Thanks Paul, I've pinned your comment so it's the first thing people see!

Thank you! Your videos are very enlightening. Nice mix of practical, touch of theory.

3:06 C Phrygian dominant (F harmonic minor) or Db melodic minor (altered scale)

buzz off...

@@FanOfSkribbly yes

Thanks so much Irish Muso. I don't take these people seriously, so I'm not bothered by it!

He's not bad in this either

Bam...that's what I'm talking about!

Thank you Vinicius!

Wow, thanks Rolf!

Wow, thanks!

Wow, thanks so much for the compliment Jose!

Thanks man!

Same here. This guys is awesome, best gypsy teacher ever.

Thanks Max, I appreciate it!

You're working with the material in the videos exactly like it's meant to. Just practice the phrases with full concentration and intent. Then just don't care if they show up in your playing. Only care about the work, not the result. In the end some stuff will stick (and more and more of it) and that's exactly the stuff you want to stick cause it's something you really connected with!

@@ChristiaanvanHemert Thanks for your quick answer and for giving me courage. Ciao.

Thanks iloverumi! I'm creating so much materials with these videos (and I already had a ton), so a book could be in my future!

Thanks Raymond!

Thanks, nice to hear j c!

Christiaan, I am an archtop bebop player; should I lay these down as a foundation before moving on to the bebop stuff (since these phrases have a pretty strong gypsy flavor), or just dig right into the bebop? Trying to get away from scales and position playing. Thanks!

@@jc-wx3sm It is my foundation and I'm squarely between a gypsy jazz and a bebop player. For me there's not much difference apart from the instrument and some very specific chord tricks in gypsy jazz. I play exactly the same lines in both gypsy jazz and bebop and they sound great in both styles (well that's my opinion of course, some people might disagree) :)

You're welcome Denis!

Yeah, I only have three licks so your chances were good anyway :D

Thanks Peter, glad to hear it's so helpfull!

That would be nice man!

You're welcome Tony!

Thanks Paul!

No Prob, any chance we could jam?

Thanks Ted!

Thanks!

Thanks Piet, I'm trying to build audience though, so tell your friends ;) About other styles: type my name with the word 'bandoneon' and be surprised!

I love Piazzolla ;-). Makes me wonder why you don't use the bandoneón (accordion) in gypsy jazz actually? It's and instrument that would suit very well.

Dc Music School

Thanks haha! Actually I'm also on that channel. DC music school produces incredible stuff but don't forget that many of the players there are Sinti Gypsy guitar players that have learned how to play from a very going age without any theory. That has no effect on their playing abilities (because they are all amazing) but of course it does limit their ability to explain what they're doing!

@@ChristiaanvanHemert you are right. I take it back. I made my commentary based on one video from one teacher then i saw a bunch one minute videos and made my opinion but Since you are there, also wrembel and even Martino then gotta be a good channel after all. For that one particular video i felt like was a bit clickbait but the channel has the right to do whatever they feel. Sorry for being harsh and thanks again for this video. 👏👏👏

Thanks TalinTune!

Thanks!

Not so many teachers analyse the economic way of learning. Where not to waste time on? Learning must be learned and practicing must be practiced. Cheers :)

Christiaan van Hemert hello i begin yesterday to see you video They are very intersessant and your technique to explain are very goog fot understand

You're Welcome eternal Rainbow!

Thanks!

Thanks Guiseppe. Jim Hall is on the list of topics for sure!

Hey Christiaan, I was also wondering if could tell me amongst your videos which one is best to start with for a beginner willing to learn and get familiar with jazz improvisation. I appreciate your help. Also I am gonna be in Amsterdam end of November and I was wondering if you give private lessons. Take care, Giuseppe

It's gonna be difficult at first, but if you just trying your best for 20 min or so and come back to it daily it will do wonders for one's timing!

Awesome Karl!

really good bro ..exactly the kind of approach I like so formula is ascend A diminished arpegggio and down the Ab scale?...but some ascending lines also blend in c7?

I didn't write them on purpose because you should find your own comfortable picking patterns. Though I always follow these rules: down strokes on every string change and accents and alternate on one string!

+google sucks THANKS!

All the loops would work well both in a major and minor context. The way I use them is by just experimenting with them all the time and connect them to other phrases I know. This will take some time to develop into something with professional flow but this issure fire way to develop it!

Thanks! Well, you know what they say '...nothing worth having comes easy..."!

Graag gedaan!

Thanks Johnnie!

