I've been watching a lot of videos about soloing. Most are overly complicated, too much at once, or all over the place. I really like this lesson, as you gave a really clear simple sense of to start soloing. Also, from this video, I'm realizing soloing doesn't have to be complex, doesn't require a million fast notes. Instead, find some melodic notes, playing inside the chords and give it a musical feel. Thanks for the eye-opening lesson!
Thanks! I agree, it doesn't have to be complex. I think it's really important to be able to play simple things, but from the right place and musically too.
Really helpful Andy as it helps your ear Isolate the sound of the Chord tones helping ingrain the sound of the notes in your mind. Very helpful for all standards. Thanks a lot
Thanks Colin. Yes, this kind of practice will just make these things easier to hear and the internalising of the chord tones is such an important thing.
Have listened to alot of videos on AL soloing over the last 2 weeks but this IMO in the most important one! Instead of getting you to copy, this encourages you to improvise. My next week's practice plan sorted!
If you haven't already, Andy, you may begin to suspect me of being highly uncritical, but I can only praise you again for another fine lesson well worth revisiting. Part of the liberation is to go back to something simpler and enjoy the feeling of fewer frustrations, which is of course not to say that there are no challenges here too. What you want us to play here even sounds pretty nice .
Your lessons are superb Andy and this one is pure gold. Now for the first time ever I can improvise over the changes and know what I'm doing. It's a great approach. I'm amazed how R, 2nd, 3rd can be made melodic. I know my scales/modes/arpeggios but always find the shear volume of notes is too overwhelming when you have one bar to play something in. Transformed my playing. Can't thank you enough.
Thanks David. I think I experienced the same thing, lots of modes and arpeggios under my fingers, but had a hard time turning those into solos. Overwhelming is a great word to describe it. Glad you found these helpful. I still do this with a new standard, just to really get into the changes.
Question. At 6:54, you play F#-G-A. But F# has a G# as it's second. Same with the B7. You play a C, not a C# and a D# which is not diatonic to G. I'm a bit confused. Is the goal to play just the root note of the chord followed by the diatonic G scale? Or the first three notes of the chord scale itself? I may be just a bit too far behind everyone to get this but I do want to understand it. What am I missing?
It's to remain diatonic. This means sometimes you'll have a major second and sometimes a minor. In the case of the F# and B chord, it happens to be a minor 2nd. The G# and C# could be made to work, but would sound a bit out there unless put in a very strong phrase.
Very chuffed to have found your channel! My interest is in learning how to sing through a guitar. This is the introduction to soloing I needed, thank you.
Good Lesson Andy, I liked the lines and sounds that came from the 1 2 3 Lines, That was a new idea I had not seen. I've been tied up a bit with family things, hope to find some more time. Best Wishes to you and Yours! Bill
@@jazzguitarwithandy I appreciate the intelligent way of breaking complicated topics into manageable smaller bites, I love the 'out of the box' approach to soloing using various methods, not sticking to the usual menu.. I find the lessons practical yet enriching, 'to the point' with out being shallow. Thanks.
Are you talking about hearing melodies when you improvise? Can you sing your arpeggios? I think being able to sing the arpeggios without the guitar and then varying how you do that can be helpful. Then add in the odd chromatics or scale note above. Sing everything!
Yes, hearing melodies whilst attempting to improvise. Sadly my singing voice is atrocious so I struggle in that respect. I was wondering if trying to hum short melodies might help me move forward in that respect?
Hi Andy. Highly informative lesson which I greatly appreciate. Whilst here would let me know if the 2nd intervals need to be minor or major? I was thinking they may be minor for minor chords and major for major chords??
Thank you. So that will depend on the scale the chord comes from and where the whole and half steps are. Am7- major 2nd D7- maj G- maj C- maj F#m7b5 - minor2nd B7 - minor Em - maj
I guess what I'm trying to ask (very poorly) is should I be playing the first 3 notes of F# Locrian or the first three of the F# major scale? Same with B. Is it B Phyrgian or B major?
Think of it as keeping things diatonic unless you have to accommodate a chord tone. For instance, B7 - that has a d# in it (the major 3rd). So we end up with B, C, D#, E, F# G, A, -that is all of the notes of G major, just with a D# as it's one of the notes of the B7 chord. I think these things can always be seen as some scale if you want to. This one would be the Mixoldyian b2 b6!
