I can’t thank you enough for that. I’m so glad.

@@AimeeNolte I can’t thank YOU enough! I’ve learned much from your videos, but this one REALLY resonated with me and I hope will be a seminal moment in my development as a jazz musician. I’m indebted to you.

🙏🏼🙌🏼♥️

That’s why those degrees are worthless

motif. But motive works too.

see it *through* but trough works too

Im brazilian. Motif spells motivo in portuguese. Thanks for the correction

@@psi.jacquescohen1411dont you love the spelling police! So helpful! 🤓😉

@@ApartmentKing66 say it in Portuguese now... jeez, give bilinguals some slack.

I’m so glad it’s working for you Lonnie! Thank you so much for coming up over to KZfaq and leaving this comment. Big high-fives from California!

You *have* been in music classes for over 11 years

What is it called? I’m on Nebula but not finding her courses. I see some posts on things but not lessons.

@lisahansen6014 click the “classes” tab! 🙌🏼🙌🏼

@@AimeeNolte thank you!

I’m so glad it resonated, Rachel. Thanks for your continued support. ♥️

I loved what Aimee showed in this super video, but in fairness, you can cite people like Oscar Peterson, Pat Martino, Joe Pass, Clarence White, where you would struggle to hum, etc what they did because the music is just so notey; but the soul and development are in there, even in a very linear approach. That's because those people have something to say. If they play a long scale passage in 16th notes, it MEANS something. It's not just running a scale. Listening to Aimee's examples. I'm afraid she can't keep the meaning out of her scale running examples, no matter how hard she tries, because she can't stop saying something. Regretably this is not true of a lot of people who adopt that approach.

​@@robertnewell5057 This. This exactly. And I love your choice of words, you didn't just say it's because Aimee is "just that good" (which she is). When you are so finely attuned to what you like, how it makes you feel, and how to convey it effortlessly through something like the piano as Aimee can, it's hard to purposefully "mess up" or play in a way that is not as satisfying to you. From a pedagogical perspective, this is the tiniest of tiny criticisms, Aimee. I still got your point, it just took a bit. Still wonderfully done. Your channel helps me make sense of the influx of info I receive and channel it into improvisation that is relaxed and natural, if a bit simple for now. At first, my problem with improvisation was threefold: 1. lack of confidence. 2. teacher who dumped scary-looking charts in front of me without explaining how to approach them 3. an overwhelming dichotomy between how good of a listener and how bad of a doer I am. And after a couple years of jazzing (mostly drumset), I have quite nearly conquered the first one (will any of us truly overcome this?), I am making steady progress on the second one (with the help of people like Aimee and our fellow KZfaq commenter Robert), and I frequently stagnate on the third point. I watch awesome guides, take the best notes I can take, and listen with my full attention to every slice of good music I can get my hands on, but the one thing I lack is the initiative and discipline to apply what I learn and really get it under my fingers, Consistently! And this is an ADHD thing (in part), but the more daunting the task or expansive the possibilities (ahem, it's jazz we're talking about), the more overwhelmed I get and the less likely I am to make progress. It's my own mental roadblock to truly developing. I have the knowledge in my head brain noggin thing. At least, all I feel I need to know for now. My fingers just need reps. Patient, steady, true, intentional, exercises that can be broken into manageable chunks. I'd love more advice on this. Or more videos. Or a solo I should go transcribe and arrange into some tasty big band chart or something. Best, a college student

Exactly! My husband says he doesnt like “ modern jazz”, but that’s what he’s thinking of. They are just a academic “jazz Hanon studies”, …. abstract, non melodic, not beautiful or meaningful. Just a technical excercise , blech

He remembered me young Chet Baker voice and expression. Thanks for this great lesson. Cheers

Really interesting, Chris. Your comments are so true, but instantly made me whistle the first solo on Miles's 'So What'. OK, I've heard it many times, but there's hardly any notes in it and it's recognisable after a couple of notes and memorable forever. No pressure, as they say.

That’s a moment I cover in the nebula class, ironically enough. One of the greatest solos of all time! Good call. :)

Yep, epic cameo, Charlie :)

Thanks Parkour Chris!

Thank you, Fred

Thanks so much. So glad you like it!

He certainly did sound like him, funny to hear wasn't alone in what I heard, haha! Sounded lovely :0)

Oh thx for the comment and I’m stoked for you

Great points. My Favourite Things is basically the melody over and over and over, but adapted and changed with great beauty and feeling.

That’s most of what defines the generalized role of a bassist for sure