oh

0:13
that's so pretty thanks
0:15
hi everyone my name is paul davis and
0:16
i'm joined by my good friend
0:18
rotem sivan
0:20
and i love what you just played it
0:22
sounds like jazz to me i want to learn
0:24
some about it can you introduce yourself
0:26
just briefly to the viewers sure hey
0:28
what's up um so i'm rodim sivan
0:31
[Music]
0:36
i'm a guitar player and producer i'm
0:37
based in new york and um
0:40
yeah i'm coming from a heavy jazz
0:42
background and yeah we want to talk a
0:44
little bit about the music the intro you
0:46
were just playing
0:48
just 101 can we boil it down what what
0:50
was that
0:51
well i was just playing a 2-5-1
0:53
progression the key of c but maybe we
0:55
can start with just the one start with
Level 1
0:58
the one
0:59
it wasn't c you said so the one in c to
1:01
me sounds like c major
1:05
it sounds beautiful you know but maybe
1:08
if we talk about jazz it could be nice
1:10
to add the seventh so adding the b
1:12
natural
1:14
and you know what i'm doing right now
1:15
here i'm dropping the five as well the
1:18
reason is
1:19
that the main
1:20
notes are important according to three
1:22
and the seven the reason is if we're
1:24
playing
1:25
chord three tell us whether it's major
1:28
or minor yeah
1:30
oh yeah and that's the three yeah that's
1:32
important exactly and the seven tells us
1:34
whether it's major seven so that's home
1:36
based tonic
1:38
or seven
1:41
and melody wise what can you
1:43
play on this
1:44
maybe i'll play something and we'll talk
1:46
about it
1:48
[Music]
1:53
um
1:54
instant jazz feels over here
1:57
so what did you play can you enlighten
1:59
me yeah so i mean it was very simple i
2:01
was really playing the arpeggio or
2:03
playing c major seven
2:05
from the note b to seven to the one
2:09
[Music]
2:11
but
2:12
was adding that little nine
2:14
ah
2:15
the nine is nine is basically the two
2:18
but with an octave displacement so in
2:20
the key of c it would be c and then d
2:22
the two yeah
2:23
and then an octave up so
2:25
exactly let's work this for it yeah okay
2:28
that sounds great so
2:30
melody
2:33
yeah
2:34
nice okay level one one more time three
2:37
four
2:37
[Music]
2:42
sweet
2:44
but this sounds like yes but not nearly
2:46
as cool as what you did so how can we
2:48
spice this up level two all right so
Level 2
2:51
maybe we can take that two that d that
2:53
we just played and put it in the chord
2:55
itself so we have the c major seven
2:57
which is really cool yeah but what
2:59
happens if we just put that d
3:04
yes
3:05
so we're just adding another extension
3:07
to the chord basically okay so what's
3:10
the name of the chord this would be c
3:12
major seven nine okay
3:15
lovely chord i love that voicing okay so
3:18
let me play something yeah three
3:21
[Music]
3:32
i heard some spies in there i was using
3:34
the same idea of the arpeggio that we
3:36
just played but
3:37
i was using a chromatic note this b flat
3:40
to b so b flat is maybe the worst note
3:43
you can play honestly
3:45
yes disaster let's play it together
3:48
three four
3:50
yeah that's horrible that's really
3:52
horrible so why why do you play it yeah
3:55
because basically the chromatic notes
3:57
like the name chromatic comes from the
3:59
word chroma which means colorful and
4:01
then i'm just adding a little color
4:04
i didn't know that
4:05
so you're adding that strange odd
4:08
sounding note
4:10
to eventually go to a note that falls on
4:13
the quarter exactly
4:15
so
4:16
[Music]
4:25
i got it i can do jazz that sounds
4:28
pretty cool actually so three four
4:33
[Music]
4:35
ah i got it
4:36
awesome nice is there a level three
4:39
wroten sure is okay teach me um
Level 3
4:42
maybe we can add another quarter too so
4:44
i mean playing c major
4:46
seven nine is great but what happens if
4:49
we add
4:50
a two five one to this okay yeah sure
4:53
i've heard about two five ones before
4:55
but i'd love you to show me so maybe we
4:58
can use the same idea with those shell
5:00
chords which means one three seven and
5:02
play d minor seven
5:04
g seven c major seven oh
5:07
it goes a little too quick okay so we're
5:09
in the key of c we're playing at 2 5 1.
