Kurt Rosenwinkel - How To Make Interesting Lines

[@JensLarsen]

I am of course a huge fan of Kurt's playing, but I really think that the lines in here are pretty brilliant and very much worth checking out! 😎 Content: 0:00 Intro 0:29 The Topics Covered in the Analysis 1:24 Example #1 1:32 Analysis - Side-slipping and Dominant Scales 4:24 Example #1 Slowly 4:34 Example #2 4:40 Analysis - Motivic Development in 8th note lines 5:59 Example #2 Slowly 6:07 Example #3 6:18 Analysis - Larger Range - Harmonizing in the solos and Tritone Substitutes 9:56 Example #3 Slowly 10:32 Example #4 10:35 Analysis - Never-ending Scale Exercise 11:39 Example #4 Slowly 11:43 Example #5 11:51 Analysis - Quartal Arpeggios and motivic development 14:09 Extra Example #6 Reharmonizing with Secondary Dominants 14:37 Example #5 Slowly 14:48 Like The Video? Check out My Patreon Page.

[@damonshanabarger2604]

I am sure this video is well worth checking out, but nevertheless it isn't what you know, it's what you feel. Anyone could play anyone elses lines/music but will always fall short of glory. If it's not yours then you are not feeling it. If it's real music you have to feel it.

[@JensLarsen]

@@damonshanabarger2604 Of course :) I am curious if you expect to learn without any influences? The analysis is not just to play it, it is to understand how it is put together so that you can take the principle and use that in your own playing.

[@Eruiz]

I was lucky enough to see Kurt in 2016 and showed up early enough to see him and the band warm up. I listened to him warm up during soundcheck and he definitely uses exercises as melody builders as many of his exercises sounded familiar.

[@JensLarsen]

Great! Yes, he clearly turns his practice into music 🙂

[@brturner]

That lick in the motivic development section is straight out of four on six!!!

[@885909431427]

Great solo analysis. This is also a great example of how to analyse a solo !

[@JensLarsen]

Thank you very much Mark! :)

[@julneojazz]

On 3:04 it says that it is Am harm over the D7 but I think it should be Gm harm! :)

[@ruh4734]

You are no less than Kurt Rosenwinkel, Mr. Larsen.

[@JensLarsen]

Thanks, but I think the impact of Kurt's music on jazz is quite big actually 🙂

[@wilmansuescunjr]

Jens! Thanks For keep making videos For all Of us...

[@JensLarsen]

You're very welcome! I am glad you like it! 🙂

[@caterbramesports15]

So much food for thought as always, thank you!

[@JensLarsen]

You're very welcome! I am glad you like it! 🙂

[@jduncan1000]

Great lesson!!!! Thanks, Jens!

[@JensLarsen]

Thank you very much, John!

[@dkwvt13]

great lesson, a lot of really interesting material here without going too far outside. He has a cool way of moving or weaving around the changes and bringing it back home so it's always close but at the same time a sense of outward motion. Love the quartal pieces, Lots to think about ...! Thank You!

[@JensLarsen]

Glad you like it, Donald!

[@donnymac575]

This is really good. Thanks for sharing.

[@JensLarsen]

Very glad you like it! What or Who else would you like to see a video on?

[@andrewdeck7945]

THANK YOU FOR THIS BREAK DOWN, PURE MUSIC GOLD!!

[@JensLarsen]

You're very welcome! I am glad you like it! 🙂

[@grobertabidbol4005]

Great Video Jens !

[@JensLarsen]

Thank you very much 🙂

[@thejamnasium6447]

if you're a fan of Rosenwinkel and amazing hip hop, check out Q Tip's 2008 album The Renaissance! Rosenwinkel plays on 4 tracks and kills it on every one of them. Just a flat out fantastic album.

[@Bryantkh13]

Great stuff Jens!

[@JensLarsen]

Thank you very much, Bryan!

[@cborlot]

Great video! So much great ideas to work on :-)

[@JensLarsen]

You're very welcome! I am glad you like it! 🙂

[@MegOkuraJazz]

Nice!

