Good information, it’s very exciting to see you break it down in a way that demystify jazz improvising with tolls to map out and navigate the fretboard. Thanks for sharing.
Coffee & Jazz = Great start to a Saturday! 🙂 Thanks for this Chase, I'll need to go through it a few times to make the connections but this was helpful. Just found Dan Wilson yesterday, incredible player
Thanks for watching! I’m not sure how it would change over chord changes as it really becomes a personal way of visualizing the patterns and where you play them on guitar. The notes could be the same as other methods but would be played differently here.
This is an interesting way to “connect the dots”. Thanks for bringing it to our attention. Speaking of dots, I’m curious to know if the guitar Dan uses in the course is the Benedetto he’s pictured with in the ad. ie The one with fingerboard markers Might sound a little unusual question, but I’ve found that teachers online that use a guitar without markers slows the immediate recognition of what’s being demonstrated. Particularly in this course which is going to use much rapid position shifting. Also, is the course available currently or is there still a wait time?
@@ChaseMaddox well all the jazz tuition manuals I’ve accumulated over 50 years include the harmonic , melodic ( ascending and descending ) and natural minor modes (aeolian) . Some include Dorian ( major 6th )
I think it's a crucial concept that five hops around the cycle, universally and in either direction, gets you to chromatic neighbor tone. E.g. C, F, Bb, Eb, Ab. Then next is Db, half-step up from C where you started. Or go the other way: C, G, D, A, E. Next comes B, half-step down from where you started. Apply this concept to any scale. Work out a set of five fingerings for the scale, where you're working around the cycle in any single position. Your sixth key will be the same shape you started with, one position up or down. And this keeps going all the way up/down the neck till you run out of guitar. The major scale is the obvious place to start. Or the pentatonic scale is great too, having exactly five notes/modes/shapes. But the underlying concept is universal, and it totally connects fingerboard mechanics with functional harmony (i.e. the cycle) in the abstract. It may sound a little nebulous, typed out in words like this, but it's not, at all, once you connect the dots.
@@ChaseMaddox hey, cheers man. And I with yours, in fact I was just sitting here, playing and thinking about what you said. The stuff I wrote is really more oriented to building a positional/vertical foundation. Whereas you're (rightly) coaching a more horizontal view, which further extends that positional foundation. Anyway, keep up the good work.
Anyone else have issues with receiving the Fretboard freedom content after paying for the course? I’m sure it’s fine but I purchased through the link using my paypal account and haven’t received access. It’s usually immediate. Anyway curious
Hi Matt, I saw your email. I’m on a gig right now, but will be able to help you soon. Try checking your spam folder in case your login email went there. - Chase
IMO position playing / 1 finger per fret complicates the guitar. Repeating 3 / 4 octave scale positions, 7 fret "positions", instead of 4 or 5 frets, make the guitar more logical. I like that people are looking into this stuff, but I feel guitarists have made life difficult for ourselves historically by adhering to "rules" that were unnecessary. A lot of times I see my favorite TH-cam instructors say lines from other instruments are difficult to play on guitar. I re-finger them to my preferences (wide stretches / economy picking) and they are no harder than typical guitar lines. I not writing this comment to say my approach is awesome. What I am saying is evaluate your own approach, question the "rules" / common practices, and maybe you can simplify things and make things easier. Peace and thanks for sharing your fantastic teaching.
Thanks for the input Jake! This isn’t my approach. This is how Dan Wilson conceives of scales and arpeggios which he demonstrates in the course. I think it’s clear from hearing him play that his method definitely works for him!
I genuinely feel like these are some of the most well explained lessons on TH-cam
I really appreciate that! 🙏
Great stuff ! Psyched to dive into it.
Hell yeah! 🤘
I so need this. Thanks 🙏
Glad you found it helpful! 🙏
Thank you for sharing! 🤩
Thank you for watching!
Great lesson brother! These concepts really help 🙌
Dan’s the man! 🙌
Good information, it’s very exciting to see you break it down in a way that demystify jazz improvising with tolls to map out and navigate the fretboard. Thanks for sharing.
Thanks Wilbert! Glad to have you in the course! 🤘
Coffee & Jazz = Great start to a Saturday! 🙂 Thanks for this Chase, I'll need to go through it a few times to make the connections but this was helpful. Just found Dan Wilson yesterday, incredible player
Thank you Chris! Ahhh man check out Dan with Joey D and also his playing with Christian McBride in Tip City. 🤘
Very interesting concept, would love to hear its application over any chords changes
Thanks for watching! I’m not sure how it would change over chord changes as it really becomes a personal way of visualizing the patterns and where you play them on guitar. The notes could be the same as other methods but would be played differently here.
