This is why it was uncommon to have both a piano player and guitarist in a Hard Bop Jazz band. Great playing. Very clean smooth transitions! You’d be the best guy to have in a jam band!
Thanks Korey for another great lesson! Showing various licks/phrases (like BB King) from each of the shapes was really cool and helpful. In fact, it looked like you're playing at the beginning combined ideas from various inversions, which is also cool to watch, listen and aspire to. Side note: I find that applying your lesson here, and your other lessons, to cycle 4 with a metronome every day is the fastest way to fluency of any approach I have ever tried. I've never touched flatted keys in the past and now they are starting to not feel so foreign.
Hey Korey, another great lesson but I drowned on this one. As a new 60 year old, I spent 40 years stuck as a beginner with work and family commitments forever barring my path. Now, as a retiree, I have played my instrument for an hour a day for the last year and have made great improvements. I am currently slogging through all the memorization of scale patterns, cord shapes, circle of 5th, etc. My mind is swimming in them. I find it takes me considerable time to bring up the patterns in my mind, see them, and find my bearings. Your tip of the tongue familiarity with the patterns and the fretboard is impressive and intimidating at the same time. I am starting to wonder if I can ever aspire to the mental gymnastics of on the fly visualization that you make look commonplace. I have a hunch it isn't that common. Ha. I will keep at it!
Thanks for the comment! When you memorize something (let's say a scale pattern), you should THINK through it (can visualize it in my mind? what is the theory behind it?), play through it, sing it, HEAR it, be able to diagram it (this helps a lot of people - grab some blank fretboard paper and write it out 4 or 5 times!) and VERBALIZE it (can I say the notes? the intervals? out loud?). Come at the memorization from multiple angles! REMEMBER: we are not just 'teaching our fingers where the notes are' and practicing muscle memory. Guitar is SOOOOO much more than muscle memory. I would say it is more of a brain/ear activity. It's a language!
@@KoreyHicksGuitar Using the sheet you provided on Patreon, I am working through the dominant drop 2s on the middle four and top four string sets and what a mental workout this is. I did notice that the top four string set drop 2s feel much more familiar. I am trying to use this as an opportunity to think about note names and intervals. It feels very rewarding at this point in my guitar journey to be thinking more in terms of chord construction rather than just shapes. That alone is a huge win. I will try to build on what I've learned as you suggested once I get more fluid on the chord changes. You provided a fire hose of ideas in this lesson and it's a lot to get through. And the kicker is we're just on the dominant 7s. I am curious if you plan on building on this less and whether it makes more sense learn extensions from the dominant 7s or the other chord forms on the sheet you provided, which is excellent btw. Regardless, the next step into the other chord forms will further test my knowledge of the scale degrees and notes. I very much appreciate this lesson and how valuable the Patreon has already been.
@@uberjam-sam8512 wonderful! I’m glad you’re getting a lot out of it! The effort is truly worth it in the long run, and yes, I will be exploring tension, additions, drop 3’s and other chord forms soon!
Korey, I'm familiar with the chord shapes but never grasped how the dropped G note of the C7 chord (C-E-G-Bb) is not at the bottom of the C7 chord played at the third fret. I understand it is an inversion but if the G note is at different positions on different strings as we move down the fretboard does the dropped 2 reference still make sense?
Yup, each is a drop 2 - the close voice C Major 7 (1,3,5,7) in the example turns into a second inversion drop 2. At the third fret (using the G on the low E string and skipping the A string) would be a 2nd inversion drop 3. Drop twos are not necessarily Guitar voicings, they come from big band arrangements of horn sections in the 1940s and 1950s. We just happen to be able to play them fairly easily on the guitar so we adapted them for comping purposes in jazz and modern music.
This is why it was uncommon to have both a piano player and guitarist in a Hard Bop Jazz band.
Great playing. Very clean smooth transitions! You’d be the best guy to have in a jam band!
