Adam Neely for the crazy VSaucy content, Rick Beato for the orchestration and harmonic concepts, and you Jens for the application of these advanced concepts to the guitar. You rule. Definitely. Thanks a lot!
Jens this is my favorite video from you yet! Your playing always makes me want to pick up my guitar. That Lydian dominant sound over a blues is a sound I've been looking for!
I think this my favorite lesson of yours ever, Jens. Thanks! I think I like it so much because it so directly links fairly simple info on note choices (triads, arpeggios, and chords I know) with sounds that I've heard a lot but frankly tend to be kind of mysterious. After watching this and picking up my guitar I pretty immediately could start playing sounds that were in my head but I've never really gotten to my fingers. Thanks so much for giving me the key!
I just came back to this video to refresh and I was stunned. After some time working on some of your other "modern" concepts this came at me on a whole new level. Really great material here and again, Thank You... 😎
Going to study this. Thanks! I like how you talk about taking an arpeggio and then "coloring" it with a Phrygian chord. Lots of good material. Some of what you do reminds me of "Blue Seven" and what Wes Montgomery did with blues.
For me, it's not easy play on scale of chord in blues jazz and overall, your video's will be the great thing I see on TH-cam page. Thumbs Up to you, Jens !
This is fascinating. I have been bumping up against some of these concepts in my playing and you have answered a question here I wasn't sure how to ask. I'm running out of superlatives but again... Thank You ...!
Im' just discovering you channel.. and I subscrided immediatly.. This exactly what I'm looking for, at least something reserved for advanced jazz players and pheraps withs explanations totally clear, thank you thank you thank you !!
Really dig the way you teach this, reminds me of science class where they talk about group a is the control, group b is given a placebo, group c is given the drug lol. Great lesson Jens.
Well, explain, I guess they are just Coltrane changes, something that never really fits but we just like to play over them 😀. I can give them to you and you can try it out: Bb7 Db7 | Gbmaj7 A7 | Dmaj7 F7 | Bbmaj Bb7 | Eb7 Let me know how that works out!
Hi jens l. I am try to work out myself how to find what chords to use to bring out flavours of modes you didn't touch on. So for dorian. Would I be correct to use a Bb(sus2 (13)). Gm7b5 and Eb7 a G# triad, A aug e.t.c?
+FlukeCentral I would say that the chord you would use to bring out the sound of a mode would have the root of the mode and then describe the characteristic sound by having the basic chord + extensions specific to the mode. For Dorian that would be a m7(13) chord.
Jens Larsen thank you so much jens. These lessons and this reaponse have really helped me advance my modal playing. I understand what you mean with the minor 13th. Thank you sir.
Hey quick question for you Jens? Harmonically (in theory terms) why do you choose to play the Bb C : Abaug amd Bb as the triad pairs to play over the F7. Aka why does that work?
Adam Neely for the crazy VSaucy content, Rick Beato for the orchestration and harmonic concepts, and you Jens for the application of these advanced concepts to the guitar. You rule. Definitely. Thanks a lot!
Thank you very much Juan! I am very flattered to be in such company! 👍🙂
I'm not the only one who does exactly this!
Jens this is my favorite video from you yet! Your playing always makes me want to pick up my guitar. That Lydian dominant sound over a blues is a sound I've been looking for!
Thank you Dylan! That's quite a compliment! 🙂
Wow, I liked you short solo so much I transcribed it. Really nice jazz phrases! I'm going to memorize this lesson with all the solos. Great playing!
Thank you very much! :)
I think this my favorite lesson of yours ever, Jens. Thanks! I think I like it so much because it so directly links fairly simple info on note choices (triads, arpeggios, and chords I know) with sounds that I've heard a lot but frankly tend to be kind of mysterious. After watching this and picking up my guitar I pretty immediately could start playing sounds that were in my head but I've never really gotten to my fingers. Thanks so much for giving me the key!
That's great to hear! Glad you could put it to use so easily :)
I just came back to this video to refresh and I was stunned. After some time working on some of your other "modern" concepts this came at me on a whole new level. Really great material here and again, Thank You... 😎
Cool that you go back to check! :)
Jens Larsen I always revisit, I never get it all on the first take, especially yours...! 🧐. Thank You Again!
Going to study this. Thanks! I like how you talk about taking an arpeggio and then "coloring" it with a Phrygian chord. Lots of good material. Some of what you do reminds me of "Blue Seven" and what Wes Montgomery did with blues.
