingrain it). I think Stanley Turrentine does a thing where he plays into every second bar and then rests in the early parts of his improvs. It has such purpose, destination and you can feel it is going there and when he lands you get all gooey inside cause you know yes that is the resolution that is where he was going. Yes it is about the journey but it is also about the destination. Like doing an essay to pass an exam there is a way. It is rhythmic, melodic and harmonic all at once. Thanks Rotem for all your wonderfull insights and teachings.
@@gggomez9764 your name looks oddly familiar, but I would rather not go down that internet memory lane... Anyway, nothing wrong with Freddie King and Charlie Christian. I would also recommend Bill Jennings, Tiny Grimes, and Billy Butler. Throw in some T-bone Walker and you've got quick the concoction. My mentor always tells me, you can't play jazz worth it's salt if you can't truly play the blues. I saw it when I studied at CCNY. The guitarists that could REALLY play jazz all came from a blues, R&B, or rockabilly background. No shame in pluming the depths of blues to get back to the roots of jazz. Theory is great, but you need way more than mathematics to play jazz--to play music--to branch out from that tree that griots planted in yesteryear.
Happy new year! I really like your Videos and the contents you are trying to teach. Still it sometimes is too fast for me. E.g. The first example on how to improvise over 5 notes I Would have enjoyed more guidance
I'm pretty sure his looping pedal that has a drum track on it (anything more than a ditto looper has that) is going through the same delay that's on his guitar.
Solar: I play the c natural minor on the one. then is the g minor in key of F? I play the dorian as in a 251 or phrygian.... ok the lesson the melody... G minor as the 5 chord in c minor? That g minor sounds similar to G#9.... Having the natural minor go to dorian it sounds ok? ear still deciding...
Hi Rotem, first I love your vidéos and your play. But I am trying to learn jazz guitar alone few years ago but ig's very hard and I need à teatcher. I leave in Netanya maybe you know someone in TLV who can drive me in the right way. Cause I made alia from France in 2016 and dont know any teatcher here. Thanks a lot 🎶👌
"By knowing the melody we also know the chords" I would like to hear more about that. @ Rotem Sivan go a little more into this in a post and you have free accommodations in Ann Arbor the rest of your life....ha ha you already have that brother. Keep the great lessons coming.
What he means is that in the melody always or usually are the same notes from the chord that is playing in that time, because if the notes are not from that chord or scale it will not sound good.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Like how most people haven't found out about u... Makes me feel special😂
❤️❤️🙏
With so many UA-cam teachers, I wondered how this one would stand out. With this video, which is so instructive, he really does.
Can't hit the like button enough for this path to getting really understand what's going on
❤️❤️❤️
This clarifies what I've been wanting to know for years! Thanks so much! 🙏🏼💯
❤️
dude.... thank you for this. seriously. i'm in my school's show band and jazz has been the biggest hurdle for me to cross in the 10 years i've played, but watching you and listening to what you're saying has really helped a lot.
Much love
Great teaching, I'm sharing with all of my enemies immediately :P
Fantastic video, very cool advice
Amazing video man! I continued to work on All The Things You Are after we last talked, and I can now solo over it pretty easily. However, I struggle with hearing the music in my head and the melody simultaneously. The anchoring point and triads practice in this video seems to be really great ways to work on that. So I'm gonna try that next. Thank you so much!
🙏❤️
Great tips. Many thanks Rotem.
Great Videos, great explanations, great Vibes. Best YTChannel I have encountered for a long time...
Wow, thanks!
You braught it to the point. Clear facts, no noncence. Great!
🙏
Top notch stuff here.
Thank you!!
So, I just woke up and I already have another video for practice.
Great.
YAS! :)
enhance what's being said by writing and displaying images on the video, Rotem
it's already enjoyable, now imagine it when you do this support with texts and images
Oh yea, I feel you
this stuff is exactly what i needed, thanks a lot. happy new year mate!
Happy new year!
Hi Rotem, I hope you can answer my question in some new video: what's the purpose of the rubber band holding the strings in the headstock?
I wanna know that too!
Its to prevent sympathetic vibration
@@RotemSivanGuitar that was my guess my archtop likes to buzz
@@TheRealSandleford SRV used to grab behind the nut to make weird buzz noises haha
Really cool stuff and great summary, thanks for sharing!
this is so incredibly helpful thanks so much!!
Good stuff greetings from Oz 😎
... have to try that 1 3 5 7 thing! 🤔
You are amazing, such a Master of Jazz.
Thanks man!!
