Your contribution to theory in practice is invaluable to both fresh students and "professionals", alike, Jens. Apart from the content itself, the way you put everything you share into context is really something to admire because, for me, it showcases ever-evolving musicianship; a musician should never rest upon what he thinks he already has good command of. Instead, he should always crave for those small bright moments of practice when any idea (new, old, own or borrowed) can turn into a whole new set or cluster of knowledge, skills or licks. Thank you!
I have to give you a huge compliment and say that your channel is so well done. I have learned so much from you. Everything is so well presented. Thank you
Long time rock player here, love your videos, you are so good and knowledgeable. I learn a lot from you and thank you for the precious education I get from you. I absolutely love it when you do or talk about things I I don't understand . Thanks for what you do. Really
Breaking it down for us rock > jazz newbies! Alright, pour one out for Beato but man, you bring the firehose everytime with usable, playable, guitar magic/logic.
Thank God we have Jens!❤️ Your videos are like beautiful fireworks, so inspiring and full of core information about harmonies, musicality and theory. Aaaand, they make me want to practise and play more. Jens, because of you I love music more!
I think I’ve commented on this before on your triad video recently, but my first jazz gig I was thrown completely to the wolves. A lot of the standards we played I had never heard before, and I didn’t have a chord chart in front of me or anything. I would figure out the key by ear, then I played triads and diads (is that how u spell it? 2 note chords) that were in the pentatonic. It sounded absolutely great for jazz comping. I stayed out of the way, and had a melodic voice comping. I got a lot of compliments, and I keep getting called back for the gig! As a gigging jazz musician, I would highly recommend this approach!
This is a wonderful channel, Mr. Larsen. I've been playing guitar for almost 35 years and composing for 20+ years. I have studied w/ teachers, but I have found that being largely "self-taught" under the guidance of a teacher is the best method for me to improve my skillset. This channel is a wonderful "stepping-off" point for independent study on a number of topics. Your rational takes on things like amplification are also important. Thank you, sir!
Mr. Larsen; I struggle with music, have gotten somewhere over the time: Wow! This lesson from you has really opened up a large door for me. Also you have helped me like Jazz. Thank You
Great lesson, really useful. Changing one note to a structure that you already know is really useful. Replacing the 3rd with a flat 3rd in a Major Pentatonic, opens up a great source of sounds for half diminished & altered dominants. I'm a theory geek myself, so I get your frustration with a flat tonic description. We're describing what we hear, sometimes traditional theory falls a little short. Great stuff!
Thanks Jens. I can't follow a lot of the intricate theory videos but love the ideas presented. I like this one a lot. I'm only a part timer lol. Very nice. From Chicago.
I very much wish I could understand music theory. So much praise for these presentations; it MUST be significant, and yet it's as foreign to my poor brain as it was 45 years ago. I confess my extreme regret for taking all those illegal mushrooms in 1983. I'll keep watching these videos, but they make me want to cry. Gonna go practice "Wild Thing" again.
Hey, Great video. Finally a video on a chord progression on a Penta scale. Love your approach. I have been experimenting with this. One thing that notices me and that´s combining the two scales like this non of the chords really feel like ¨home¨. I am doing Emaj (with an F#m7 in on the || with F#minor Pentatonic solo) But it kind of stays floating all the time. Very dreamy... But it never return home. Its very beautiful ofcource, you get this Satie type of vibes. But I am curious what your take would be on having a stronger ¨home¨chord in this combination ?
most excellent , best video you ve made for my interests ...this is great stuff ( it got me excited and inspired )...and is awsome for jazzin and creating new lines / melodies....much appreciated sir ....good job well done .........
Outstanding Video as Always Jens. McCoy Tyner explored a lot of this in the 60's and 70's. Things get even more interesting and useful when just one or two notes of the Minor Pentatonic Scale are Changed to create different sounds, like you did to create a Melodic Minor Sound. What's great about Pentatonic Scales is they can easily imply the sound of a Chord like an Arpeggio, but at the same time they can sound more fluid like a Scale. These Chord Shapes within Pentatonic Scales can be used for Comping, Chord Soloing, Chord Melody, and even Single Note Soloing like the Scale itself. Its another great tool for the toolbox. For anyone that's interested check out Pentatonic Khancepts by Steve Khan, Pentatonic by Jerry Bergonzi, Pentatonic Scales For Jazz Improvisation by Ramon Ricker and Exotic Pentatonic Soloing for Guitar by Simon Pratt. Thanks.
