Jamey Arent has fast become my favorite TH-cam guitar teacher. These classes are SO CLEAR and so INFORMATION DENSE - no wasting of time whatsoever, and so well explained! He is motivating this old man to start learning and improving again, which is no minor feat! I am about ready to start getting serious about this, just because his classes seem to focus on exactly the points I need to work on. SUPER IMPRESSED!
I will keep reading and practising until I get this.❤ You are awesome to do this. A kid at school gave me live at the Regal in about 1967. My head spun around. Met BB 5 years after a show. He chatted for 2 Hours. A kind generous man. I did not understand when he explained his tone was in his fingers. I really miss him.
Jamey, you are genius! I’ve learnt more about the theory, the approach and playing the blues in an afternoon of watching you videos than I have in the last 5 years! Awesome 🤩 There’s hours of content here to digest and practice, in easily broken down bite sized sections. Thank you!
Great lesson. I think your example 7 lick highlights the big problem I had learning jazz before the days of the internet. The full-speed lick sounded really great, just like the jazzy sound I was after, but when you slowed it down, it sounded nothing like the same, and not at all inspiring. The jazzy character just doesn't come through until it's played at speed. I read all sorts of books giving jazz licks, but playing them at learning speed they all sounded naff and I moved on before ever getting up to speed. I was convinced the books had just been thrown together with uninspiring licks. If I'd seen your example 7 written down and tried to learn it, I'd have probably passed on that too. Had I persevered, I would probably have learnt jazz much more easily. At least these days, with videos like this and tools like Guitar Pro, we can hear a lick at full speed, recognise that it's worth learning, then slow it down and gradually increase the tempo, safe in the knowledge that the end result will be worth it. We've also got tools like iRealPro, and looper pedals, which let us hear what we're playing against the chords, which was another problem I had - often it's the tension of the lick against the chord which gives the sound, but if you can't hear the lick against the chord, it's hard to know how it'll sound. With all the resources available today, it's a great time to learn guitar.
Guru ! Great lesson... I have been doing Eb9-> D9 for ages due to T bone not even knowing it was, in reality, a A7#9#11b5xyz !! Joking apart, great lesson. 🖖🏻🎸
Great lesson for ALL instrumentalists....see this sort of II V I movement throughout jazz tunes .....also when playing blues i tend to think of F#7b9 in the 8th bar leading to B-7 E7 A7 E7 for remaining bars of tune ...a sort of Harm min turnaround to 9th bar....am defo checking out rest of vids ....brilliant stuff !!!!!
I've been playing blues & jazz/blues for ages, and while I've understood the theory that you describe here, any time I tried to add these techniques to my playing it always sounded forced and unnatural. Now I'm finally getting it! Your examples have really been the key to unlocking this style for me. I can't thank you enough. I'll definitely be checking out your other material. So happy!!
outstanding lesson! I think your triad lesson really helped me more than anything I've done in a long time. As you're going through all these different ways to play through the changes from the I to the IV really studying triads made it a lot more accessible.
E Melodic Minor Would Work For Improvisation…Because A Lydian Dominant (Lydian b7) Is the 4th of E….The Altered Dominant is the 7 of E Melodic Minor (D#)…E F# G A B C# D#…Might Could Write the Progression In Mixolydian…B7-A7-D#7…OR I-VII-IV ETC…Great Technique Throughout the Lesson!
Jamey, great video! Packed with usable information and licks / chord ideas. You obviously have a gift for teaching… thank you. I’ma have a Tritone Sub for breakfast, another one for lunch, and then a sensible dinner. The Jamey diet…
Awesome thank you for this lesson. I really enjoyed learning other ways of adding a little more tension in playing and getting listeners engaged. Again,thank you
This is out of my pay grade...for now. I'm a Newbie and learning the fretboard, and just started playing double stops. I want to master my triads before I tackle sevenths or other fancy stuff. I'm just now practicing thirds, but also the 3 & 7 or 3 & b7. I was taking it through the Circle of Fourths, but now have to start thinking of two notes as being in two different chords. Food for thought, n'est-ce pas?
I’ve heard he didn’t read music. Many of our favorite players couldn’t read music or know the theory behind what they played, they just had amazing ears and practiced their instrument.
