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The lectures come in form of videos which are recorded (you can watch the videos any time you want). Every week new videos are realeased. The course also includes a discussion forum.
I don't know if the course actually takes place at the college too.
Looks like the coursera version has an abbreviated syllabus that lasts only five lectures (vs 12 for the full Berklee version). I'm not even sure it is a subset since several of the coursera lectures don't appear in the full course. I wonder if Otis taped separately. Still, hard to beat a free class by Gary Burton.
Thanks Chris. Here is our course content for the abbreviated 5 week course.
Lesson 1:Overview of the Mechanics of Jazz Improvisation This lesson explores how improvisation uses our language abilities to construct logical melodic phrases. It introduces the concept of musical speech with vocabulary and grammar, when applied to improvisation.
Lesson 2:Chord Outlines and Chord Scales This lesson examines the use of chord outlines. It identifies the most commonly occurring chord scales and how to practice them in order to assimilate them.
Lesson 3: Choosing the Correct Chord Scales This lesson introduces a set of guidelines for determining the correct choices for scales in various harmonic situations.
Lesson 4: Understanding Harmonic Movement In this lesson, you will learn about the different types of harmony movement and resolution, and how the improviser uses them when playing through the different types of chord progressions.
Lesson 5: Making Melodies In this lesson, you will learn about theme development and establishing continuity of melodic phrases and ideas to build musical story lines as a basis for improvisations.
So it looks like I will miss out on comping, and analysing compositions. I'm really cool with that as I don't think I yet have my ear sufficiently well developed for comping. Analysing compositions with Gary's insight would have been phenomenal.
Is this absolutely free? No obligations at all? Free classes and peer reviews for free seems almost to good to be true. Anyone who's got experiece with coursera?
Hi LW I hope you sign up because why would you say no to a 2013 Grammy award winner ? I haven't done any subject in Coursera but my friends have done Computer Programming and Calculus and have loved it, they enjoy top professors marking their assignments.
I don't think Gary will be marking any of your assignments but you will be marked by "peers" some of which will be advanced, and some from blues/rock/fusion. You don't have to feel pressure to submit anything.
I think your only obligation is to watch the weekly vids.
Just signed up! I've been actively trying to "free" myself from the notes on the page....this seems like a great way to dive in. Looking forward to it, and thanks to the OP for the info.
Shigeru Kawai SK6 (as of 10/22/12!!) Ivers and Pond upright MTNA, CAPMT
It's very considerate of Coursera/ Berklee to advise of the one week delay.
"The tragedy, which took place in Boston this past Monday occurred one block from the Berklee Online offices. Authorities are treating a multi-block radius around the bombings at the Boston Marathon as a crime scene, and as such, access to all buildings in the area has not been possible, including the Berklee Online offices.
Unfortunately, what this means is that we have not been able to access the assets we need to launch our Introduction to Improvisation course with Coursera this coming Monday. We are confident that we will be allowed back into the area shortly, and that we will be able to launch Gary Burton's course on Monday, April 29th.
We are sorry for any inconvenience this may have caused you, and we are all really excited for you to see what we've created. You are going to love this course.
Impressions of the first class? I thought it was interesting how, after a brief high level lecture comparing improvisation to language, Gary threw the students into fairly deep waters. He asked students to analyze his solo with lots of quick eight note passages using lots of chromaticism and alterations, and then asked students to submit their own solos on What Is This Thing Called Love at 160 bpm. While not the most advanced changes, they hardly introductory, starting out in F minor, and then modulating between F minor, C major (with a false start in C minor) and Bb major. No attempt was made to explain how to improvise over these changes. I would have expected him to start with a simpler tune at a slower tempo, or a blues. Reading the class forum, some of the students are clearly baffled, asking questions like "what does F- mean?". Any thoughts on his choice for the assignment?
For me, this is actually starting at the right level. I am still struggling to learn how to improvise, but understand the basics well enough get by. This assignment forces me to record and critique my own solos at a tempo slightly out of my comfort zone. Not to easy but not too hard. I couldn't have done this a year ago.
@Elkayem. Good summary of Week 1. I may "audit" the class. But I'm not too adept at this kind of music, and I don't have the time to do the assignments at any level I could be proud of. Finding the 6 sections of Sea Journey looked like it'd take me half the week, though I figure eventually someone on the forums will provide a map of that solo fairly soon.
Elkayem, totally agreeing with you. Not sure if I can do the assignment. When I opened the solo pdf I was like.. okay well didn't expect that lol. But I think I'll just give it a try even though my improv won't make any sense lol.
There are plenty of people on the course forum who are complete beginners and yet are not shy about posting and sharing their soundcloud improv recordings. I think it is great, and fascinating. The only way to learn this art is to practice doing it over and over, and the first assignment has everyone doing it right out of the gate.
Well, I spent most of Week 1 learning how to use Garage Band and Soundcloud and I'll probably have just as much "learning" next week. Finally got my assignment recorded and submitted after a fashion. Can't wait for Week 2!
PianoPerfection Teacher, performer, technician Westchester County, NY
There are plenty of people on the course forum who are complete beginners and yet are not shy about posting and sharing their soundcloud improv recordings. I think it is great, and fascinating. The only way to learn this art is to practice doing it over and over, and the first assignment has everyone doing it right out of the gate.
Well actually, hearing the beginners like me pulled me over the line.. to try the improv and record. I think what I tend to do is to be to hard on myself.. one can never start with improvising and sound like a pro. I find it hard to keep the pace, find the right notes in RH and keep the left hand chords going.
When I listen back sometimes I think.. well it's not that bad.. but the other time I'm like, this sounds like nothing.
Have you guys made any soundcloud recordings?
About the leadsheet, I play some chords different cause I'm used to doing that in 2-5-1 (and used to the sound), is this a problem? I make all the majors and minors a 7/9 and the "7" chords I make b9/b13 expect Ab7 and G7 (bar 14 and 16)
Hey LW Those lines were cool, they don't sound they come from a beginner. You can use whatever chord you like, as long as it: a) follows (e.g. by a small step) from the previous chord; and b) the chord sounds good to your ears.
custard apple, thx for your reply.. Well I'll take the "doesn't sound beginner" comment as a compliment so thank you. Actually I think I did the approach of "follows by small steps".
