Don't Get This Wrong When Learning Jazz

[@johnmac8084]

That idea of weaving a melody around the 3rds (or other interval) works really well Jens. Better than thinking arpeggios & scales.

[@insidejazzguitar8112]

I have found it very helpful to notice when the greats like Bird play the fourth degree over a dominant chord, because it gives you insight into their thinking about harmony. It’s often the back door dominant as a substitute for dominant chord. But it might be a suspension or extending the II minor chord across the bar, or repeating short II-Vs. just thinking of it as an avoid note would close off an important part of bebop harmony.

[@JensLarsen]

Indeed, they are all over the language so trying to not hit them is really not going to be very useful 🙂

[@Arthur_My_Dear]

I think you’re an excellent teacher, Jens. As well as learning, your teaching makes me want to learn and makes it fun to. Thanks. Ans also for not hiding everything behind a paywall

[@JensLarsen]

You're very welcome! I am glad you like the videos!

[@picksalot1]

One of favorite guitarists is Django, who enjoyed sitting on all kinds of avoid notes and dissonances and making them work. Excellent lesson. Thanks

[@JensLarsen]

Exactly :)

[@gilfordmoore706]

You absolutely have the best videos with the most clear direction. I love listening to and watching them. They are very motivating! Thank you!! ☮️❤️🎶

[@JensLarsen]

Thank you 🙂

[@JensLarsen]

*Imagine telling a student: "Here is a Kenny G album, don't play like that!" Compared to "Here is a Grant Green album. Try to play like that" What do you think is more useful?* ✅Melodic Skills You Need To Develop - Important Jazz Exercises: kzbin.info/www/bejne/r4iodJybf9aEeJI ✅ How To Solo Over Chord Changes kzbin.info/www/bejne/qJCri4aLm7R-ra8 You Use Target Notes or Avoid Notes?

[@AnnaPrzebudzona]

That line at 6:20 is so nice! Soft guitar tone with a pinch of spicy avoid note - my favourite snack ☺️

[@JensLarsen]

Thank you :) We aim to make tasty licks 😁

[@bobartur1386]

This is why in jazz and in general in music there are no wrong notes! It depends only on how and in which context are played. Thanks for sharing your thoughts Jens!

[@JensLarsen]

Exactly :)

[@rubenmora9880]

Thank you very much, Jens. The lesson is great. It´s a interesting tutorial for the improvisation.Un abrazo

[@JensLarsen]

Glad you liked it!

[@ChinqMiau1]

Great lesson as always. Thank you.

[@JensLarsen]

Glad you liked it!

[@michaelstevens8]

Your absolutely right Jens. Any so called Avoid Note can be played as a Passing Note , Lower/Upper Neighbor or part of an Enclosure etc. then resolved. In some Genres of Jazz like Modal, Third Stream, Free Improvisation, you might even sit on the note a while. As far as Target Notes are concerned, both Bach and Charlie Parker would often put the Diatonic 1, 3, 5, or 7 on the downbeat of the 1st and 3rd beats which helps to Imply the Chord but, and this is Crucial, they were absolutely not Dogmatic about it otherwise it becomes way too predictable. Anyone that wants more information about this, and I may have said this in a previous comment but it bears repeating, check out Forward Motion by Hal Galper. Bach and Parker. Great minds that thought alike. Thanks.

[@ericstrauch3215]

Great lesson Jens! I was taught to not "land" or end a phrase on the F (4th). And, that the F (4th) is to be used as a "passing" tone.

[@JensLarsen]

Yes, that is a much more sensible than just saying not to use it.

[@alfiesolomon3531]

Finally someone who addressed with clarity the choices that sounds the best.

[@JensLarsen]

Glad you found it useful! :)

[@ebestul84]

I emphasize playing fearlessly with all of my students. Every note can be the right one in the right context.

[@kevindonnelly761]

Looking forward to this video. Thanks Jens.

[@JensLarsen]

Hope you like it!

[@benkatof5852]

Great! - "Get used to the sound...." That's the key for target notes in my opinion. Big difference between knowing a note to target and hearing it.

[@JensLarsen]

Yes, it is indeed important to hear where the melody is going :)

[@JensLarsen]

That is also why I so often target the 3rd in the chord, it is the clear choice most of the time

[@colburnmowry]

Jens you have made learning such a fun process for us. I often get lost in learning online and not focusing on playing enough, you make it that enjoyable. Thanks for making this collection of videos, and making them available to us all. It has helped me so much.

[@JensLarsen]

Really glad you like them 🙂

[@guilhermemoura4379]

Great lesson as always! Thanks, Jens.