Thanks! For the rhythm examples I’m playing over a blues shuffle with a Charleston strumming rhythm. Check out my Blues Rhythm Guitar TH-cam lesson video for more on that. The lead examples are over more of a funky New Orleans inspired groove.
Nice lesson. But, it seems like many teachers on TH-cam are playing the same notes over the 2 5 1 progression. Apart from his timing ,Jack Ruch played the exact same licks.(coincidence?) I noticed that, when i was practicing these jazzy licks, It is almost impossible to divert from this form. It seems like every note has to resolve in a specific pattern to make it sound good. It feels almost a little bit robotic.
Thanks! Jack’s a great player but I’ve never seen his lesson video on this topic. These are stock ii-V-I phrases that are deeply embedded in the jazz language. For improvisers just beginning their journey into playing over ii-Vs, these types of lines are a great introduction in the way that they spell the ii chord, highlight altered tones over the V chord, and resolve on the I chord by highlighting chord tones, especially the third of the chord. Once you grasp the concept behind it, you can be more adventurous with both the rhythm and harmonic tension.
Good joke! In case you, or anyone else, doesn’t understand what a “tritone sub” is, here goes. Say you’re going from a G7 to a C major, in that G7 chord B is the 3rd and F is the b7. That interval between B and F (or F and B) is a #4 or a b5. That interval is 2 notes separated by 3 whole steps, hence the term “tritone”. Now if you take the bass note of G and replace it with a note that’s a tritone away, C#, now instead of going G7-C, you can now go C#7-C. You have replaced that G7 chord with its TRITONE SUB (a chord that has the same tritone but a different bass note). That’s my best explanation of what it is. Cheers! (That’s because C#7 has F as it’s 3rd and B as it’s b7, the inversion of G7’s tritone also of F and B.)
Emin is the ii chord of D7. We're temporarily thinking of D (the IV chord of the blues) as our new key, so the ii-V-I taking us to D would make Emin the ii chord of D, A7 the V chord of D, and D7 our temporary new I chord for 2 measures.
The 2 (and 5) references the chord you are heading towards - Em7 is the 2 of D and A is the 5 of D. Therefore a 2-5 -1 Turnaround (where the 1 is D) is what Jamey is talking about. This confused me for a very long time...
Jamey Arent has fast become my favorite TH-cam guitar teacher. These classes are SO CLEAR and so INFORMATION DENSE - no wasting of time whatsoever, and so well explained! He is motivating this old man to start learning and improving again, which is no minor feat! I am about ready to start getting serious about this, just because his classes seem to focus on exactly the points I need to work on. SUPER IMPRESSED!
Thank you for the nice words! Glad the videos have been helpful!
I will keep reading and practising until I get this.❤ You are awesome to do this. A kid at school gave me live at the Regal in about 1967. My head spun around. Met BB 5 years after a show. He chatted for 2 Hours. A kind generous man. I did not understand when he explained his tone was in his fingers. I really miss him.
Jamey, you are genius! I’ve learnt more about the theory, the approach and playing the blues in an afternoon of watching you videos than I have in the last 5 years! Awesome 🤩
There’s hours of content here to digest and practice, in easily broken down bite sized sections.
Thank you!
Thank you and you’re welcome! Glad you found the lesson helpful.
Thank you Jamey .Great lesson.God bless
Thank you and you’re welcome!
Great lesson. I think your example 7 lick highlights the big problem I had learning jazz before the days of the internet. The full-speed lick sounded really great, just like the jazzy sound I was after, but when you slowed it down, it sounded nothing like the same, and not at all inspiring. The jazzy character just doesn't come through until it's played at speed. I read all sorts of books giving jazz licks, but playing them at learning speed they all sounded naff and I moved on before ever getting up to speed. I was convinced the books had just been thrown together with uninspiring licks. If I'd seen your example 7 written down and tried to learn it, I'd have probably passed on that too. Had I persevered, I would probably have learnt jazz much more easily.
