Intervals or Note Names - What Is The Most Important?
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- čas přidán 17. 07. 2024
- I often get music theory questions in the comments on my videos about how to think about notes and also why I often just think in note names when so many others relate everything to intervals against the chord.
In this video, I am going to show you how you should understand or see notes in context, and the two intervals that you should assign to each note when you improvise and why they are both very important and useful.
Fretboard Knowledge for Jazz Guitar:
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Content:
00:00 Intro
00:23 Not All Notes Are Created Equal
01:30 The Important Details - Visual & Practical
02:32 Losing The Bigger Picture
04:44 It's About Two Things
05:07 No Real-time Calculations
05:47 Not Only The Scale
06:57 Communicating With The Rest Of The Band
07:48 Fretboard Knowledge That Makes Sense For The Music
08:05 Like the video? Check out my Patreon page!
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My name is Jens Larsen, Danish Jazz Guitarist, and Educator. The videos on this channel will help you explore and enjoy Jazz. Some of it is how to play jazz guitar, but other videos are more on Music Theory like Jazz Chords or advice on how to practice and learn Jazz, on guitar or any other instrument.
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What do you use the most: Intervals or Note names?
Expand your Fretboard Knowledge: czcams.com/video/REfktHlrBSI/video.html
I prefer to learn their sound and identify them at will rather than using a title reference to make the connections. Knowing the names is best useful for communicating and conveying ideas with other musicians.
@@connshawnery6489 @Conn Shawnery That makes sense but you also need the intervals, because the context does change completely how a specific note sounds.
@@pablop.a.7275 The intervals are intrinsically linked to the ability to identify what and where they exist in relation to how the player chooses to express themselves. An interval is the distance between two notes and I personally know where they are in relation to any key in any position or musical context. It has more value to me in terms of just dealing with language of sound rather than the language of words.
@@connshawnery6489 I remember once reading George Benson say "I made it my business very early on..to know how E (for example)...sounded against every other note"
@@connshawnery6489 Ok. So are you at a point where you know how each individual note sounds in absolute terms so you can figure how it will sound against any other note/chord?
An EXTREMELY valuable approach to improving your improvisational FOUNDATION.. even your Compositional foundation...so fortunate to have access to your knowledge and experience. Above all, I consider myself fortunate that you are sharing this knowledge. I came up in Chicago around musicians who were very unwilling to guide and share wisdom in the 80s/90s. I promise, as soon as I am financially capable, (hopefully soon) I will honour you with financial support to express my sincere gratitude. Thank you Jens.
Hey Jens! Hope you're good mate? I don't feel that this video accurately represents the 'interval visualisation system' as I use it or teach it. Perhaps we should do a follow up vid together to clear up some of the things you mention here, since you called me out by name as a proponent of this method. :-)
Sure! I don't actually say that is how you think about though. But I am certainly up for making a video talking about it :)
@@JensLarsen Awesome! Let's do it. I'll drop you a message.,
@@tomquayleguitar Great!
yasssss!
This could be the start of one of the best videos on guitar in CZcams. Cannot wait to see it!
This is true top quality content. Each one of your videos is full of knowledge. Thank you very much for sharing!
Thank you for all of your awesome lessons you share with us !
This is a really good topic that you don’t see on other channels, and Jens covered it really well. I definitely think more in intervals, but note-name thinking is increasing slowly, and it’s true that it has benefits you don’t get from intervals alone.
The connectivity of the chord tone is very important so I can make own melody and chord progression. Thanks for this lesson. Very nice video.
Thanks Jens. I think in both after years of bashing away at the piano, it's definitely helped me in regard to fretboard familiarity
To be honest, I think most people do (to some degree)
Very useful concept. Thanks for sharing this.
Glad it was helpful!
Sound advice - thanks Jens!
I’ve been visualizing the fretboard for years by first identifying some sort of root (either the key or the chord), visualizing it all over the fretboard, and then when i pick a position i have the intervals memorized for the 5 main positions (3 nps adds two more positions but they’re not that different from CAGED). I spend a lot of practice visualizing each note in both relationships, and also use charts showing how the tensions and alterations of the V chord relate back to the target chord’s key, as well as for other chords. For example, to see that the b9 on a V is really a b13 in the target chord, which will likely give a minor modal borrowing flavor in a major context, and practice that sound over the five CAGED positions.