[@JensLarsen]

Glad you like it! 🙂

[@KunchangLeeMusic]

Great lesson 🦅

[@JensLarsen]

Thank you! :)

[@danbanksguitar]

Great Vid!!! Very informative as always! Thanks Jens!

[@JensLarsen]

Thank you Dan! 🙂👍

[@LUig43]

great stuff there,,always worth chekin on Kurt's stuff eh eh..these examples are really on point,,and great analysis ( as usual). Thank for your work.

[@JensLarsen]

Thank you very much Luigi! Glad you like it! Kurt pretty much rules!

[@JamesWoolleyGuitar]

Apologies if someone else has already mentioned this, but do you know Mark Levine's Jazz Theory book? That was where I first came across the continuous scale exercise technique that you mention here.

[@JensLarsen]

I know of it, but I have never read it. I learned this from Rosenwinkel, but I am sure he was not the first to do that :)

[@elilewis1170]

Hi Jens. Thanks for the lesson. My question is that when you say he uses harmonic minor a lot on dominants, are you referring to the phrygian dominant mode of harmonic minor?

[@JensLarsen]

Glad you like it! Yes you can call it that or mixolydian b9b13. It is a dominant from a minor tonality, so in some contexts you can hear it as borrowed from minor.

[@itayf2289]

Great lesson,make one about guthrie govan.

[@JensLarsen]

Thanks! I am not sure Guthrie really fits the audience of this channel.

[@martinlotz5373]

@@JensLarsen agree. While Guthrie can play jazz, he does so mostly when jamming or for instructional purposes. He is really more of a rock and fusion player and it would be a bit off-topic in this channel. Still, his performances with The Aristocrats are definitely worth checking out (for example, ``Get it like that (Culture clash tour - Tokyo)'' on KZbin)

[@Sals37]

sweet!

[@JensLarsen]

Thank you! :)

[@datorsinc.9162]

Hello Jens, thanks for the great content! I can now play the major scale and modes in all position up and down the neck. I tried improvising on 251 loop, (ie start for 2 in a 2 chord and 5 in dominant so on) it sounds ok but boring after awhile. After your video, I leaned the harmonic minor positions too but not successful in application. The dominant chord just 1 bar and not enough time? And it sound off when I play c harmonic minor on c7. I play just note by note now and would like to apply some chords too. I have had problems memorizing so many jazz chords and frustrated since I can’t find the connection behind the shapes. My question is, after learning the neck and major scale, arpeggios and harmonic minor as I did, what should my next goal be? What should I focus on practicing? As a beginner I am limited by major scale and modes and single note playing. I have been stuck in this stage for a long time, please help me!!🙏🏼🙏🏼🙏🏼

[@JensLarsen]

That's really simple: Find some easy songs and learn them by heart. And learn the chords in this lesson: kzbin.info/www/bejne/m6S6qpVnlM2EiKc

[@Alfierocks1109]

loved the vid, was just wondering whether you would possibly be able to add accents onto the transcription for a solo like this or future lick style lessons, no worries if its too much work to do or anything though. :)

[@damonshanabarger2604]

This comment is only partially concerning this video. In reference to the email you sent me, 8K is the maximum amount of pixels. Anything beyond that would be undetectable by the human eyes. As far as music is concerned, it isn't what you know, it's what you feel. Jazz to me is anything new and different. There are no rules or commandments. Ok, I've watched this video. Very fascinating. I'm sure within my own abstract mind I could twist and mutate some of these lines into something barely recognizable. This sounds like fun.

[@JensLarsen]

You should use it in anyway you want :)

[@damonshanabarger2604]

@@JensLarsen I agree, and thank you Jens Larson for providing music lovers everywhere with new and exciting perspectives.

[@seattlevegas66]

I have watched this several times along with listening to Kurt's recording. To me, he is not playing the chords ala bebop at all. Rather, he is playing that which he hears, and lands on certain notes as a marker. We can fit the notes we hear into chords, but that does make any sense with this creative music.