Aww thanks 😊
Thanks Korey for another great lesson! Showing various licks/phrases (like BB King) from each of the shapes was really cool and helpful. In fact, it looked like you're playing at the beginning combined ideas from various inversions, which is also cool to watch, listen and aspire to. Side note: I find that applying your lesson here, and your other lessons, to cycle 4 with a metronome every day is the fastest way to fluency of any approach I have ever tried. I've never touched flatted keys in the past and now they are starting to not feel so foreign.
Thank you so much for the kind words and I’m glad it is helping!
Hey Korey, another great lesson but I drowned on this one. As a new 60 year old, I spent 40 years stuck as a beginner with work and family commitments forever barring my path. Now, as a retiree, I have played my instrument for an hour a day for the last year and have made great improvements. I am currently slogging through all the memorization of scale patterns, cord shapes, circle of 5th, etc. My mind is swimming in them. I find it takes me considerable time to bring up the patterns in my mind, see them, and find my bearings. Your tip of the tongue familiarity with the patterns and the fretboard is impressive and intimidating at the same time. I am starting to wonder if I can ever aspire to the mental gymnastics of on the fly visualization that you make look commonplace. I have a hunch it isn't that common. Ha. I will keep at it!
Thanks for the comment! When you memorize something (let's say a scale pattern), you should THINK through it (can visualize it in my mind? what is the theory behind it?), play through it, sing it, HEAR it, be able to diagram it (this helps a lot of people - grab some blank fretboard paper and write it out 4 or 5 times!) and VERBALIZE it (can I say the notes? the intervals? out loud?). Come at the memorization from multiple angles! REMEMBER: we are not just 'teaching our fingers where the notes are' and practicing muscle memory. Guitar is SOOOOO much more than muscle memory. I would say it is more of a brain/ear activity. It's a language!
Thank you !
Great lesson, super helpful. Tyvm
You are welcome!
@@KoreyHicksGuitar signing up for patreon rn
@@KoreyHicksGuitar Using the sheet you provided on Patreon, I am working through the dominant drop 2s on the middle four and top four string sets and what a mental workout this is. I did notice that the top four string set drop 2s feel much more familiar. I am trying to use this as an opportunity to think about note names and intervals. It feels very rewarding at this point in my guitar journey to be thinking more in terms of chord construction rather than just shapes. That alone is a huge win.
I will try to build on what I've learned as you suggested once I get more fluid on the chord changes. You provided a fire hose of ideas in this lesson and it's a lot to get through. And the kicker is we're just on the dominant 7s. I am curious if you plan on building on this less and whether it makes more sense learn extensions from the dominant 7s or the other chord forms on the sheet you provided, which is excellent btw. Regardless, the next step into the other chord forms will further test my knowledge of the scale degrees and notes. I very much appreciate this lesson and how valuable the Patreon has already been.
@@uberjam-sam8512 wonderful! I’m glad you’re getting a lot out of it! The effort is truly worth it in the long run, and yes, I will be exploring tension, additions, drop 3’s and other chord forms soon!
Korey, I'm familiar with the chord shapes but never grasped how the dropped G note of the C7 chord (C-E-G-Bb) is not at the bottom of the C7 chord played at the third fret. I understand it is an inversion but if the G note is at different positions on different strings as we move down the fretboard does the dropped 2 reference still make sense?
Yup, each is a drop 2 - the close voice C Major 7 (1,3,5,7) in the example turns into a second inversion drop 2.
At the third fret (using the G on the low E string and skipping the A string) would be a 2nd inversion drop 3.
Drop twos are not necessarily Guitar voicings, they come from big band arrangements of horn sections in the 1940s and 1950s. We just happen to be able to play them fairly easily on the guitar so we adapted them for comping purposes in jazz and modern music.
@@KoreyHicksGuitar Korey, thanks for the clarification. I've always found music theory fairly logical but drop 2 had me baffled until now.
Good gosh….. that exhausted me trying to follow all those note breakdowns. Better mark that for advanced.
It’s not difficult, it’s just unfamiliar… One of those things that just takes a couple weeks of dedicated study and you will have it! ☺️