Very interesting Jens, I love the sounds of those pentatonic triad runs. You always make me want to pick up my guitar and see if I can reproduce those sounds. I also like your humerous interludes. Jack Nicholson suddenly appearing was both surprising and amusing. Keep up the good work. Thanks.
I know deep down you are onto something amazing. I only grasp about 3% but under infinite jazz power that may be just dangerous enough to become a minor jazz cat...
A really great video, this is extremely interesting and I have never seen anyone explain this in the same way before. It's amazing how many different ways you can explore the guitar neck and music in general. There is so much potential for improvisation and harmonic contrast. I'm wondering about adding enclosures with these chords, from above and below? Looking forward to exploring this, thanks!
As always, your ability to make this information and knowledge accessible to those of us at the student level is incredible, including your tasty use of humor. So good! Thank you, Jens! These voicings remind me of Eric Johnson. Does he use this approach to create chord voicings?
Thank you very much Brad! I don't think Eric Johnson uses this appraoch, but he does use a fair amount of 3-note voicings and some of these are of course also in there.
Thank you, Jens. Thanks to your recommendation, I am deep into studying Charlie Parker. He is a really good person to be studying at this point in my development, as many of his lines are outlining chords and making use of arpeggios, with some wonderful leaps up to extensions. Not only am I learning some great vocabulary, but trying to play like him is also technically challenging for me. Thank you for inspiring me and always pointing me in the right direction. I hope all in your life. Cheers from Vermont!
Hi there Jens, I've been working on Blues progressions, and ocurred me to use the mixolidian mode as logical it is to develop chords and phrases. In E7 thinking as the first step to a good blues jazz i was looking for bridge chords like D° Db° to A7/13 and A° Ab° back to E7/9 12 surely E° Eb° to V B7/#5, well i think I'm messing with it. Anyway I have to transcript your lessons and work on it. I will be happy if you develop a lesson about these 3 chords! Thank you!
I like transitioning from D minor pentatonic to E minor pentatonic over CMaj7. Transitioning chromstically through Eb minor pentatonic for a little tension/release
This is fantastic stuff, I’d love to see how the B1 minor pentatonic fits together to let you play the melodic minor modes! Especially because transposition of the pentatonics can give you all the modes of the major scale! It’s just about the numbers of fifths the pentatonics being used is away from the root. C69 + G69 + D69 = C Lydian, F6 + C6 + G6= C Ionian, And Bb6 + F6 + C6 = C mixolydian, Keep going counter clockwise round the circle, swapping in a darker pentatonic and you get all the way through the natural modes! I haven’t worked out the simple rule that allows this relates to work for melodic minor or harmonic minor, If any of you sage jazz heads know which degree I need to flatten I’d be grateful! (I have a hunch it’s the b6 pentatonic for melodic minor, but I haven’t got my head round the formula for it)
If you want to, then you could express it in a rule like that, but that is probably too complicated to think in the middle of a solo. You would need to practice it until you don't have to think about it 🙂
Jens, I think you may have a mistake in notation at the 6:00 mark. The chord symbol indicates 8-7-7 but you are actually playing 8-9-9 (low E, A, D strings). Still, it's great content....thank you!
so I got the real book and I'm working on this standard, and I'm like, should I actually start watching renditions, I think if I wanna get creative with it, probably not
He's using the C#min pent as a reference scale, and he's actually just lowering the root of the scale for minor I chords. For major chords, he's using the pent. scale built on the third of the chord (in Amaj7 that's C#m), so if it was Amaj7, he'd use the C#m pent; but since it's a minor I (Am6 and/or Am(maj7), he's lowering the root of that scale by one semitone accordingly: maj. 3rd that becomes min. 3rd. So the scale "becomes" minor and still retain all the possible chord tones, as well as the 9th for a nice colouration: C E F# G# B. Basically, the scale stays the same: the only note that's changing is the third, because Major I and minor I only differ in the third.