[@JensLarsen]

"he is playing that which he hears, and lands on certain notes as a marker" I think that is one of the main things of being able to play Bebop?

[@seattlevegas66]

@@JensLarsen ok then!

[@noahv8671]

what do you think of the effect-heavy tone Kurt typically has? are you a fan of it?

[@JensLarsen]

Yes, at least most of the time. You?

[@noahv8671]

Jens Larsen generally i do like it, except for when the sound of the attack of his pick is totally gone. that’s a bit too much for me.

[@JensLarsen]

He really spend a long time figuring that out. He was busy with it for years and asking about it in the forum on his website, I remember

[@noahv8671]

Jens Larsen Interesting. Anyway, it certainly doesn’t take away from his brilliant playing

[@JensLarsen]

Certainly not :)

[@atlantapartyband2216]

I use his alternate tuning on my gospel and pop gigs, but I wonder sometimes why he uses standard on his gigs. Do you think he just uses this as a writing tool? I get all my drop 2 voicings so easily with it...

[@JensLarsen]

He only used the alternate tuning for a little while. It was not very practical so he stopped. That's already 15 years ago at least 🙂

[@atlantapartyband2216]

@@JensLarsen thanks I never knew thats why he stopped! It just sounds so pretty lol

[@thomasnoyer6489]

I love your videos Jens Larsen, I feel so much inspired from it and learning a lot more from each of your video content, what a great teacher! very suitable to self_taught musician

[@JensLarsen]

Thank you, Thomas! Glad to hear that you find the videos useful! 🙂

[@DESIENASHOES]

Well this lesson I would rate it pretty difficult to play the phrases at the same original speed -:-)

[@JensLarsen]

Very true, but the lines are so very very good! :)

[@eternalrainbow-cj3iu]

Hi Jens, because your question is always is there a missing link? or something you didn't see? maybe the following is of cours well known but so simple that it is a bit forgooten: Vertcial playing In 6th and For instance over it could happen to you we could practice: EbD Bb G Eb D-next pattern(and next down ward ioctave: BbG Eb-D- BbG Eb-D Bb-G Eb-D Bb G Eb -D BbG(lowest string 6th)so and than the same but from lowest tone to highest: G-Bb- D-Eb G-Bb etc..this provides us 24 tones downwards and 24 tones upwards...48 tones in total what is else possible, but simpler and a bit overlooked maybe: play all the tones without repetitions so 2 1/2 octave downdwards provides us 2x Eb-D Bb-G Eb-D-BbG EbD Bb G so 11 tones downwards and 11 tones upwards so 22 during one chord so when you study in sextoles over a standard you could play this saxophone based patern on Dbalt you could play: E-D-A-F (nextoctave downward:)E-D next sextole A-F-E-D-A-F etc also 24 tones +24 tones available over 21/2 octave...

[@icecreamforcrowhurst]

Rosenwinkel is from a different planet and planet earth’s analytical language isn’t really up to the task of describing what’s happening in his solos

[@JensLarsen]

Actually I think this solo is quite easy to analyze compared to others I have encountered 🙂

[@timcardona9962]

I love Kurt too but this is really overstating it and if you go back and analyze great solos from the 60s and 70s from guys like Coltrane, Joe Henderson, Wayne SHorter, Freddie Hubbard etc they all utilized these harmonic techniques.

[@icecreamforcrowhurst]

Rosenwinkel has said that he never transcribed solos. So it’s somewhat ironic that you’re transcribing a solo by a guy who never transcribed solos, don’t you think?

[@JensLarsen]

​ icecreamforcrowhurst I was in a masterclass where he said he transcribed Coltrane on Satelite and 26-2? That does not mean that he did it really a lot of course but he is certainly very heavily rooted in '60s and bebop vocabulary.

[@timcardona9962]

@@icecreamforcrowhurst I think he means literally transcribing with pen to paper but there is no doubt that Kurt learned lots of solos on guitar.