I just started working on this in the last week from a lesson from another master. NOBODY has ever talked to me about this EVER How can that be after going to a respected school and playing for over 40 years???!!! I can't tell you how important this is to me. Great job Jeff!! - keep the good stuff coming!

@JeffAntoniukEducator

6 жыл бұрын

Thanks Michael! I know . . . so many teachers overlook the "obvious" stuff, which can be a pretty big disservice. Glad it only took 40 years, brother!

Strongly agree with Michael’s comment below, this doesn’t get talked about enough. Good feel with boring notes will sound more like jazz then playing cool notes without the feel. I have one thing I would add to the exercise, I would start the scale on the accented and of four (F# going to G on beat 1). You talked about how to execute this on strings, I do it by hammering on or pulling off to all the notes on the beat whenever possible in case this helps anyone else. That creates both the accent pattern and the legato feel.

@JeffAntoniukEducator

3 жыл бұрын

Fantastic input, John. Yes, as a bass player, where and when you pull the string, and then pull off is the technique you use to create these accents. And I love the idea of beginning on the + of 4, with a pickup note. NICE!

Wonderful introduction. We used to call offbeat articulation the reverse slur. I seem to be a lone voice in the wind by advocating learning the bebop scales start on a non-chord tone on the and of 4. For example, play a G Bebop scale start on Ab Remembering that you are starting on the pickup to beat one, and continuing on down the scale. That way the first note is the loud note. You could also start on F#, go up to G and then go down the scale.

Thanks Man!!! Great contribution.

Muchas Gracias !

this is something I have to reconsider, I often hear saxophone players use this articulation on a piano you could come close if you let two tones over lap off from the oof beat to the next it creates the same emphasis...

Yes ... YES .... YESSSSS! This quite good. In my development plan (on Jazzwire.net) I have been encouraged to play close attention to my articulation, at it is one area of my playing that I can make significant gains quickly. Admittedly, I had never (prior to now) given much though or energy to "swinging" (articulating) in this fashion. When I became aware that it has been missing from my playing, I began to worry about developing it and incorporating it into my technique (as required). This discussion made it easy for me to understand what I need to do to develop and adopt the skill. Thanks Jeff! ... Now I gotta go practice! ;-)

@JeffAntoniukEducator

4 жыл бұрын

So glad that you are digging this concept, and THRILLED to be working with you at www.JazzWire.net, Alex.

I loved hearing you apply this to Donna Lee -- especially working through the head a couple of times. To me, this articulation is really what jazz is. Perhaps that's because I tend to like more bebop than swing but the oo-DAT-oo-DAT-oo-DAT with straight 8s, even at slower tempos, swings just as much as the quarter-eighth triplet pattern usually taught to beginners as "swing." Great lesson as always! Keep spreadin' the Love!

@JeffAntoniukEducator

6 жыл бұрын

For sure. That "triplet based" swing thing that we get taught in middle school works, but only at a couple medium-slow tempos. Otherwise, it's more articulation than anything I'd say. Thanks for tuning in!

@JeffAntoniukEducator

6 жыл бұрын

You got it Mike. The saxophone is the LEAST important part of the equation, for sure. Diaphragm, air column, shape of our throat and mouth, articulation . . . that is where the good stuff is!

This is why I love your videos. Precise, pragmatic information. I’ve been playing for forty-five years (flute, tenor and piano), and never heard anybody talk about this off-beat tonguing. I play jazz on chromatic harmonica, with which it is fiercely difficult to get good jazz phrasing (mostly because we have to blow AND draw). I’ll be spending some time trying this. 👍

@JeffAntoniukEducator

5 жыл бұрын

So cool Alan. I love the sound (and soul) of the chromatic harmonica. Getting this articulation thing down will be HUGE to getting you sounding "legit" in your jazz phrasing and style. I hope we'll have you working with me and the huge community over at www.JazzWire.net. We can do a LOT of this work with you, and get you moving FAST. See you there!