@@jazzguitarwithandy Thanks Andy. A bit out of my depth. Not on the Varsity, yet, but I think I get it. That would explain why there's no G# in the F# 1-2-3 and no C# in the B7. So it's diatonic for 1-2-3 unless you need to alter a third. Sounds very nice. Great practice. And superior to mindlessly repeating scales and modes. This has musical application. Be well.
Yeh, the B7 had me goin since it's not diatonic to GM. All good now though. Really good melodic practice now for all songs. Thanks Andy. I assume you need to apply the chord tone for the first or the third as needed and the diatonic for the rest. Very cool stuff. Be well.
Hi guys, the first of 2 lessons on soloing over Autumn Leaves. Link to the PDFS is in the description. Hope everyone is doing well 😎
This was a fantastic lesson! I really dig this approach to uncharted territories of music… for me anyway. Thanks for the insight
You're very welcome.
Paradoxically, limits can increase freedom. Nicely done!
Thanks for the comment Rick. You expressed it in a much more succinct way than me 😂
Really great approach and very helpful!Thank you!
Glad you liked it
I've been watching a lot of videos about soloing. Most are overly complicated, too much at once, or all over the place. I really like this lesson, as you gave a really clear simple sense of to start soloing. Also, from this video, I'm realizing soloing doesn't have to be complex, doesn't require a million fast notes. Instead, find some melodic notes, playing inside the chords and give it a musical feel. Thanks for the eye-opening lesson!
Thanks! I agree, it doesn't have to be complex. I think it's really important to be able to play simple things, but from the right place and musically too.
Very helpful. I can now get the tune in my ears R to R, 3rd to 3rd, etc. appreciated
Glad it helped!
Brilliant. But it's Andy. What'd you expect? There's so much gold to be mined here. Really outstanding. Well Done.
I like using the approach when getting to a song Don, really helps get into the sound of the progression.
Andy, this was great. While it seems like baby steps, if you can play what you hear, then you are just hunting and pecking as they say. Thanks much.
Exactly that!
Great lesson. Thanks so much.
Glad you liked it!
Really helpful Andy as it helps your ear Isolate the sound of the Chord tones helping ingrain the sound of the notes in your mind. Very helpful for all standards. Thanks a lot
Thanks Colin. Yes, this kind of practice will just make these things easier to hear and the internalising of the chord tones is such an important thing.
Have listened to alot of videos on AL soloing over the last 2 weeks but this IMO in the most important one! Instead of getting you to copy, this encourages you to improvise. My next week's practice plan sorted!
Thanks David. Glad you like the approach in this video!
Absolutely brilliant lesson. Helped move me to the next level!
Glad it helped Trevor.
Thanks Andy, this video and the one from 123+7 made it clear to me how to practice effectively
Glad it helped!
If you haven't already, Andy, you may begin to suspect me of being highly uncritical, but I can only praise you again for another fine lesson well worth revisiting. Part of the liberation is to go back to something simpler and enjoy the feeling of fewer frustrations, which is of course not to say that there are no challenges here too. What you want us to play here even sounds pretty nice
.
Thanks - that was the plan. Just trying to apply something simple and be creative with it.
Your lessons are superb Andy and this one is pure gold. Now for the first time ever I can improvise over the changes and know what I'm doing. It's a great approach. I'm amazed how R, 2nd, 3rd can be made melodic. I know my scales/modes/arpeggios but always find the shear volume of notes is too overwhelming when you have one bar to play something in. Transformed my playing. Can't thank you enough.
Thanks David. I think I experienced the same thing, lots of modes and arpeggios under my fingers, but had a hard time turning those into solos. Overwhelming is a great word to describe it. Glad you found these helpful. I still do this with a new standard, just to really get into the changes.
Excellent lesson. As a beginner to jazz thus really helps. Thanks. Guy
Molto interessante!!!
Great way of thinking about it. Thanks!
Cheers - glad you liked it.
Simple but so effective. Ok I subscribe to your channel!
Cheers Guy!
Restriction is good!!
nice one Andy great to see your lesson vids! Robin
Hey Robin, thank you :) I hope you are well.
@@jazzguitarwithandy yes mate all good
Thanks for this great lesson! ☺
My pleasure!
