Music Theory | Principles of Melody - Bebop Lines 2

In this episode of Everything Music is called “Principles of Melody - Bebop Lines 2.” I focuses on the basic principles of strong melody writing. I discuss how to use Chord Tones on strong beats (Beats 1-2-3-4) and Non-Chord Tones and Passing Tones on weak beats (the and of 1-2-3-4). I demonstrate examples of how and why this works using ii7 V7 in one bar and the I maj7 in the second bar. It will show you how to play lines like a real bebopper. Links To Follow:
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[@jimmiemclovin]

Rick you just blew my mind. Years and years of playing and trying to figure out how jazz works sounding like you're dancing around every out of key note but managing to sound like you're still in key somehow. By playing the right notes in the modes corresponding with the chords on the downbeat and color notes on the up! You just unlocked a door for me. Now to begin to apply it...Thank you so much!!

[@rogermartin6966]

Your on the money Jim , a little over my head but I am learning.

[@MrMjp58]

His amazingly comprehensive general musical knowledge and technical ability is what I used to fantasise I would one day be able to do. No such luck. Thank goodness for people like him.

[@AimeeNolte]

Bebop part 2?! What's not to love!

[@mohitrao7516]

Love your channel Aimee! :)

[@grafittier]

Aimee your channel is like a spiritual guide....i love it. Its full of ispiration !!!

[@magentuspriest]

Wait a second.

[@MrJackTrades]

I think you'll find that's a major third on that C7(b9) on the first example ;) Love your work, Rick!

[@calebstringer7548]

I really love studying your lessons! You get staraight to business and you are sooo clear when explaining concepts. You dont bullshit, you actually teach.

[@zenncatt]

Hello Rick, Thank you for making part 2. You've distilled a number of books that I've studied on said topic in these two excellent videos. Please continue disseminating your vast data base with knowledge-hungry students of the craft. All the best to you and family.

[@alexanderhelt738]

Wow, even years and years ago, his production value was through the roof!

[@DystoKhan]

Last example sound really great ! Love this serie.

[@DoktorLorentzBig]

fantastic lesson, you give pearls and they are for free! thank you! your heart must be really a big one!

[@jazzguitarneophyte-christo7988]

This is exactly what I was looking for! Thanks Rick!

[@visog]

Loving this series RB

[@andreasfriedli7419]

I like the "Cinquillo"- ( Cuba...classical 5 Impuls-Pattern ) Ending on the Tonika ...on the I in Example 3

[@lauriewinestock4195]

i am really enjoying your music lessons !!! GREAT! Thank you so much. I am a jazz vocalist who is now writing music. All of this is very very helpful.

[@RickBeato]

You are very welcome Laurie!

[@noahmaillouxmusic]

Great video, thanks again Rick!

[@ramoncoromotorodriguez7186]

excelente sus videos clases .Saludos desde Venezuela

[@eugeniosimoes4605]

Great lesson!

[@WillKriski]

Love bebop. Beats 1 and 3 are stronger than 2 and 4 so those are a bit more critical. Especially when the chord changes which they do on 1 and sometimes 3, for 2 chords per bar.

[@wojtekstankowski-pianojazz721]

Thank you very much :-) Greetings from Poland.

[@BIGGUYMUSIC78]

awesome stuff!!

[@charlesenglebert8226]

great licks

[@BoyTsamba]

Awesome

[@countvlad8845]

Rick, i think you know that art reflects life, and in life, you might have a person who just plays out of sync in the way you think is messed up. That is the shadow we must embrace as jazz musicians and not be frightened by it. It sounds messed up like hearing Joes Pass on drugs or some mediocre player stumble around the fretboard. But we have to go beyond those musical definitions and see the bigger music buried by our musical rules, laws and fears. 😢 Jazz in this wider sense has never been embraced because of societal pressue and fear of nhilism, chaos and randomness. But life has these crazy qualities in abundance. Only by showing this can music reflect the fulness of life.

[@adrianalexandrecastillo4564]

Hi, on the C7(b9) in example 1 did you not mean the major third on beat 3?

[@leomilani_gtr]

Rick, the overdrive on the guitar took a little of my focus and it's a bit of an annoying sound to study. I always prefered the smooth clean neck. But the class is incredible, thanks for talking about Bebop melody!

[@toshalazarus]

Leonardo Milani I like it

[@nestorperezcalvet6159]

Man you've really done a good job, this class is great but what about the jazz guitar tone :')? that bridge pickup is nasty. Nevertheless, great video :)

[@jimrogers7460]

Is there really time while soloing to consider this? In composition , sure. But while soloing is it just an instinct, or developed ear that allows one to follow these rules?

[@derikdavis567]

Once you learn arpeggios in every position, the chord tones basically "light up" on the fretboard.

[@mattkerslake149]

Amazing. I tried emailing you about your book but the email bounced back.