Though I had to get used to the Dmi7(b5) - G7(b9 b13) - C sound. Cause my ears want to hear a C minor chord instead of C mjaor. But well, I guess it's just about getting used to sounds.
Really enjoying listening to others on the course forum. Cause everybody has the same 32 bars and very different aproaches and solo's, learning a lot. Because of the assignment it pushes you to play. I used to always stop with trying to improvise after like 1 minute and move on to something I already knew, now I'm pushed to just play play play.
I joined late, but thought I would give it a try also. It looks like they are going to weed a lot of us out with this first assignment. It was fun anyway...
The 160 bpm tempo is simply too fast for me at this stage of my development. 120 bpm would have been more ideal, and my lines sound much more interesting at that tempo. What am I going to do when faced with a really uptempo tune?!
I know everyone learns at their own pace, but I seriously would like to know how many years it is going to take until it starts to happen. You wouldn't know it but I've been at it for over 2 years and still sound like a beginner. My secret weapon is that I am stubborn and refuse to give up until I die.
Hey elkayem That was a nice Lesson 1 solo. Personally, I'm happy to be a beginner forever, insofar as if you have high expectations of yourself, it causes unnecessary stress, and decreases your performance level.
Hey Knotty I'm impressed with how professionally the course is run. It is worth signing up for just to receive Gary's solos and backing tracks. I expect it will run again later in the year.
Thanks knotty and custard apple. You are right, I am being hard on myself. It is amazing how much time and effort is required to make noticeable progress, but I am improving little by little. Problem is my standards are set way too high. I expect I should be playing at Oscar Peterson's level in about 200 years, meanwhile I should enjoy the journey more. Thanks for the encouragement!
Thanks to Chris who noted that I could still join, I did join the course! Here's assignment 1 for which I'll get no credit (not that I need any). http://snd.sc/1396BXr
Anyway, I find it odd the way Burton approaches improv. 10 scales to learn but it isn't quite clear when to use which. For example, when are Phrygian and Aeolian used?
And more importantly, some of the most common scales are missing (at least to me): - Melodic minor - 1st mode. What are you supposed to play on the 1 of a minor 2-5-1. Maybe we'll find out next week? - Pentatonic - half the real book is made up of pentatonic melodies) - Blues. Nothing like a good blues scale to bring it home. - Harmonic Minor - maybe you don't like that one, but it's my 5 year old's favorite. First scale C minor, 2nd is A melodic Minor and 3rd he ever learned was A harmonic minor. It's gotta be worth something.
Masterful! I'm hoping he is going to explain the rational behind all of those missing core scales. I think it is because they are not chord scales and Berklee is at war against non-chord scales. Melodic, harmonic and blues go across a harmony. I will bet that they burn melodic and harmonic at the stake, and reluctantly offer blues as an alternative when necessary.
Thanks ken. see I thought the basic scale on the 1 of a minor 251 was melodic minor. just like major scale for major 251. modes of melodic minor are used as altered (7) and lydian dominant (4). but not the 1st mode. that is odd.
I know some here dont like harmonic minor in jazz (I wont say any names). but I do, so take that Sweden ;-)
Thanks to Chris who noted that I could still join, I did join the course! Here's assignment 1 for which I'll get no credit (not that I need any). http://snd.sc/1396BXr
Anyway, I find it odd the way Burton approaches improv. 10 scales to learn but it isn't quite clear when to use which. For example, when are Phrygian and Aeolian used?
Hey Knots Thanks for posting your fun solo. In terms of modes, I only got up to learning Aeolian as I'm working on other things at the moment. So I never ended up learning Phrygian.
Aeolian is typically used in a very specific setting in jazz, I still actually haven't found a chord in a jazz standard which calls for this particular type of dark sound. But also there is a type of jazz standard (that I haven't yet played) with such a long minor harmonic progression such that you can switch modes/scales to maintain listener interest - switching from dorian to blues to aeolian would sound very cool.
I think in this coming week, Gary will talk about when to use chord-scale x or y.
Thanks to Chris who noted that I could still join, I did join the course! Here's assignment 1 for which I'll get no credit (not that I need any). http://snd.sc/1396BXr
Nice Knotty, very nice.
Originally Posted by knotty
Anyway, I find it odd the way Burton approaches improv. 10 scales to learn but it isn't quite clear when to use which. For example, when are Phrygian and Aeolian used?
Lesson two is about scales, not chords, that's next week. The approach, as I understand it, is getting to know the sound/texture and shape of the different scales; from light to dark (like Gaffa tape; it has a light and a dark side - keep the Universe together . . . ).
However, there is a method to this "madness", it's Gary Burton's method for ... sake. So there must be a reason why he's teaching the stuff in this manner. Look at the scale choices we have been given for the 2nd assignment, nothing arbitrary there.
Hi Custard, Aeolian is used often on vi-7 especially in the very common Cmaj7 A-7 D-7 G7 progression , like in "I Can't Get Started" or "Blue Moon".
and Phrygian on iii-7
iii-7 vi-7 ii-7 V7
Thanks rintincop, I didn't know that. I found "I Can't Get Started" in Real Book 6th, and will play around with it tomorrow. Are you suggesting that the b6 in the leads to the A ?
Are there any excerpts of solos which use Phrygian ?
I kind of like yours a whole lot more than I like mine. The six vignettes put together is really nice. I tried to put them all together with one theme and common notes transitioning. Ugh.
I also start and end with a bar or two of C (not in the lesson), but shoot me.
Thanks. I played them one after another . . I found it very stimulating and challenging.
Pow! Nice idea that, putting a chord/scale/mode as a start and end. I'm so a... that I "have to" follow the given order . . . it's great hearing other version; very interesting. . . . nicely played.
wow I wish I could "see" the notes being played. Ofcourse I could transcribe and know the scales which are used.. but that will take too much time for just an exercise.. but some really neat ideas!!!
