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Hi, I've got a question addressed to Jimmy Bruno's students. How does Jimmy approach the blues or the rhythm changes? He always thinks in terms of major scale? E.g. Bb7 - Eb major scale? I'm considering enrolling to Jimmy's institute. Thinking in terms of major scales in case of II - V - I seem logic to me, but in case of the blues it is a little strange. Thank you for help!
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06-16-2014 05:56 PM
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No offense intended, but the fee is about $39.00 for three months if memory serves. Or maybe it's $60.00.
I think you get the idea. It's affordable. It's Jimmy Bruno.
why not hear it from him? No one here can speak for him.
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Yes, it's $60 for 3 months. Dirt cheap for having basically unlimited access (as long as you don't abuse it) to Jimmy. He'll answer your questions, you can watch all his lesson videos, post videos of yourself playing your lesson, read or watch a video of his personal feedback to you and get your next assignment. Plus learn vicariously from watching his interactions with all the other students posting videos of their own playing. And did I say it's $60 for 3 months?? You can't even buy one in-person lesson with him for that.
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I was just curious. Maybe someone have already heard the answer
Originally Posted by fumblefingers
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I wasn't going to say anything, but I studied with JB and didn't like it, but that was me and many other dig JB. FumbleFingers is right its inexpensive try JB and see what YOU think. You'll always learn something or see something from a different point of view. Originally Posted by katamaranos
I was just curious. Maybe someone have already heard the answer
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No teacher is right for everyone. But you'll know within the first 90 days/$60, whether it's a good fit. And, as docbop says, you'll still have learned something anyway.
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Jimmy wasn't my cup of tea either, but I don't regret giving his site a whirl.
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I think this a good question, and something I have thought about when I have researched and spent some time with his teaching resources. He does play a very interesting Blues on his double DVD. And of course his obvious role model - Pat Martino -is as authentic a Blues/jazzman as they come.
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Jimmy is the real deal and from the old school of jazz greats. Roberto, I don't know where you get that Pat Martino is his role model. I know him personally and I'm sure that although he certainly would say that he respects PM as a fellow player, I doubt very much that he would say that he's his role model. Anyways, as others have said, the price is very reasonable to try out and see if it's for you. I personally have learned almost everything I know from him and found it to be very valuable.
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I used Jimmy's original online school several years ago, and it was an excellent resource; he's a fantastic teacher in person, too. I haven't been on the newer site, though, and I've moved to a different teacher due to my own evolving needs, but I'm sure it's worth trying out.
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Pretty sure that Jimmy's dad was his big influence. I think you will be able to learn a lot from Bruno. As others have pointed out, the price is cheaper than taking lessons at the local strip shopping center. Bruno is a huge talent. His system will give you good command of the fretboard. He will also have you work up your speed to the point that you can express yourself as fast as you can think (or sing). You can do this on your own, but it seems to me that Bruno's system accelerates progress.
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I did Jimmy's first web site for a year or so and learned a lot. There is a lot of frou-frou silliness in "jazz theory" that most of us can skip. Develop your ears, learn to phrase, play music instead of abstruse scales. Jimmy cuts to the chase. That said, a lot of people enjoy learning abstruse scales and there is nothing wrong with that. At 55 years old I've never learned anything that made me worse!
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katamaranos no he does not just think major scale for the blues.
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Finally the answer... Thank you. Originally Posted by gggomez
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Does anybody??? Originally Posted by gggomez
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Well...Bruno teaches folks to become very facile with the C-major scale, but to play it from different beginning tones (modal playing, without saying "here are modes"). Over D, E, or A, obviously, the C-major scale sounds very much "minor" because of the notes it shares with the minor scales (all but Db with D minor scale; all but F# with E minor; all notes in common with A minor scale). Was this what was being asked? This is just at the beginning of Bruno's system.
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That's one of the things that got to me was JB always enticing people with you don't know to know all these scales, then he'll say play pattern X from the 5th and flat the N. Just knowing the scale by its name is a lot simpler to me. Originally Posted by Greentone
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Very similar to Pat Martino's 'Creative Force' approach. Modes by any other name......
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In my mind, the difference is that Bruno conditions your ear to the different sounds so you can use them like spices in your playing, without attaching all the modal names to everything. Sure, you end up playing in some kind of mode, but you're being driven by your ear/hearing, rather than by a set of formal rules (play this scale/mode over this chord). Some people prefer to learn the rules and some people find it just gets in the way. Kind of like learning to speak aurally rather than by first learning a lot of rules of grammar. In the end you're both using correct grammar but native speakers don't come up learning to speak by grammar - they do it by ear and end up with correct grammar anyway (hopefully).
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I do sometimes just for the effect. In that case, I think of all the dominant chords as the V so for a C blues I am thinking F major, Bb major and C major for the I IV V respectively. Effectively that's the Mixolydian mode for each chord, but I never actually think in terms of modes; I usually think in terms of tonal centers and/or chords. Originally Posted by docbop
Ted Greene once made a comment that he thought there were three distinct types of keys in Western music: major, minor and dominant. The latter was developed in blues and rock. In Ted's world, something could be in the key of G7. Interesting way to look at it.
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Jimmy's method made a lot of sense to me, and helped me really begin to hear changes. As far as the theoretical part, his way of learning to hear each note individually made it so things did not necessarily line up with any particular mode or scale......though at times it did. I don't use his site anymore, but I think I still use his method as a sort of base template......sort of work backwards I guess. I read about this or that mode/scale, and translate it into: "Oh, okay. That's putting a b9,#9 and a b13 on a dominant chord. By doing it that way, I'm not locked into only the notes of that particular mode/scale.
But then I remember a post awhile back which explained that just because a mode is assigned to a chord, it does not mean that you are restricted to the notes of that particular mode, but these scales/modes are interesting to learn as their own characteristic sound. For some reason I had taken the concept of mode/scale over certain chords way too literally.......as I often unfortunately do. After hearing examples I see the value of learning in this manner. I do not see a right or wrong on the issue, because there are many great players who come from a variety of perspectives. It's just what resonates for you.
I guess this is completely off-topic, though it sounds like the OP question was answered already above.
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The main thing, IME, that you can take away from Jimmy Bruno is something that both Joe Pass and Herb Ellis taught, too: there are only three chords--major, minor, and dominant. Everything else is baggage or "colors." Bruno, Pass, and Ellis all base playing around simple chord forms and add leading, pedal, or color tones to make some music. None of them think or thought in terms of extended scales or extended chords. At the speed of jazz improvisation it is just major, minor, and dominant--with tritone subs and the like. This is ESPECIALLY true of the rhythm playing of the great Freddie Green. FG would play three notes, tops, in a chord--unless he could get by with two, which he very frequently did. Now, those two might be the third and seventh; three might be the third, seventh and ninth. (Green seldom stated the root; what is a bass player for?)
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I believe Joe Pass also said that he views the minor chord as a passing chord. Minor and dominant being the same.
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If looking at chords as purely major and minor then the diminished (often used as passing chord) is a form of minor. It was common to interchange minor 7 and dominant 7 because they have the same b7 so one of the two identity notes is remaining the same. Originally Posted by edh
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No, Joe definitely said there are only three chord types: major , minor and dominant. He categorized diminished and augmented chords as a sub-set of the dominant chord. Originally Posted by edh
You may be thinking of his comments from one of his videos where he stated that he would sometimes "streamline" I-vi-ii-V progressions into I-I-V-V.
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