Professor, you are just amazing and giving as always. You make videos for all of us. I am one of the most original subscribers (and have watched almost everything). My preference though is these jazz videos. Of course, I enjoy all of them. A huge thank you.
Hey Rick! Just bought The Beato Book from your website. I really enjoy your channel and learn a great deal every time. Lots of the heavier theory goes over my head, but you've inspired me to learn more theory and try to break out of tabs and chord charts. I especially enjoy the conversational type videos you do with your buddies.
Thank you for more pieces of the puzzle. I love this format. You are presenting the knowledge i've always wanted , but did't know how to ask for. Now i'm starting to know , and that feels good. Also appreciate your videos on scoring and composition. THANKS!
If only internet video streaming was available 40years ago to access this knowledge...would have saved myself many years of meandering around and searching for 🎼 theory tips and tricks etc! Luv ya Rick!
just a simple rocker played a lot of Clubs warmed up for a few bands that were monumental this is way over my head not sure if I did ever need it? have been thinking about getting your book? you have a lot of knowledge excellent musician.... thank you for the vids,
Why is this compulsive watching and listening? I'm hooked even though i don't understand *00001% of what's being said. Music is an audible emotion now I've said all i know about it. Keep them videos coming, there great.
I have an idea - it's for all the folks who have bought the book, but Rick would have to do a tiny bit of work (nothing compared to what you already do). Here it is --- Can you make references to sections of the book to go with parts of your videos? I'd love to be able to find the info and drill down after watching/listening. * This would provide even more incentive for people to buy the book :-). Perhaps you can even do a series just on how to use the book with various demos?
Two live streams in one day! Too cool!! Another Beato exclusive, here today folks! Super Beatoman in all his glory! Step right up, for his next feat he will make Niagara Falls flow backwards! You will rub your eyes in disbelief! Lary
@@RickBeato Okay, I got it. Just don't want to get lost in these lessons that I love. love the channel. Really like the stuff on chord progressions and more songwriting focused theory. thanks
if F is out tonic, C is going to be the 5th, not the 2nd. the 2nd would be G. he calls C the 5th at first, but then when he says 2 chord he writes in C
Hey this has nothing to do with anything in this video but it's your most recent so maybe there's a chance you'll read this comment. I was reading a Keith Richard's interview in Rolling Stone and they were talking about Keith's album that he made 30 years ago, "Talk is Cheap" with the Expensive Winos. There's a song on the album "Make No Mistake" and he says there's an unusual chord in there and nobody's ever been able to tell him what it is. I know you probably could. Just curious.
2,5,1 is correct. If it was pure diatonic, the B7 would be BMaj7. This is blues with jazz mentality. Literally just about every chord could have a Dominant 7th.(b7). I suspect Rick might elaborate.
Ok. Let me see if this clicks for you. At meas 3 you have Cm7 ,meas 4 F7b9 , meas 5 Bb7. At the point you hit meas 3 you rethink your key center from F to Bb. In other words, at measure 3 stop thinking in the key of F. You're now thinking in the key of Bb. It's now a ii V I in the key of Bb. It's a bit trickier because th Bb7 has a dominant 7th in it. But the idea is you've basically got a key change at meas 3. It always works back to the original form, but getting from section to section now involves some pretty neat modulation/key change devices. A very simple 12 bar blues can get incredibly complicated using devices like these, as you can see Rick demonstrating. I hope this helps.
Fiddle player: Robert, what I am saying is that you will create mojo by playing a tritone substitute back to the tonic...Jimmy's gut bass can follow that right, Jimmy? (Jimmy nods, confused). Robert Johnson: I didn't sell my f'ing soul to the Devil so you can stomp all over my gigs with that...that...whatever you call it...something something gin and tonic. I am going to tell you sumpthin' my step-mama told me when I was a boy, "Bobby, If you really want to ruin this here sweater, then ,boy, hold this thread while I walk away." Fiddle player: what does that even mean??? Think that through... your step mama is dissing you??...Maybe but if you keep holding that thread she is gonna be layin on yo' pallet all undone...how does that relate to reharmonizing blues? Robert J: Reharm what??? Just play Bb, count to 4 and go back to F...I will do the rest.
You can hear the chord progressions right? Nope. I hear a bunch of arpeggios fly by! Sounds good though. I’m sure I’ll get it. I studied jazz before. A long long time ago. It’s going to take a while to get back on the horse!!!
As soon as you put in the ii-V-I in, it doesn't sound like blues anymore. It sounds like jazz. Which is cool, if that is what you want. But if you want your blues to sound like blues, you should avoid the ii-V-I.
Wouldn’t it have been faster to just talk about which of the 12 semi tones couldn’t be used? F Gb G Ab A Bb B C D Eb E. I haven’t located a Db... Still looking. Seriously though, thanks again nice video. I have some dumb questions but I’ll sit on them.