I'm definitely going to redo this. I thought that I could make the scales sound like they had the right character even though I was was playing them over LH that was different (like D Dorian over C6add11 preceded by a G to C bass note). I was wrong, wrong wrong. At the end of the day, it sounds like just playing in C no matter what you emphasize in the RH. I made that mistake on some of the others too. So a redo is in order. It is a nice little exercise, though. Now I know for sure what the sound difference would be.
Chris and Ken, thanks for sharing! Great playing! Ken, nice idea using Flamenco Sketches. That's the same motif Bill Evans also uses on Peace Piece, and is a great vehicle for modal improvisation. I enjoyed hearing how you used it for the assignment.
Just checked out the new assignment. 500 Miles High?! Whoa, this is going to scare a lot of folks off (those who haven't left already). All I can figure is that Gary wanted to find a tune where a more traditional functional analysis doesn't work, so his more deductive approach to chord scales would be needed. I'm can't tell where the key centers are on this tune, though I do spot a minor 2-5-1 in there.
Anyone got any tips for (easy) LH patters for the week 2 assignment? I hear u guys do all kind of stuff but don't know what (maybe it is advanced so I can't even know )..
LW, you can find some very simple LH patterns in there. A good pattern would be to play just the root on 1 and hold it for 4 beats. I found the tricky part with these was to maintain the tonality and not gravitate towards the 1st mode. For example, A lydian dominant feels like an E- scale. So playing the A in the bottom really helps.
This would be much harder for a horn player with no harmony under.
Really nice. I like how you gave his "brightest" of all scales, Lydian, a brighter rhythmic treatment, and his "darkest" of all scales, Locrian, a pensive treatment. Cool
What I hear from you guys, you can make any scale sound really jazzy. I mean I can make the blues scale sound blues.. by just playing the notes lol.. but no way I can make like the C Major scale sound "jazzy". I think this has to do with the articulation... In general the accents have to be on the "and"? So on the 1 and 2 and 3 and 4 and.
But it seems you guys have also a certain way to play the notes like staccato or something.
I find the articulation part very hard.
Originally Posted by knotty
LW, you can find some very simple LH patterns in there. A good pattern would be to play just the root on 1 and hold it for 4 beats. I found the tricky part with these was to maintain the tonality and not gravitate towards the 1st mode. For example, A lydian dominant feels like an E- scale. So playing the A in the bottom really helps.
This would be much harder for a horn player with no harmony under.
Yeah that's nice. I tried something like the vamps from Dave Frank's lessons. Seems to work.. maybe I'll post mine here lol.. if I got the confidence hah!
Lw, Articulation is key. In my view, it's 100 more important than scales and notes. If a guy is blowing on complicated scales, most people won't know. If you screw up the rythm you will sound like an amateur after just 1 measure. If burton doesn't get into it, I can share my thoughts later.
Articulation is key. In my view, it's 100 more important than scales and notes. If a guy is blowing on complicated scales, most people won't know. If you screw up the rhythm you will sound like an amateur after just 1 measure.
I gotta listen to those recordings. You all are so kind with me.
But I'm really looking forward to 500 mile high. I'm starting to like GB's approach.
I had developed a method for memorizing tunes, mostly based on ear. So far I've memorized a little bit under 100 tunes. But now I realize there's a whole other layer to it, which is picking scales based on those rules. So for example, take a tune like Cherokee. Really the whole A section is one big Bb pentatonic scale. I don't think there's a single note in there outside. So that's how I came to memorize it. Once you know that, memorizing the melody is super easy. And the harmony is pretty standard. I don't think I will go back and think all those modes.
But my ear method is weak on tunes that use non traditional harmonies, because it is difficult to hear. So for tunes like Prince of Darkness, which will wipe me in a second, I think it will really help.
Well since I didn't have much time this week... I tried to learn the scales and record/submit something today... well it's not much compared to you guys but well, I'll just post it.. maybe it just motivates others to record an post here (finger and rhythm mistakes included! lol)
lw, thats nicely done. one thing is I think you are supposed to start playing the scale straight up, and that helps us hear the improv that comea after, but its a detail. I think you will enjoy week 3 also.
Thanks for you reply, yes I think that would make it more clear.. bit rushed the assignment. Today I'll check the week 3 vids let's see what this week is about
LW, one easy tip to sound better. The most important note of a phrase is the last one. Hold it and let it ring. On occasion, it's ok to play it short, but generally, hold that last note like you meant it.
Yeah those first two albums, Return to Forever and Light as a Feather are jazz classics! The playing, as you write, is absolutely stupendously groovy; the Rhodes has never sounded better.
Oh man, the 70's; Return to Forever, Herbie with the Headhunters, Weather Report, Mahavishnu Orchestra, Keith Jarrett's american and european quartets - no wonder I'm still "stuck" there.
I feel a little better about this one than I did about my "What is this thing called love" recording, though clearly have a ways to go before I sound like a pro. The tempo (140) is better for me. Feedback and helpful tips welcome.
Knotty - Man, That sounded right on and so so fluid! Amazing that you can just pump that out on a lunch break.
Elkayem - Really nice head on that version. I think you have the same problem as me on this one - getting lost in the form the more verses you go in the solo. Nothing that more practicing wouldn't solve (if we had the time).
Ken, your take has a very nice laid back feel to it. I think I'll go pour myself a glass of wine, sit by the fire, and listen again.
Glad you liked how I approached the head on that. Sometimes simple is the best, at least for me at this point. Three solo choruses is almost too many for me, especially when I'm aware the mic is on and I have to keep "performing". I definitely lost the form in that recording a few times. I've done a few more takes since then, but each has its highlights and blemishes so I think I'll just keep the first take. I also need to improve at "telling my story" as Gary told us in his first lecture, otherwise it can sound aimless.
I'm going to miss this course when it's done. Only 2 more left. Maybe I'll sign up for the 12 week version...
yeah Elkayem, I agree your head was spot on, very much in the pocket. one thing that might help you not get lost in the form is playing those scales straigjt up and down a few times. I think even Gary says to do that. also to stay in the pocket like you were you can play shorter phrases but use mostly 8th notes.
