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The bebop scale is easier to understand once you realize it is a rhythmic device used to emphasize the harmony notes rhythmically.
Last edited by cosmic gumbo; 01-07-2011 at 04:58 AM.
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01-07-2011 04:51 AM
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Originally Posted by cosmic gumbo
Yes, well said, which is exactly why I hate to even call it a 'scale' I'd say its more a Bebop device, to keep the chord tone/non chord relationship through the modes.
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Sorry for the lousy quality... I thinks it was too long. I didn't work out much... but check it out and ask me some questions and I'll try and clear up anything that's not clear. Not much playing but shows how one could approach Rhythm changes and how one could approach re-harmonizing simple I VI- II- V ... best Reg
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Here's what I know... I don't use this myself, because I am not much of a chord-melody wizard. The idea is that the top not of the bebop major scale is the melody and the harmony is I and V7 between a Major 6th quality I chord and a Dim7 tetrad V7 (rootless 7b9 chord aka dim7 chord). This is an example of the C Major Bebop scale harmonized going up. Does that help? Originally Posted by gersdal
----------3-4-5-7-8----------------------------
--1-3-3-6-5-3-5-6-10----------------------------------
--2-1-2-4-2-4-5-7-9----------------------------------
--2-3-5-6-5-3-5-6-10-----------------------------------
--3-2-3-5----------------------------------------
---------------------------------------------
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Nice playing Reg. I got a new chord change idea from your clip (altered VI7).
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Great playing Reg... It will take me a while to absorb some of those ideas. I look forward to the discussions.
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Yeah, Reg, I've been eager you see/hear you play a bit. Thanks for the clip. I really see how our approaches are dissimilar, but I hear and understand the logic in your playing. You are very liberal with your interchange/reharm use. It seems to open the doors for your chords and melodies in a nice way.
The local 80's style metal shredder guru/teacher came to my gig last night. I knew I wouldn't be able to stand up in his genre, so I just played as I do; bebop eight-notes and lyrical lines. He loved it. He said one reason that he loved the guitar so much is that each player can approach it in a different cool way. I think his attitude is so refreshing and inspiring. It's true, if it works and it expresses what we want, we have succeeded in some big ways (of course, we are all learning and face endless challenges). Keep up the good stuff, and thanks for sharing!!
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hey... thanks all... hope opens a few doors as to how some jazz players approach tunes.
I'm embarrassed and apologize for the playing... I'm leaving myself pretty exposed... but this isn't the showcase thread. Hey Jonny... thanks... the vids a few mental notes, make quick re-harm sample and record example... I had told bass2man I would make something and yes my use of M.I. and re-harms could be considered liberal... but that's what I've found experienced jazz player are able to do. You should add something to the interactive thread, this months tune is Fly Me To Cancun, I'm making video tonight of how I might approach comping and soloing. Have smooth jazz project today... ha ha
Best Reg
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Thanks Reg, that was a good, lucid demo of some of the musical things you can do with the choices for Rhythm changes. Love your chord choices and the easygoing sounds you get with your guitar.
wiz
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Good evening, Reg... Originally Posted by Reg
So, what do I start with, the good news or the bad?
Ok, here's the good news (I knew you'd want that first...
).
This video contains, in essence, all I will need to know about jazz guitar for the next century or so; probably more. Some 'keys' for substitutions for I VI ii V, a good few scale suggestions to 'spice up' or colour the chords, a blinding number of 'hot licks' and runs as illustration; all commented and demonstrated before my very eyes. Sincere congratulations on the prowess, and the willingness to share with all of us.
Now then, Reg, please don't take umbrage with the bad news which follows, I mean no criticism of your loyal effort(s), and encourage you to more; but...
is there anything technical to be done to enable me to hear the voice when you're speaking (not for your dulcet tones, but for the explanation which you're offering, unfortunately drowned by the excellent playing...)? Not a gripe, just a frustration of knowing that you've just uttered the magic key phrase,which eludes me..! Damned..!
It doesn't stop there (no, please, let me finish...); I may be alone on this, but if I was able to understand your cascade of examples, subs, subs of subs at the speed at which you perform them, I wouldn't need this help. Please, please, put out the same, but for mortals. Those able to follow your pace (and there are many here; so much the better...) are not those most needing the benefit of your demonstrations, I feel. I intend no insult, or sarcasm here; simply the sadness (no, that would be a slight exaggeration, but only slight...) of seeing what I've been working towards for all these years fly by in only (yes, only...) 11 minutes, and vanish, leaving just a couple of spots on the retina (like glimpsing the sun...). I can play this back as much as I want, I can't follow so much in so short a time (but I admit readily that I'm slow...).
"Enough," I hear you cry, "enough! Begone, foul beast, darken my door no longer...". No, I hope not. My words are perhaps clumsy; I offer many sincere thanks for the several videos here, and long may you continue to dazzle me (us..?), with rare spates of enlightenment, where I flatter myself to have understood something.
More, please, Reg, but at 33 (for us humans...), not 78 (for all the others...)
(Sigh..! Oh well... in another 40 years or so...)
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Reg, perhaps start a lessons thread! This stuff really gets people going, and it is a little off topic here. I'm sure there are more members with questions for you who don't want to take away from this thread.
On that note, I can hear what you are doing for the most part, but some examples would make more sense at a slower tempo. Oftentimes fast lines are heard as a single "melodic contour" instead of a series of clear individual tones. Yes, the color of the whole is apparent, but it sounds like these guys want the details too. Thanks again.
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Hey that's what I was looking for.... to see if there was interest... and Douglas. thanks... no problem I'll slow down and cover single topics... don't worry I take very little personal. I am very limited with time and tonight I said I would do my thing for the interactive thread working on Fly Me to Cancun... so I'll start a new thread somewhere tomorrow... Thanks Reg
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Thanks for the video Reg, one question early on that I didn't follow on the video was your use of the melodic minor. Was this a half step up from each change that you were using this, treating all changes as dominants? Appreciate your input.
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Reg:
Just got to the video..sincere thanks..wow..great playing.. several rounds now seems more appropriate...
I am still in the Dominant Zone on RC, but, I grabbed several chord ideas from it ( stole is more accurate..I guess this is how they used to do it sitting around a room...very cool) and that is what this forum is all about!!! Thanks again...
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Hey Keith... Yes I play from MM, I use alter chords for Dominant a lot... which is the 7th degree of MM. It gives me access to b9,#9, #11 or b5 and b13. I really don't use Harmonic min. unless melody forces me to, or obvious tunes in Har. Minor. Salsa tunes etc... And I slip into MM from Dorian when I can... Really depends on the gig... I play pretty straight at lot of gigs... Thanks Reg
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Hi folks! I'm new around here. Just wanted to thank Reg for the video. That was really great! So much information and great playing. I will watch this clip many times, and I'm sure I will be able to learn something new every time. It was fast and pretty intense, but there are so many ideas and so much knowledge in that video, it will keep me busy for a long time.
All the best / Tony
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