Merci de ta visite et pour ton commentaire !

@@brunopelbac franchement terrible en une seconde j'ai compris les fondements du jazz top j'ai hâte de voir tout le contenu de ta chaîne good job

@@francistshimanga1443 OK Bon courage alors ! Et reste en contact si tu as des questions.

Thanks for your comment. Keep in mind though, that the Maj7 and Maj6 are often interchangeable. The Maj7 is considered a bit less stable because of the leading-tone, but those chords essentially serve the same function. So don’t feel that you always have to play what the chart says… the Maj6/9 is also another chord that you can use too.

@@brunopelbac Oh for sure, but in addition to interpreting the tune, I'm trying to learn his self titled 1973 album more or less note for note (it's a masterpiece!) and he does those changes very often and very quickly kzbin.info/www/bejne/jnnQgGShodJ1hMk. Thanks for your reply.

For example on Eu Vim da Bahia kzbin.info/www/bejne/gGLFgpqviMqZl9k

Simple, n’est-ce pas ?

Merci Mr Eklato ! Ravi que ces vidéos soient utiles !

Ah très bien ! Content d’entendre que mes explications soient claires et permettent à mes auditeurs de faire des progrès. C’est tout à fait le but. De nouvelles vidéos seront en ligne très bientôt…

David, as I said in my previous reply (not sure if you read it already) you are confusing a "metronome" marking with a "tempo" marking... Just because you set your metronome dial on 50 does not necessarily mean that your tempo is going to be 50 bpm. It can be 50bpm if you mentally assign a quarter note value to each one of your clicks. Now, if you were to mentally assign a half-note value to each one of your clicks, then your tempo would be twice that: it would be 100bpm. So if you want to play a tune at 100bpm in 4/4 with the clicks on 2&4, you will have to set up your metronome on 50 - that is half the value of your tempo, since you only want to hear two clicks and not four clicks. (By the way, the Dr. Beat has too many bells ans whistles in my humble opinion and it can make things confusing). It seems to me that you are making things much more complicated than they are by thinking too hard. I listened to the video again (since I recorded it many years ago...) and one point that I did stress in there is that the whole concept is about a feel - not just a mathematical formula. Snap your fingers, and you will naturally snap on 2 and 4. Think of the back-beat of most American music (Rock, Jazz, R&B) and you will hear the natural emphasis on those stronger beats: 2 & 4. It's what we call a back-beat. I honestly believe that I cannot explain much more through this KZbin comments section. If you are interested in doing a Zoom meeting as you suggested, I would be more than happy to demonstrate and walk you through the steps. My contact info on my website (link in comments section below the video) Thank you for your interest!

Hello David. In the video the reference tempo is 120 beats per minute. When I set the metronome dial on 120 it lets me hear 4 clicks: one on every beat. Then I set the metronome on 60. That means I'm going to hear twice as much space in between the clicks. I can still "think" of the tempo as being 120 beats per minute, but I imagine that the metronome somewhat erased every other beat. The challenge is to assign those clicks on the chosen beats (2 & 4) and visualize where the missing beats would have been. So when we hear the clicks on beat 2 and on beat 4 we can still play at the same original tempo, but we will only hear those beats (2 & 4) as opposed to every single beat. Here's what often confuses people: when the metronome says "60" it is just a "metronome" marking - it is not necessarily a "tempo" marking... One last thing: put on a recording, let's say a medium tempo jazz tune. While the music is playing, clap your hands on every beat. Then clap only on beats 2 and 4. The music didn't slow down, even though you only clapped half as many times. Hope that clarifies it a bit. I would be happy to meet on Zoom, which is my preferred platform for teaching: I can share my screen in real time to look at charts and/or exercises and you can record the lesson directly on your computer. I also use this application: farplay.io/ It removes latency while on Zoom which allows musicians to play in real time. I've been using it with most of my students and it works really well. You will find my contact info on my website (in comments section below the video) Thanks for your question and for your interest!

Not a silly question! I do recommend to tap the foot on 1 & 3 while the metronome is on 2 & 4. In fact, I always do that while playing even without the metronome: you want to either tap on every beat or just on 1 & 3 - depending on the tempo. Thanks for stopping by!

Thanks so much for thoughtful reply, it's going to be a great help, subbed

Merci Thierry ! Si tu n’as pas encore vu toute la série sur « Fly Me » voici la playlist: kzbin.info/aero/PLudaZb0zLMuosYWtF7xwqzHEpdbDRZRiK&si=5EZfW1hTCTwmFbQz

@@brunopelbac Merci Bruno.

Merci Eric !

Thank you for stopping by! Clicks on 2&4 will help you develop a stronger swing feel - which is not necessarily a priority in classical music.

