Why Does This STUPID Exercise Sound SO GOOD?

[@bakimosadi]

Here to give feedback after trying it out for months: this is one of the best exercises I've come to learn on improvisation, ear training, rhythm and harmony.

[@cadriver2570]

I love this comment and so glad to hear that it has been helpful :D

[@andrewde2161]

Man simply one of the best jazz educators on KZbin. Thankyou for all you do!

[@jackmocherman1296]

From 17:55 -18:24, absolutely filthy, nothing could possibly stand as a stronger testament to the method than that example. Loved this approach, very well taught with some incredible playing Adam! Thank you!

[@SonnyCambiado-m5r]

This part of teaching is the most awaited lesson

[@alamolalamol9426]

I really rate this exercise. Practicing scales by themselves can be so very boring!! Thanks very much 😊..

[@peterspy8867]

I play bass, but you just gave me an idea on how to practice modes in the future 😊Thank you!

[@CWBella]

Great video! Thanks for reinforcing the slow practice aspect of it; really let’s you get it into your ears and hands.

[@nezkeys79]

Love this guy. He's a great teacher always watch the full videos

[@genofgod]

It doesn't start off fun, but when you get there... As all good things... This statement has just changed my life.... Thank you

[@rdettwyler]

Oh my, oh my. I had the epiphany at 1:25. Blessings on you for sharing your gifts. I am sending you hearty handshakes from across the void, as it were. Thanks, man. (I'm nearly 66 and just figuring this out)

[@MichelleHell]

I play guitar and am mostly self-taught. I've sort of come up with my own "theory", but its not quite scale running. Every scale has either a C or C#, so if I reference any scale as the mode that starts on either of those then I can play chord changes in one position by changing the mode. Practicing C dorian, C phrygian, C lydian, etc. is playing chord changes. I can play more freely because its easier knowing where the next closest note is than having to shift hand positions.

[@sonnyobrien]

This would be insanely confusing when improvising and is not practical. You want to reduce the brains computation. Its easier to think Eb major than C mixolydian when a change occurs. Its easier to think Bb major than C dorian. You have to make two computations when a change occurs: whats the chord? Whats the mode relative to the chord? And then what happens when you need to change register? I encourage you to think in terms of scales, chords and arps, not modes, as modes are for modal music not functional harmony

[@EasyEnglishGrammar]

Love this guy! I'm desperate to learn everything Adam teaches, but I get my "ians" all "mixoed!" Would love to be able to "riff off" the vocab as well as play them!

[@winstonsmith8240]

I sort of knew this. Now I do. Subscribed. 👍

[@Vagner_Christian]

Anorther great lesson, txs!

[@DaddySantaClaus]

my guitar teacher taught me to go up the scale to the 7th and down the arpeggio back to the root or next chord root in triplets, from beat two after playing the chord on beat 1

[@sliverhandsonbasses]

Point is these exercises are mind-blowing and boring, or, they’re mind-blowing BECAUSE they’re boring. Boredom is probably the most underrated psychological resource we have to unlock our musicality. That’s the reason why -no matter how masterfully they know an instrument - even the most acknowledged players keep coming back at some basic drills, from time to time. It’s like re-learning your musical identity, in my (humble) vision...

[@Smoothenbolly]

you are absolutely right

[@theperfectambiance]

I'm SO GLAD I FOUND THIS!!

[@suchadameedee2954]

Great☺️. A PDF would have been the cream on the top 😉

[@kevinrobertandrews]

Awesome!!! Def adding this to my practice routine ☺️

[@Thetonetemple.]

Adam, this is incredibly helpful. In terms of keeping the melodic landscape linear and similar to the changes. This information is incredibly helpful. I think and I have other friends that also think it would be pleasant if you didn’t put down what you’re doing like you do. Saying that it’s stupid and boring and horrible is not helpful or encouraging or helpful or ego free. We like you and what you share !!!!!

[@DJazium]

This is a great exercise. Definitely going to run through this on a bunch of different tunes! Thanks!

[@dmcmusik]

So glad I stuck it out until the end! You were so right about it!!

[@lawrencetaylor4101]

I think I'll come back to this lesson when I have more chops. I understood the idea, but I think there is something I need to work on first.

[@patrickrichard5948]

This is absolutely ridiculous. I love it.

[@iansantora31]

Essential for bass playing

[@16sumo41]

Nice exercise! Im kind of a beginner to early intermediate pianist (mainly self taught) and so this is really a challenge but I have a question: How do I know when I'm ready to go to the next step in this process? Say I'm at stage 2. When should I go to the next step? Should it be after I can play smoothly in a specific tempo or how should I approach practicing this and incorporating it in my daily routine? Right now, for reference I'm learning Beautiful love.

[@DThompson55]

THIS IS FUN !!!! SUCH GREAT PRACTICE !!!

[@sandstorm9305]

There’s a reason some things are annoying - they work so well that they are overused and therefore become annoying

[@surfolydian]

Any thoughts on playing swung eights vs straight ones?

[@johnmitchelljr]

Thank you.