YES!!! Don't get me wrong, shedding on distortion will always be a winner but this stuff right here is what I personally think electric guitar was created for! The information in this video is so holy grail to me and guess what.....I don't understand a thing he did or said😂😂😂😂
Jens Larsen, you're the man. It would've taken me 100 years to figure out what in the hell I was doing. It was like existing, but not knowing where in the world I came from. Ha Ha. Then an angel falls down from heaven to give me the word of God. Ha Ha. You're like a Guitar Sage. Hope this doesn't sound creepy to you, because I'm just joking (kinda). LOL But seriously though, thanks Jen (and I'll say this for the last time, where in the hell were you when I was 12, 13, and 14 years old?). Man, I would've become a monster guitar player with your guidance back in the day. Oh, well, that's life. PS. I will gladly buy some of your books.
I'm not a jazz guy but have been using this technique in other areas sorta. I'm still not sure how you're getting CMaj7 from Bm pentatonic for a 4th in G Major, to me, Bm pentatonic is closer to GMaj9 so I feel like you'd just be hearing that over the 4 chord. Again not really a jazz guy just a music theory nerd.
and I don't know like 90 percent of these songs, and I'm wondering whether that's actually a bad thing, I'm thinking; I can always start watching renditions, but I can not unwatch them
At the minute 6 u show a pattern voicing on notes and by playing. It´s seems to me the that the very last voicing u play its different from the 1 u show in the Diagram: On the Diagram u show the notes C,E and A but on the video u play C, F# and B . Wich are the right notes? Or are they both right?. Sorry didn´t want to annoying you , just learn it properly.
Eh, personally. Relating stuff back to the pentatonics is the opposite of over complicating stuff, given that’s how I’ve memorised the fretboard, I find it quite a straight forward way of visualising the sound lol
WOW YOU KNOW ALL THAT SHIT,,, thats great im a ear player that dont know any theory,,,you know you r shit ,,think ya got a little on rick lol,,thanks for the video
![F.HERO Ft. JSPKK x ลำไย ไหทองคำ x M-PEE - ไม่สนิทบิดหมด (Thai Riders Anthem) [Official MV]](http://i.ytimg.com/vi/kPJZ0UihBfk/mqdefault.jpg)
✅How Chord Melody Will Help You Master Important Skills😎
th-cam.com/video/ryBxYdKQ7AY/w-d-xo.html
Wow... Awesome.
@@HugoPortilloMusic Thank you 🙂
Give this man the jazz Nobel prize
Thanks 😂🙏
The Modal Prize
@@liontone 😂 noooo
@@JensLarsen **tomatoes**
He has my endorsement!
Your contribution to theory in practice is invaluable to both fresh students and "professionals", alike, Jens. Apart from the content itself, the way you put everything you share into context is really something to admire because, for me, it showcases ever-evolving musicianship; a musician should never rest upon what he thinks he already has good command of. Instead, he should always crave for those small bright moments of practice when any idea (new, old, own or borrowed) can turn into a whole new set or cluster of knowledge, skills or licks. Thank you!
Thank you very much, George! :)
I have to give you a huge compliment and say that your channel is so well done. I have learned so much from you. Everything is so well presented. Thank you
Great to hear!
Long time rock player here, love your videos, you are so good and knowledgeable. I learn a lot from you and thank you for the precious education I get from you. I absolutely love it when you do or talk about things I I don't understand . Thanks for what you do. Really
Thank you! Glad they are useful 🙂
This is the most swiss-army-knife video in a series that already features several swiss-army-knife videos. Thanks!
Glad it was helpful 🙂
Breaking it down for us rock > jazz newbies! Alright, pour one out for Beato but man, you bring the firehose everytime with usable, playable, guitar magic/logic.
Thank you :)
Thank God we have Jens!❤️ Your videos are like beautiful fireworks, so inspiring and full of core information about harmonies, musicality and theory. Aaaand, they make me want to practise and play more. Jens, because of you I love music more!
