Відео

Lots of good advice, glad to have stumbled on your channel. Subscribed!

Awesome, love this 💗

"The best method you will find is the one you create yourself' love that. I always find myself returning to old videos for little bits of wisdom like this. thanks Denis!

I think that'll be a really good exercise for somebody that isn't at your (or my) level of playing, because it's basically teaching finger independence. Finger independence is tied to relaxation which is also important for a beginner to get a feel for. That being said, playing it across 6 strings seems unnecessary and injury causing. A beginner/ intermediate guitarist playing this across 3 strings will be highly beneficial I would say

So greatfull for your content!

Very nice but Duved has too much padding in the shoulders of his suit; he could look into softer neapolitan tailoring

Everyone wants to play rhythm like Django and not Joseph

5:45 - Freddie Green was using fuller chords until the end of the 1930s when something happened and he started using 1- or 2-note voicings. Could it be that he started using an electric guitar? Eddie Durham recorded an electric guitar solo with members of Count Basie's rhythm section in 1938, a major event.

Bravo et merci Monsieur Chang , de la bombe rythmique

I really think Bob Wills and the Texas Playboys should be more popular with Django guys.

That’s very interessant! Thanks Denis. I learnt a lot just watching Mozes picking hand. Very smooth at all times.

What is the name of the first standart played ? Thanks for the videos :)

C'est tellement vrai ce que tu dis concernant les Jam Sessions Denis ! La partie rythmique s'en fout complètement !!! Mais alors TO-TAL ! Déjà, ils ne connaissent pas toujours le morceau ! Ou alors ils en ont une très vague idée (certains l'ont déjà entendu pendant une Jam ou alors n'en connaîssent qu'une seule version, jouée la plupart du temps par un guitariste contemporain). Jamais ils ne connaîtront les enregistrements historiques ! Le premier enregistrement par exemple, et tous les autres qui auront suivis, pendant les différentes périodes du Jazz. Mais pour en revenir sur la partie rythmique, en effet, c'est un vrai désastre ! Personne ne joue les mêmes accords ! Chacun y va de ses petits enrichissements... et vas-y que je te rajoute des accords ! En fait, la réalité, et la plupart du temps, c'est que tout le monde attend son tour pour le solo. C'est tout ce qu'on attend ! Et à ce moment là on AIMERAIT être bien accompagné, et c'est normal ! Mais quand c'est au tour des autres, eh ben alors là, on en a plus rien à f*utre ! Et c'est là le problème ! Il faut AUTANT bien accompagner (quitte à jouer "straight" et "simple") que faire de beaux solos, dans la mesure du possible ! On ne sait pas être simple et beau ! Non. On préfère faire n'importe quoi, jouer trop vite, mal, pas ensemble et sans connaître les morceaux d'origine !

This kind of granular detail is gold. I play in a number of big bands and sit-in with other trad jazz players---knowing how to quickly interpret feel and rhythm is key. Having the tools to morph into what is needed in the moment and respecting the style is always foremost in my mind. Thanks for shining a light on this Denis.

Great, good, stunning, fantastic,👏👏👏👏👏

Another great video about rhythm and pulse! I like what you said about interactivity--you definitely hear that in bebop as well. There's communication, but it's subtle--and that subtly of interaction makes the music swing more. I think that "jazz historians" got bebop wrong. Just because bebop "wasn't music for dancers" doesn't mean that it totally ignored the dance altogether. There's too much emphasis on harmony, and not enough talk about rhythm in bebop and beyond (maybe all jazz for that matter). You are part of the change, Denis. Continue to challenge the jazz ed paradigm!

Denis, when you say those Japanese musician playing is no good, did you mean they're playing too complicated, trying to show off rather than playing things that fit the music?

Straightb4 is: long, short, long, short straight 4. short, long, short, long. (2 - 4) four. And then short, long, short, long; multiple strums on the long: La Pompe.

I like your analysis of the history of jazz in that time frame. Straight four, (2 - 4) four, and then La Pompe.

I want to be authentic at djang bangs. Thanks Denis!

‘Simplicity is king’ love that! Thanks for the video 😊

Merci Denis !

lovely fella thank u

Good video Thanks, but I need to disagree when you say that Parker didn´t use altered scale. I have many exemples where he did use the scale, maybe he was not thinking alt but definitely thinking tritone sub chord tones which are the same

Love this video! Dennis, what model is your Godin guitar?

totally agree on the finger excersie seems pretty pointless to do things you dont even use.

C'est mon papa qui m'a fait découvrir cette musique avec Grappelli et Rheinart. J' ai eu la chance dernièrement d'écouter un concert avec Simba Baumgartner, the krief brothers que du bonheur .

Is it weird that I DON'T want to sound like Django or Charlie Christian, but like J.S. Bach or Chopin except with swing.

Well Said!

