The Not So Secret Sauce Of Bebop

[@joaopedroalves9879]

Thank you for the awesome content Shawn! Wish you the best on KZbin!

[@Threlgar]

well presented great lesson!!!

[@djmileski]

Great lesson

[@mokinipoturljan]

Hello, can you make a lesson video on Tannaheuser with the trombone?

[@manuelmarches]

Brilliant! As usual now.

[@avatacron60]

Learning by doing.

[@ivanstrezh3686]

thx👍👍👍

[@bunjidogg]

Hi Shawn, should I not neccesarily be thinking of hitting the chord tones on the downbeat? thanks.

[@ShawnBellMusic]

That is a good question and really gets at the heart of what enclosures can help do for our playing. Hitting chord tones on downbeats will give your ideas a stronger connection to the chords, and is the starting point when trying to build good melodic lines that sound "inside". In my own playing, I like to play chord tones on downbeats more often than not. For the types of melodies that I like, this sounds "right". The flip side of that is when we don't always play chord tones on downbeats, it can help give some interest/sophistication/forward direction to our lines especially if we resolve to chord in sensible/interesting ways. Enclosures are one of the ways to offset or delay where chord tones land. The examples in this video have a mix of sometimes landing on chord tones on downbeats, sometimes not. I would argue that if a player never resolves to chord tones in the "right" places, their playing will always sound disconnected from the harmony, but it is very subjective. Sometimes sounding less connected to the harmony can be cool. From a learning standpoint, gaining the ability to control and hear when you land on chord tones versus when you want to go in a different direction will ultimately give you most options for how you want to craft your solo.