At around :34 you mentioned the ease and inclination towards blues and modal playing. I've heard you play blues and I've heard myself and others in my circle... there's a gap in that type of playing as well and it has nothing to do with theory or chops. Your blues sounds like story telling that projects your thumbprint into our ears (ew). Mine sounds... not like that, hehehe. I've been knee deep in the blues as of late, seems to fit 2020 quite well. Anyway, playing the blues convincingly--whether you are chasing Grant Green or Albert King--is quite challenging. Sticking to a theme, elaborating on a theme, call and response. These words are empty phrases until you really apply them to your craft. I think playing modal is one of the most challenging things to do as an improviser. I mean, doing it convincingly--like Miles or 'Trane did. Could you teach a lesson on the blues or modal playing that has little to do with theory or chord sub's and more to do with melodicism? Could you do another lesson on that? Loved this lesson as well, it just made me think of the blues and playing modal--the way that we amateurs often fall short of taking the time to learn everything that these "basic forms" have to offer because we yearn for more "advanced" theoretical concepts. Most of the old masters, including Dexter Gordon, said that they continued to refine their blues and rhythm changes playing throughout their playing careers. "There ain't no jazz without the blues" is the constant refrain.
Yes pickinstone. There are formula's and formats that the greats seem to follow (of course there is no one specifically and feeling it in the sub conscious is important. I have walked away from jazz and am going back to Freddie King and Charlie Christian transposing to ingrain it). I think Stanley Turrentine does a thing where he plays into every second bar and then rests in the early parts of his improvs. It has such purpose, destination and you can feel it is going there and when he lands you get all gooey inside cause you know yes that is the resolution that is where he was going. Yes it is about the journey but it is also about the destination. Like doing an essay to pass an exam there is a way. It is rhythmic, melodic and harmonic all at once. Thanks Rotem for all your wonderfull insights and teachings.
@@gggomez9764 your name looks oddly familiar, but I would rather not go down that internet memory lane... Anyway, nothing wrong with Freddie King and Charlie Christian. I would also recommend Bill Jennings, Tiny Grimes, and Billy Butler. Throw in some T-bone Walker and you've got quick the concoction. My mentor always tells me, you can't play jazz worth it's salt if you can't truly play the blues. I saw it when I studied at CCNY. The guitarists that could REALLY play jazz all came from a blues, R&B, or rockabilly background. No shame in pluming the depths of blues to get back to the roots of jazz. Theory is great, but you need way more than mathematics to play jazz--to play music--to branch out from that tree that griots planted in yesteryear.
Hi Rotem, nice vid. Just FYI it says Miles David in the description.
oh lol - sorry!
Craig's lesser known brother
Happy new year! I really like your Videos and the contents you are trying to teach. Still it sometimes is too fast for me. E.g. The first example on how to improvise over 5 notes I Would have enjoyed more guidance
Thanks for that. Dm on IG if you have ideas please
Rotem I gotta ask... how did you get those drums to sound so good
I'm pretty sure his looping pedal that has a drum track on it (anything more than a ditto looper has that) is going through the same delay that's on his guitar.
Lots of compression, maybe even a vinyl sim.
Estas Tonne : uses incense sticks.
Rotem Sivan : uses fireplace.😂
(Both legends, one teaches)
Happy new year bro....thanks for the masterclass.✌️
🙏❤️❤️
What's your fav one there?
Im at no. 1😅 linking the different scales is my fav
Triads and arpeggios. Thanks for the video and happy new year!
מדהים אחי נהנתי
🙏
Solar: I play the c natural minor on the one. then is the g minor in key of F? I play the dorian as in a 251 or phrygian.... ok the lesson the melody... G minor as the 5 chord in c minor? That g minor sounds similar to G#9.... Having the natural minor go to dorian it sounds ok? ear still deciding...
Hi Rotem, first I love your vidéos and your play. But I am trying to learn jazz guitar alone few years ago but ig's very hard and I need à teatcher. I leave in Netanya maybe you know someone in TLV who can drive me in the right way. Cause I made alia from France in 2016 and dont know any teatcher here. Thanks a lot 🎶👌
Oh wow!! So cool!!
"By knowing the melody we also know the chords" I would like to hear more about that. @ Rotem Sivan go a little more into this in a post and you have free accommodations in Ann Arbor the rest of your life....ha ha you already have that brother. Keep the great lessons coming.
What he means is that in the melody always or usually are the same notes from the chord that is playing in that time, because if the notes are not from that chord or scale it will not sound good.
@@eleseje But won't many of the chords share common notes? If so, how is that note indicative of the correct chord?
Cool! Thanks! Can I ask what equipment you use to sustain that Cm chord here ua-cam.com/video/qBvet24XyJQ/v-deo.html
Freeze
@@RotemSivanGuitar Thanks for the reply! Ordered it!
A key is always major
A minor key never exist look at the score and try to find a minor key
The key of solar is Eb major nothing else look at the scor en my friend
Great player- but sorry, that backing track is TERRIBLE!! Lol
Lol 🤘