I'm greatly valuing this series of the BeBop sound combined with Jazz articulation. It's like doubling the bang for buck!

@JeffAntoniukEducator

5 жыл бұрын

For sure, Joel. Articulation is CRUCIAL for getting our feel correct. Glad you are digging in to it.

Wonderful presentation. Loved the explanation of tension release built into the articulation. From a North Texas graduate, 1982. I remember Jamey Aebersold and Dan Haerle coming to California in the late 70’s, pitching the play alongs and teaching off beat articulation. He would say, “ooh da ooh da”, play up to the 9th, then back down, both scale and arpeggio. Forever changed the way I practiced scales.

@JeffAntoniukEducator

5 жыл бұрын

Brother!!! UNT . . . I literally just got off the phone with the Dean's Office at UNT today, talking about doing some work with them, Digging Deeper Jazz and www.JazzWire.net. I got there in '86. Sorry I missed you.

@chetheflin7447

5 жыл бұрын

Jeff Antoniuk - Educator - I loved North Texas. So many great teachers and players to learn from and play with. I was one of the top jazz guitar players. Played in the 3 o’clock lab band, played in a five guitar combo with Jack Peterson. Met Rich Matteson at a Stan Kenton Clinic in Sacramento in the 70’s. I walked into a room where he was warming up by himself. Asked him what he was playing. He said Bebop. I stuck my ear to his euphonium bell and was never the same again. What an amazing, clean, precise, brass player. Stan Kenton and his big band played student charts. I wrote one each year I went and still have the recording of Kenton playing my first big band chart. That inspired me to keep writing, awarded a competitive scholarship for jazz arranging. Leon Breeden called me to his office and said, “Now you better write Henry Mancini a nice letter thanking him for the money.” North Texas did so much good for so many students over the years.

@JeffAntoniukEducator

5 жыл бұрын

Wow, what a great story. Inspiring!!

More great info. Any method for adding more hours to the day so I can have more fun practicing? Just kidding! I know it's all about time management. I really enjoy the process AND witnessing the improvement. For the future, do you have any hints for improvising in 3/4? That next bar is on me faster than I can say, "What the..."

@JeffAntoniukEducator

6 жыл бұрын

Aha! The "More Hours To The Day" trick. That is going to be video # 332, 465. It'll take me awhile to figure that one out, but I'll be happy to share once I get it nailed! Something to do with Higgs bosons and antimatter, I'm pretty sure. You know, Digging Deeper #20 (kzread.info/dash/bejne/fI2XlZesZczYmKQ.html) was on just that topic. Check it out and let me know how it works for you.

I see Gonzalez reeds are now on Amazon. Do you prefer the Jazz cut?

@JeffAntoniukEducator

4 жыл бұрын

Yes, I use the "Local 627" jazz cut. Love them!

To do this in harmonic minor would you play both 7ths?

@JeffAntoniukEducator

6 жыл бұрын

Great question. Yes, that's a good one to my ears. Sometimes "both 6th" and the major 7th is nice to. In C that would be C - D - Eb - F - G - G# - A - B - C.

@GerryLSmith

6 жыл бұрын

Cheers Jeff I'll give that a try. (As 5th mode of hm as well as 1st).

jeff your great i think articulation is as impotant as the notes you play Bird Desmond coltrane

@JeffAntoniukEducator

3 жыл бұрын

I couldn't agree more, Tommy! Love it. Hey, I hope that we will be able to work together at www.JazzWire.net. Let me know if you have any questions.

What's that chart on the piano?

@JeffAntoniukEducator

6 жыл бұрын

Hahaha! It's my tune "Balancing," which you know all too well. Mike! For the rest of you, it's an ass-kicking tune that I just recorded with Mike Pope on bass, in his studio. Clearly I was shedding my own tune at this point. Also, notice the "circle of 4ths" to the right. Clearly I was working on THAT too!