>> What I was really doing in, in this,
tune was, I was purposely putting some
things in here that I think we've been,
we've been working on through, all the way
Again, getting back to our, our dear
friend, the, the, the tense.
And playing the melody just with the
baseline as well,
which is quite a good fun.
So I was playing.
then putting a little bit of the chords in
Syncopating that a little bit.
It's, again, it's going back to our, our
I've spoken many times on here about
Johann Sebastian Bach.
If you play it like that,
you know, it, it's, it goes all the way
back to, to the great man.
We syncopate it, this.
Now I'm using all of these, these ideas,
this this method that we'll, that I've
been working on with you.
And, but what I'm, what I'm doing as well
is the way I'm playing it,
rhythmically this is very important
because very often when students
learn about jazz they're taught a lot
about scales modes, harmony.
Something that's very often missed out, is
usually missed out, is time.
How you can create things just with, the,
the way you phrase something.
The way, the way you, way you put it
together, I mean I'm playing, again,
I'm playing very little.
It seemed like I was playing a lot of
stuff there, I wasn't.
I, I was playing.
I'm only playing two notes at a time,
sometimes that's a, and occasionally
putting another note in.
So, three notes occasionally,
very occasionally a fourth note will find
its way in there.
Those things we were doing with sevens,
getting those inner lines moving.
The exercises I was showing
you were based on the seventh.
But of course, we can do it with other,
other intervals, as well.
It doesn't have to be that.
And, as you, as you start playing, and you
start hearing these things, you,
you can hear.
So we're moving from this almost academic
way that I've been, been showing you of,
playing these scales in intervals and
moving things around.
And when we start using them like this and
we have those rules,
our scaffolding that I was talking about,
to hold everything together.
We've, we've got the, the foundation of
our, our playing, and our musicality
And what we, what we're doing now is we
now have the freedom to
explore and it's like with everything you
you can't have freedom unless you have
[LAUGH] Oddly enough.
If you don't have rules there's just
So with, if you have rules it that you can
work by in everything,
then it gives you tremendous freedom,
because then you know,
you know, you have these little pockets
that you can find.
So you know that we've got a little
scaffolding here, going.
I play this first of all out
of tempo purposely, so that you could, I
could elaborate on that a little more,.
And put little single string lines in.
Don't be afraid to, to not play,
sometimes, to have little breaks.
That's something I found when I first
started playing solo guitar
after many years of playing with a band.
I thought, wow, I'm, I'm, I'm up here all
on my own.
What am I gonna do?
I'm gonna have to fill all this out and I
was frantically trying to fill everything.
Then after a while, I got a bit more
And once I had more confidence, I had the
confidence to actually not play sometimes.
And we need gaps because if someone's,
if you're having a conversation with
If there's no gaps you can't have a
If somebody just speaks incessantly at
you, it drives you crazy.
The thing about poetry, of course, is in
poetry, you, you have,
the rhythm of words and sentences and
It's very connected to, to this.
So, these exercises and lines that I'm
we will now wanna turn that into musical
And that's why every time we did
I said play around with it, experiment
Make up your own little thing.
Doesn't matter if it's simple, in fact,
it's best if it's simple.
Just make it very simple.
See how it sounds, see what happens when
If you move
See where all those notes can move,
have different lines, going along.
So I was using all the concepts that
we've been working on, were all in here.
Our, our tense were in there,
those moving sevens were in there.
>> Teach the world.
I added, probably talking about
the importance of having a rhythmic thing
My, my dad was a, was a string bass
He was, my dad was a jazz musician, and
As a kid, I used to hear my dad playing
I, I got that whole feeling of a walking
And, and I tried to I tried to kind of
imitate, that but
without being, trying to play, I don't
actually play it just like a,
like a double bass player would play it,
but I suggest things.
So, very often when you leave those gaps,
you can suggest an awful lot, so
you can, you can actually suggest time as
Now that's, that's in, that was in in
four-four time, real kind of swing time.
That's the feel of it.
But at no point did I play that.
I suggested that.
So, you can feel that, that four in a bar.
But I'm not, I'm not playing it.
One, a two, a one, two, three, four.
often I can bring a little bit of four in.
I can reference that.
It's like a reference point for.
Another thing I did,
I don't know whether you noticed it, I did
that thing of going up a minor third.
So, that little lift.
We we, da, da, da.
It's like fresh.
It's, it's only the, the sun comes out
when you go, go up a minor third.
Makes it interesting.
Keeps the listener interested.
Don't, don't just play in the, in the same
key all the time.
Move it around.
And have a lot of fun with it, because
that's, that's what we're trying to do.
[SOUND] Get that feel.
But you don't have to play it.
It's the left hand of the piano.
Playing all the time.
There's like an internal clock going on.
One, a two, a one, but I'm not playing
You can play little riffs, little chord or
riffs like that as well.
Like a big band, saxophone section.
Don't be afraid to stop sometimes,
and just put a little, a little fill in.
And this is always a good ending in Jazz.