[@paulpayet9237]

thank youu i needed this !!

[@Isaacmellojr]

Amazing way to start a video!!!

[@brothercaleb]

The nuts and bolts off bebop 👏🏽👏🏽👏🏽👏🏽

[@SimonBrileyMusic]

love all your content guys so helpful and knowledgeable thank you thank you

[@joeh7938]

I love your style! However even though I've been studying jazz for a minute, this stuff is way over my head. It would be great if you could put somewhere in the title what level this is geared towards? I would guess this is geared for a solid to advanced intermediate jazz player. Once I get my scales under my finger fingers I'll be ready for this video.

[@huguesbuzydeb4320]

Thank you Adam 👍

[@DARKLYLIT]

Great exercise and fantastic playing. Thanks man! :)

[@bassmart902]

Aeolian with b6 (Ab) against perfect 5th (G) creates a tension tone. Music at its core is tension and release.

[@Qwazim0d00]

Great video!

[@daisiesofapril8343]

This is great. A perfect jazz lesson well taught. Don't think it's stupid, though. I think, rather, it's completely essential. But these type of words are just for marketing I imagine.

[@NizJazzBTC]

What's the benefits of the first exercise? Linking chord scales easily?

[@Reztilba]

muchas gracias - merci beaucoup - c'est fun !

[@sleepyd1231]

how do i know scales/modes to use over chords. I understand diatonic notes. I don;t understand the accidentals.

[@Arrielweirdsounds]

Check out new jazz thrilling scale for 2 5 1 progression he have a chart of all the scale over all the 7 types of 7th chords

[@tradingwithwill7214]

Love these (I'm a guitarist). I call it Locrian natural 2

[@lukasalihein]

Locrian Natural 2 is the 6th mode of melodic minor isn't it?

[@Arycke]

@@lukasalihein yes.

[@lucaslieberman7625]

That sounds so good!!! ahhhh

[@mglickman13]

ty! ☺

[@MH-il1lk]

This is genius!

[@MrDalsegno88]

i have a question. at 5.49 the Dmin7b5 says it has a locrian scale underneath, but really with the flats of Eb major in play is the scale still locrian ? or is it still just Eb major. also with, for example the g7 is the phrygian dominant scale a phrygian dominant of the G7 the Eb or something else ? because the phrygian dominant of g7 in reality is completely different to what is written, help me understand please

[@sabana7564]

the phrygian dominant of G is a b2,b6,b7/ That is what he has written. As for the Dmin7B5: the D locrian scale has a: b2 b3 b5 b6 b7. which would result in Ebmaj because it is the seventh mode of Eb.

[@つんはま]

thanks for great lesson. why did he use the chord Bmin7 on bar 4, in the final chapter? i understood why he used the chord A7 on bar 8, because A7 is tritone substitution chord of Eb7. but i cant understand the chord progression VIIm7b5 - bVIm7 - VIm7.

[@Doomsdayhzl]

It’s just a chromatic approach to the Cmin7 in the next measure.

[@markcameron-smith]

Not sure if this will help...but this would be how I would justify it... E7 is tritone of Bb7 (which is 5 of Eb). Eb is relative major of Cmin so E7 can resolve to Cmin. Bmin is the corresponding 2 of E7 (5). The progression he uses skips the 5 (E7).

[@mrquick6775]

@@markcameron-smith Bmin is the 2 of Amaj7!

[@markcameron-smith]

@@mrquick6775 oops, thank you. I meant 2 of the corresponding 5. I'll edit that. Cheers.

[@mrquick6775]

@@markcameron-smith That’s what I thought you meant so no prob.. 😁

[@TheAdmonbaseel88]

Bravo. I like it.

[@glenc5185]

0:00Start 4:21 "My version"

[@breakfastplan4518]

Damn, Adam looks like hes been in 'Dad' mode and got zero sleep! Great video! XD

[@nealgrindstaff8651]

11:22, Coltrane would like a word.

[@keenan441]

How is the Db allowed during the Bb min 7 chord labeled as the Dorian mode?

[@gabrielmirandamartinez8451]

Great stuff!!

[@Trevoke]

This looks like it'll be quite useful in a lot of ways! I'm only missing one thing from this, which is -- which scale are we choosing here, as an explosion of chords? if I understand correctly, we're taking a declination of the current scale, starting from the root of the chord? So if I'm in C minor and my chord progression is i-IV-vi-III-i , with no key change, I'll always be working off of C minor, but I'll be doing ionian, then lydian, then aeolian, then phrygian, then ionian again? Is that right? And in the case of something like a "Maj7b5", the flat five is in the chord but may not be diatonic to the mode, so if it's not in the mode then I shouldn't use it, at least at first, is that correct?

[@Danielshay]

The chord is what decides the mode, so if you have a maj7b5 you can play lydian. (Then it would be #4 not b5). I've never seen that chord before. I saw dominant 7b5, where you play either the Diminished scale or the Altered. But never Maj7b5. Hope it helps.

[@Trevoke]

@@Danielshay It does, thank you.