Nice job also Ken. wathc those hits marked on the sheet on the Cm7. Realize that this tune is tricky because it has 2 extra measures at the end so our hear gets confused. nothing a little singing can't solve!
Rhythm has always been one of my areas area that needs attention, so when you use hip terms like "in the pocket" to describe my playing I think I must be doing something right. As the tune goes on, I definitely lose that "in the pocket" feeling a number of times as I struggle to create original lines. Shorter phrases, definitely. Something about Latin tunes makes me want to create these continuous melodies, so I should try to willfully break that.
I am realizing that I may not understand what you or Ken mean be "lost in the form". I never lost my place (I do in AABA tunes sometimes when I forget if the bridge is coming), at least I don't think I did. I definitely did hit a few wrong notes in there. Or maybe you were referring to my rhythm? I need to go back and listen to my recording again...
I am realizing that I may not understand what you or Ken mean be "lost in the form". I never lost my place (I do in AABA tunes sometimes when I forget if the bridge is coming), at least I don't think I did. I definitely did hit a few wrong notes in there. Or maybe you were referring to my rhythm? I need to go back and listen to my recording again...
Not completely lost, but the change comes in late or awkwardly since there is more mental trying to remember where we are in the tune rather than having it on auto-pilot.
In my case, at the end of the last chorus, rather than change late, I literally just bailed on a LH voicing hoping that nobody would notice, and hit the change correctly on the RH. If I were locked in on the form, I wouldn't have that miss.
Hi Ken, ok I understand now and can buy that. That gives me something to go back and listen to. One of the good things about this course is that it forces me to record and listen to my own recordings, warts and all. I see from your blog you've been doing that for years, and yes you've been an inspiration to me that it isn't too late to take on this art.
Enjoyed your lunch break. Yum. Nicely played, very relaxed, it breathes. Do submit it.
Well, I don't know if mine was so much arranged or written. I had an hour today, in-between my wife practising her oboe and shopping, I managed to record 3 versions. But I'm glad that it sounds like it holds together . . . (that sounds very Swinglish).
For now, I've two options. Just comp the A / B rootless voicings with 3rd/7th as lowest note. But this means E-7 won't go smooth into G-7 as those A / B voicings don't lay close to eachother.
Choose another inversion of the rootless chord so it's all smooth voice leading. This means for instance beginning E-7 with F# as lowest note, so for E- = F#-G-B-D which leads nicely to G-= F-A-Bb-D.
same for E7#9 to A min. As A- goes "to low".. because it's diving under middle C?
Next to that we see Bb Maj followed by B-b5.. But these are the same rootless voicings (because of b9 C melody in the piece)?!? So 4 bars same comping?
Lw, Don't sweat the voicings. Pcik one, let it sinl in and stick to it. For example g b d fs is fine on e- E g a d is fine also. Just choose one.
For the b minor the root is nice here. D f a b will work good. Don't do a lot rhythmically in the lh. Focus on a solid flow in the rh instead.
So many things to think about. ..
Chris, your head definitely sounds arranged, which is nice. The inner lines and parallel 6th (?) are at the right place. I did steal the 2 handed last motif from you. Come to think of it I should have done 2 octaves instaed of 1.
Since I didn't have any time this week, I just started today trying to improvise over the 500 Miles High tune... and this is exactly why I didn't try improvising anymore.
I just don't know what to do. Switching between scales at that speed makes me confused. Next to the switching I've also have to make a line which makes sense.. well.. it just doesn't work.
Give me one pentatonic (or blues) scale to use over a whole tune and I can improv.. I'll use the scale, arpeggios, add chord notes (if they aren't in the scale) etc. (on my level). Give me 10 scales over every chord a different scale and it sounds like nothing. Really frustrating.
I can run the scales up and down but well, that's not improvising. What I need are some sort of exercises which give something to hold on. Just giving scales and say: see what you can do with them maybe gives me too much freedom. Don't know where to start!
Try and look for common tones so that you can connect the scales. For instance you can use a G on every chord. Next is to find a second note ex: A (not on every chord, but nearly - not on Fm7) Then another; F# and F
If you write out the scale tones you'll see that there's several different notes you can combine. Next is rhythm . . . Patterns . . . it's a bossa . . .
I hear your frustration, but don't let it discourage you, your frustration is a potential for learning.
Thanks Chris, I'll keep that in mind! Well... some of my brain power still goes to the chords in the left hand.. so starting earlier than the deadline date.. to get the comping-chords in the fingers.. would be smart. To be really free in the right hand I can't spend to much brain on what chord to play.
O and for some reason my jazz playing is really rough.. gotta find some articulation tutorials.
EDIT: Well I listened to yours and it's just awesome. Some things I hear immediatly (next to the awesome voicings): - sounds like making use of "sliding" on notes from half up/down? - what you do on 1.15 and 1.17. It's like running down scale quickly very smooth or something like that? - 1.36.. such a run sounds so cool.. gotta find out how to make one. Is this something you work out before playing or real improvise?
Not bad. Nice touch, a relaxed head. Now you're subdividing with triplets, this is a Latin tune, subdivision works a little better if you think 16ths and little straighter 8 notes.
Originally Posted by Lost Woods
Well I listened to yours and it's just awesome. Some things I hear immediatly (next to the awesome voicings): - sounds like making use of "sliding" on notes from half up/down? - what you do on 1.15 and 1.17. It's like running down scale quickly very smooth or something like that? - 1.36.. such a run sounds so cool.. gotta find out how to make one. Is this something you work out before playing or real improvise?
Thanks. Side-slipping. It works especially best when its a dominant chord, like the E7(#9). Well, listening to Chick Corea play this tune in its original version on the Light as a Feather album will teach and inspire you a lot. Practising with a metronome (or iRealB) is a great aid to getting those runs smooth. (again it's all down to working and practising on subdivisions).