At least these days, with videos like this and tools like Guitar Pro, we can hear a lick at full speed, recognise that it's worth learning, then slow it down and gradually increase the tempo, safe in the knowledge that the end result will be worth it. We've also got tools like iRealPro, and looper pedals, which let us hear what we're playing against the chords, which was another problem I had - often it's the tension of the lick against the chord which gives the sound, but if you can't hear the lick against the chord, it's hard to know how it'll sound. With all the resources available today, it's a great time to learn guitar.
Guru ! Great lesson... I have been doing Eb9-> D9 for ages due to T bone not even knowing it was, in reality, a A7#9#11b5xyz !!
Joking apart, great lesson. 🖖🏻🎸
Great lesson for ALL instrumentalists....see this sort of II V I movement throughout jazz tunes .....also when playing blues i tend to think of F#7b9 in the 8th bar leading to B-7 E7 A7 E7 for remaining bars of tune ...a sort of Harm min turnaround to 9th bar....am defo checking out rest of vids ....brilliant stuff !!!!!
Thanks!
I've been playing blues & jazz/blues for ages, and while I've understood the theory that you describe here, any time I tried to add these techniques to my playing it always sounded forced and unnatural. Now I'm finally getting it! Your examples have really been the key to unlocking this style for me. I can't thank you enough. I'll definitely be checking out your other material. So happy!!
Thanks! Glad to hear this lesson was helpful.
Great lesson. You are doing such a good job at teaching. Really one of the best I've come across. Thanks for sharing. Cheers!
Thank you so much and you’re welcome!
So many great ideas packed into one short video. Jayzuz. Muchas Gracias!
Thanks and you're welcome! Glad it was helpful.
outstanding lesson! I think your triad lesson really helped me more than anything I've done in a long time. As you're going through all these different ways to play through the changes from the I to the IV really studying triads made it a lot more accessible.
Thank you! Glad the videos are helpful.
This is excellent. I don't think I've seen a video lesson that was so enlightening. You explain so well.
Thank you so much!
E Melodic Minor Would Work For Improvisation…Because A Lydian Dominant (Lydian b7) Is the 4th of E….The Altered Dominant is the 7 of E Melodic Minor (D#)…E F# G A B C# D#…Might Could Write the Progression In Mixolydian…B7-A7-D#7…OR I-VII-IV ETC…Great Technique Throughout the Lesson!
Genius, jamey. Thank you.
Thank you! You're welcome!
Excellent... Thanks
Great lesson Jamey! Super helpful.
Thanks! Glad it’s helpful.
Absolutely wonderful, Jamey. Lots to unpack here which will be tremendously invaluable, thanks.
Thanks and you’re welcome! Glad it was helpful.
Great stuff. Thank you.
Thanks and you’re welcome
awesome lesson!
Thanks!
It's also cool to use an augmented chord before going to the 1 chord. Perfect example is Allman Bros "Stormy Monday".
Any help in the Proper chords of their version? I play it wrong. At 71, and health problems I have memory challenges. Thanks for any help❤
Thanks!
Thank you for the Super Thanks!
Beautiful 😊
Thank you!
Jamey, great video! Packed with usable information and licks / chord ideas. You obviously have a gift for teaching… thank you. I’ma have a Tritone Sub for breakfast, another one for lunch, and then a sensible dinner. The Jamey diet…
Haha! Thank you so much. Glad the video was helpful for both the guitar licks and meal planning.
Excellent lesson. Thank you
Thank you and you’re welcome!
Thanks for this lesson. Is the backing track available for practising?
Awesome thank you for this lesson. I really enjoyed learning other ways of adding a little more tension in playing and getting listeners engaged. Again,thank you
You're welcome. Glad it was helpful!
Really useful stuff, thank you.
You’re welcome!
Great explanations. Thank you so much !
Thank you and you’re welcome!
This is out of my pay grade...for now. I'm a Newbie and learning the fretboard, and just started playing double stops. I want to master my triads before I tackle sevenths or other fancy stuff. I'm just now practicing thirds, but also the 3 & 7 or 3 & b7. I was taking it through the Circle of Fourths, but now have to start thinking of two notes as being in two different chords.
Food for thought, n'est-ce pas?
Great lesson Thanks Los Angeles
Thanks and you’re welcome!