Glad you liked it. Thanks !

Thanks for stopping by !

Merci Christian !

J’en parle dans cette vidéo : kzbin.info/www/bejne/h5nRXmpnrMh8i7s

Tu rates peut-être les cordes quand tu joues sur scène parce tu joues debout ? Alors il faut travailler les 2 positions: jouer assis et jouer aussi debout. Il faut travailler à la maison dans les mêmes conditions que quand on joue en public. Soit assis, soit debout, soit avec un ampli, sans ampli, jouer fort, jouer moins fort, etc.

@@brunopelbac oui quand je joue debout;;; lorsque je suis assis ;;c est la jambe qui tremble , ,, merci pour la reponse

@@ACOMPA tu peux essayer de juste taper le rythme avec le pied - peut-être que ça arrêtera les tremblements ? En tout cas, il faut persister et ne pas se décourager !

@@brunopelbac mercii

Voilà aussi des exercices qui aident pour la précision: kzbin.info/www/bejne/b6WQlXmAhsZ7i8U

tu cliques sur le lien dans les commentaires en dessous de la video. Merci.

Thank you Ann! Glad you found it helpful!

Hello Krzysztof and thanks for stopping by! There are many types of arpeggios and nothing really right or wrong in what you are mentioning. You can play a 2-octave arpeggio by simply repeating the same 4 notes you already played: For your CMaj example: play C E G B and then again C E G B up an octave and then usually finishing with another C to close the second octave. Please note: you would not call that arpeggio IONIAN because all it is is just a CMaj7 chord - period. If you wish to add some of the extensions (9, 11, 13) to hear the true IONIAN sound, then you will continue with D F A after the 4 chord tones. You then will get C E G B D F A C (closing there again with the C octave, the root). You realize that in doing so you end up playing all 7 notes of your C Major scale - but organized in 3rds A quick word on extensions of chords: what we call the 9th is the 2nd note of the scale, the 11th is the 4th note of the scale, and the 13th is the 6th note of the scale - but you probably already know that!

@@brunopelbac Thank you very much for your explanations of the issues in my question. Regards! :)

I’ll take that as a compliment then. Thanks!

Wow! Thanks so much for your kind words!

Thank you for your visit! Generally when harmonizing vocally we use 3rds or 6ths - at least in western music, sometimes 5th. But really 3rds are what you will hear most of the time. You can sing in unison, but then that is not really considered harmonizing…

Merci Pat ! Attention à ne pas te cogner la tête au plafond, hein ?

Merci du compliment ;-)

Merci tonton !

Thank you ! Glad you found this helpful!

Merci ! Les liens PDF sont dans les commentaires en dessous de la video

You are too kind! Thanks for visiting!

Merci Jacques ! Je vais m'y remettre bientôt !

Great to hear that ! Of course, you can do the same with any chord type!

Merci Patrick - tu as vu aussi la version française de la même vidéo ? L'impro est différente...

Thank you for stopping by!

tension - résolution !

merci des commentaires !

Merci d'être passé, Penta !

Merci Mister Bhoye ! Ravi de savoir que tu as apprécié !

Playing behind the beat, on the beat or even ahead of the beat is really a personal preference or disposition. I never really practiced doing one or the other deliberately. I have a tendency to play a little behind the beat, but it’s most likely the result of listening to players who do that. Check out for instance Dexter Gordon or Errol Garner. Metheny seems to play right on the beat most of the time - even though he claims in his Rick Beato interview that he is more behind the beat. Those feels often fluctuate and sometimes can be subject to interpretation. My best advice here is try to emulate those players whose time feel you like. The rest will follow.

@@brunopelbac thanks

Merci Dominique mais je suis aux USA et c’est facile d’obtenir ces cordes directement ici. Merci d’être passé sur mes vidéos !

Mais pour voir ton lien, oui je veux bien écouter. C’est sur KZbin ?

Merci Dominique. Bon à savoir.

Thank you Escape. I appreciate the comment !

Merci Jacques !

Thank you Clifford!

Merci Gérard. À bientôt pour de nouvelles videos !

Non pas vraiment. Quand on parle d'un accord en quarte c'est que l'intervalle entre chacune de notes sera d'une quarte. Ici - et dans la vidéo précédente - l'accord de base que je présente est construit avec: Mi La Ré Sol (du grave vers l'aigu). Il y a une quarte juste entre chacune des notes, et il se trouve que ces 4 notes sont dans la gamme de Sol Penta Majeure (qui est la même que Mi Penta mineure). J'espère avoir un peu clarifié, et merci de ton passage !

Hey! Thanks Robbie! Good to see you here!

Thank you Marti!