Yes

Thanks Phil. Neither, I'm a gypsy jazz picker which is economy ascending and alternate descending but with only down strokes on string changes. This requires mastering the "half rest stroke" because of the frequent consecutive down strokes.

Thanks!

Of course you can change the lines. They are meant to be changed and experimented with!

Forget about theory, just learn the fingerings. I never think about theory or the exact notes I play!

It's a diminished arpeggio not from C but the third of C which is E

+Stefan You can use either F harmonic minor or Db melodic minor. The first sounds more Django, the second more Wes!

+manou1706 Good idea, it's pretty simple actually. Instead of going up with a dim arpeggio just go up with a Bbmaj7 arpeggio! BAM, all bebop ;)

+manou1706 Oh and it's a bandoneon! :)

On C7, I try to go up with a Bbmaj7 arpeggio and descend with Db mel. minor. I hope my understanding is correct. I am going to try. Thank you for your response. Een fijne avond. Mais c'est bien sûr ! un Bandonéon. Beautiful !

+manou1706 yes you got it!

Thanks! I use .12 Thomastik roundwound. I think they're called "bebop" strings!

I noticed that il the first part of the descent, Christiaan sometimes plays F harmonic ie F E. Else he plays C alt ie E Eb. Both sound good yet.

Chords are Ab to II-V in Fm to Bb7 - Bdim - Cm7 - F7 - Bbm7 Eb7 to Ab - Db - Ddim - Ab bridge goes to Fm. These are the chords of "Bean and the Boys" where they sub the Fm7 with F7 as to keep normal II-Vs

Ok. Thanks. Will have to work on it :)

Thanks, good idea!

Hi Rick, yes that's right it is a combination of harmonic minor and the Abma. The thing is, I never think in scales or modes. I just know this line sounds great and that's why I transcribed it one day. I really don't ever think about theory when I learn these lines. I just know I like them and store the sound in my brain and the mechanics in my fingers to play at the right time. I think getting away from theory and only focus on lines is the fastest way to get to a high level of playing.

Christiaan - thanks for the reply. I am one of those who spent too long learning all my modes but still can't play a melodic solo. The thing about knowing a little theory, though, in my opinion, is it tells me where else I can use these licks. For example, I learned Django's solo on minor swing verbatim - but until I understood some of the licks- like being enclosures around chord tones or ascending dim. arpeggios I couldn't use it elsewhere. So I like to learn licks that sounds good, but then I analyze them using the theory I have learned. What I have learned from your lesson is an ascending diminished arpeggio followed by a descending 5th mode harmonic minor or your partial altered scale sounds great. I find it easier to think in terms of the root - so to me you section of the AbMa descending is actually a Ma3, Mi3, b9, R, b7 b6 of the C. Another thing that isn't always made clear is to use the dim arpeggio a semi tone above the root - but I have noticed a common lick is to start with the root then a dim. arpeggio starting on the Ma 3 which gives you a Ma3, 5, b7 b9. Anyway you don't need my life story and thanks for the lesson which will probably take me a month to internalise. Best wishes.

Yes, I use that trick too!

Thanks Brent! At least, I hope your comment was meant as a compliment?! I'm not completely sure haha!

Stochelo Rosenberg, Bireli Lagrene, Angelo Debarre... check them out!

@@ChristiaanvanHemert thanks so much I will check them out

All TABS can be downloaded here: www.patreon.com/ChristiaanvanHemert

"...how to combine these diminished arpeggios with the altered sounds, and the altered sound is a sound that..."

I feel like i am learning the secret scale fingerings ,from someone "in the know"

Thanks Mick, that is what I'm going for with this channel, just show people what sounds good and where it is on the guitar neck!

Yes all TABS of my videos are already for download on my Patreon!

"Altered" but I've since learned I'm pronouncing it incorrectly :)

@@ChristiaanvanHemert ah I see. There are apparently 'Alfred Scales' I don't know what they are. But I think they are named after a composer called Alfred Moore. I was just checking because of your video.

Thanks!

+David Seriff Of course! I met him in NY last year. I teach a Grasso lick in my "Forget about modes" video and also in the "Quick 251s solved by jazz legends" video. Check them out!

Christiaan van Hemert I'll check out the video.

+olivier arnold Yes!!

Christiaan van Hemert gaaf man, je produceert echt goede kwaliteit info! Dit jaar wil ik gaan beginnen mrt de junior jazz opleiding en jou films helpen zeker!

Hé Olivier, te gek! Leuk dat je die opleiding gaat doen. En als je dan klaar bent switch je gewoon naar Codarts, want daar geef ik les ;)