[@RickBeato]

Hey Matt- Did you use [e-mail]? Try me at [e-mail]. Thanks! Rick

[@zenncatt]

Hi Rick, Just curious as to your opinion: as it's all leading to the one chord, and it's a cool sound to play the tonic diminished resolving to the tonic chord - delayed resolution, do you ever dispense with the preceding harmony - ie, subs, superimpostions, etc, and just play around with the tonic diminished resolving into the tonic? Or any of Slominsky's meriad patterns outlined in his thesaurus? Some beboppers dispense with the ii7 chord altogether and play V7-1. I mean, it's all about tension/resolution anyway. Right? TIA

[@RickBeato]

zenncatt yes and yes. There are actually many different concepts that are used by jazz players regarding the dominant chord. Some people avoid it altogether and will play the dominant chord as you said over the two chord. There are also some people Who will play the two chord as a dominant chord resolving to the V chord as the dominant chord. The whole idea is to have movement to the tonic chord. I will do a video on the concept of movement to the tonic chord I will address these concepts. Thanks! Rick

[@zenncatt]

Excellent! Thank you for taking the time to reply, as well as the plan to further continue with this concept in another video. You're a generous soul. PS. why did you shave off that awesome beard that you had in one of your pictures? All the best.

[@waynegoins9033]

hey rick, i'm assuming these written examples are all taken straight out of the beato book pages?

[@tonydevosmusic]

What are the best exercises to learn this,pl?

[@Tin_Fed]

Hi Rick. Because the 2 and 5 chords are in one bar, could you just dispose of the 2 chord and just think of the whole bar as the 5 chord with faster tempo tunes?

[@LL-pw7hd]

yes you can, my teacher just taught me exactly that. it might not be perfect but it definitely works

[@magentuspriest]

@@LL-pw7hd The great Barry Harris is very passionate of that idea. Throw out the minor 2 chord and play over the 5

[@MrRafawu]

Rick, can play a blue Note in strong beat?

[@georgeanthony4834]

try it?

[@garytobin7446]

I don't quite understand all of the analysis from the standpoint of playing live. When playing live, one doesn't think in these terms... there is no time to do so. If the analysis is to memorize lines and patterns, then there is no spontaneity when playing live - which is contrary to improvising. To me, this analysis process is contrary to building a vocabulary that can be used spontaneously. I think the appropriate way to play live is to train the ear to hear all of the options available at any given turn... the same options that are being explored and analyzed here. For me (and just from my POV - I know everyone learns differently), the best "education" is to train the ear by exposure to the multiple harmonic directions available... internalize the color of the lines... then invent on the fly when playing live. But... this is just me.

[@kenhaze5230]

This is complete bunk. There are only 12 notes, so that's only 12 possible harmonic relationships to any given chord. You absolutely can think of intervals in "real time." In fact, if you don't, your improvisation will suck. Even if you aren't explicitly thinking of the intervals, you're at least predicting the harmonic relationship of the next note you play to whatever the chord is. Theory isn't a set of "rules," it's a way of describing things. How would you make a video like this without describing the how different intervals impart different color?

[@magentuspriest]

The ear only subconsciously picks up on things it has heard many, many times before. So if you dont study things, and rely on "only feeling it" youll play the same damn 4 licks for 30 years without realizing it. Dont be that guy

[@wormtownpaul]

You hear. Then you understand. And then you hear an awful lot better, so you don't have to "think."

[@duffdingelmeyer7101]

When you shed these patterns and licks you internalize them and they eventually come out in your playing

[@freecitizen2760]

Music is a language. You study spelling, punctuation and grammar. You read books and have conversations. When you are having a spontaneous conversation, you aren’t consciously thinking about everything that you learned about language but all of that knowledge is being used while you are speaking. If you don’t do all of that studying, you will still be able to communicate and possibly have very interesting things to say but you will probably also make errors of all kinds and have a limited vocabulary. The same holds true for the language of music.

[@billholt174]

Rick's videos are always fascinating. As an entirely untrained music hack, my opinions don't usually mean anything to anyone other than myself, but I think either 'you got it' or you don't. If you 'can play', you'll 'hear' most of these things in the absence of being able to chart them or explain them in the nomenclature of theory. There are 'natural' musicians -- not exclusively the child prodigies -- who are self-realized. There are 'trained' musicians who are naturally gifted and enhance their aptitude with formal study. Then there are 'trained' musicians who are the real-life counterparts to computers that generate stale, strict-form music: they're more taught than talented. The latter tend to be comprehensive, precise, out-of-a-box as opposed to 'outside the box', mechanical and sterile players, albeit with serious chops. You've probably heard examples of those who can only 'improvise' by stitching together bits of formulaic teachings.They embody qualities which are apparent in technically proficient but ultimately dispassionate or 'soulless' playing, no matter how sincere the player. That's a vibe, and it isn't foolproof, but I think it works as a general rule. It's good to have all of these tools at your disposal, but in my opinion even a modest natural 'it factor' makes someone a more interesting player than do mega-chops and the ability to manage a run in every key, mode and position. If you're thoroughly schooled and technically masterful in *_addition_* to having invaluable and 'unteachable' innate 'feel' and musicality, you should be at the top of anybody's list. I have no interest in jamming with or worse yet *_being_* a cat who plays with the empty, matter-of-fact resignation of a generic whore just layin' it down for drug money. That might be a bit harsh, but I'm sure you get the drift. ; ]

[@wormtownpaul]

The only thing that's not great about this video is the God horrific guitar tone.