This should be required learning - but then so many lesser teachers would have nothing to stretch into hundred of lessons. This is brilliant Cecil Alexander - you're beast!

Really brilliant! Nothing else to add. Many thanks!

Thank you.Maestro! Big stuff!

Very, VERY helpful. Thank you!

Great lines !

beautiful explained congratulations

Fantastic articulation on the guitar!

JLV........thanks for presenting this approach to basic bebop improvisation. ....Kind of you for sharing ...most appreciative

Great stuff, subscribed!

After listening to this video, I now finally begin to understand how to start using the bebop scale !! Thank you so much, Cecil !! 😲💥👍

Excellent lesson. Perfect clarity on the entire subject. Made for an easy and enjoyable lesson. Thank you!

Thanks, a brilliant lesson, in bebop.

I learn a lot thanks to this vidéo. Thank you very much! Alain

Wow soooo good thank you so much

LOVE your playing Cecil!! Beautiful and clean. Your lines are so well constructed!

Such clear and solid vocabulary! Cecil is so good!

As an advanced 📀”jazz piano” student, I must admit you offer a useful approach to constructing basic lines over a standard cadence. Preciate ya, Bro.

Congrats - THis should be the first week or weeks of Bebop Lead Guitar Principals. I love the Workbook. This and your Bebook Etudes and Post Bop books have helped me evolve from a Rock/Funk & Country player who took theory but could only play Jazz "Licks" to jamming with the head of JMU's Music Department and being able to "hold my own" to my great surprise and pleasure.

That’s awesome

The clearest and best explanation for both approach and opening your ear and vocabulary usage I have ever heard. Everything FINALLY makes sense. Thank you so much for sharing and breaking it down for us! Appreciate you!

Excellent lesson..thanks

Those open lines really show how good your ear is, reacting in real time to what you play. Your a true listener of Jazz and it shows.

Great !!!

Simplified . TY

Very nice composition! I like the first part with 7 chromatic notes on a role. You can add a D# note before it, like a pick-up note. Than all the way down with the bebop scale. The F major 7 arpeggios works very well, the last 2 notes are an enclosure. Lastly resolving to the 9 of the maj 7 chord. It's like a formula for a great line!

Opening so many doors… and tons of work. Thanks

That guitar is a beaut

Thanks it helped

Very good stuff! Friend! THANKS!!! Paco Perima/g

bring on the night what a film :)

Wow!

Thank you for the help, I need back track drum for this please!

you learn jazz better than the other youtuber from italy great !!!!!!!!!!

Great lesson . Using a guitar with dot markers would be helpful. Greatings from Germany

Great! However on the IIm7 I get confused if I think in terms of the dominant scale, is it ok to think of it as a Dorian scale with a major 3 added?

A simple but very effective recepie for getting that bebop sound! One question - over the ii chord Dm7 as well as the G7 we are using the G dominant bebop scale right? And landing the Root, 3rd , 5th , 7th of G7 on the strong beats, even on the Dm7. How does that work?

Jazz in the veins

I'm an amateur guitarist in my 40s. I've been playing the guitar since I was maybe 12 years old. I had professional lessons from an excellent guitar teacher for maybe 5 years back in my early 20s, before giving it up as it became more difficult in terms of music theory (and arguably more interesting!). I sincerely regret ending my musical education now because while the lessons were undeniably hugely beneficial, I regret that I've really felt my musical limits in the years since. I can read sheet music to a basic level and my overall technique is fairly sound, but my reliance on visualisation, shapes and patterns over theoretical knowledge, deliberate, reasoned intent behind my note choices and lack of knowledge of notes across the fretboard mean that I feel quite 'caged in'. (Or should that be CAGED in?!) I truly and sincerely envy and admire musicians - but especially guitarists - who have managed to take their knowledge from the early foundations and really build upon it with good habits, routines and thinking patterns. I find myself frequently checking out KZfaq videos purporting to explain this or that musical concept and sometimes it makes sense, other times it does not. I feel like a cheat or a fraud as a musician as a result of my hampered skillset and knowledge and so it's a really wonderful contrast to see musicians at their craft who are able to understand what is going on musically and be able to give rationale behind why they play the things they play. I realise a lot of steady hard work and time and dedication goes into any sense of 'breezy familiarity', but it's still incredible and almost unbelievable for someone like me to see. Absolute kudos to any musician who manages to get their 'mind' around musical theory to a degree where it becomes innate and intuitive - it's a wonderful thing you possess.

Of course this is yet another amazing lesson. But the real question is… what guitar are you playing? It sounds awesome!! 🎸☮️

in bebop when you improvise do you think more about the melody or the chords?

What kind of guitar is that? Is it hollow? String gauge? I was not expecting that.

so .... a question from a person that don´t understand much about this . If the 7 serves the purpose of getting the chord tones on the strong beat is there any concept among bebop players on using other notes to serve that purpose ? cause if the matter is to get a loop, any other note would do that job right ? like .... 1 b2 2 3 4 5 6 b7 ? for an example .....a b2 doing what the 7 does.

2pm EST? Central?

👍

who know the chords progression in the beginning of video ? thanks

👌😎🤓

Cool. In your own playing at the beginning you seldom use a full scale.

Sounds amazing. Jealous

Cecil, I find your picking hand position/angle slightly unusual, but man you play like one groovy cat.

Bebop solo for days!!! So you can be properly broke. 😂

Šš

Great lesson ! Many thanks from Australia 🇦🇺🇺🇸

The dominant bebop scale and the related arpeggios are great for the ii/V/I. What is a similar way to navigate the vi/ii/V/I (All the things you are)? Or VI/II/ii/V/I (Donna Lee)?

👍