This was all relative reckoning, and always ran into issues if I ever lost track of my root map, or if the math got tricky or there was a modulation, which is really easy when it’s just visual knowledge.
Recently I memorized the fretboard using flashcards and apps to target three skills: (1) naming a note given a string and a fret, (2) naming a fret given a string and a note, (3) identifying the CAGED position given a zone and a note (5 zones from the head to the 12th fret). Once this is down, you can make your own exercises to speed it up.
So my question is: there are two ways to see a note, either relative to some sort of root system or absolute note names. How do you integrate those two knowledge stores?
Also, when you practice, do you continue to improve your speed at dead reckoning note names on the fretboard, or is that already covered and you just focus on patterns? Do you find you think of note names consciously while you improvise, or does it just come up from time to time when you need to get back on track?
I find for myself there’s a context switch between patterns and dead reckoning that can take a couple seconds, and I wonder how I would tackle that. So I guess i’m trying to figure out how much to keep investing in note name recall vs, say, improving my reliability at m7b5 arpeggios patterns.
Thanks for the excellent series!
Good comments and question. I put a lot of work into just knowing every note on the fretboard cold. This has helped a lot during improvising. Now I’m starting to realize that this skill is even more useful when used in combo with the names of the notes for the chord tones, like Jens is saying in this video.
@@insidejazzguitar8112 Douglas Mason: I feel your pain brother. I also don't want to commit hundreds or even thousands of hours to a flawed practice system.
I'm not primarily a guitar player, but I find your videos very informative and helpful. Cheers!
Great to hear 🙂
Interesting Share !
I love to improvise. So this is interesting.
Intervals and how to interpret them are quite important! Cheers man!
Thanks RC!
@@JensLarsen Cheers!
Good speach, man!
I missed this first time around. Great lesson jens
Thank you 🙂
I hope you can give the link of your videos like this one. This is what i want to learn for now. Thanks Jens!
Great video! 👍
Thank you! 👍
Excellent quality content....
Thank you 🙂
Great video. I feel this is the crux of where most people (myself included) get stuck in or plateau. Explanations and visuals are really good.
Thank you very much Dante! Glad you found it useful 🙂
@@JensLarsen I find this to be a damn hard decision to understand and make. Think in chord letter names or functional intervals? i.e 1-4-5 or C-F-G. Inside each chord think in intervals within that harmony i.e inside the 4 chord F think of the 3rd as an A or a 3rd. Moving to the 5 chord, G, look for a G note or a 5th from the parent key of C. This is a very simple example. It quickly spins out of control for me when harmonies get interesting. I already know all the notes on the fretboard by letter (but not all letter note names within every possible harmony). Given that, for me, would it be best to focus on intervals and not note names?
@@timsmith190 Well, for me, the note name is what ties together what that note is against the chord and in the context. If you listen to "happy birthday" then you probably hear a melody is key and not a series of intervals against 4 different chords, so for me it is not one or the other. It is both.
7:09 Funny shaped pianos you have in Denmark...
We are a funny people in many ways :)
Note names, interval in key, interval with regard to a chordscale... I refer to all three. I do however tend to prefer instruction mentioning intervals when a microscope is on a concept. That said, not something I’ve had an issue with on this channel. Cheers, Daniel
I like your videos a lot and I just wanted to make this comment: Both principles work great following either the numeric interval or the actual name of the note, and I understand the concept of why they both work and which one could be used more effectively in a particular situation. But I'd just like to add this, since those things have been done in the lexicon of jazz since the beginning of jazz, wouldn't it make sense to try to NOT follow some of those rules in search of something a little bit more unique? Because if I'm going to the flat 7 and so is the next guy and the next guy and the next guy, then all of our melodic resolutions will tend to sound the same. That's just my thought on it. Again great lesson.
You can be creative beyond note choice. Just a thought 🙂
@@JensLarsen Yes my thought exactly.