Side-slipping. It works especially best when its a dominant chord, like the E7(#9). Well, listening to Chick Corea play this tune in its original version on the Light as a Feather album will teach and inspire you a lot. Practising with a metronome (or iRealB) is a great aid to getting those runs smooth. (again it's all down to working and practising on subdivisions).
Side-slipping? Uh oh, some of these peer review graders are sticklers and are going to expect to hear the "correct" scales
I just don't know what to do. Switching between scales at that speed makes me confused. Next to the switching I've also have to make a line which makes sense.. well.. it just doesn't work.
Give me one pentatonic (or blues) scale to use over a whole tune and I can improv.. I'll use the scale, arpeggios, add chord notes (if they aren't in the scale) etc. (on my level). Give me 10 scales over every chord a different scale and it sounds like nothing. Really frustrating.
I can run the scales up and down but well, that's not improvising. What I need are some sort of exercises which give something to hold on. Just giving scales and say: see what you can do with them maybe gives me too much freedom. Don't know where to start!
Don't worry LW. Learning how to incorporate the right mode for each measure could take a few years to master. If you are stressing out over Week 3, just leave it as the week where your lowest mark won't be counted. You may find Week 4 easier. I like how Chris suggested common tones to you.
I'm utterly confused by Week 4. Can the theory nuts enlighten me, please?
On line 5, we have a guide line: B Bb A Ab G F# F I can see that.
So how does that help me solo? Does it mean I get to use this scale (6 chromatic notes) any way I want for these 4 bars? I think we're suppose to find another line based on third but it doesn't work that great because we get D, D, C and then Ab, to that's more than the whole tone we are allowed.
I actually have no idea what to do with these guide lines.
oh Knotty, I have to admit that even though I understand the general concept of common tones, I haven't got past Video 2. Video 2 is utterly confusing to me as well.
Does Gary means guide line = melodic line ? It didn't seem clear to me at all.
I think the idea is to start on either root or 3rd of the first chord, and then walk up or down using chord tones. That seems to be what he does in his example. Though I fail to see what chord tone of Ab / Eb Gb is. In other words, we have E Ab/Eb | C#-7 B7 and so on, and the 2nd guide line is G Gb E D#
Add to that the fact that the tune is super hard, and either me or Keith are skipping beats, in measure 14, on the F-7, it's written as dotted 1/4 , followed by 2 1/4 notes which correctly adds up to 4 beats, but on the first chorus, keith plays 3 8th notes, skipping 2 beats of that measure. The 2nd chorus, he plays all beats though. So I just think he screwed up, but seeing how he's been one of my main source of happiness for the last 20 years, I'll give him a pass
It would be nice if Gary named the tune he is demonstrating guide tones on so folks could try it... It's "Con Alma" and I transcribed his G.T. lines for you... there was one mistaken note on the video transcription shown and I think he changed the resolutions in the 4th and 8th bar when he played all 3 at once... too bad I cannot upload a .pdf transcription I made of all 3 lines...
"Guide tones are the hooks you hang your melodies on." "If they're kind of ringing in your head I believe your melody is going to have a stronger shape to it, it's going to lead forward better." Dan Haerle
Find 660 of Harry's solo piano arrangements for educational purposes and jazz tutorials at https://www.patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book."
I'm digging this whole guide-tone concept(s), maybe it comes from spending all that time playing and analysing Bach Chorales. It's maybe easier to discuss when one can actually see the notes:
I'm digging this whole guide-tone concept(s), maybe it comes from spending all that time playing and analysing Bach Chorales. It's maybe easier to discuss when one can actually see the notes:
BEAUTIFUL work Chris. Great example of voice-leading.
Chris, thanks for posting the guide lines for Con Alma. I think after I do my analysis, I will post for cross check.
Still I am a bit confused as to what to do with these guide lines. Take the first measure of Con Alma. What notes are you allowed? All notes from the entire guide lines? All notes within any of the 3 guide lines?
OK, so I think maybe I get it. It's that you use it as chord tones, but instead of picking any random chord tone as your target, you pick a line and stick to it for some period of time.
That still leaves you with the issue of knowing what to play between those target notes. So I assume the chord / Scale relationship is applied here? So on bar 5-5, you'd do F lydian, F# sym dim, and C major. or can you use C lydian on that F# dim, basically F# locrian, which makes it a lot easier with a lot more common tone and keeps it close to what overall seems to be a tune with a lot of G major scale. I'm gonna say that F#dim falls into the 15% where the basic rule does not apply.
Gary Burton mentioned that most chord sequences have one guide tone line, sometimes two guide tone lines, and rarely 3 guide tone lines... He also said the guide tone approach is most useful when the chords are changing every 2 beats (such as the 5th line in "Memories of Tomorrow ") and when they are not obvious ii V I changes... something Gary forgot to mention is that you play your phrase into the next guide tone which becomes the resolution note, you don't play the guide tone as the starting note of each phrase, it's the last note of each phrase. They are points of resolution! Very important.
I like Dan Hearle's approach to "guide tones", shown on youtube, I think it's is less pedantic, more practical, flexible, easier to use, more creative, and funner... in my opinion. Check it out: http://www.youtube.com/watch?v=cJ8i5q1nSsA
Find 660 of Harry's solo piano arrangements for educational purposes and jazz tutorials at https://www.patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book."
Thank you rintincop. You are right, Dan's approach is significantly less pedantic. For starters, Dan's definition of a guide tone is quite broad: a guide tone can be a 3rd, 7th, or other extension, or other alteration.
At the moment, I'm still trying to digest Gary's video 3.
I watched the Dan Hearle video. It is much easier indeed, but partly due to the fact that he picks a straight tune. I would think that for All the things you are, the concept of common scales applies mostly throughout. I see Gary Burton's method as a way to help the student play through changes that are not common and move very fast, like Con Alma.
I'm going to work on memorizing that tune using these tones and then start blowing on it.
