Відео

Lydian is king. It's varieties are fantastic. The classic 7#11 or from Lydian Dominant are essential sounds IMO.

That tone is super clean n warm

Finally found something usefull on UA-cam 🙏

Hi, is Chad's pentatonics video courses available for both Eb and Bb saxophones ? Thanks !

yes sir

This is gold thank you!

really cool video! i have a question: in the minute 4:23 it says the 11 extension is natural, not sharp. However, the scale shown next has the sharp 11... i'm confused

You say your lines, i say OUR LINES (soviet union anthem starts playing) (i start stealing with style)

yes sir

👍

Use code "THEORY25" for $25 off Dr. Joe Gilman's Jazz Ear Training Video Course! www.jazzlessonvideos.com/jazz-theory

Your approach in the way you explain chords structure is very interesting and it helps a lot for training the ears to identify each single note in the chord.

Amazing video

👍

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Very important and helpful. Thank you jazzlessonvideos.

I find it really hard to integrate this concept into my improvisations

Ufffffffffffffffffff ❤

Congratulations are in order! You're well on your way to SOUNDING LIKE EVERYONE ELSE. Transcribing solos is great for ear training. But it's NOT the way to develop your playing if you want to actually play Jazz. Most so-called (especially young, Jazz college product musicians) are not actually playing Jazz.

MY GUITAR GOES INTO SHREDDER now

Excellent. Lots of triad pair content on UA-cam. Nathan does the best job I’ve seen that puts to life what pairs, where, when, and why they work….and why they don’t. Thank you.

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I beg to differ, sometimes it can actually be quite beneficial for the student to begin learning and practicing the scales before they even understand the theory. Give them a certain period for example a month of committed daily practice of the various scales and after that period when it's almost second-nature to play the material, you can then break down each for them to understand the theory behind what they can already play. Working backwards where practical and theory are concerned can actually help. My rationale for this is that if you begin trying to get them to grasp the theoretical concept at the start and they somehow struggle to catch on or take a long time to grasp it, it can be a "turn off" and even discourage them from even wanting to go further. So spending time trying to explain theory of one or two scales with a high chance that most may get discouraged can be unproductive. whereas you can hve them learn it as they see you play it, and cover all of them. Being able to play one in the early stages can inspire and motivate them to go through the others. after that is covered, THEN you show them what they;ve been actually playing using the theory.

Swingin' so hard.

You guys are amazing, God bless❤😊

29:00 - Pentatonic Shifting, Grossman Line.

Great video, really well presented. Keep it up ❤

Amazing instruction! Thanks for sharing your knowledge. Beautiful tone 🎺

Mashing up a collection of memorized licks😢

Great lesson, thanks for taking the time to make it! When you're making the new licks, do you usually use notation as shown, or do you prefer to just explore things by ear and go from there? Though I know theory it would feel more organic to me to go by the ear alone, and then figure out how the theory supports what I find, but then again I've not worked this idea as hard as you have. Thanks again, always great to see a thorough walk through of a concept like this. Cheers!

Playing from the gut sophisticatized.

So cool🎉

Thank you again, Nathan. Great info, brilliant teaching. Oh, and did I mention “entertaining”? ✌️

I was trying this over whole forms (all of me, never be another you and sunny side of the street) It was easier to come back to whole forms after I played over a single 2-5-1 for a week at least. I connect thirds. I thought all chord tones were equal-ish but not really as I’ve found out.

Bird did this all the time and it is not limited to only tritone and minor third up, you can also play minor third down giving four options for each phrase - these are what classical musicians call Bartok Substitutions. I memorised 20 ii V licks and over a long ii V you have 80 options for the first half and 80 for the second half giving you 6400 different long ii V phrases. (Actually just under 6400 since one is repeated but that is just in one key!). If you vary each phrase a bit, different starting points, rhythm and editing you have an infinite number of phrases. When I am busking I start off by picking a progression in a major key and improvise over the loop for about ten minutes using this technique. It seems to go down well with the public! Definitely worth working on, but perhaps start with half a dozen or so licks in all keys and experiment, gradually increasing the licks until this is part of your vocabulary.

Love the pun at the end "You'll be a language MACHINE! AI will never touch us!"

Hi Nathan, can you include the irealpro files for those who have the software please, we then can import it straight into the App, instead of just having the mp3 backing tracks, we also will able to speed things up, and manipulate as required, thanks in advance.... messaging from the uk.

I'm gonna buy this one.

Consider "Body & Soul" as a study. Would like to hear how you approach it.

Great

You are a genius and following you is a step into being one.

Yawn. Just listen to the albums and cop the kicks there

A rare occasion where the title of a video actually matches the content. 10/10.

Off topic, but your so freakin' cool. You're the guy I imagined I would be in my head starting out playing jazz. . . Didnt happen!

great video....