[@AdamKrukowski]

sounds like Bach's Fugues , awsome!

[@georgeabraham7256]

Ever read HP Lovecraft's "The Music of Erich Zann".. what is he playing??

[@fsteddy6576]

Shouldn't G phrygian mode start on a G note? B Dorian start on a B note? etc... Am I reading this wrong? If the last bar is meant to be G-mixo then shouldn't that be derived from C-scale which doesn't have a Db in it.

[@francisrichard5282]

Is the fact you play only the root allows you such a freedom in substitutions and breaking the rules? What about doing the practice with voicings in the left hand?

[@edithgarcia1966]

Thanks for this beautiful class. I have one question: which o e is the Phrygian Dominant scale? Thanks again.

[@cosimobaldi03]

It's the fifth mode of harmonic minor, and also the third mode of harmonic major

[@Patrick_Bruno]

@@cosimobaldi03 A scale cannot be mode of both the harmonic minor and the harmonic major as these 2 scales are different (i.e. they are not a mode of each other). Check "harmonic major scale" on Wikipedia, if you need to.

[@cosimobaldi03]

@@Patrick_Bruno yeah it's true, i visualized the harmonic major wrong... You would need a major scale with a #5 and a natural 6, not a b6 and a perfect 5, for It to be a mode of the other two scales

[@chrisharrison809]

Rad. Melodic minor would be a good deep dive. Melodic minor vs harmonic minor vs ascending only and “classical melodic minor” and minor 6th dim, the super scale of both melodic and harmonic minor.

[@robertpowell9618]

Also some mixing of outside notes can be great for your ear. Harmonic Major or Lydian Augmented over the Eb, Altered or Diminished Scales over the Half Diminished chord, as well as mixing different Pentatonics that are more uncommon. Adam is great because he encourages inspiration.

[@breakfastplan4518]

Yeah.... No. Gotta PAY $$$ to have that information handed to you lol XD

[@jeffreydelisle7337]

Ok good, interesting. Sounds great. However, how do you select g Phrygian over g minor, which has2 key tones or g major, or g augmented, etc? Ah, I see…you can select from among the scales which contain the chord, irrespective of the original key. So one really has to know all keys and modes a chord can fit in.

[@nadiakuznetsova2526]

Adam you are so funny 😁

[@kalinamasash1137]

I love everything. I kiss my piano everyday a few times :( Greeting from Poland end Thank You) :)

[@costasyiannourakos6963]

You can't tell to a break layer, that breaks are boring!!! If you do find them boring, you keep away from breaklaying!! As simple as that!!!

[@5pqrt5t3r6]

4:39 exercise zero 7:52 exercise 1

[@bryanalfonso5700]

That was a lot of ground covered in 20 minutes!!

[@recorr]

because it's modal ?

[@nezkeys79]

I imagined those notes in the bass clef lol

[@teach-learn4078]

Didn’t really understand this. First example was the major scale except in the G, ok, that was dominant… that seems like the most basic improv strategy, I don’t get, as opposed to doing what? As opposed to playing only chord tones I guess? I suppose I’m approaching this as much more of a noob with this question. Never studied improv formally, isn’t this what everyone does? Hmmm

[@terrykosowick594]

Why would you call this a stupid exercise? To me, it is a fundamental, common sense kind of practice that will benefit all improvisers. I was not familiar with that Bm7 substitution. Interesting.

[@kennethreed8746]

Because it takes all musically out

[@eboone]

Misspelled aeolian

[@paxwallace8324]

People don't understand practicing scales are an act of humility. Besides like all (practice in the Buddhist sense) you don't do it to get more different or better you just do it. Metronome on.

[@auraofdeath423]

IT'S NOT STUPID, WHAT YA MEAN?

[@victorarnez7250]

So offensive to hear one of the exercises that helped me so much called STUPIED! I know, i'm too sensitive.

[@KUSILE]

Isn't this that anime/j-pop progression?

[@ninovasev]

like the face hahhh

[@OandASBG289]

Bruh…..

[@Bobby007D]

You have to teach YOURSELF how to play (music), the guitar. Or you could use some method or no-method.?

[@drumtwo4seven]

You're rushing Put the metronome on WHOLE NOTES and lock into it eventually you'll be able to play right on the beat or by conscious choice behind or Infront of the beat Don't use quarter notes use whole notes

[@mohitoness]

It’s true if one has the patience to be almost chant like slow your mind figures out the working of the matrix in the background. Do it slowly til u sweat out of exertion then take a two hour break. Then try play the changes

[@esmondselwyn7676]

So why don't you also transcribe your own creative examples drawn from this source....?!?

[@MarkTarmannPianoCheck_it_out]

blah blah blah

[@goph999]

you talk too much

[@Arrielweirdsounds]

Isn't he teaching you

[@BaronEvola123]

I didn't "get" (see,?hear?) the purpose harmonically the A7sus4 substitution in measure 8 going to the Ab chord in measure 9. Chalk it up to my v.rg.n jazz ears, but if someone could explain it perhaps....