⁰pop 00
I almost spilled my coffee when you did that b1 chord run.
Haha! Sorry about that :)
Wow, just wow. Sounds beautiful.
Glad you like it 🙂
This guy is unbelievable! Terrific stuff, so helpful. Needs a lot of time to explore though!
Thank you! Glad you like it!
Much to digest here, but I’ll come back to this video until I get it because the sound of the chords truly is magic.
Go for it :)
A professionally done lesson.
Thank you!
I think I’ve commented on this before on your triad video recently, but my first jazz gig I was thrown completely to the wolves. A lot of the standards we played I had never heard before, and I didn’t have a chord chart in front of me or anything. I would figure out the key by ear, then I played triads and diads (is that how u spell it? 2 note chords) that were in the pentatonic. It sounded absolutely great for jazz comping. I stayed out of the way, and had a melodic voice comping. I got a lot of compliments, and I keep getting called back for the gig! As a gigging jazz musician, I would highly recommend this approach!
Yes, that is a great way to go about it
What a superb lesson. Thanks!
Glad you liked it!
This is great ! Thanks, Jens.
Glad you like it!
Great teaching. I have to break this down and take it step by step. Is alot of stuff in one package. Thanks Lars
Wow ! a very good lesson again from Jens...Thank you , be well...:-)
Glad you like it 🙂
As a braindead guitarist who can't think about notes no matter how hard I try this is a godsend. Thank you!!
Glad you like it 🙂
Omg this just help me level up twice. Thank you for this information
Glad it helped!
Excellent MASTER, thank you very much!!
Glad you like it 🙂
Great lesson. It explains the flattened root note on a pentatonic I used to fake to sound ‘outside’
Thanks Jens !!
Lol too funny I do the same sometimes
This is a wonderful channel, Mr. Larsen. I've been playing guitar for almost 35 years and composing for 20+ years. I have studied w/ teachers, but I have found that being largely "self-taught" under the guidance of a teacher is the best method for me to improve my skillset. This channel is a wonderful "stepping-off" point for independent study on a number of topics. Your rational takes on things like amplification are also important. Thank you, sir!
Glad that the videos are useful! :)
This is incredible. I Love your channel. Never stop!
Thank you 🙂
Love it. Thanks Jens
Glad you like it!
Mr. Larsen; I struggle with music, have gotten somewhere over the time: Wow! This lesson from you has really opened up a large door for me. Also you have helped me like Jazz. Thank You
That is really great to hear, George! Go for it 🙂
getting rich with Jens Larsen! excellent thank you!
😂👍
Very cool idea.
Thanks for all the great content.
Keep up the excellent work!
Thanks, will do!
Such a great exploration and explanation. Thank you Jens!
Glad it was helpful!
You are great!!! No question...
Brilliantly done video!
Thank you Jack! Glad you think so!
Great lesson, really useful. Changing one note to a structure that you already know is really useful. Replacing the 3rd with a flat 3rd in a Major Pentatonic, opens up a great source of sounds for half diminished & altered dominants.
I'm a theory geek myself, so I get your frustration with a flat tonic description. We're describing what we hear, sometimes traditional theory falls a little short. Great stuff!
Glad you liked it!
Another brilliant, helpful video within nicely performed illustration!
Glad you enjoyed it!
Thanks Jens. I can't follow a lot of the intricate theory videos but love the ideas presented. I like this one a lot. I'm only a part timer lol. Very nice. From Chicago.
Glad you enjoyed it!
What a great idea! Always innovating, Jens 👍😁👍
Thanks so much! 😊
I very much wish I could understand music theory. So much praise for these presentations; it MUST be significant, and yet it's as foreign to my poor brain as it was 45 years ago. I confess my extreme regret for taking all those illegal mushrooms in 1983. I'll keep watching these videos, but they make me want to cry. Gonna go practice "Wild Thing" again.
Go for it 🙂
Hey, Great video. Finally a video on a chord progression on a Penta scale. Love your approach.