You're very welcome Paul! Glad you like it! The "coloring a vague phrase with a chord" is also a favourite of mine :)
For me, it's not easy play on scale of chord in blues jazz and overall,
your video's will be the great thing I see on TH-cam page.
Thumbs Up to you, Jens !
Thank you! Good luck with it!
Yours pleasure, thanks !
I'm finally getting the hang of working with triad pairs. Very rewarding. Hopefully I can keep it up.
+Hubert Van Calenbergh That's great! Just keep working on it and using it, then you'll get it in your system!
Really useful, awesome content there Jens!
Thank you very much Christopher! Glad you like it!
some really great lines Jens !
This is fascinating. I have been bumping up against some of these concepts in my playing and you have answered a question here I wasn't sure how to ask. I'm running out of superlatives but again... Thank You ...!
Great Donald! Hope you had a great jam session today?
Jens Larsen , yes I’m putting your material right to work, it’s very good... thanks and thanks for asking!
Awesome lesson, lots of interesting ideas. Thank you so much!
Thank you! Great to hear you liked it!
Great lesson..... Thanks a lot
You are welcome!
Im' just discovering you channel.. and I subscrided immediatly.. This exactly what I'm looking for, at least something reserved for advanced jazz players and pheraps withs explanations totally clear, thank you thank you thank you !!
+remijazz That's great! Thank you for subscribing, I hope you find something you can use! ☺️
Really dig the way you teach this, reminds me of science class where they talk about group a is the control, group b is given a placebo, group c is given the drug lol. Great lesson Jens.
Haha! Yes I guess it is a bit like that. Not sure which example is the drug though 🙂
I memorized everything on this video. Great stuff here!
Interesting Stuff Jens! I'm going to give some of these ideas a try and see if I can add some different colours to my playing - thanks :o)
Thanks Steve! Glad to get a compliment from a colleague! :)
Great lesson - a lot og material👍 Right now I have fokus on triad pairs when I Play the Blues in all 12 Keys - hard work, but good🎸
Thank you! That's great! Triad pairs are really usefull! :)
Thanks Jens, would be great as an annotated transcription in your shop downloads too ;-)
Well, my experience with doing that is pretty bad so I am not sure I will, but I will keep it in mind!
TOP as usual....
Thank you very much! 🙂
cool application, improvisation bro....sehr guter Gitarren player!!!
+JonM Musik Germany Danke schön Jon ☺️
What is your favourite Blues Reharmonization or Solo approach? 🙂
Tritone sub and diminished arpeggios over 7dom chords..:)
Always solid Franck! 👍
Could you explain the Coltrane Changes you use during the first 4 measures against the Bb7 chord?
Well, explain, I guess they are just Coltrane changes, something that never really fits but we just like to play over them 😀. I can give them to you and you can try it out: Bb7 Db7 | Gbmaj7 A7 | Dmaj7 F7 | Bbmaj Bb7 | Eb7
Let me know how that works out!
great
Thanks Enrique!
Aske Jacoby used to do great out there harmony
J'adore! :o)
+danski723 Merci! 😎
Hi jens l. I am try to work out myself how to find what chords to use to bring out flavours of modes you didn't touch on. So for dorian.
Would I be correct to use a Bb(sus2 (13)). Gm7b5 and Eb7 a G# triad, A aug e.t.c?
+FlukeCentral I would say that the chord you would use to bring out the sound of a mode would have the root of the mode and then describe the characteristic sound by having the basic chord + extensions specific to the mode.
For Dorian that would be a m7(13) chord.
Jens Larsen thank you so much jens. These lessons and this reaponse have really helped me advance my modal playing. I understand what you mean with the minor 13th. Thank you sir.
+FlukeCentral You're very welcome 👍☺️
Hey quick question for you Jens? Harmonically (in theory terms) why do you choose to play the Bb C : Abaug amd Bb as the triad pairs to play over the F7. Aka why does that work?
Could you point me to the place in the video where I say that? :) My guess is that I am talking about a Bb7?
If my progression is A7 D7 E7 and I play the A minor pentatonic I play a flat 3 over a major 3 which is dissonant, right? So is that allowed?
Yes, it is straight ahead rock'n roll blues sound. But don't expect it to sound like modal jazz 🙂
Buenas no tiene cifrado o partitura??
Sorry?
Good
I was wondering if the tutorial
It has writing or score
Greetings from colombia