Question. At 6:54, you play F#-G-A. But F# has a G# as it's second. Same with the B7. You play a C, not a C# and a D# which is not diatonic to G. I'm a bit confused. Is the goal to play just the root note of the chord followed by the diatonic G scale? Or the first three notes of the chord scale itself? I may be just a bit too far behind everyone to get this but I do want to understand it. What am I missing?
It's to remain diatonic. This means sometimes you'll have a major second and sometimes a minor. In the case of the F# and B chord, it happens to be a minor 2nd. The G# and C# could be made to work, but would sound a bit out there unless put in a very strong phrase.
Thank You, very practical and useful !
You are welcome!
EXCELLENT
Thank you
Very chuffed to have found your channel! My interest is in learning how to sing through a guitar. This is the introduction to soloing I needed, thank you.
Welcome to the channel and thank you for the comment :)
@@jazzguitarwithandy No problem, you've just given me a whole new world to explore, can't thank you enough🌟
@@gander4872 Enjoy:)
This is really excellent. A revelation!
Thanks for the comment Paul. It's a great way to break into improvising.
Good Lesson Andy, I liked the lines and sounds that came from the 1 2 3 Lines, That was a new idea I had not seen. I've been tied up a bit with family things, hope to find some more time. Best Wishes to you and Yours! Bill
Thanks Bill. Yes, this is a great way to work on improvising and keeping things simple. Best wishes, Andy
Great lesson Andy. Thank you.
You're very welcome Robert :)
Brilliant! Exactly what I needed. Thanks, Andy.
No worries Mike, hope the practice goes well! 👍
Great lesson! This is the key to musicality, improvisation and developing our own voice! Thanks so much!
You're so welcome!
Love your videos. Many thanks.
Thanks Eli - really glad to hear it! So I know what's working for my viewers, what would you say you like specifically?
@@jazzguitarwithandy I appreciate the intelligent way of breaking complicated topics into manageable smaller bites, I love the 'out of the box' approach to soloing using various methods, not sticking to the usual menu..
I find the lessons practical yet enriching, 'to the point' with out being shallow.
Thanks.
@@eliatt123 thanks for the detailed feedback. It's really good to know for how I structure the lessons. Thanks again!
Hi again Andy, Would you be able to offer advice on techniques to help improve 'hearing' melodies?
Are you talking about hearing melodies when you improvise? Can you sing your arpeggios? I think being able to sing the arpeggios without the guitar and then varying how you do that can be helpful. Then add in the odd chromatics or scale note above. Sing everything!
Yes, hearing melodies whilst attempting to improvise. Sadly my singing voice is atrocious so I struggle in that respect. I was wondering if trying to hum short melodies might help me move forward in that respect?
Nice lesson.
Thanks! 😃
Hi Andy. Highly informative lesson which I greatly appreciate. Whilst here would let me know if the 2nd intervals need to be minor or major? I was thinking they may be minor for minor chords and major for major chords??
Thank you.
So that will depend on the scale the chord comes from and where the whole and half steps are.
Am7- major 2nd
D7- maj
G- maj
C- maj
F#m7b5 - minor2nd
B7 - minor
Em - maj
Thanks for the information Andy, very much appreciated.
Surely the Am7 would use a minor 2nd as it is a minor based chord, am I correct?
I guess what I'm trying to ask (very poorly) is should I be playing the first 3 notes of F# Locrian or the first three of the F# major scale? Same with B. Is it B Phyrgian or B major?
Think of it as keeping things diatonic unless you have to accommodate a chord tone. For instance, B7 - that has a d# in it (the major 3rd). So we end up with B, C, D#, E, F# G, A, -that is all of the notes of G major, just with a D# as it's one of the notes of the B7 chord. I think these things can always be seen as some scale if you want to. This one would be the Mixoldyian b2 b6!
@@jazzguitarwithandy Thanks Andy. A bit out of my depth. Not on the Varsity, yet, but I think I get it. That would explain why there's no G# in the F# 1-2-3 and no C# in the B7. So it's diatonic for 1-2-3 unless you need to alter a third. Sounds very nice. Great practice. And superior to mindlessly repeating scales and modes. This has musical application. Be well.
Yeh, the B7 had me goin since it's not diatonic to GM. All good now though. Really good melodic practice now for all songs. Thanks Andy. I assume you need to apply the chord tone for the first or the third as needed and the diatonic for the rest. Very cool stuff. Be well.