Outstanding.. Thanks a lot..
Thank you!
Brilliant.
Thanks! 🤘
Here from Reddit, great channel mate
Thanks for coming! Appreciate it! 🤘
This is an interesting way to “connect the dots”. Thanks for bringing it to our attention.
Speaking of dots, I’m curious to know if the guitar Dan uses in the course is the Benedetto he’s pictured with in the ad. ie The one with fingerboard markers Might sound a little unusual question, but I’ve found that teachers online that use a guitar without markers slows the immediate recognition of what’s being demonstrated. Particularly in this course which is going to use much rapid position shifting. Also, is the course available currently or is there still a wait time?
Ditto. It is very counterproductive to the learning process whether teacher or student, if guitars without fret markers are used.
Nice!
Thanks Rick!
Very cool lesson, would this be a good way to approach harmonic minor as well
Absolutely! Harmonic minor is covered in this course 🤘
Question… melodic minor has b7 and b6 in descending mode, so you’re keeping the ascending mode while descending ?
In jazz, melodic minor is really only ever referring to what you’re calling the ascending mode, a major scale with a b3
@@ChaseMaddox well all the jazz tuition manuals I’ve accumulated over 50 years include the harmonic , melodic ( ascending and descending ) and natural minor modes (aeolian) . Some include Dorian ( major 6th )
@@plectrumsoul get some new jazz manuals or learn from listening or someone who plays the music, instead of a book 👍
I think it's a crucial concept that five hops around the cycle, universally and in either direction, gets you to chromatic neighbor tone. E.g. C, F, Bb, Eb, Ab. Then next is Db, half-step up from C where you started. Or go the other way: C, G, D, A, E. Next comes B, half-step down from where you started. Apply this concept to any scale. Work out a set of five fingerings for the scale, where you're working around the cycle in any single position. Your sixth key will be the same shape you started with, one position up or down. And this keeps going all the way up/down the neck till you run out of guitar. The major scale is the obvious place to start. Or the pentatonic scale is great too, having exactly five notes/modes/shapes. But the underlying concept is universal, and it totally connects fingerboard mechanics with functional harmony (i.e. the cycle) in the abstract. It may sound a little nebulous, typed out in words like this, but it's not, at all, once you connect the dots.
Thanks for your thoughts! I agree with you on the 5 positions way of breaking down the fretboard.
@@ChaseMaddox hey, cheers man. And I with yours, in fact I was just sitting here, playing and thinking about what you said. The stuff I wrote is really more oriented to building a positional/vertical foundation. Whereas you're (rightly) coaching a more horizontal view, which further extends that positional foundation. Anyway, keep up the good work.
Will do! Appreciate the discussion 🙏
Wait is this a triad pair lesson ?
No it is not
GE MY BOOK HERE I AM RON GRIFFIN
Anyone else have issues with receiving the Fretboard freedom content after paying for the course? I’m sure it’s fine but I purchased through the link using my paypal account and haven’t received access. It’s usually immediate. Anyway curious
Hi Matt, I saw your email. I’m on a gig right now, but will be able to help you soon. Try checking your spam folder in case your login email went there. - Chase
shucks, I wish I would have caught this lesson at the introductory rate. Missed it.
We’re having a Black Friday sale with it at another discount! Are you on our mailing list?
@@ChaseMaddox w00t?!?! Where do I sign up for your mailing list?
www.jazzmemes.org 🤘
@@ChaseMaddox just signed up for the mailing list. Thx!
Will be sending out the Black Friday discount soon! AND, there's another a free live masterclass with Dan on Nov. 22 if you purchase before then 🤘
IMO position playing / 1 finger per fret complicates the guitar. Repeating 3 / 4 octave scale positions, 7 fret "positions", instead of 4 or 5 frets, make the guitar more logical. I like that people are looking into this stuff, but I feel guitarists have made life difficult for ourselves historically by adhering to "rules" that were unnecessary. A lot of times I see my favorite TH-cam instructors say lines from other instruments are difficult to play on guitar. I re-finger them to my preferences (wide stretches / economy picking) and they are no harder than typical guitar lines. I not writing this comment to say my approach is awesome. What I am saying is evaluate your own approach, question the "rules" / common practices, and maybe you can simplify things and make things easier. Peace and thanks for sharing your fantastic teaching.
Thanks for the input Jake! This isn’t my approach. This is how Dan Wilson conceives of scales and arpeggios which he demonstrates in the course. I think it’s clear from hearing him play that his method definitely works for him!
I'm not sure remotely what your approach is, but sounds great
Can you refer me to any material where I can learn the approach you're talking about?