[@JensLarsen]

Glad you liked it!

[@tspicks4360]

Great lesson. I've long had the idea in my head of "target notes" in terms of singing musical phrases and melodies ... what note to "aim for" or emphasize as one goes along. Can clearly hear this in great singers like Sinatra or Ray Charles. Love seeing this so clearly explained in a jazz instrumental context, even more applicable, imo.Thanks!

[@GMAtheory]

I just recently discovered your channel and although I am already a professional player I love the way you get to the basics. And, you are helping me be a better teacher. Thanks for the videos I really appreciate them.🎵

[@JensLarsen]

Glad they are useful! It is indeed important to find new ways to teach things 🙂

[@etiloyon3681]

Thank you, Jens another clear and helping tutorial.

[@JensLarsen]

Glad it was helpful!

[@The2378AlpacaMan]

i gotta say this and your other videos really help resolve some of the mystery that is improvising like i'd watched your videos before, but maybe it makes more sense to me now because i'm absorbing some of the more basic stuff first (using the scale, looking at the melody, target notes of the chords, etc)

[@brentmadden789]

Great lesson! I was taught many years ago playing horn to avoid certain notes instead of intelligently improvising with chord tones and triadic inversions (chord-scale theory was the norm). Spitting out blues scales and Dorian mode just made me sound like a robot. This lesson is also aptly applied to life in general: focus on creating the life you want instead of what you don't want! Cheers!

[@JensLarsen]

Thank you, Brent! Yes, I think this does indeed apply to life as well :)

[@breakfastplan4518]

Another winnning video, Jens! Loving your new format! :)

[@JensLarsen]

Thank you 🙂

[@alanl2550]

For what it’s worth I’ve just bought a 2005 Korean made Epiphone Sheraton II. I’m very excited about it and I had to let you know as your Epiphone was my inspiration. Many thanks Jens.

[@JensLarsen]

Congrats! That is great Alan! They are really good instruments!

[@djmileski]

Man, your advice on how to approach this is awesome. Thank you

[@JensLarsen]

Glad it was helpful!

[@thingsivelearnedfrombarryh2616]

I think it's important to point out that Barry doesn't see that G as the 5th of C minor as much as he thinks of it as the 2nd of F7. He thinks of that whole 2 bars as F7. I think this is a point that gets misrepresented a lot. Also, I think the phrase starts with Bb major not Bb7 so it's A natural not Ab.

[@JensLarsen]

Yes, that is certainly an A, I even remember it from writing it out for Patreon. Did I manage to make it an Ab now? I don't think it really matters whether you want to think of it as a target for F7 or a target for Cm7. The point is that the melody (clearly?) leads there, and it is such an obvious G7 Cm7 that it would more confusing to call it an F7 in this context.

[@novembrinewaltz90]

That's clearly a B°7 arpeggio resolving on the 5th of Cm7. F7 comes clearly later, when the 3rd (A) is used as a target note in bar 4. This "there's no II, only V" thing is getting a bit out of hand.

[@JensLarsen]

@@novembrinewaltz90 That doesn't really matter too much here, and Chris is right that Barry would explain it like that, that is a part of his system :)

[@novembrinewaltz90]

@@JensLarsen Trying to see and hear a b9 of a dominant chord resolving to the major 9th of a dominant chord a whole-step down (G7b9 -> F9) seems very difficult to me, compared to a typical V-I cadence where everything runs smoothly. But everyone has their own way to see things, I guess.

[@JensLarsen]

@@novembrinewaltz90 Yes, it is not something to get all worked up about 🙂

[@laphrase1]

Very Great lesson as Always

[@JensLarsen]

Thank you 🙂 Glad it was useful!

[@sonnyobrien]

Reading Forward Motion now. Thanks JENS!!

[@JensLarsen]

Glad you like it 🙂

[@jamescopeland5358]

This lesson has given me ideas and a way to approach the targets

[@JensLarsen]

Go for it 👍

[@MorningCarnival]

Bullseye! Just what I need this week!!!

[@JensLarsen]

Great 🙂

[@Alan-zi2rs]

Great video Jens much appreciated 🎶🎸👌👍

[@JensLarsen]

My pleasure!!

[@JohnHorneGuitar]

Funny story about "avoid notes" (though I don't think I knew the term at that time) when I was in high school I got really into the older instrumental George Benson recordings. My guitar teacher at the time dug up some transcriptions from Blue Benson, Giblet Gravy, etc. I saw that in many of his minor lines Benson was playing the major 3rd over minor chords. I knew this was a basically an avoid note that somehow sounded good but I was too dumb to consider just learning the lines. I wanted some kind of *concept* to use. And so, not understanding the minor bebop scale or what constituted typical bebop language, I spent several frustrating days really trying to force major thirds to sound good on minor chords and sounding worse than ever.

