This is a truly amazing lesson. How to create GREAT solos with very basic musical concepts
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
AMAZING Jeff Berlin Lesson excerpt
- Thread starter Mike Dimin
- Start date
Excellent lesson, I really liked the 'openess' he demonstrated with the 3rd's+7th's and the 9th's+5th's, nice tonality. I found the 9th's+11th's a bit of a stretch harmonically (but 4ths/11th's can be), but a great lesson in breaking out of the 'root note' syndrome and very musical.
I like Jeff, he is a 'straight up' cat, even back in the day, away from the instrument, I learned a lot from what he had to say in interview's in Bass Player and the written related clinic's (before the 'tinternet). Great educator, I personally like the reductionism approach, distil into essence, no BS, which I think everyone is aware of here by the sounds, he don't do it, I can respect that.
Thanks for the link Sir, very enjoyable and informative
I like Jeff, he is a 'straight up' cat, even back in the day, away from the instrument, I learned a lot from what he had to say in interview's in Bass Player and the written related clinic's (before the 'tinternet). Great educator, I personally like the reductionism approach, distil into essence, no BS, which I think everyone is aware of here by the sounds, he don't do it, I can respect that.
Thanks for the link Sir, very enjoyable and informative
Man, he really brings it down to earth, doesn't he? I am going to be spending some quality time on youtube in the near future!
- Jun 24, 2006
- 2,560
- 90
- Disclosures
- Endorsing Artist: MTD basses and strings; Bergantino Amps & Cabs
and let's hear it for sharp 11's! Now, let's try to bring back the flat 13 nomenclature for that lovely dominant chord and get rid of the bass-player-befuddling #5 concept...it's not a sharp 5 because it's ABOVE THE 7TH!!!!
Jeez, don't they teach traditional harmony at all anymore...? Rules are there for a reason...
Cheers,
Cameron
Sweet! Very timely. I just had a lesson 3 Saturdays ago where the instructor introduced the concept of doing 3rds & 7ths over a ii-V-I-vi progression.
Maybe I shouldn't have *fired* that instructor at the end of January after all!
Maybe I shouldn't have *fired* that instructor at the end of January after all!
Good useful material there for sure.
Hey Cameron,
+5 for me, as there is no natural 5 in the chord, so why call it b13?
(I just play the root anyway, so I don't care what you call it! j/k)
Hey Cameron,
+5 for me, as there is no natural 5 in the chord, so why call it b13?
(I just play the root anyway, so I don't care what you call it! j/k)
Great stuff. Watched some more of his videos as well and really enjoy listening to what he has to say, thank you for posting this link!
Golly I'm sorry I replied, I really hope I'm not going to get schooled on chord theory now. . . : )
Who cares how the chord is called. If you can hear that the #5/b13 can resolve up and down it doesn't matter (unless you want to look smart on a bass forum).
Jeff's lesson is ok though not very special, this is all common knowledge for every jazz piano player. It's good to practice to hear these voices within a chord, but just spelling out the chords can sound cheesy very fast. Janek Gwizdala has got some video's up on his site on the same subject, but focusing more on being creative with this material (which I find a lot more interesting).
Jeff's lesson is ok though not very special, this is all common knowledge for every jazz piano player. It's good to practice to hear these voices within a chord, but just spelling out the chords can sound cheesy very fast. Janek Gwizdala has got some video's up on his site on the same subject, but focusing more on being creative with this material (which I find a lot more interesting).
