You need that s--t in there to get that stank face
And another heads up . Dani is talking about advanced improvisation in this and a lot of his content not composition. If you watch a video about outside playing (how to approach it) don't expect it to talk about basic song structure. but hey I'm off to watch some cycling videos to help me fix my car.Yeah,
Like bunch of folks, I subscribed to MarbinMusic on a whim, thinking I could play something entirely new and melodic. That's what threw me a little. While it's entirely new and unique, interestingly presented, I could not for the life of me hear any intro, melody, verse, chorus, anything considered worthy of playing for the song.
And I still can't decide if this is being presented for laughs, instruction, information, or just plain ol stuff that goes to the tank. Just a heads-up, folks. If you listen to Marbin's stuff long enough, maybe the grass will be greener on the other side.
The altered scale on the V in his example is plain jazz in a melodic construct.Yeah,
Like bunch of folks, I subscribed to MarbinMusic on a whim, thinking I could play something entirely new and melodic. That's what threw me a little. While it's entirely new and unique, interestingly presented, I could not for the life of me hear any intro, melody, verse, chorus, anything considered worthy of playing for the song.
And I still can't decide if this is being presented for laughs, instruction, information, or just plain ol stuff that goes to the tank. Just a heads-up, folks. If you listen to Marbin's stuff long enough, maybe the grass will be greener on the other side.
Yes, instructional, but on an existential contemporary plane of construct only known to roll-your-owners. Which is why I bowed out after I realized I'd need a hit off a bong to understand any of it.The altered scale on the V in his example is plain jazz in a melodic construct.
Now the altered played over the 5th is the Lydian Dominant played a half step higher than the minor root.
This is what some describe as the “lift”.The altered and Lydian Dominant are modes of the melodic minor. Another example is to play the melodic minor on the tri-tone…which if you are looking for the Lydian Dominant is a half step below the minor root. So, for sanity I simplify his examples to a half step above or a half step below using the lydian dominant.
The half whole symmetrical example is a little weird in that I like to play the whole half instead. For an example check out Larry Carlton’s opening solo on So What.
Still, it is a cool presentation with some good info and his sense of humor is intact.
Thanks for responding. Dani is light-years ahead of most classically-trained jazz guitarists, but listening to him describe theory just rubs me the wrong way. Folks who have a background in jazz will have less difficulty understanding Dani. To be fair, if perhaps you do subscribe to his channel, Dani has lots and lots of reference videos you can learn from.And another heads up . Dani is talking about advanced improvisation in this and a lot of his content not composition. If you watch a video about outside playing (how to approach it) don't expect it to talk about basic song structure. but hey I'm off to watch some cycling videos to help me fix my car.
I obviously like him. I think he gives the information that almost no one else ever does. The prerequisite is that your fluid in conventional playing over changes and the scales required . This is actually a methodology that you find in a lot of great players . How to control outside playing and it not just sound like shit is something not often covered. As an introduction to "outside" playing the sidestep is the one that is easiest to incorporate and a great springboard for something interesting.Thanks for responding. Dani is light-years ahead of most classically-trained jazz guitarists, but listening to him describe theory just rubs me the wrong way. Folks who have a background in jazz will have less difficulty understanding Dani. To be fair, if perhaps you do subscribe to his channel, Dani has lots and lots of reference videos you can learn from.
But the speed at which he teaches does not allow the information to sink in. Even when I studied in college, the best teachers engaged their audience with Q/A, viewpoint questions with subjective answers and reasoning. Not being force-fed theory with an esophageal tube. If it's something you can tolerate, please tell us how you could digest what Dani teaches.
While it's vitally important to listen, my personal feeling is that if I tried studying what Dani teaches, you'd get GIGO.
I used to beat my head early on, but eventually what happens is an “ah hah” moment. You have to have all these disconnected pieces floating around and then, “Hey, I see how it connects!”. But yer right, chew slowly!I think part of the idea is really for one to pause these videos, ruminate, then come back for the next tidbit. I'm not saying that's the best way to do it, but I do think that's what he's thinking.
I liked the video and I thought he provided a clear explanation of the inside and outside notes for each method. And then played an example. In the context of the video, playing in then out then in was useful and well explained WRT “connecting”.I appreciate that Dani’s working it out, seeking out experts, and sharing his expertise as he develops. I look for community not saviors, and different choices about sobriety aside, he doesn’t deserve to be dragged through the mud here.
Where else would I see dozens of episodes exploring Messiaen concepts with the brilliant Brett Stine? The video shared is funny and it clearly reached people. Mission accomplished. And thanks Andy for sharing.I obviously like him. I think he gives the information that almost no one else ever does. The prerequisite is that your fluid in conventional playing over changes and the scales required . This is actually a methodology that you find in a lot of great players . How to control outside playing and it not just sound like shit is something not often covered. As an introduction to "outside" playing the sidestep is the one that is easiest to incorporate and a great springboard for something interesting.
Why the drug reference ? it is all just top quality music theory with a sense of humour. Every truly memorable Jazz great has used this concept but this is a step in to how.Yes, instructional, but on an existential contemporary plane of construct only known to roll-your-owners. Which is why I bowed out after I realized I'd need a hit off a bong to understand any of it.
While I did follow your reasoning, his was much more complex over a greater period of time, which led me to conclude that sandwich he was hoping to makes needs to be taught slower.
The way to put color in your cheeks is to add a little of this and that but don't overdo it. Much like adding ingredients that create layers of flavor. If you've presented the music like a delicious meal, remember that when you get to "tea," stop.
I appreciated Marbin'sMusic for the humor, but since I didn't want a roaring case of the munchies, I choose to view something that makes sense more so than just on a herbal verbal level.
My apology for the cynicism. It's just that fast-paced indigestible speech grates on me. This happens when you grow older and can't understand as much of what is said. Notice I didn't say can't hear what is said. Understanding what is said is much more important.Why the drug reference ? it is all just top quality music theory with a sense of humour. Every truly memorable Jazz great has used this concept but this is a step in to how.
That may be true, but if you've ever tasted something your taste buds severely disagreed with, you'd likely say "No, thanks." My feeling is that when promoters give you a taste of something, you're expected to like it, otherwise, we move on. If you do like it, that's how various peoples bridge language and ethnic barriers. But if the food still disagrees with you, it's really an "acquired taste."I think part of the idea is really for one to pause these videos, ruminate, then come back for the next tidbit. I'm not saying that's the best way to do it, but I do think that's what he's thinking.
My apology for the cynicism. It's just that fast-paced indigestible speech grates on me. This happens when you grow older and can't understand as much of what is said. Notice I didn't say can't hear what is said. Understanding what is said is much more important.
That may be true, but if you've ever tasted something your taste buds severely disagreed with, you'd likely say "No, thanks." My feeling is that when promoters give you a taste of something, you're expected to like it, otherwise, we move on. If you do like it, that's how various peoples bridge language and ethnic barriers. But if the food still disagrees with you, it's really an "acquired taste."
I don't think Dani intended to suggest we eat a sh!t sandwich, but that's how it comes across...hence the "No, thanks."