Cheers and happy holidays!
👍😎🍺
Hi Jens, I'm not sure if it is of any help but I currently use the book 'Ultimate Ear training for guitar and bass' by Gary Willis. Most probably you already know it. But in my opinion (besides all your amazing videos ;-) ) it's a very nice method to train your ears, visualization and to learn intervals on the guitar. A great way to connect your ear to your instrument and eventually to improve your solo's ;-).
That's great! Knowing your intervals are certainly useful for ear training and for knowing the fretboard!
Those kinds of books raise your IQ.
hi Jens is it possible to use in Giant Steps to somehow.plain? Or to use Ebm7 Ab7 Bm7 E7.Ebmaj or Fm711 Gm7.instead of Fm7 Bb7 Ebmaj...maybe interesting topic....
Excellent as usual ! Just one question : at 4:00, Bb7 before CM7. Can you tell me why, please ? It sounds marvellous....
It is a minor subdominant chord, the backdoor dominant 🙂
Great video Jens. I wonder why the sound of dissonant notes in a line sound good especially as they being resolved . Theoretically they are not supposed to sound good as they are not part of the harmony.
If there is no tension and resolution then the music is completely flat and boring. I think that is why :)
Jazz guitar players don't think about the pentatonic shape but in the altered one! :V Just kidding... Cool as usual Jens :)
so much to think about damn
Hi Dirk, @ 2:10 you wrote 5th against Bb yet the notes shown are Bb and G. Isn't G the 6th of Bb? Isn't the 5th of Bb an F, Or am I confused... again? Also, b7 of Bb isn;t it Ab yet Db is shown @ 2: 07
Who is Dirk?
Sax players like didier malherbe show me the power of note choice with his surreal phrases.
1 minute into this video: I feel personally attacked :) - At least I know I have a lot of room for improvement!
Go for it 🙂 👍
When I have to change my pick ?
When you want to?
When you accidentally drop it into the sound hole of your guitar
when I was a child, I improvised by thinking the shape of the scale.Now in college I think the note name in jazz.
You guys are lucky to have even had the opportunity to learn guitar as children. I am starting to learn at age 50. I bought myself a guitar just recently.
@@murtithinker7660 That’s awesome, keep it up. I’m 56 and have been at it for less than two years.
@@murtithinker7660 now I major in jazz in college in China.I ve been play it for 10 years.That is my job now.
@@user-xm7hb1hv2j wow
Another exemple where intervallic thinking does not work: if you play a G dominant bebop scale from 9th (A, Ab, G, Gb, F, E, D etc) the note Ab does not function as a b9 and the Gb does not function as Maj7, these notes are only gap fillers.
I agree: their function seems more rhythmic
C7 is the 5 of C Maj..... I'm lost.
It is the V of the IV. It is called secondary dominant.
love your videos, this one doesn't have much useful information to me, think about it one way or the other, zzzzz I think we all already get this..... this is very obvious to me, still love your channel though
Actually it is one of the most common questions in the comments, which is why I made the video
@@JensLarsen interesting, although I shouldn't bitch, you provide a ton of cool stuff for free, much of which, has been very helpful to me and others, plus you sound good anyway lol
4:24 if you look at DEEZ NUTS !
Ohja I forgotnA7 D7 Gmaj.as Ii.Vs ainhave goodnrefringbresults....Lookingvforward to your opinion howmtonspice it up!!!
I drink a lot of coffee but I don't smoke cigarettes. Is there hope for me?
👍🌺🌷❤🍻
I am lost at this lesson.
I am willing to help if I can. Theory has been my strong suit...and I love Jens and what he provides. I have only met him once...many years ago..and he probably wouldn't remember me...but you have got to press through and try to get an understanding of this lesson..it's such a valuable lesson. Thomas.
@@7deepbreaths.sounds I am learning and understanding =, just this lesson is not understood. hope you are not trying to sell me a course.
Ads for other guitar courses, really?
CZcams must think you need education? :)
Learn jazz, make music.
Jazz is so far over my head.
👍🌺🌷❤🍻