Beyond The Bebop Scale

Рет қаралды 5,322

Жыл бұрын

Adam and Peter take a SpeakPipe question on how to use the bebop scale in a more melodic way.
Check out the OS course about Barry Harris' method taught by Chris Parks below.
www.openstudiojazz.com/scales...
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Пікірлер: 50

@DojoOfCool Жыл бұрын

Even Barry Harris' teaching changed as time went on if you listen to all the KZbin of him. On all the half-step rules in a later video (I really wish I still had the link to it) Barry said it really doesn't matter what notes you add, it's all about adding what you need to get the chord tones lined up on the rhythm. Chris Parks says the Barry chromatic scale he didn't come up with until the 90's. I used to hang out with an old Progressive Jazz sax player but he still 40 years later was listening to Charlie Parker and discovering more and more minute details. I see Barry Harris as doing the same thing decades later still listening to the Bebop legends and discovering more and more detail and recognizing the patterns in how they approached things. Studying the foundation of the music should never stop even if you playing on the bleeding edge of todays music.

@cademosley4886 Жыл бұрын

I was about to mention David Baker then y'all remembered him. That's where I learned the scale and the principles, and it was strange when I started hearing so many people talking about it from Barry Harris's system. What I liked about David Baker's approach is exactly that it wasn't a system, just a consideration (chord tones on down beats), which in some ways is more freeing than being tied to a system ... I mean in the sense that you don't feel controlled by any rules, but you still have things to think about. (Also because Baker's approach kind of fits well with the system of subdivisions, I just forgot who coined that system but it's apparently also considered Berklee's system, but that's for another post.) Anyway, I respect Barry Harris's way of thinking & I got a lot out of it like most people, but I'm happy that I learned bebop thinking from David Baker first.

@jordanweimer788 10 ай бұрын

Being so confidently wrong about the “summer of love” being 1967 and not 1969 has to be one of the most funny things I’ve seen in a bit. Pure confidence and just moving right along like Anchorman. 😂😂😂

@adammaness 10 ай бұрын

en.m.wikipedia.org/wiki/Summer_of_Love

@yahnferral9163 Жыл бұрын

Half steps can be anywhere as long as the tension is resolved. Bird spent a long time practicing possibilities with only the major scale. It’s like mini compositions. Directional movement. In motion. Then after awhile displacement will evolve out of the rudimentary shapes, half steps, and rhythm.

@rdpatterson2682 Жыл бұрын

You guys are great.

@yahnferral9163 Жыл бұрын

The first line in Donna lee is the major 6th diminished in Ab. So it is definitely a melodic device.

@TheBlackTrumpeter Жыл бұрын

I struggled with the same thing of knowing what to do with bebop scales until I heard a few examples of Freddie Hubbard using them to jumpstart his solo like in his live recording of Giant Steps kzbin.info/www/bejne/mHKtgaelfr6Zhc0 and using them as a way to connect or extend his ideas like in his solo on Fee-Fi-Fo-Fum kzbin.info/www/bejne/nnbdcn2Am7mneKc In both examples, he used a descending dominant bebop scale starting from the root but at first glance it doesn't sound like it. Somehow, it sounds much more organic than "just" a scale. It's absolutely about HOW you play them. Freddie exemplifies that, time and again.

@grocheo1 Жыл бұрын

Great episode, thanks

@robgray6652 Жыл бұрын

I like that tip about accenting the top notes of phrases, I'm going to try that out 😊

@8cto1 Жыл бұрын

Yo thats me!

@8cto1 Жыл бұрын

BTW this helped a lottttt, Thank You! GALA

@adammaness Жыл бұрын

@@8cto1nice, great question!🎉

@marvellouseyube6376 Жыл бұрын

GALA! 😅 Thanks Sir Peter & Sir Adam...🙏🏽 ❤ From NIGERIA 🇳🇬

@BrendaBoykin-qz5dj Жыл бұрын

Thank you, Gentlemen 🌹🌹⭐🌹🌹

@mattorlando415 Жыл бұрын

Theres a not so family friendly Zappa tune with steve vai that connects to the concept of music as speech you guys were talking about at the end. Amazing nested tuplits and triplets and all of it is notated, incredible playing by Vai. Not exactly traditional bebop but very funny regardless lol. It's called "the jazz discharge party hats".

@edzielinski Жыл бұрын

You say Găla, I say Gāla, let's call the whole thing off. Either way, I completed the assignment. Assigment completed. Agreement adhered to. Signed, sealed, delivered ... Good show, guys.