I thought the tritone substitute for F7 would have been B7?? The 7 of F7 becomes the 3 of B and the 3 of F becomes the 7 of B, how is it Gb7?? Have I been mislead all these years? Lol!
URGENT ALERT of possible wrongfulness. On Revisiting this Lecture on how Pro Reharmonize the Blues. I noticed your are mentioning to use any F7 Altered Pitch Note. in Bar 10 of a 12 Bar Blues. My enquiry is have you an error is your suggestion of the use of #5. As my understanding is the F7 Altered Scale, contains ZERO Five 5th pitch note. the F7 Altered Scale choices being... F - Gb, Ab, Anat, B#, Db, Eb. Another lecturer has specified that the Altered Scale is a Dominant Scale without Five Pitch note Choices. The other ends of Five Pitch notes have to be use. Example 4# or b6. In a F7 Altered Scale a replacement for 5# is b6 (ie Db). posted on 2nd May 2019
Brian Because a chord is defined mostly by its 3rd and 7th degree over the root or 5th (usually played by the bass player). Powerchords are not allowed here 😊
I'm kind of tired of how much professional musicians have taken away the "feeling" of genres like the blues. Rick, no offense meant, I think you're awesome, and keep up the great work.
These type of blues re-harmonizations I’ve been around for 70 years. Not the really modern ones but all the beginning ones. Your whole thing about genres of the blues is really off-base. These jazz blues forms happened about 10 to 15 years after Robert Johnson.
@@RickBeato I think you may be be misinterpreting what I am saying or maybe I said it wrong. I'm not dissing on the theory or professionalism or even why it's being done. What I am trying to say is that all those old blues guys learned from the heart. The old school guys who started from scratch and by ear and wrote from the heart and soul. It was deeper than just learning something from a teacher or a professional or how it "should be played". It had a different feel than just people who learn it in a pro setting ya know? Sorry I wasn't more clear. And again, I meant nothing negative from my comment. I have the utmost respect for you and others like you Rick.
Hi Rick, truly great video! How did you extrapolate the chords over the pedal tone idea at the 24min mark out of interest (the Aadd9/F, E/F and Gb/F )? Or can you literally try anything as long as the pedal note is there as the binding concept? Cheers, Leigh-C
I've learned so much from you over the last year and you just keep piling it on. Don't stop, I'll catch up eventually! Thx Rick, you're the best
Professor, you are just amazing and giving as always. You make videos for all of us. I am one of the most original subscribers (and have watched almost everything). My preference though is these jazz videos. Of course, I enjoy all of them. A huge thank you.
Rick! That was a beautiful lesson. I appreciate everything you do for us.
Hey Rick! Just bought The Beato Book from your website. I really enjoy your channel and learn a great deal every time. Lots of the heavier theory goes over my head, but you've inspired me to learn more theory and try to break out of tabs and chord charts. I especially enjoy the conversational type videos you do with your buddies.
Thank you for more pieces of the puzzle. I love this format. You are presenting the knowledge i've always wanted , but did't know how to ask for. Now i'm starting to know , and that feels good. Also appreciate your videos on scoring and composition. THANKS!
If only internet video streaming was available 40years ago to access this knowledge...would have saved myself many years of meandering around and searching for 🎼 theory tips and tricks etc! Luv ya Rick!
of all your more advanced lessons this is probably the one that has flown highest above my head...
I love this format, content and pace.. Thanks Rick. cheers
Picking up the guitar again after a few years of not playing. Your videos are a blessing
This is serious, very precious content Rick. Thank you so much for giving this to the World!
5 minutes in and I'm floored. Exactly what I was looking to work on. Stellar as always man!
Thank you, I love these videos. The content is inspiring. Note - the description of the video is the soloing over tough changes description.
This stuff here is absolute gold! Man, Rick I gotta buy your book!
I bought it. I read it. I am only visiting this lower realm temporarily. Join us!
@@khbgkh will do!!
Thanks for this lesson. Blues through the Jazz door is very interesting to me and I hope you expand on this!
just a simple rocker played a lot of Clubs warmed up for a few bands that were monumental this is way over my head not sure if I did ever need it?
have been thinking about getting your book? you have a lot of knowledge excellent musician....
thank you for the vids,
I wasn't able to catch it live yesterday but got it tonight! 😃🌸
Great stuff Rick! You're giving another great lesson!
I really love ur all videos rick u r putting lot of effort man seriously respect 👍🏻🤘🏻
Love all your videos, Rick, but these are the ones I REALLY get into. Thanks for sharing your knowledge.
In love how you can sing along with your solol this!
Some Fresh thinking here, may i respectfully say, The Jazz Handbook By Jamey Aebersold does a nice job of laying out alot of these ideas
Rick ! you R the man ! greetings from deep south Argentina !