In "Olhos De Gato" by Carla Bley, it seems odd that Gary would identify Bb/A and B/Bb as lydians... Bb/A sounds distinctly like A phrygian, not Bb lydian B/Bb sounds distinctly like Bb phrygian, not Bb lydian
I don't find it odd. One reason is that Phrygian moves the tune into Spanish la fiesta land, and that's not CB's intention with the piece. The Lydian scale combined with the Maj7 as a root is a very cool sound. But . . I do love the Phrygian scale too . . .
I've spent a week many years back in the studio with Carla Bley, watching, talking and listening to her rehearse a big band work through her music. She would say "go for both if you want . . . it's your solo . . ".
btw on that note, She and Steve will be coming to Sweden next year to perform music written for a octet of Swedish musicians, I've been asked to record the sessions . . . sheer pleasure for me.
When "Olhos De Gato" reaches the Bb/A measures and the B/Bb measures do you feel and hear them as measures of release? As major harmony, virtually free of harmonic tension? That characteristic floating tension free major sound that Lydian has? ... Or do you hear them as a darker sound with substantial harmonic tension?
I hear those 2 bar episodes as one of harmonic tension, to me it's obviously the feeling of phrygian and not the harmonic release that lydian creates.
I don't think it's a matter of which mode is easier to think of... I think it's important to know what two very different sounding modes really sound like...
Okay... I guess it's sort of like this. If I want somebody to play the scale over C7 alt , then I tell them to play the C# melodic minor scale over C... although that can becomes a crutch after a while if the students never realizes what the alt scale is in its own right.. It's a way of explaining a short cut to those that don't know their "alt scales", it's the simplest way to find it... In this, case Bb lydian explains to those not fluent in phrygian how to find the same pool of notes, it provides a short cut... but in the end the sound is phrygian not lydian. And perhaps some students never get the distinction.
When "Olhos De Gato" reaches the Bb/A measures and the B/Bb measures do you feel and hear them as measures of release? As major harmony, virtually free of harmonic tension? That characteristic floating tension free major sound that Lydian has? ... Or do you hear them as a darker sound with substantial harmonic tension?
I hear those 2 bar episodes as one of harmonic tension, to me it's obviously the feeling of phrygian and not the harmonic release that lydian creates.
I hear them as separate entities, free-floating . . . It's tricky when it is these chords with a pedal-bass, but I tend to view and hear the chord above the slash as the important thingie. (sorry, late in the afternoon, kids are hungry . . ), to me Olhos is straight out of classical harmony; Satie, Chopin, etc so I tend to view/hear it that way.
If I want somebody to play the scale over C7 alt , then I tell them to play the C# melodic minor scale over C...
As you write, its a crutch. Its a great mnemonic, but its leads to faulty thinking/playing. As a C altered scale is not a C# melodic minor; 7th degree.
It's like the Bb/A, that's a Bb major triad over a A, not a A phrygian - same notes, different sound/approach. As its a Bb major triad I focus on the Bb D F A
Rintin, For what it's worth, I think these scales become familiar once we play them. If the student picks a tune he's going to work on for a few weeks, and eacj time use c altered over a particular chord, that link will become natural and automatic as gary burton describes. I think it is better to teach the proper concepts, but add new elements slowly.
I feel gary's course is week in that respect. It introduces many scales, but fails to tell us what to do with them. The concepts are extremely advanced, especially for a beginner improviser. It is not enough knowing what scale and chord to use. One has to digest how to use those.
Here's the lunch take for memories of tomorrow. I ran through the tune over the week end but didn't get to record.
I find this to be a very difficult tune, but I may post it as the final product. I'm not sure how much more I want to spend on it. Especially since lesson 5 has started.
Here's the lunch take for memories of tomorrow. I ran through the tune over the week end but didn't get to record. I find this to be a very difficult tune, but I may post it as the final product. I'm not sure how much more I want to spend on it. Especially since lesson 5 has started.
Not bad K! Not bad indeed. Yeah, its difficult tune, also I'm getting frustrated about the tempo chosen . . . so I'm rushing all the time. You played the head very nicely.
While practicing, I did a few 16th lines, especially on that d/f# followed by f. It worked good there. But listening back, it was a bit rushed.
There are multiple challenges. For one, the changes are pretty tough And come quick. Then, one needs to use a nice blend of scales and arps, while maintaining the concept of guide lines. I dont know if those guide lines came out clear or no, but I was trying to have them there, not limited to a single octave. I was not able to mix guide lines within a phrase.
Would you not agree that phrygian and lydian have distinctively different sounds?
Find 660 of Harry's solo piano arrangements for educational purposes and jazz tutorials at https://www.patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book."
Chick Corea taught me these triads over the bass note more than 20 years ago. He said this was the key to mastering modal harmony for improvisation. He had me practice them in all 12 keys to the point they are all automatic now.
E/A is the characteristic sound of Ionian C/A is the characteristic sound of Dorian Bb/A is the characteristic sound of Phrygian B/A is the characteristic sound of Lydian F/A is the characteristic sound of Aeolian Eb/A is the characteristic sound of Locrian
Spend 3 minutes vamping on each and playing the mode, really listen to the sound until you can recognize it by it's emotional quality.
One should know and hear the associated parent majors scales of each mode in all 12 keys without thinking, and this quickly became the case with a little practice. There's no time to think about it when improvising.. this is really the ABC's of modal playing, so basic. But it is not stressed by many in jazz education.
I am a bit surprised about gary about implying it's a lydian sound...
See how the minor second and minor sixth intervals can be considered characteristic of the Phrygian mode, and how Bb/A captures that. See that the E in the melody is a passing note and not included in the left hand voicing, so you could argue that Bb Lydian places the wrong emphasis.
Okay, I am done with this lesson. I hope I am getting through but I fear I am not,
Find 660 of Harry's solo piano arrangements for educational purposes and jazz tutorials at https://www.patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book."
I am a bit surprised about gary about implying it's a lydian sound...
When Chick plays those harmonies/scales his analysis makes perfect sense. On the other hand Gary's soloing makes also perfect sense. I "get" Gary's interpretation, he views the chord as the sound so Bb/A is a Bb lydian over an A played by the bassist. It's a different sound, than hearing A Bb C . .
