Found the best bebop online jazz improv course to date

[guitarplayer007]

Yes Jazzy Beatle, but Volume 1 is going to take some time..unless you don't work

[guitarplayer007]

Jazzy Beatle did you have all 9 modules delivered already?

[Jazzy Beatle]

Jazzy Beatle did you have all 9 modules delivered already?

Yes, all except module 9 which is currently in production and will not be available until the end of November.

[guitarplayer007]

How does it look?

[matt.guitarteacher]

I'm very curious to find out, as I go further in this course, how he treats 2nds, 4ths and 6ths (passing tones ) vs 9ths, 11ths and 13ths (chord tone extensions subject to chromatic and neighbor embellishment in the same manner as chord tones ), as far as their respective places on the guitar are concerned. Assuming we have sixth and fifth string roots, I presume the 2nds, 4ths and 6ths on the 6th, 5th and 4th strings Will be considered like passing tones, while the 9ths. 11th and 13 upper extensions on the 3rd , 2nd and 1st strings Will be treated as Chord tones subject to embellishment

The beginning of Lesson 4 in my book has a section titled "should I call it an upper extension or approach tone.

Set of principles more to do with things like note duration and melodic context than with range.

[NSJ]

Yes Jazzy Beatle, but Volume 1 is going to take some time..unless you don't work

I went Through some of the lessons in the later units. I find out that I actually knew what he was talking about. The concepts and stuff are not not very hard.

The real value of this seems to be the vast reservoir of etudes and exercises-which seem to a very exhaustive and extensive survey on a limited but funfsmental concept -how to create lines from dominant 7th harmony and to do this efficienctly, in a "best practice" sort of way, on the fingerboard.
The clear goal of the exercises is to get all that under your fingers and in your ears, and internalize it to the greatest extent possible so you can use fragments or variations of the same in a spontaneous context without thinking.

[NSJ]

The beginning of Lesson 4 in my book has a section titled "should I call it an upper extension or approach tone.

Set of principles more to do with things like note duration and melodic context than with range.

Yes I mentioned that above, after the fact.

[MarkRhodes]

I went Through some of the lessons in the later units. I find out that I actually knew what he was talking about. The concepts and stuff are not not very hard.

The real value of this seems to be the vast reservoir of etudes and exercises-which seem to a very exhaustive and extensive survey on a limited but funfsmental concept -how to create lines from dominant 7th harmony and to do this efficiently, in a "best practice" sort of way, on the fingerboard.

I'm not sure I understand the term "dominant 7th harmony." We're not turning Pat Martino's "convert to minor" into "convert to dominant 7th", are we? ;o)

[guitarplayer007]

He does introduce II V later on in the course as well as Major Arpeggios
Ken

[NSJ]

I'm not sure I understand the term "dominant 7th harmony." We're not turning Pat Martino's "convert to minor" into "convert to dominant 7th", are we? ;o)

Well, let's not make it more complicated than it actually is We're talking about Blues. This course is a very simple one in terms of its fundamental goal. It seems it's is only dealing with the most fundamental aspect of bebop: how to play blues in the bebop way . As Bird said to BB, " you know, BB, we're the same, it's all from the blues ". Thus, concretely:

How to play over a I7-IV7-V7 using miixo patterns, the super locrian (i.e., The 7th mode of melodic minor, i.e., the good old altered scale, which is used over altered dominant seventh chords ), and it looks like he's got the Dorian patterns in there for the invitwble ii chords

Looks like the final chapter, which is still in development, is how to play Bird blues . Which we know as Charlie Parker's chord substitution system for the conventional 12 bar blues.

So, the material doesn't seem that complex, as I said even some of the latter stuff I already knew . But what I also know is that I need to significantly improve my blues playing. No blues, no Jass.

Again, the real value of this course stems from the tone of exercises and études . I firmly believe that really internalizing them will improve significantly my understanding and ability to play blues .

[guitarplayer007]

Keep us posted Navdeep
Btw how long have you been studying jazz?
Ken

[guitarplayer007]

Navdeep,

Have you tried any of the Rhythm Templates, I think that's a pretty cool idea he has there.
Ken

[AlsoRan]

Sounds like this course can accomplish what I am looking for - and that is saving me from myself and keeping me from skipping ahead by not giving me plenty of examples to illustrate each idea/concept. I am going to give it a try later on in the year when I can create some time.

[NSJ]

FYI Sheryl Bailey just posted a new class on studying 10 bebop etudes-from Body and Soul to RC to modal playing

20 bucks

https://truefire.com/essentials-guit...op-etudes/c947

[guitarplayer007]

I used to take lessons directly from her at Truefire.
Ken

[guitarplayer007]

BTW those etudes were inspired by me when I was taking lessons from her

[matt.guitarteacher]

Yay, another attempt to make jazz a college course.