Why is this compulsive watching and listening? I'm hooked even though i don't understand *00001% of what's being said. Music is an audible emotion now I've said all i know about it. Keep them videos coming, there great.
Beato does good work.
I have an idea - it's for all the folks who have bought the book, but Rick would have to do a tiny bit of work (nothing compared to what you already do). Here it is --- Can you make references to sections of the book to go with parts of your videos? I'd love to be able to find the info and drill down after watching/listening.
* This would provide even more incentive for people to buy the book :-). Perhaps you can even do a series just on how to use the book with various demos?
Two live streams in one day! Too cool!! Another Beato exclusive, here today folks! Super Beatoman in all his glory! Step right up, for his next feat he will make Niagara Falls flow backwards! You will rub your eyes in disbelief! Lary
Great lecture & info as always
That circle of fifths technique just blew my mind
Rick with the "Murdered Out" setup.
Sweet.
Marvellous. That will keep me busy for a couple of years.
More whiteboard lectures please!
Many thanks.
Thanks Rick ... I learned so much I wouldn't have, if it wasn't for your videos! :)
YAAAAYYY FOR THE WHITE BOARD!!!!!!!!!!!!!
This is wonderfully useful info thanks so much!!
Great lesson! Thank you.
Awesome thank you so much Rick !!
Thank you Rick!
Rick, I'm confused. How is a Cm7 a ii chord in the key of F? Wouldn't the ii chord be Gm7?
It’s called two-ing the V. The F7 is really the V7 chord in Bb. The Cm7 is the ii7 of the V7.
@@RickBeato Okay, I got it. Just don't want to get lost in these lessons that I love. love the channel. Really like the stuff on chord progressions and more songwriting focused theory. thanks
@@RickBeato comgratulesion nice lession jazz Blues,great
So is that what is called the 5 of the 2? Secondary dominant?
Great nice lession jazz Blues ,
You can replace ‘people’ with ‘just rick’ anywhere in this video! Only he can do that with such ease...
Needs your book
I love this, Thank you sir.
Love this!
if F is out tonic, C is going to be the 5th, not the 2nd. the 2nd would be G. he calls C the 5th at first, but then when he says 2 chord he writes in C
Pretty hippity hop stuff there man
What a GREAT! lesson Rick, increíble, fantástico, impresionante. I wanna be your student. Two thumbs up 👍👍
Wow, thank you well done..
Hey this has nothing to do with anything in this video but it's your most recent so maybe there's a chance you'll read this comment. I was reading a Keith Richard's interview in Rolling Stone and they were talking about Keith's album that he made 30 years ago, "Talk is Cheap" with the Expensive Winos. There's a song on the album "Make No Mistake" and he says there's an unusual chord in there and nobody's ever been able to tell him what it is. I know you probably could. Just curious.
Hey Rick do you know of the guitar player Alex Schultz? He does very interesting swing stuff and loves T bone walker etc
Licks, Lecture style. Love it.
damn im lost already. better buy that book
Does that work for Bluegrass in any way?
Hey, rick what kind of pedal do you use for looping a chord to practice over?
Thank you
"we're still back in the 1940s with this..." i guess i'm back in the 1870s then!
If Rick beato take his glass I understand that hard theory concept will come and destroy our brain 😅
36:12 That Laughter of puppets
Thanks that was great
always gret thanks so much
@ 2:33 "2, 5, 1 Chord" C-7, F7, Bb7. Is that not 2, 1, 4? or have I got it totally wrong?
2,5,1 is correct. If it was pure diatonic, the B7 would be BMaj7. This is blues with jazz mentality. Literally just about every chord could have a Dominant 7th.(b7). I suspect Rick might elaborate.
@@mokachu8300 Thanks, :-) but still makes no sense to me. Blues in F. He states the Bb7 is the 4 chord, so how is the F7 now the 5 chord?
"so how is the F7 now the 5 chord?"
F7 at that point is a secondary dominant: V7/IV, i.e., the five of four.
Ok. Let me see if this clicks for you. At meas 3 you have Cm7 ,meas 4 F7b9 , meas 5 Bb7. At the point you hit meas 3 you rethink your key center from F to Bb. In other words, at measure 3 stop thinking in the key of F. You're now thinking in the key of Bb. It's now a ii V I in the key of Bb. It's a bit trickier because th Bb7 has a dominant 7th in it. But the idea is you've basically got a key change at meas 3. It always works back to the original form, but getting from section to section now involves some pretty neat modulation/key change devices. A very simple 12 bar blues can get incredibly complicated using devices like these, as you can see Rick demonstrating. I hope this helps.
Fiddle player: Robert, what I am saying is that you will create mojo by playing a tritone substitute back to the tonic...Jimmy's gut bass can follow that right, Jimmy? (Jimmy nods, confused).