5:11
so the 2 in c c
5:13
d right exactly and the 2 chord in a
5:15
major key is usually minor minor 7th
5:18
okay so we play d
5:19
[Music]
5:20
ah i see it
5:22
so this is exactly the same voicing
5:24
basically as i did at c
5:27
one three and the seven exactly one
5:29
three and a seven but now it's minor
5:31
third and minor seventh oh sweet yep i
5:34
get it and then we go to the five which
5:36
is g because we all know
5:38
g
5:39
c
5:40
five one
5:41
so g seventh
5:43
how did you voice that so i was playing
5:46
g f and b so one seven and three again
5:49
okay having those three
5:50
that's a nice voicing
5:53
awesome
5:54
so we've got
5:55
[Music]
5:58
exactly
6:00
maybe i can play a melody but i would
6:02
like to kind of show
6:04
how about if i play just the scale for a
6:07
second
6:08
what skill c major c major scale
6:10
three four
6:12
[Music]
6:21
yeah that sounds really sweet actually
6:22
sounds great right yeah i mean c major
6:25
but you're playing a scale why does it
6:26
sound good
6:27
i mean a scale is not a scale a scale is
6:30
just a beautiful melody
6:35
right so if you listen to it
6:37
from a kind of a
6:39
center point of view
6:41
it's all about tension
6:44
and release
6:47
[Music]
6:53
i've never been blown away by a major
6:54
scale
6:56
that's pretty sweet okay last time level
6:59
three of this three four
7:02
[Music]
7:10
yes
7:11
all right sounds pretty cool to me
7:13
but i guess this is not everything there
7:15
is to it right can we
7:17
we can more swim to it we can
7:19
how would we take that
Level 4
7:21
note that we had on the c major that d
7:24
yeah the nine and add that nine to the d
7:26
minor what do you think
7:28
so the nine from d or the nine from c
7:30
the nine for the d
7:32
ah
7:33
so that's an e a third
7:36
like this
7:37
right
7:38
it's so beautiful that
7:40
sounds good pretty cool yeah
7:42
and then on g we do i would keep that
7:45
note there oh i would keep that note
7:47
that e there and then you get the 13.
7:50
[Music]
7:51
on on top of the g hmm
7:55
you feeling it yeah i'm feeling it
7:56
definitely sorry yeah d minor seven nine
8:00
[Music]
8:02
to g
8:03
seven thirteen thirteen
8:08
two c
8:09
major seven
8:11
nine nine
8:12
yeah
8:15
beautiful chorus it is good
8:17
and how would a melody look on top of
8:19
this um let me try to play something and
8:22
i'm gonna just use the framework of c
8:24
major so no chromatic notes no none
8:27
no none let's see c major scale
8:30
jazzed
8:31
three four
8:37
[Music]
8:42
[Music]
8:50
[Music]
8:56
that sounds pretty cool that's almost a
8:58
lo-fi kind of hip-hop sound we never got
9:00
there that's often like jazz inspired
9:02
right it's true like all these
9:06
minor 7 knight it's really that okay the
9:08
251 sounds great but i mean i've seen
Level 5
9:10
crazier stuff what can we can we do
9:13
well we can
9:14
maybe play something to lead us to that
9:17
d minor so i mean again the d minor 9
9:19
sounds awesome but how about we play a7
9:22
before that's a secondary dominant so
9:25
basically
9:26
oh you know what i'm going to play e
9:28
half diminished
9:30
then a7
9:31
so basically we're playing a secondary
9:33
dominant kind of two five in d minor to
9:37
lead us to that chord ah okay i get it
9:40
so d minor we basically see d minor as a
9:44
target spot and we're gonna take another
9:46
two five one leading to that d minor
9:49
and the d minor is again the starting
9:51
point to get us to c major exactly ah
9:54
that's awesome so on ev play half
9:56
diminished
9:57
yeah or people say minor seventh flat
10:00
five as well if i remember correctly
10:02
true yeah so
10:03
e half diminished
10:05
to a seventh
10:08
to
10:09
d minor nine
10:11
to g seven
10:13
oh and maybe
10:15
c
10:16
six nine oh that's the typical jazz
10:19
sound here yeah
10:21
[Music]
10:24
ah that's sweet so
10:26
well let's do it twice as fast mate
10:29
[Music]
10:34
sounds good this sounds like proper jazz
10:36
to me
10:37