I have been experimenting with this. One thing that notices me and that´s combining the two scales like this non of the chords really feel like ¨home¨. I am doing Emaj (with an F#m7 in on the || with F#minor Pentatonic solo) But it kind of stays floating all the time. Very dreamy... But it never return home. Its very beautiful ofcource, you get this Satie type of vibes. But I am curious what your take would be on having a stronger ¨home¨chord in this combination ?
most excellent , best video you ve made for my interests ...this is great stuff ( it got me excited and inspired )...and is awsome for jazzin and creating new lines / melodies....much appreciated sir ....good job well done .........
Awesome, thank you!
@@JensLarsen greetings ...unfortunatly I do not have texting ...i recieved your message about the prize , but only have e-mail .
@@stevejohnston1331 that was a bot, don't answer them, they will try to scam you
@@JensLarsen mother of all flying cucumbers ehhh.....those creative scamers...thanks fer the heads up
Great lesson. Never thought of that. Simple, elegant and effective.😀👏👏
Glad it was helpful 🙂
Love your videos!!! and am sincerely looking forward to the day I know what on earth you're talking about :) Great stuff all the same
Glad you like them! I hope they will at leasy become more useful :)
Great lesson Jens, it not easy remembering these scales but it gives me something to work on
Glad it was helpful!
Fantastic explanation! I will definitely be playing around with this idea.
Go for it 🙂
Hello Jens ! This is a wonderful lesson, with a with great creative potential. So cool man!
Sorry about the double `with`
Glad you liked it!
Great stuff Jens.
Thanks!
Beatiful sounds!
Thank you :)
Outstanding Video as Always Jens. McCoy Tyner explored a lot of this in the 60's and 70's. Things get even more interesting and useful when just one or two notes of the Minor Pentatonic Scale are Changed to create different sounds, like you did to create a Melodic Minor Sound. What's great about Pentatonic Scales is they can easily imply the sound of a Chord like an Arpeggio, but at the same time they can sound more fluid like a Scale. These Chord Shapes within Pentatonic Scales can be used for Comping, Chord Soloing, Chord Melody, and even Single Note Soloing like the Scale itself. Its another great tool for the toolbox. For anyone that's interested check out Pentatonic Khancepts by Steve Khan, Pentatonic by Jerry Bergonzi, Pentatonic Scales For Jazz Improvisation by Ramon Ricker and Exotic Pentatonic Soloing for Guitar by Simon Pratt. Thanks.
Very interesting Jens, I love the sounds of those pentatonic triad runs. You always make me want to pick up my guitar and see if I can reproduce those sounds. I also like your humerous interludes. Jack Nicholson suddenly appearing was both surprising and amusing. Keep up the good work. Thanks.
Thank you! Glad to hear that 🙂
I really like your pentatonic scale for altered scales. But I found it easier to think about as a major pentatonic with flattened sixth.
That's fine too :)
Love this one
Glad to hear it :)
So much stuff packed my head hurts!! )) Consider a course on this topic. It would be great. Cheers Jens
Thanks! I think it might not be something for an entire course, but it is something you can do a lot with 🙂
I know deep down you are onto something amazing. I only grasp about 3% but under infinite jazz power that may be just dangerous enough to become a minor jazz cat...
A really great video, this is extremely interesting and I have never seen anyone explain this in the same way before. It's amazing how many different ways you can explore the guitar neck and music in general. There is so much potential for improvisation and harmonic contrast. I'm wondering about adding enclosures with these chords, from above and below? Looking forward to exploring this, thanks!
Cool Lesson. Thank you!
Glad you liked it!
Another great lesson.
Glad you liked it!
As always, your ability to make this information and knowledge accessible to those of us at the student level is incredible, including your tasty use of humor. So good! Thank you, Jens! These voicings remind me of Eric Johnson. Does he use this approach to create chord voicings?
Thank you very much Brad! I don't think Eric Johnson uses this appraoch, but he does use a fair amount of 3-note voicings and some of these are of course also in there.