And then again, they both are able to play together . . .
on that note: Gary says: play Locrian over a m7(b5), when Pat Metheny says in several interviews (and lesson recordings) play Locrian #2.
So many choices . . . so many colours . . . I used to be adamant Locrian #2, but after listening to Gary's lecture: "check the melody . . ." I've changed my mind, Locrian on some tunes, Locrian #2 on some tunes.
See how the minor second and minor sixth intervals can be considered characteristic of the Phrygian mode, and how Bb/A captures that. See that the E in the melody is a passing note and not included in the left hand voicing, so you could argue that Bb Lydian places the wrong emphasis. Okay, I am done with this lesson. I hope I am getting through but I fear I am not,
I hear you, have no worries. Its a good discussion. To me in depends on context (and of course what do I want to achieve). In the context of Carla Bley and her sound world then Lydian is fine, in the context of Chick and his world; a Phrygian sounds great. An interesting experiment is to let the bassist play the bass notes and the pianist plays only the triads and the corresponding scales (no root notes). It's a bit like the first bars of Green Dolphin Street; is it Maj7 min7, etc or is it Maj7 Maj7 Maj7 Maj7 . . .
E/A is the characteristic sound of Ionian C/A is the characteristic sound of Dorian Bb/A is the characteristic sound of Phrygian B/A is the characteristic sound of Lydian F/A is the characteristic sound of Aeolian Eb/A is the characteristic sound of Locrian
Btw. Thanks for sharing the above. Interesting and illuminating of Chick's chord/scale thinking.
Hey chris, Nice control. You just had to put t house those 16th where I said, didnt you. I like the inner lines on the last fmaj, a la jarrett. The guide lines did not come out as clear on the 4th line as it did on the first. I had to really break this one down into small sections.
I must be theory challenged, because I would have definitely picked a melody minor on that first A- chord... The fact that it says A- and not A-7 is a hint, but the fact that the voicing as the 6 in it would make me play a major 7th, not minor.
So now the whole discussion of Bb/A has opened a big can of worms for me.
Up until now, I thought they were 2 kinds of / chords. Those where the bass is in the triads, and then the rest.
For example, if I see C / E, then I take it that we want an inversion of C, nothing more. Since GB's course, I know to look for guide tones. Probably this was written this way with the intent to use a particular bass movement.
The 2nd kind would be E / C. In that case, I see it as a simply way to write C maj7 #5. To think of it in terms of upper structure. One triad over a bass note. The chord in this case is a C chord.
So in the case of Bb/A, I would say like J+ and think that A is the chord, and the really, we're asking for Phrygian. Though one might argue that the intent is really Bbmaj7 / A. In which case, you'd see it as a Bb chord.
Getting home tonight, I will check Levine's book to see his thoughts on it.
Phrygian has a distinctive sound (dark and brooding) and so does lydian (light and majestic), basically almost opposite sounding... It's beyond me how somebody really listening can hear lydian in the tune at that point ... it's sort of like saying sad sounds happy...
With his rushed schedule I think Gary must have simply forgotten to mention it's A phrygian (Bb/A) and that you can think of the Bb lydian scale when soloing (or the F major scale, or any of the 7 modes in F major for that matter).
For some reason or the other, I don't really (and never did) dig this scale/guidetones etc. thing... Why not? Because there is a lot of thinking going which on distracts me from making the music and why think about a scale if all notes are available.
I would rather approach improv the way like, how Gary tells, Stan Getz does. "He had never studies music theory much, didn't know much about chords, he just knew the basic triad for each chord symbol that he saw. He would start with those notes and than use his ear to find other notes and he would make mistakes sometimes, but he got very good at correcting them by sliding into the next note to make it sound ok and so on."
Since I'm never going to be a professional Jazz piano player, and do not have the time pro's have... Sometimes I think, isn't it smarter just to concentrate on the ear and learn how to play the melody's straight from your mind without thinking in scales etc. Isn't that what Improv is about in the end? Do pro's play like "o here is D dorian, E altered, A symmetrical diminished" or just "go with the flow" without really thinking about scales.
I'm thinking about a way to try playing the line as you hear it in your mind by for example: hear the changes (and melody).. than stop playing the changes (pause), sing the melody that just came up and learn it with your fingers and play it over the changes. Again and again until you can almost nail (any) melody in your head correctly immediately without having to pause..
Maybe I'm just not patient enough... but hope you guys understand where I'm coming from.
EDIT: This is almost exactly like how I think: Greg Fishman: Some students learn to play a diminished whole-tone scale when they see an altered dominant chord, and so they are going to play it because it is the "correct" thing to do. The problem with that is that it's meaningless if they arrive at those note choices by theory alone, and not by ear. I call this phenomenon "empty note playing." These are notes without specific harmonic intent. The notes may be technically correct, but they won't be as convincingly played as the same notes arrived at by a gut-level, emotional feeling to play those particular sounds.
With his rushed schedule I think Gary must have simply forgotten to mention it's A phrygian (Bb/A) and that you can think of the Bb lydian scale when soloing (or the F major scale, or any of the 7 modes in F major for that matter).
What about that first A- chord, would you see Dorian also ?
Don't feel bad. This course is VERY advanced. A very smart teacher told me that beginner improvise with emotion and feeling, but as they advance, they learn to apply all those rules they have accumulated over the years.
That's not to say that everyone plays with guide lines. In fact, I'd bet that many of the greatest musicians wouldn't even know what they are.
I'm pretty sure Gene Harris didn't care about guide lines. That doesn't mean he didn't approach the music systematically.
The funny comment about Getz was "We don't want to settle for that.". When obviously, we gladly would !!
Yes, what I wouldn't give to have that wonderful lyrical sound of Stan Getz. I recall hearing (from a documentary I saw 20 years ago so hopefully still have my facts straight) that Stan's buddy Chet Baker was the same way, and in fact could barely read music. I often wonder how common having a truly great ear is among jazz musicians, especially among people just starting out. I expect that over time my ear will slowly develop, but meanwhile chordscales give me a leg up on narrowing down the choices of notes.