Robert Johnson: I didn't sell my f'ing soul to the Devil so you can stomp all over my gigs with that...that...whatever you call it...something something gin and tonic.
I am going to tell you sumpthin' my step-mama told me when I was a boy, "Bobby, If you really want to ruin this here sweater, then ,boy, hold this thread while I walk away."
Fiddle player: what does that even mean??? Think that through... your step mama is dissing you??...Maybe but if you keep holding that thread she is gonna be layin on yo' pallet all undone...how does that relate to reharmonizing blues?
Robert J: Reharm what??? Just play Bb, count to 4 and go back to F...I will do the rest.
.....chill.
Sounded like you were about to break into aqualung for a second around 8:47!
You can hear the chord progressions right? Nope. I hear a bunch of arpeggios fly by! Sounds good though.
I’m sure I’ll get it. I studied jazz before. A long long time ago. It’s going to take a while to get back on the horse!!!
How is a c Minor 7 a two-chord in F blues?
As soon as you put in the ii-V-I in, it doesn't sound like blues anymore. It sounds like jazz. Which is cool, if that is what you want.
But if you want your blues to sound like blues, you should avoid the ii-V-I.
But, but... the blues aren't supposed to be infinite are they?!
Really informative as usual. Thanks.
I thinking of Buying the Book. Are these MODERN Sounds in the Beato Book? posted 12 April 2019
Yes
@@RickBeato thanks
Wouldn’t it have been faster to just talk about which of the 12 semi tones couldn’t be used? F Gb G Ab A Bb B C D Eb E. I haven’t located a Db... Still looking. Seriously though, thanks again nice video. I have some dumb questions but I’ll sit on them.
Watching the live streams for a change
Why is C-7 a ‘2’ chord? Isn’t it a 5?
How is C-7 the 2 chord of F???
Cool
Rick, my man - we need some Jethro Tull in the What Makes This Song Great? But by god not Aqualung please.
"Well I got my guitar here..." lol
Thx! That was really good info. Now I need a cold shower...
Rick Beato is a precious cinnamon bun, and he must be protected.
quality way to describe it
i get it!
(said no music theory-noob in history)
16:25
I can't help it, but this sounds like Jazz to me.
Josh is here.
🖤
I thought the tritone substitute for F7 would have been B7?? The 7 of F7 becomes the 3 of B and the 3 of F becomes the 7 of B, how is it Gb7?? Have I been mislead all these years? Lol!
🌲🌲🌲🌲🌲
URGENT ALERT of possible wrongfulness. On Revisiting this Lecture on how Pro Reharmonize the Blues. I noticed your are mentioning to use any F7 Altered Pitch Note. in Bar 10 of a 12 Bar Blues. My enquiry is have you an error is your suggestion of the use of #5.
As my understanding is the F7 Altered Scale, contains ZERO Five 5th pitch note. the F7 Altered Scale choices being... F - Gb, Ab, Anat, B#, Db, Eb.
Another lecturer has specified that the Altered Scale is a Dominant Scale without Five Pitch note Choices. The other ends of Five Pitch notes have to be use.
Example 4# or b6. In a F7 Altered Scale a replacement for 5# is b6 (ie Db). posted on 2nd May 2019
I have a gene that precludes me from remembering any and all music theory....makes me crazy
why are they all 7 chords?
Brian Because a chord is defined mostly by its 3rd and 7th degree over the root or 5th (usually played by the bass player).
Powerchords are not allowed here 😊
I'm kind of tired of how much professional musicians have taken away the "feeling" of genres like the blues. Rick, no offense meant, I think you're awesome, and keep up the great work.
What would be music without challenging yourself. You’d be in the same position you were years ago. I dig it
These type of blues re-harmonizations I’ve been around for 70 years. Not the really modern ones but all the beginning ones. Your whole thing about genres of the blues is really off-base. These jazz blues forms happened about 10 to 15 years after Robert Johnson.
@@RickBeato I think you may be be misinterpreting what I am saying or maybe I said it wrong. I'm not dissing on the theory or professionalism or even why it's being done. What I am trying to say is that all those old blues guys learned from the heart. The old school guys who started from scratch and by ear and wrote from the heart and soul. It was deeper than just learning something from a teacher or a professional or how it "should be played". It had a different feel than just people who learn it in a pro setting ya know? Sorry I wasn't more clear. And again, I meant nothing negative from my comment. I have the utmost respect for you and others like you Rick.
Hi Rick, truly great video! How did you extrapolate the chords over the pedal tone idea at the 24min mark out of interest (the Aadd9/F, E/F and Gb/F )? Or can you literally try anything as long as the pedal note is there as the binding concept? Cheers, Leigh-C
@@jg0r I'm not talking about the specificity of those particular changes brother...
Two words: Ben Monder
Copyright that!!!
looks good on paper. sounds like crap.
Thanks! Very valuable lesson!