That's Bebop For Ya

You'll Hear It: Full Album Deep Dives with Jazz Musicians

Peter Martin

Tutorials, Song Stems, Jazz Courses, Track-by-track, Peter Martin, Chords, Album, Music, Vocal Stems, Album Breakdown, Music Commentary, Jazz Tutorials, Music Theory, Reaction, Album Analysis, Live Music, Music Education, 194861, Jazz Lessons, Fresh Spin Fridays, Adam Maness, Musicians React, Music Advice, Jazz Education, Jazz Musicians React, Music Analysis, Jazz, Album Deep Dive, Song Breakdown, Kid A Harmony Analysis, Musical Life, Video Podcast, Isolated Stems, Best New Jazz

4.9 • 770 Ratings

🗓️ 14 October 2022

⏱️ 17 minutes

🔗️ Recording | iTunes | RSS

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Summary

Adam and Peter goes in depth on Bebop scales and ways to achieve that sound.

Transcript

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0:00.0	You'll hear at listeners. What's going on? This is Caleb. You'll hear it producer Guy.
0:05.7	And today I'm going to take you deep into the vault of 2019, where Adam and Peter were talking about some really interesting ways of using the bebop scale.
0:16.0	So without further ado, please stay tuned.
0:22.7	Sorry? That's bebop, please stay tuned. Sorry?
0:23.5	That's bebop baby.
0:24.4	Hey.
0:24.6	I'm Adam Maness.
0:39.6	And you're listening to the You'll Hear at podcast.
0:42.1	Daily Jazz Advice coming at you.
0:43.7	Coming at me is a bunch of bebop shouting.
0:46.1	Well, I like to call that Bebop singing, but thank you.
0:49.8	Because we're talking about the bebop scale today, because we have a question for one of our
0:53.6	lovely listeners. And so I was just getting in the mood baby lovely listeners this is from
0:58.4	lovely elias all right uh yeah let's hear hey peter and adam it's alias i have a question for you guys
1:05.8	about bebop scales how important are bbop scales to practicing you know and the principle
1:10.5	of lining up the chord tones with the strong beats of the bar?
1:13.6	It's not something that Peter stresses a whole lot in the jazz piano method.
1:17.6	It comes up in the elements of jazz piano course, but when I do transcription of great players,
1:23.6	it's not always the case that the strong beats of the bar are lining up with the
1:29.4	chord tones of the change. And for me at least, it's like way too much to try to keep in mind
1:34.6	when I'm improvising. So I'm just curious, like how important is this? It seems to be like a really
1:39.0	important principle of jazz pedagogy these days, but it doesn't seem to bear out in practice.
	...

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