Thank you, Jens. Thanks to your recommendation, I am deep into studying Charlie Parker. He is a really good person to be studying at this point in my development, as many of his lines are outlining chords and making use of arpeggios, with some wonderful leaps up to extensions. Not only am I learning some great vocabulary, but trying to play like him is also technically challenging for me. Thank you for inspiring me and always pointing me in the right direction. I hope all in your life.
Cheers from Vermont!
Hi there Jens, I've been working on Blues progressions, and ocurred me to use the mixolidian mode as logical it is to develop chords and phrases. In E7 thinking as the first step to a good blues jazz i was looking for bridge chords like D° Db° to A7/13 and A° Ab° back to E7/9 12 surely E° Eb° to V B7/#5, well i think I'm messing with it. Anyway I have to transcript your lessons and work on it. I will be happy if you develop a lesson about these 3 chords! Thank you!
I think I made a video on diminished chords a few weeks ago that also talk about secondary dim chords?
@@JensLarsen I'm going to look for it!
I like transitioning from D minor pentatonic to E minor pentatonic over CMaj7. Transitioning chromstically through Eb minor pentatonic for a little tension/release
Minus points for Santa there Jens 😂😂😂
You can't win them all 😂
This is fantastic stuff, I’d love to see how the B1 minor pentatonic fits together to let you play the melodic minor modes!
Especially because transposition of the pentatonics can give you all the modes of the major scale! It’s just about the numbers of fifths the pentatonics being used is away from the root. C69 + G69 + D69 = C Lydian,
F6 + C6 + G6= C Ionian,
And Bb6 + F6 + C6 = C mixolydian,
Keep going counter clockwise round the circle, swapping in a darker pentatonic and you get all the way through the natural modes!
I haven’t worked out the simple rule that allows this relates to work for melodic minor or harmonic minor,
If any of you sage jazz heads know which degree I need to flatten I’d be grateful!
(I have a hunch it’s the b6 pentatonic for melodic minor, but I haven’t got my head round the formula for it)
So the rule for the altered pentatonic scale is go a fourth away and drop the root of the minor pentatonic?
Galt = C minor b1
If you want to, then you could express it in a rule like that, but that is probably too complicated to think in the middle of a solo.
You would need to practice it until you don't have to think about it 🙂
Nice work. Thanks. By the way, are you Dutch?
Thank you! No, I am Danish 🙂
Yaaah, I love Danish language but it is really difficult to pronounce. Tussen takk!! hahaThanks again. @@JensLarsen
Great channel. What Ibanez model are you playing?
Thank you! My guitar is an AS2630 🙂
Jens, I think you may have a mistake in notation at the 6:00 mark. The chord symbol indicates 8-7-7 but you are actually playing 8-9-9 (low E, A, D strings). Still, it's great content....thank you!
so I got the real book and I'm working on this standard, and I'm like, should I actually start watching renditions, I think if I wanna get creative with it, probably not
One question - what is the relationship between a C#minor pentatonic and an A minor sixth?
I am actually explaining that in the video, but maybe take it back a minute more to where I go over that for the Cmaj7 🙂
He's using the C#min pent as a reference scale, and he's actually just lowering the root of the scale for minor I chords.
For major chords, he's using the pent. scale built on the third of the chord (in Amaj7 that's C#m), so if it was Amaj7, he'd use the C#m pent; but since it's a minor I (Am6 and/or Am(maj7), he's lowering the root of that scale by one semitone accordingly: maj. 3rd that becomes min. 3rd.
So the scale "becomes" minor and still retain all the possible chord tones, as well as the 9th for a nice colouration: C E F# G# B.
Basically, the scale stays the same: the only note that's changing is the third, because Major I and minor I only differ in the third.
YES!!! Don't get me wrong, shedding on distortion will always be a winner but this stuff right here is what I personally think electric guitar was created for! The information in this video is so holy grail to me and guess what.....I don't understand a thing he did or said😂😂😂😂
Jens Larsen, you're the man. It would've taken me 100 years to figure out what in the hell I was doing.
It was like existing, but not knowing where in the world I came from. Ha Ha. Then an angel falls down from heaven to give me the word of God. Ha Ha. You're like a Guitar Sage.