Elk, Dave Frank is going to release another YouTube video covering ear training. He will talk about lennie's method, charlie's, and finally his own. Charlie Banacos is notorious for being one of the best jazz teacher ever and his ear trainig method is often referred to. However, everything ever taught was often very secretive. Presumably because he tailored his approach to each student. Anyway, if you ve had the chanve to experience dave's ear, you will, like me, wait for the video to come out.
With his rushed schedule I think Gary must have simply forgotten to mention it's A phrygian (Bb/A) . . .
I really don't think so, GB is extremly concious of what he's doing/saying/playing . . also as I can recall, from interviews, etc, Carla Bley wrote Ohlos for him, and she is very particular about what scale-sound to use in her tunes.
For some reason or the other, I don't really (and never did) dig this scale/guidetones etc. thing... Why not? Because there is a lot of thinking going which on distracts me from making the music and why think about a scale if all notes are available. . . .
You're bringing forth some really valid points LW. David Baker told me in a class last summer (yay go Aebersold summer-camps!) that he was wrong in a lot of his early books and that the ear should always prevail. That said, I really enjoy theory, I like finding out how and why "things" work, but apart from analysing, learning about chord-tones, etc I couldn't really connect it with my ear until I met Pat Harbison last summer (yay go Aebersold summer-camps!) in his theory class that I finally got a method to practice chord/scale relationships. So I really believe that theory combined with an intuitive ear is the way to go.
No problem:) Thanks for your comments. Well for android it's not free.. but I'm downloading it right now.. well spend €1,45 (or 2 dollars). Really appreciate someone taking time to make it.
I found this paragraph written by jazz trumpet instructor Pat Harbison:
"It is the role of the conscious mind to listen to what's going on around you and to imagine the sound of the missing part. If you are reading music the dots tell you what sounds to imagine. If you are playing a memorized piece it is your memory that supplies the missing part. If you are improvising it is the unconscious creative mind that supplies the missing part. This is all that you should be consciously aware of while playing (when you have achieved a high level of skill). Sing the sound of the missing part in your mind and trust your unconscious mind, nervous system, and muscles to do what you have ordered. Your unconscious mind will do the very best it can based on your present level of skill and experience. We practice fundamentals (chord/scales/arpeggios) in order to store efficient ways to make all of the various sounds we might desire in our unconscious minds as kinesthetic memories. "
Yay. That's Pat alright (Prof of Jazz studies at Indiana). He's a great teacher and as I wrote earlier he has a really good method to practice theory and enable it to move from the conscious mind to the intuitive part.
EDIT: I just read "Learning to improvise - introduction / Learning to improvise - Article links" from the blog I mentioned earlier.
These are some good points why to learn the theory/chord scales: "LEARNING THE SOUND OF JAZZ Playing scales, arpeggios, and chord progressions will help train your ear to identify the sound of jazz melodies and harmonies."
"STIMULATES NEW IDEAS Advanced theory concepts such as chord substitutions and alterations can help players unlock new sounds and directions in their playing. For some people, these ideas are easier to come by when visualized and/or thought of from a mathematical/structured approach."
That's a good point. I can only imagine playing for example a D dorian scale in my mind if I know what it sounds like. So knowing your scales/arpeggio's etc. broadens the horizon.
I got totally surprised by the ending. I had an eye on garage band and I could see it kept going, but then finally it stopped . So sorry for the lame ending. http://snd.sc/11RyasQ
I don't think I will take a stab at the other tune.
I got totally surprised by the ending. I had an eye on garage band and I could see it kept going, but then finally it stopped . So sorry for the lame ending. http://snd.sc/11RyasQ
I don't think I will take a stab at the other tune.
Hey Knots Your blues had a really strong structure. I liked how you built up to the climax.
Nice notes, folks . And it swings. I think if you injected just a tiny bit more energy into the swing you would really have something there. Check Red Garland and Wynton Kelly, the way they make there swing sound lively on a blues at that tempo.
Nice playing, Chris but you should have included Gary's head, at least according to the assignment. Me, I sure liked what you did. And, FWIW, here's mine . . .
Well, I'll be . . . you did play the head (and quite nicely, may I add). I don't know what I was listening to - very strange. Anyway, I did enjoy the course a lot and have lots to work on in my own time. Let's hope there's another! In the evaluation, I wrote that I'd like to see a coursera offering on reharmonization, whole tone series compositions, etc. Whatever they offer, I'll probably sign up.
PianoPerfection Teacher, performer, technician Westchester County, NY
I just received my certificate from Gary's course and I scored 91%. I am 60 and haven't been in school in for some time and so this was a real challenge for me and a lot of hard work. It was a wonderful learning experience and considered taking the whole course but at $1,800 reality sets in. Just curious what others scored?
I figured as much Chris your work was really nice to listen to. In fact olhos de gato was a problem till I heard your version and some others to get a feel for the tune. I noticed that some were upset at their grade [not that it matters] but if you did not score high with what you presented I might of gave some credence to to grips on the discussion pages. Again it was a wonderful experience to see music the way Gary Burton analyzes and hears music. DPVJAZZ
Well I guess it shows I have some important work left to do. We, as humans, share 99% of our genes with bonobos and chimpanzees, and look where that last 1 procent has taken us.
Thanks for the kind words of encouragement.
Now off to prepare for my two weeks at the Aebersold camp. One Two Three Four . . .
My bass player, Allan Gabel, is also going to the camp. Look him up if you get the chance - I also told him you would be there and to look you up. I'm green with envy . . .
PianoPerfection Teacher, performer, technician Westchester County, NY
Hey, Chris! My bass player, Allan Gabel, is also going to the camp. Look him up if you get the chance - I also told him you would be there and to look you up. I'm green with envy . . .
I signed up, looking forward to it!
so thank you.
I gotta listen to those recordings. You all are so kind with me. 
Maybe I'll sign up for the 12 week version...![[Linked Image]](http://www.directionsinmusic.com/guide-tone-lines_Burton-CA.png)
I'm green with envy . . .