[@JensLarsen]

Yes, making rules for what should work never works. Good story 😂

[@The2378AlpacaMan]

your explanations were already good, but i can tell they've improved

[@djmileski]

Good point. And the avoid notes seem to give character

[@JensLarsen]

Indeed :)

[@ChrisBuonoGuitar]

TRUTH. All of it. Well done, brotha.

[@JensLarsen]

Thank you very much Chris! Glad you think so!

[@markslist1542]

An excellent video. Thank you.

[@JensLarsen]

Glad it was helpful!

[@timrush1315]

Id like to just say that while I get the that we need to focus on what notes to play, you can simultaneously be conscious of what not to. A way this was taught to me clearly is by sharing intervals that were kosher for certain chord times and ones that aren't ( like a fourth in the bass over a major chord). Another reason this isn't helpful is because the tonal "glue" and physics of theory allow for an F to be more digestible if it is what we call an 11. Bass notes carry much more weigh and are more susceptible to causing dissonance or tension. Another important factor is what beat or down beat the note is occurring on and if there is intentional atonal intervalic approaches to the target note

[@JensLarsen]

But surely that is not focusing on "what not to play"?

[@timrush1315]

you are right, I guess a topic I take for granted

[@Crowsinger]

Awesome! I thought of something similar recently - instead of calling notes "target" and "avoid", I tried explaining them to a student as "different levels of tension" and, frankly, I think that's how they should have been known as in the first place. Even among the "target notes" I would consider the degrees of varying tension - the first being of the lowest tension, then the fifth - fitting well with the overtones of the first, then the third, and then the seventh. I wouldn't consider them tense, but more like "of varying levels of distinguishability among the chord tones".

[@JensLarsen]

Remember that using something as a target note does not say anything about the note, it could be any note. The target note strategy is a method and a way of playing music not really a description of the notes.

[@Crowsinger]

@@JensLarsen yes, yes, that's why I used the quotation marks around "target notes", i.e. I meant "chord tones", not your definition of target notes, with which I agree very much and which I prefer, compared to the other one.

[@insidejazzguitar8112]

Some target notes are more easily interpreted by your ear as indicating a chord change. I love hitting the fifth degree of certain chords, but it can be a little more ambiguous. But ambiguity is good sometimes too.

[@bradford_shaun_murray]

2:26 that's interesting, ironically an avoid note as a target note probably could open up some extra creative passing lines that are very different from the norm. 4:15 the new album title

[@JensLarsen]

There is an example of how an avoid note as a target note can work later in the video :)

[@paulpmanhowland7818]

Great video.

[@JensLarsen]

Glad you enjoyed it, Paul!

[@fredericoferreira8388]

Thank you so much!

[@JensLarsen]

You're welcome!

[@buzz5647]

Jens, love these presentations, always informative. Have a question regarding Omni books. Hal Leonard sells these books covering Joe Pass and the likes. Have you ever used them? Would you recommend any?

[@JensLarsen]

Thanks! I have no experience with those books, sorry :)

[@BluegillGreg]

What I'm getting from this lesson is "Don't target the IKEA Strat with a hammer. Gently target a screwdriver at the Tele."

[@JensLarsen]

That's more or less it.... 😂

[@cbolt4492]

Loving the humour #IKEA 😄

[@JensLarsen]

Thanks Christian! :)

[@davidwyman8946]

This is a great channel!! Thanks for posting. One thing about this video--I kind of like the sound of the chord, f over CM7. I like dissonance in music, for some reason I can't identify. Do you have video[s] on where this can be used? I'll take a look on your channel myself but it would be interesting to see this. I also like 12 tone music too so...

[@JensLarsen]

Thanks! There is an example of how that works later in the video. There are some videos like that on the channel: kzbin.info/www/bejne/fH_OnHV9ZtajgJo kzbin.info/www/bejne/aGi7pZ6rp6x4ntk

[@Aaron_French]

Amazing

[@JensLarsen]

Glad it was helpful 🙂

[@diegomaugeri4038]

The truth about 'avoid notes' is that they derive from the god awful concept of 'chord scale.' For as long as boppers had a strong grip on the chords, and of course the implied 'chord tones,' there were no avoid notes: anything would work because it would resolve on a chord tone. Once you lose sight of the chord for the scale, and players begun not resolving their modal phrases, then you'd find yourself in the mine field of the 'avoid notes!' Thanks Mr Larsen for another great lesson!