Hope this doesn't sound creepy to you, because I'm just joking (kinda). LOL
But seriously though, thanks Jen (and I'll say this for the last time, where in the hell were you when I was 12, 13, and 14 years old?). Man, I would've become a monster guitar player with your guidance back in the day.
Oh, well, that's life.
PS. I will gladly buy some of your books.
This is last level of jazz...
I'm not a jazz guy but have been using this technique in other areas sorta. I'm still not sure how you're getting CMaj7 from Bm pentatonic for a 4th in G Major, to me, Bm pentatonic is closer to GMaj9 so I feel like you'd just be hearing that over the 4 chord. Again not really a jazz guy just a music theory nerd.
Stuff like this is context sensitive, so if you play Dm7 G7 Cmaj7 and then use this on Cmaj7 it would sound like Dm7 G7 Gmaj7. Just give it a try 🙂
my brain is exploding, it's a revelation
Glad you like the video 🙂
video production quality almost as good as your guitar skills.. be careful, at this rate you'll end up a cinematographer.. cheers
Haha! Well, I have a good editor to help me, so it is not all me 🙂
The C major chord is a V chord in the F major scale. Can somebody explain how that relates to this?
Can you give me a time stamp in the video?
Yes, thanks! You talk about it @ 1:34 @@JensLarsen
I øvrigt, tusind tak for din hjælp og fremragende videoer @@JensLarsen
A lot of information
I need to rewatch at like 25% speed
Thumbnail image looks like Backgammon video 😂
It sort of is 😁
@@JensLarsen indeed. It even moves the same
and I don't know like 90 percent of these songs, and I'm wondering whether that's actually a bad thing, I'm thinking; I can always start watching renditions, but I can not unwatch them
👌👌👌👌👌👌👌👌
👍 🙏
At the minute 6 u show a pattern voicing on notes and by playing. It´s seems to me the that the very last voicing u play its different from the 1 u show in the Diagram: On the Diagram u show the notes C,E and A but on the video u play C, F# and B . Wich are the right notes? Or are they both right?. Sorry didn´t want to annoying you , just learn it properly.
Yes, it is just a typo in the tabs go with what I play :)
@@JensLarsen Thx a lot
Jens love your stuff. Hate this premieres in.... So cheap and kiddy like.
Ok. I really enjoy hanging out with the chat at the premieres to be honest.
@@JensLarsen Me too 😁🤘
Hate is a bit of a strong word lol, take the free jazz education however you’re gonna get it,
@@xyzyzx1253 you are right. Complaining around some of the best guitar insights on the web that we get for free is a bit rich. Thanks Jens,
Christ. It started easy but then I hit my ceiling.
Sounds so beautiful but is a whole year of practice. A shame 😅
A Jazz Musician talking about money, lol.
watching others to me is really kinda messing up my creative mindset or so, right, because I will subconsciencely copy them
Yet another way to formalize overcomplicating the altered scale… “melodic minor b1” The horror, the horror. 😱
Adam Manness over at Open Studio bases his magic piano voicing system on similar. Worth checking out. Cheers, D
Eh, personally. Relating stuff back to the pentatonics is the opposite of over complicating stuff, given that’s how I’ve memorised the fretboard,
I find it quite a straight forward way of visualising the sound lol
Erm, on the pentatonics, not the use of “b1.” 😂
Exactly! 😁
@@rockstarjazzcat lol for sure the idea of a flat1 is a bit rogue!
Pentatonics but don't sound like pentatonics.
Sometimes that is exactly what should be 😁
I'm totally lost :(
WOW YOU KNOW ALL THAT SHIT,,, thats great im a ear player that dont know any theory,,,you know you r shit ,,think ya got a little on rick lol,,thanks for the video
too complicated, you lost 99% of your audience and no one is going to look at this video past the first 2 minutes...
It may shock you, but not everyone is like you, so lots of people find the videos useful, just read the comments
@@JensLarsen ya I went with a different video and learned it there haha cheers!
Hate jazz so much!
In that case, you may not find my content enjoyable
Fb1#7