so what would a guitar player play over
10:39
this let me let me come up with a melody
10:41
we're gonna still play something in c
10:43
major using the same framework of the
10:45
position
10:46
but
10:47
a little bit more articulating that
10:50
sound
10:50
so are you following the chords or just
10:53
a few notes from the chords or
10:56
yes no i am gonna
10:59
pay attention to them but i'm not gonna
11:01
play anything chromatic okay three four
11:08
[Music]
11:30
that's pretty sweet basically i'm just
11:32
taking the melody i'm starting from the
11:33
note e
11:34
[Music]
11:39
and then the same thing the exact same
11:41
melody from the note d
11:42
[Music]
11:44
ah
11:45
[Music]
11:48
i get it and also the high notes fall
11:50
exactly on those dominant chords exactly
11:55
[Music]
11:58
i get it it's cool right beautiful
12:01
but very simple just c major
12:04
yeah
12:08
but then the right notes from c major
12:11
and then on the c major i just played
12:13
the arpeggio
12:15
[Music]
12:16
uh
12:17
simple but effective yeah
12:20
[Music]
12:22
makes a lot of sense anyway this was
12:24
level five
12:26
give me some more schwong all right
Level 6
12:28
so how about
12:30
we add a little chromatic chord now so
12:34
we have the e half to a7 yeah but how
12:37
about we do e half
12:38
[Music]
12:40
b flat whoa to a
12:43
just i get it as a passing chord you
12:45
know what i'm saying just like
12:46
one two three
12:48
four okay
12:50
i know that sound i've heard that before
12:52
okay so
12:56
and then maybe
12:58
oh i know this one
13:00
yes yes yes great
13:04
perfect oh actually what maybe you can
13:07
add another chord there
13:10
[Music]
13:11
so the home chord the c
13:13
and we go a half step above it
13:15
and play
13:16
a dominant seventh line
13:20
yeah or
13:21
yeah okay cool i got it
13:22
melody wise let me play something a
13:24
little more chromatic let's do it let's
13:26
see how it sounds
13:31
[Music]
13:41
oh
13:43
so what i was doing here i was starting
13:45
from the node b flat which is a part of
13:47
the chord e half
13:49
yeah
13:50
and then
13:52
going to a and then i'm kind of thinking
13:54
of this whole
13:56
section as kind of targeting around this
13:58
note f
13:59
so i'm basically playing this
14:01
[Music]
14:04
because i'm basically going to that flat
14:06
13 of the a7 oh yeah exactly a7 yeah so
14:10
the minor
14:11
of the d as well exactly and that's why
14:14
it sounds like we're going to that d
14:16
minor
14:17
this is so cool i've never think of
14:19
approaching like a note like that it's
14:21
like going that way and that you're
14:23
finally there nope going the other way
14:25
almost there and then there you are like
14:28
exactly
14:31
it's like you know like it's like we're
14:32
trying to get to paris
14:34
and there are many ways to get there but
14:37
we're eventually going to make it you
14:38
know
14:40
or
14:43
you know what i'm saying yeah it's it's
14:46
it's so not what i'm used to but it's so
14:48
cool
14:51
[Music]
14:56
all right awesome when you play it like
14:58
10 times and learn from other jazz solo
15:00
you start to see patterns that usually
15:02
happen a lot exactly it's like a
15:04
language you know we can go forward we
15:05
can stretch it even further we sure can
Level 7
15:08
okay so how about
15:10
we
15:10
by way i mean you
15:12
i'm gonna add some walking bass walking
15:15
bass yeah just
15:16
in you know why not i'm just sitting
15:19
here so doing nothing why not do a bass
15:21
guitar player as well okay i know
15:23
something about walking bay so
15:24
[Music]
15:30
but with the chords okay so
15:34
is it anna
15:35
[Music]
15:37
yes
15:40
okay so the thing for me about walking
15:41
bass is
15:42
usually the most important note is the
15:43
first one because that's just the root
15:45
note of the chord
15:47
and the last one
15:49
that should be one semitone
15:51
above or below
15:53
your target chord usually it's not set
15:55