@daveincalgary1205 Жыл бұрын

GALA thanks some great tidbits today!

@edzielinski 10 ай бұрын

Can I comment again if I rewatch? This was even better second time around - a very dense episode (with the exception of the nattering parts 🤣), but seriously, if you guys didn't mix this up a bit with fun, silly and sometimes downright awkward statements, it would get too heavy. You've got your own style, and it works for me! Keep up the great work. GALA

@ElbowsUnique Жыл бұрын

Agreement adhered to.

@jordanweimer788 10 ай бұрын

To get beyond playing a scale, play the scale and accept where you’re at, but play loosely, not caring about what happens or how bad it sounds, pay attention to mistakes, select the ones you kinda like and do them again if you can. Begin practicing the mistakes until they’re choices. Accept where you’re at with knowledge of where you’re going. Play. Trust. Listen to other people’s work. Play with other people. Get in fights with them about ideas. Get a couple of significant others that treat you bad because you don’t get paid much. Get dragged on social media. Let other criticize you until you stop listening and play your damn instrument the entire time. Respond to them with your hands. Punch them. Slowly romance them. Seduce. Or insult. Get jealous. Fake happiness or be genuinely happy. Weep. Bleed. Let it all seep into your work as you play again and again and again. Use your ears, let them affect your heart and your hands will begin to land in space where your heart and mind used to be. It will almost never be enough. Most nights it won’t land and feelings of insecurity or falseness might follow. But occasionally, on a random Tuesday by yourself, you’ll nail something that is fully connected through your spine to your heart and mind. Savor that moment as you always have like the first time you set your fingers down on random keys and felt your stomach’s catharsis or the beat of your heart in jubilation playing with a crowd surrounding you where a single mistake is lost amongst the velocity of the collective experience. Whatever it is, keep playing the scale until your hands rebel and go silent or begin reaching for shit you can’t do yet because they’re carried away. That’s the joy of making music with others. You can play quieter when your in the background. You find yourself in a choir and can reach for harmonies or notes you don’t have any business trying. You’re just one of the crowd and no one notices or cares except you. So be free. Accept where you’re at and feel free to try shit that sucks and let the anonymity of the crowd and the joy of the event overwhelm the suck so much that you can’t linger in the embarrassment of not being the greatest that is because in the moment nobody gives a flying fuck because moments ago there was just a room with nothing going on but a bunch of people talking and out of nowhere some people took a breath and music came to be. The universe birthed it through us. It possibly the peak accidental/superfluous achievement of evolution and the syntropic forces in our cosmos. Let the simple drive for movement that you share with Protozoa make your hands land where your heart belongs and watch that abusive significant other melt in the back row knowing then that they missed and, quite probably, sacrificed for before leaving your ass on a sidewalk ten years before. That’s how you get over playing just the scale. Continuing on after somebody tells you you’ll be nothing and won’t do it. Continuing on after you realize that person was yourself.

@dansickles8983 11 ай бұрын

Keep the gala and gimme a galette.Thanks for the bop wizdom. I'll stop just playing up and down THAT SCALE.

@GizzyDillespee Жыл бұрын

3:23 I agree that it fills a much needed void in scale repertoire

@GizzyDillespee Жыл бұрын

I learned it as a scale thru a book called Keyboard Grimoire, which I used as a reference for the weirder chords and scales. There were a few different bebop scales in there, including major and minor variations. It makes me wonder how things would be different if I grew up now, with so many hyper-specific internet videos, instead of recordings and a fake book and a chord/scale reference. I'd taken violin lessons, and had messed around on keyboard, so it wasn't going in blind... just very limited, compared to now. Anyway, bebop is far from my main interest... only tangential (more listening than trying to play) until recently.

@jackr4861 2 ай бұрын

15:00

@KiraPlaysGuitar Жыл бұрын

"Did you just put a beret on? Because you're playing bebop my bro!" Peter is sick of it hahahahahaha. "That's not a bebop sound, I'm clearly a post-bebop modernist." HAHAHAHAHA!

@MikeTaylorPiano Жыл бұрын

#gala 🎉 viva La gala 🎉

@lindameredith4034 Жыл бұрын

GALA!

@km6206 4 ай бұрын

think they're wrong about the Fuchs book. From what I'm getting from the solfegi + thoroughbass + partimento training research in musicology/music history, the teachings were a lot more like swing/bebop training with focus mostly on the ear first (that's the solfegi training). Fuchs is already divorced from that early training since it's written. (At least, that's how I understand it currently.)