[@JensLarsen]

Yes, I think there is certainly some truth to that in terms of scales being a bit too important in Jazz education.

[@alexdebling1564]

The concept of the "avoid note" always seemed so juvenile to me. It's like walking down the street and superstitiously obsessing over not stepping on cracks ("or you'll break your mother's back!") and awkwardly breaking your stride. Cracks in the sidewalk are nothing to worry about if you know how to walk ;) If anything positive can be learned from the avoid note, I would think it would be learning how NOT to avoid them as a creative challenge.

[@JensLarsen]

Exactly 🙂

[@AZURLITENTERTAINMENT]

Does anybody know what the double cut solid body is?

[@JensLarsen]

It is a Yamaha SG1000 😁

[@AZURLITENTERTAINMENT]

@@JensLarsen thanks

[@skineyemin4276]

Why didn't you use an example from one of Barry Harris' tracks from one of his albums instead of that excerpt from a video from one his his jazz classes? i mean, of all the jazz musicians you've named in your video, Barry Harris would be the best point of reference because he was a modern day bebop purist.

[@JensLarsen]

Because I had written out a few things from the videos for my Patrons and already had that.But, I have to say that I find his examples strong enough to work for this, and also that the fact that he uses this when he teaches also even more clearly emphasizes that he does it on purpose, so in that way it is maybe a stronger example than a transcription, now that I think about it.

[@LostSoulAscension]

Any thoughts on Ted Greene's Chord Chemistry? I have the book but... xD haha That bach to bebop book sounds good!

[@JensLarsen]

I don't have that one, I believe I studied some stuff from another book of his, but I only got copies from my teacher.

[@LostSoulAscension]

@@JensLarsen ah okay cool, yeah I think he has that one and another one on melody but the chord one Ive understood is just how to play the same chord almost every possible way to make points but its hard to apply with that overwhelming kind of a start. I do have the mickey baker jazz book 1, but have lately been considering just going into modern metbod for guitar cause I do feel like my overall goals pertain more to a pop style, but I do love jazz and classical and try my best to refer to those styles as ways to challenge my approach to music overall, with the presumption that it should expand my vocabulary and ability in slightly "easier" genre's like rock, blues, or metal. Definitely am appreciating your videos, espeically the one with the 7th chord scale horizontally up the neck. I do recall barry harris saying in one of his videos to really learn the names of all chords in every key, like every major and minor chord belongs to 3 keys, each key has 1 dominant 7th and a diminished that we should know, etc. Those have been kinda my basic approaches to theory so far and really sticking with the triads as I know you and a few other teachers have mentioned on youtube, like tomo fujita, and I also like pebber brown too.

[@JensLarsen]

@@LostSoulAscension Glad you like the videos 🙂 When Barry talks about every chord in the key, then he means all the diatonic chords, not all possible voicings

[@johnjacquard863]

lol :D i thought you said.. "Johnny Parker" i was like " what?....., who is that? lol

[@JensLarsen]

Maybe don't put your amp so loud when you practice? 😂

[@johnjacquard863]

@@JensLarsen lol :D

[@rillloudmother]

Now I know where the ikea shredder gets his guitars, now I can switch to hair metal.

[@JensLarsen]

Go for it! 🙂

[@tonyfaelens3626]

Anthony Jackson : There are no wrong notes .

[@captainkangaroo4301]

I do like to use a very big hammer on IKEA furniture.

[@123jkjk123]

My advice - if you hit an "avoid note" accidentally, keep hammering away at it until it sounds like you intended it!

[@noi5emaker]

Alan Holdsworth only played avoid notes. There, I said it...

[@JensLarsen]

😂 Well....

[@noi5emaker]

@@JensLarsen No I'm not going to play all avoid notes, before you ask haha!

[@vertyisprobablydead]

That Cmaj7add11? I just played it. I hate it. It sounds really, really bad!

[@JensLarsen]

And this was a surprise? 🙂

[@vertyisprobablydead]

@@JensLarsen lmao

[@andyshaw325]

@@JensLarsen So are you saying that an 11th on a C chord is an avoid note?

[@JensLarsen]

@@andyshaw325 no, I am saying that a maj7(11) is not stable because of the b9 between the 11 and the 3rd. It does not mean that you have to use inefficient soloing strategies 🙂

[@thijs199]

So you’ve been lying I knew it

[@jamsessionemmusicademartor8288]

Great lesson, as always! Thanks Jens!

[@JensLarsen]

Glad you like it 🙂