Hey this sounds awesome, great feel improvising and feel. Check out my lates original gypsy jazz tune..Swingin Cat. .🎸👏👏👏🩷

Great lesson. Thanks Denis!

Dude I love this. The piles of 1930s sheet music on my piano finally seem worth it when I hear someone else talk about this. I've had this conversation a lot with the arranger of a band I'm in. He's a horn player trying to do 1920's and 30's arrangements, and I'm like "this part isn't what guitar/banjo players would actually play though". I've been trying to study Eddie Lang now for years and I believe that it is rare for him to play m7 and maj6 or maj7 when playing rhythm. When he does is often a voice leading thing. I know in blue room at one point he does play D Dmaj7 D6 over a bar or two (it's been a minute😅). In feelin my way I play gm7 on the Trio part but it's at a moment that is really hard to hear and I just do it cuz it's easy. Same for the duets with McDonough and Kress. They use Maj7 in the slow trio part in stage fright, but it's part of a voice leading thing. They do use m7 a lot in in that tune though I think. Kress is another anomoly because of his tuning though. He does seem to sometimes use more dom9 and dom13 chords even in rhythm playing because that tuning system lends itself to that, but I still feel in those Eddie Lang duets he's mostly playing major, minor, and dom7 with no extensions. Anyhow, this rules, thanks for sharing!

First thing I thought about him was that his playing was exactly like real sinti gypsies. Bravo Sam.

Learning through history is definitely a useful approach. I did and do it also, by transcribing old recordings. It allows you to evaluate whether you find certain changes aesthetically good or not. It helps finding your own voice. Many young people who studied at a jazz school think that jazz is only ii-V-I, which is not correct.

Nice, do more of these nerdy in depth music analysis videos, its really interesting 'cause you cant find this info anywhere online.

When and where was this? I live in Taipei and I'd love have gone there!!

That was very insightful, Denis! And I especially liked your" keep peeling off the layers". Q: I love how your Gypsy Jazz Multiac looks and sounds. Do you know if they are still available? Thank you for all your hard work! 🙂

24:40 Love this. I want to learn Japanese (too old though!) You are so on-target with the similarity between language and music. Thanks. It's all about the ear.

Got a "like" for the intro. Modern GJ sounds bebopish anyway. Note: "One of the only..." phrase makes no sense.. "One of the few" or "The only". "Only" means one. Thanks (pedantic language person). p.s. nice haircut

Britney Spears utilizing the altered scale! Dang, I knew it! At least she didn’t utilize either the Super Locrian or diminished whole tone scales!

Hey Denis, do you enjoy old school black metal (Mayhem , Burzum, Darkthrone, etc…) ?? 🤔

Perhaps George Van Eps? You’ve got me curious now

Love this kind of topic, Dennis! And I'm so glad that you named Oscar Alemán, i thought he was sadly forgotten by everyone

I agree! If you work through the first Micky Baker guitar book you see him using maj7ths, maj6ths, min7ths and minor 6ths along with dom7flat (and sharp) 5s. Clearly the classic swing jazz prior to bebop. Also occasional use of min6shap5 and dom7sharp9. Really beautiful, melodious sounds designed to support the lead instrument, or vocal.

Kanye is my favorite bebop artist

Ha! What do you think of the Minor Swing variation where it goes into the Autumn Leaves chords from the second D minor?

Love the video! Thanks for sharing 😎.

Funny you mentioned the different instruments and ones attention. I had bought The Swinging Guitar of Tal Farlow intrested in Tal's guitar. Years later I returned to the album which sat on the shelf for a few years only to be floored by Eddie Costa's piano. Today he is one of my favorite players. Amazingly there was no impact when I originally listened to the album. I wondered about how I didn't take notice to Costa's incredible swing and percussive attack on those keys. Today that is my goal. To transcribe and adapt Costa's line to guitar, which I will need to develop a great amount of technique to pull off. Watched some speed picking from metal players, and country chicken picking players etc, to try and get a handle on the insane amount of technique needed. Thank you for your lectures. They have pointed me in the right direction and gave me confidence when I've been down.

I love your playing. I dont like the style of Mike Stern and those cut from the same cloth. I considered them modern players and modern players never made sense to me. I believed it was them searching to sound different from who came before, but you painting out their theoretical approach only crystallized that what you say about learning phrases, vocabulary is the right course for me. I love blues and players like Freddie King, Albert King, and Otis Rush went with what sounds good and no theroies or scales blah blah blah. Heartfelt true expression even if using a handful of notes that the theorists label blues scale, sounds better that Mike Stern who uses multiple scales,color palettes but to me sounds like shit. That's me. I think the fact you worked on the old guys from yesterday because they sound good is why I love your playing. Big thumbs up. Thanks for all your insight.

Wow Denis that guitar sounds beautiful. Warm bright tone. You of course bring it out with your playing.