Ha ha. I suppose you could overdo anything. This is good solid material. I think there's a place for some analysis and learning basic jazz patterns etc. that's mostly what this is. targeting, chromatics etc. honestly, has the vibe of a Mr. B type thing with emphasis on arpeggios and chord tones over scales , even from the very start. :-)

there's a lot of good material in here that I don't see overlapping with most other guitar books I've seen. I've seen them in a lot of NON-guitar books , but this one just deals with little more of the specifics of instrument.

The basic book version I have is $50.00 and runs 325 pages. I think it's easily worth that, if only for the blues targeting études and targeting patterns exercises.

[guitarplayer007]

He also focuses on Rhythm and Syncopation in every Module

[jasaco]

FYI Sheryl Bailey just posted a new class on studying 10 bebop etudes-from Body and Soul to RC to modal playing

I bought that course and have spent a few minutes looking it over. I'm not yet persuaded that these are all 'bebop' etudes per se (like playing modally in fourths over Little Sunflower), or the Body & Soul chord melody, though they may have some very useful stuff in them. I will probably pick a gem out here and there and work on it but I learn best when there is a coordinated, graduated process that starts at "A" and is designed inevitably, if you stick with it, to get you to "J" (I don't think any one course will get you to "Z"). For that reason, I will probably jump on board with Richie's new course, as it seems so comprehensive. And I kind of like the idea of waiting a month for the next installment to open up, so I'm not tempted to say, "Oh, I already know that; let me jump ahead to something new." It will force me to dig deeper into what I think I already know (but, in truth, could be doing a heckuva lot more with). In fact, I might get started tonight.

Is this a good opportunity for an online study group here at the Forum?

[guitarplayer007]

Yes I agree Jasaco

[NSJ]

I bought that course and have spent a few minutes looking it over. I'm not yet persuaded that these are all 'bebop' etudes per se (like playing modally in fourths over Little Sunflower), or the Body & Soul chord melody, though they may have some very useful stuff in them. I will probably pick a gem out here and there and work on it but I learn best when there is a coordinated, graduated process that starts at "A" and is designed inevitably, if you stick with it, to get you to "J" (I don't think any one course will get you to "Z"). For that reason, I will probably jump on board with Richie's new course, as it seems so comprehensive. And I kind of like the idea of waiting a month for the next installment to open up, so I'm not tempted to say, "Oh, I already know that; let me jump ahead to something new." It will force me to dig deeper into what I think I already know (but, in truth, could be doing a heckuva lot more with). In fact, I might get started tonight.

Is this a good opportunity for an online study group here at the Forum?

I imagine you will have no problem with the first unit. Unit two is huge and that's where everything really needs to come together In terms of practicing the studies and exercises .
I've replaced my usual daily scale and arpeggio practice warm-up with the arpeggio studies on page 31 of the workbook . I'm trying to practice them with all three chords and fingerings, but I'm also improvising using them within the practice format. Because, as he says, what we wind up playing in a live situation is merely fragments or variations of fragments of what we've studied extensively . That's not the whole scale, using part of the scale, etc. . I think being able to use these studies seamlessly, as part of almost being second nature , will really help.
I've discovered, well I already kind of knew it, that my descending arpeggios are much weaker than my ASC arpeggios.

[jasaco]

Yes I agree Jasaco

Which part(s) do you agree with?

[guitarplayer007]

Yes this is the strongest I've ever been playing Arpeggios from highest to lowest and I also can play the the Arpeggios using the cycle of 5ths from the highest note of all 7 fingerings without even thinking. Of course I've been doing this since I joined on 8/17/15
Ken

[guitarplayer007]

That having the modules open up monthly is a great idea...

[docbop]

I imagine you will have no problem with the first unit. Unit two is huge and that's where everything really needs to come together In terms of practicing the studies and exercises .
I've replaced my usual daily scale and arpeggio practice warm-up with the arpeggio studies on page 31 of the workbook . I'm trying to practice them with all three chords and fingerings, but I'm also improvising using them within the practice format. Because, as he says, what we wind up playing in a live situation is merely fragments or variations of fragments of what we've studied extensively . That's not the whole scale, using part of the scale, etc. . I think being able to use these studies seamlessly, as part of almost being second nature , will really help.
I've discovered, well I already kind of knew it, that my descending arpeggios are much weaker than my ASC arpeggios.

Curious is the course has fingerings for arpeggios from lowest available note on the neck to the highest available note on the neck? I hear instructors talk about it, but always leave fingering up to the player. Like you my descending arp's are weaker.