in stone but that just sounds good it
15:57
works
16:00
just like the approaching chords
16:02
but now just the bass note
16:04
[Music]
16:06
yeah
16:07
and then on the a i'm playing the major
16:09
triad
16:12
approaching note 4d
16:14
yeah
16:24
nice i think
16:25
i know just right yeah yeah yeah somehow
16:28
this feels kind of natural to me it was
16:30
good yeah okay so walking bass guys
16:32
anyway um and let me stretch it a little
16:34
bit more not crazy but just like a
16:37
little more yeah okay sure three four
16:44
[Music]
16:54
so i basically start from the note e
16:56
[Music]
16:59
and i was thinking basically going from
17:01
the note e to the note g which is a part
17:02
of the chord
17:04
part
17:06
[Music]
17:08
and then i went to this basically
17:13
kind of like thinking about a7 so the
17:15
whole section that two five i'm kind of
17:17
thinking about e half a7
17:20
and going to that c sharp
17:23
[Music]
17:25
and it's the same thing it's the seventh
17:27
of e half diminished to the third of a7
17:31
and then i did there's a change between
17:34
e have diminished to a7 and you're
17:36
really
17:38
like emphasizing that by the notes
17:39
you're playing
17:41
e
17:43
exactly a7 so basically when we're
17:46
playing jazz we kind of want to
17:47
articulate and describe the harmonic
17:50
progression so we want to show what
17:52
happens and one of the points of
17:53
transition is between beat four to the
17:56
beat one to the next bar and this is
17:58
exactly what happens here i'm
18:00
articulating this e half diminished the
18:02
seventh to the a7 and then i was kind of
18:04
like playing around
18:06
around it and then i went to d minor
18:10
and did the same thing actually like
18:11
articulating the chord basically yeah
18:14
and then
18:14
[Music]
18:17
and and that motion
18:20
the seven of d minor to the three of g
18:23
exactly on the downbeat of the new bar
18:25
yeah so
18:26
it could also be that i don't play
18:28
rhythm guitar at all but i would still
18:30
hear the changes in your solo exactly so
18:32
instead of playing over c just
18:36
[Applause]
18:39
you don't hear a chord change right it
18:41
could be c right yeah since it's one but
18:43
if you play uh
18:44
[Music]
18:48
you hear you start hearing the chord and
18:50
then i guess at the end on the g7 i was
18:52
kind of playing this sharp nine
18:55
to the flat nine and then instead of
18:57
resolving it on the five
18:59
i went here
19:04
to the
19:05
major seven
19:06
but it's usually being resolved down so
19:09
sharp nine to flat nine
19:11
that's the classic move so i just did
19:13
the opposite
19:16
ah
19:17
it's really really awesome to get an
19:19
insight into playing some of these uh
19:21
crazier jazz lines which sometimes still
19:24
not that crazy right well if you see it
19:26
explains it's crazy but if the tempo is
19:28
like
19:31
the changes are going all over the place
19:32
i think it's still
19:34
it could be challenging but you know
19:35
what like when i see you play some of
19:37
these crazy shreds i'm like what is he
19:39
doing you know you were showing me
19:40
before today you were like check this
19:42
out i'm like oh this is so cool then
19:43
you're just shredding it you know it's
19:45
the same thing it's a different dialect
19:47
you know it's the same thing you were
19:48
showing me that
19:49
those those things are like oh this is
19:51
amazing yeah and you know this is just
19:53
okay so before we jump in a cool gem um
19:56
how can we follow you brother uh well i
19:59
have a youtube channel
20:00
and also there is uh instagram and some
20:03
music on spotify cool
20:05
links are below of course check out his
20:07
channel if you're interested into jazz
20:09
or seeing a cool guitarist with a cool
20:11
pedal board and some interesting sounds
20:13
going on
20:14
um thank you so much for showing me the
20:16
ways
Jazz improv
20:20
[Music]
20:38
so
20:41
[Music]
20:57
boom
21:05
you