Connecting Thirds: Is It Okay to Use Bebop Vocabulary?
What was the question?
Joel asked if the teaching method of "connecting thirds" means one should avoid memorizing standard vocabulary from legends like Wes Montgomery, Charlie Parker, or Joe Pass. Since those famous licks don't always systematically follow the third of every chord, Joel wondered if they contradicted the goal of playing the melody clearly. [35:37]
The core idea (in plain English)
The ultimate goal is to hear the song's melody in your head the entire time you are soloing so you never get lost. Connecting thirds is a tool to achieve this.
You can and should use vocabulary, but only if it doesn't cause you to lose your place in the song. Advanced players like Brad Mehldau or Miles Davis can play intense, "outside" lines because the melody is solid in their internal ear. If you know the notes of the lines but they don't sound like music, the missing ingredient is usually Rhythm. [38:29]
Fretboard breakdown (what to play)
How to turn "correct notes" into music using rhythm:
Targeting: Don't just decide note-by-note. Decide where you want to land on the first beat of the next measure.
Rhythmic placement: You can have the right notes, but if you play them with valid rhythm but no "pocket," they sound like exercises.
Octave Displacement: If you play a phrase in the high register, answer it in the low register. If you play on the left side of the neck, move to the right. This creates a conversation (Call and Response). [48:00]
Common mistake to avoid
The "Peter Bernstein Trap." It is easy to transcribe a line from a master, but harder to manipulate it. If you start a famous lick but can't exit it gracefully to fit your specific moment in the song, you aren't ready to use it. You must own the line enough to adapt it, not just quote it rigidly. [36:59]
A 10-minute practice assignment
Practice "Blocking." Take the A section of All The Things You Are.
Force yourself to play through the changes staying only in one specific area of the fretboard (e.g., between frets 3 and 7). Do not allow yourself to jump up or down the neck. Once you master that position, move to the next "block." This forces you to find the connecting thirds within a limited range. [50:18]
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