Did Wes know theory? I read he struggled reading charts. Didn’t stop him though❤
I’ve heard he didn’t read music. Many of our favorite players couldn’t read music or know the theory behind what they played, they just had amazing ears and practiced their instrument.
Top-notch!
Thanks!
Jamey, I love your tone on this video… any tips for how to get that sound?
Thanks! Get the @neuraldsp Morgan Amps Suite plug in. That’s all I’m using here!
Great stuff. Very cerebral.
Thanks!
Great lesson but man do I hate those black bindings on that 335, haha!
Thanks about the lesson, but I love the black bindings!
Can you share the ii-v- i video thanks
All related links are in the description. Here’s the ii-V video th-cam.com/video/bPox00DPx5U/w-d-xo.html
Would this be considered a funk-blues rhythm? What would the feel be called? It’s truly a great lesson!
It's a blues shuffle - a type of swing rhythm.
@@40pianos I checked out a few shuffle tracks. Different rhythm
Thanks! For the rhythm examples I’m playing over a blues shuffle with a Charleston strumming rhythm. Check out my Blues Rhythm Guitar TH-cam lesson video for more on that. The lead examples are over more of a funky New Orleans inspired groove.
@@JameyArentthank you!! Keep up the awesome content.
@@blackfishgaming7145it’s definitely a shuffle.
Jamie! How can you leave out mentioning Matt Schofield! Great lesson though! 😉
Good call! I added him to the description. Definitely a user of this concept. Thanks!
Nice lesson. But, it seems like many teachers on TH-cam are playing the same notes over the 2 5 1 progression. Apart from his timing ,Jack Ruch played the exact same licks.(coincidence?) I noticed that, when i was practicing these jazzy licks, It is almost impossible to divert from this form. It seems like every note has to resolve in a specific pattern to make it sound good. It feels almost a little bit robotic.
Thanks! Jack’s a great player but I’ve never seen his lesson video on this topic. These are stock ii-V-I phrases that are deeply embedded in the jazz language. For improvisers just beginning their journey into playing over ii-Vs, these types of lines are a great introduction in the way that they spell the ii chord, highlight altered tones over the V chord, and resolve on the I chord by highlighting chord tones, especially the third of the chord. Once you grasp the concept behind it, you can be more adventurous with both the rhythm and harmonic tension.
Good to know if music doesn’t pay the bills you can open a food truck selling Tritone Subs.
Good joke! In case you, or anyone else, doesn’t understand what a “tritone sub” is, here goes. Say you’re going from a G7 to a C major, in that G7 chord B is the 3rd and F is the b7. That interval between B and F (or F and B) is a #4 or a b5. That interval is 2 notes separated by 3 whole steps, hence the term “tritone”. Now if you take the bass note of G and replace it with a note that’s a tritone away, C#, now instead of going G7-C, you can now go C#7-C. You have replaced that G7 chord with its TRITONE SUB (a chord that has the same tritone but a different bass note). That’s my best explanation of what it is. Cheers!
(That’s because C#7 has F as it’s 3rd and B as it’s b7, the inversion of G7’s tritone also of F and B.)
brill
In other words 2, 5 to the 4th chord.
confused why in the key of A you call the Em7 the 2 - isn't that the 5 of A? - help LOL
Emin is the ii chord of D7. We're temporarily thinking of D (the IV chord of the blues) as our new key, so the ii-V-I taking us to D would make Emin the ii chord of D, A7 the V chord of D, and D7 our temporary new I chord for 2 measures.
Em7 is the ii of D
@@JameyArent I see - thanks much!
2-5-of D
The 2 (and 5) references the chord you are heading towards - Em7 is the 2 of D and A is the 5 of D. Therefore a 2-5 -1 Turnaround (where the 1 is D) is what Jamey is talking about. This confused me for a very long time...
actually, the 4 chord should occur in the second bar.
It occurs in the second bar as an optional “quick change” but the longer landing on the IV in a traditional bar occurs in bars 5-6.
@@JameyArent 'quick change' and 'longer landing' are new musical terms to me.
Sorry dude,
I’ve been playing a while now but by no means a professional but you went too deep quick.
Great lesson, thank you very much!!
Thank you and you’re welcome!