Gary Burton masterclass video

[stworzenie]

But I see short videos for each week,later will be longer and to download?

[Jonah]

I just think since the course has limited schedule where you have to complete tasks in limited time the vids and materials will be provided at the beginning of session... otherwise it would not make any sence.

[christianm77]

The Gary Burton video is very long, I should probably watch it but I'm quite busy ATM. EDIT: I'll give it a go.

Is his approach based on 'random scale practice?' Julian Lage talks about this in one of his masterclasses. It's quite fun.

Two me there are to complimentary approaches for working on this:
1) order - patterns, intervals, intervallic cells through the mode etc
2) chaos - random improvised practice of modes

[christianm77]

Gary Burton has always struck me as having an amazing sense of rhythm. Not that that can't be combined with CST, but when the rhythm is happening you can play most anything!

Add Metheny to that - the hardest thing to copy about his early playing is the timing.

[christianm77]

Great video! It's long but there's not a lot visual stuff going on, so you can put it on and listen to it while you're doing other stuff.

My own view of CST: There are basically two ways to look at music theory. The classical way is basically giving names to things that composers have done, for the purpose of understanding them and why they work the way they do. The jazz way has many of the same elements, but the purpose is to give the improvisor an awareness of what's going on, and to suggest possibilities for what to do with it.

To that extent, it seems wise to me to have as many different ways of looking at a musical situation as possible. CST is one of those ways.

My own default is to think primarily in extended chordal terms. E.g. if I see a Maj7 chord, I'm thinking of Root, 3,5,7,9,11,13. It's the same notes as the C Major scale, but thought of in a chordal way. I know that in certain situations, I want to keep away from the 11, and in certain other situations, I want to use a #11, and that a #5 is also available. But sometimes you want to do a scalar run up to a note, and at those times, I might be more comfortable thinking about those notes as a major scale (or lydian or lydian augmented).

So I like being able to think of things both ways. And more: Pentatonics, triad pairs, etc. Whatever you got. Learn them all.

The main problem with CST is that people tend to sound like they're playing scales. I liked how Burton talked about mixing up the notes and developing enough fluency with the scale to be able to pick and choose your notes and permutations. Scofield talks about something similar in one of his videos. He encourages students to practice scales in 3rds, 4ths, 5ths, 6ths, etc.

A sufficiently creative person can make any system work. A creative person who knows a lot of systems has a lot of ways to make things work.

I kind of agree with this.

I think the whole CST thing is a very poor analytical tool when applied to historic jazz common practice, in so much as the scales most frequently prescribed are not the ones used by Bird etc. He seems to use a whole different bunch of scale relationships and is using scales AFAIK in a less open way.

Indeed what CST seems to represent for jazz from the generation of Gary Burton (who lest we forget seemed to have an extremely fluid command of the bop language, presumably mostly by ear) is a road map for future directions. This is now the common practice of current improvisors who tend to 'speak' with a slight CST accent even when they are playing bebop. Most modern players tend to learn bop and CST AFAIK.

Anyway, I think the fundamentals for an improvisor is to be able repeat phrases by ear, know where the chord tones are and have a secure sense of rhythm. Once you have that down, learn what you want. CST will probably be a part of any modern players education. And there are lot of ways of using it.

At some point I may do a rant based on the thing that is often overlooked - the use of scales is not really the issue at all - but the thing that has changed radically in music is their use. CST is a very distinctly jazz way of doing things - modes are not used like this AFAIK in other traditions around world.

[Jonah]

Is his approach based on 'random scale practice?'

This video is quite basic CST - approxamately the same that Scofield shows in his masterclass - and Sco does more about practical playing... he has even kind of random chords example.. improvising over Cmaj7-Ebmaj7-Emaj7-Dbmaj7..

GB here gives only basic scales and does not develope the idea but gets more into explaining musicality and all..

And actually what he shows here in practice can be easily explained with traditional diatonic concepts of voicing and cadences

His ability to play on random chords with scales were mentioned many times though... Pat Metheny also said that,

[christianm77]

This video is quite basic CST - approxamately the same that Scofield shows in his masterclass - and Sco does more about practical playing... he has even kind of random chords example.. improvising over Cmaj7-Ebmaj7-Emaj7-Dbmaj7..

GB here gives only basic scales and does not develope the idea but gets more into explaining musicality and all..

And actually what he shows here in practice can be easily explained with traditional diatonic concepts of voicing and cadences

His ability to play on random chords with scales were mentioned many times though... Pat Metheny also said that,

I'll post the Julian Lage vid up again:

[jads57]

So I only watched the first 10 -15 minutes or so. But Hopefully he addresses thinking in longer II V I etc phrases as well how to Tritone sub for those. Also Melody IS the King to keep in mind as well when improvising, as simple as that sounds. Just a side note I was fortunate enough to see Pat Metheny,Mick Goodrich,Bob Moses,Steve Swallow and Gary Burton several times while attending Berklee in winter of 1976. Great band and interplay between all of the players.

[Jonah]

So I only watched the first 10 -15 minutes or so. But Hopefully

I do not really get this kind of reviewing... sorry...

But Hopefully he addresses thinking in longer II V I etc phrases as well how to Tritone sub for those. Also Melody IS the King to keep in mind as well when improvising, as simple as that sounds.

Yes.. and by the way the sun rises also in the East

[grahambop]

I'll post the Julian Lage vid up again:

Interesting how each player has their own way of doing things. Julian plays solo by just using the bass note and melody note (at least as a starting point). Kurt Rosenwinkel (in the Gdansk video) uses root and 7th in the bass, alternating with 5th and 3rd, to support his solo improvisation. Both get brilliant results from their respective methods.

[stworzenie]

Whoever have Berklee Music Theory Handbook pdf,please send me on email
I cant download from their site.