Tommy Huxley bro he provides a lot more info than other and most you tubers. Supporting him on Patreon even at a $1.00 a month is helpful. I have been following him for 2 years and finally realized that he’s a kind person. And decided to make a small monthly contribution. But that’s me. Not judging. Keep playing!
Pfftt.... this is just very rudimentary concepts based on relationship between scales sharing common tones. Even high school students have learned this at some point.
The Most Important Scale Exercise In Jazz th-cam.com/video/2Ze22BNftAA/w-d-xo.html A jazz solo will usually follow the chord progression that it is played over, the most important way that you do that is by using arpeggios over the chords. You are probably already practice arpeggios, but chances you can do it in a better way than what you are doing now, and that is what I want to talk about in this video. Content: 0:00 Intro - It is More Than Just an Easy Scale! 0:52 What is Pentatonic Sound? 1:10 #1 Minor Pentatonic - Difference between bop sound and pentatonic melodies 2:02 Comparing Bop and Pentatonic melodies 3:05 #2 Minor Pentatonic 3rd of Maj7 4:06 #3 Lydian pentatonic 4:26 #4 Minor 6 pentratonic on Altered Dominant 6:40 #5 Minor 6 pentatonic on Dominant 7:30 #6 Altered scale (maj b6 pentatonic) 9:30 #7 Lydian Augmented 9:53 Like the video? Check out my Patreon Page
If you think playing pentatonic scale is easy, you ought to try playing pentatonic scale three and four notes per string stacotto. Although this is performed by prog metal guitarist, it could actually be used effectively in Jazz. I have gotten incredibly fast at this, say one note at a time from 5th interval low E string to 22nd fret on high E string 4th interval of Am pentatonic scale. I have also been getting better at jump one back the same in both directions. I've been getting better at using these perspectives in all keys. I started working on this three years ago. I have also gotten very proficient at playing pentatonic and major scales with outside notes in Latin Jazz format swing. Sounds as good as what your doing except different. I have to admit that you have some ideas that I have not yet tried. Maybe worth looking into if I get the time. Cheers
I'm only three persons, not five. Two are awaiting resurrection, little me and Betty. There are only twenty possible black holes in a cube space time continuum universe. These dwell within two sets of four energy fields. Because the universe is multi dimensional time wise, all twenty are within the four stacked negative electrons. The one in the middle is surrounded by the second which is surrounded by the third. All three of these are surrounded by the fourth negative electron. That's my soul. The universe is much more complicated than a calculator. Although factoring in the square route of twelve is E=MC√ 1.2988200 it must also be shaped like a cube and have a history that repeats itself infinitely. The twenty spirits dwell within the Trinity which is the unity of three persons in one. The other two of the three have independent reality through subspace frequencies. This is the one seated upon the wings of the cherubim which inhabits eternity. There is no mathematical room for anyone else in heaven, therefore they are cast down to the earth. The speed of light is a constant. That is forever. These twenty spirits, that dwell within the four stacked negative electrons, switch places with each other in increments of one every 88 trillion years. There is not a more perfect Union or any union greater.
Wow Jens, "simple pentatonic scales...." but the ways you show us how to use it is higher mathematics to me. I am really going to dive into this. Great stuff, as alwways, THANKS!
My new home for 6 month. youtube channel of jens larsen. after feeling stuck on basics 7th chords and 1-2 pentatonic scales for months i feel like your teaching will finally let me break that wall.
This is incredible. I know all of these scales but haven't applied them like this. It's like someone telling you to speak English in a foreign country, and having it all work!
I've looked at lots of Jens videos and feel he doesn't actually slow down to really teach anything. It's all skimming over topics but not actually teaching. So damn frustrating.
Usually, nobody likes to hear this, so most people interpret it as an insult, even if it isn't meant as one. Please keep that in mind. There are different skill levels when it comes to lessons, and some may be above what you are able to follow. If you feel that this lesson would need me to show you how to play Fm pentatonic or how the Cmaj7 arpeggio works in an Am7 line then that is most likely because you don't have the skill level to follow along. There is nothing wrong with that, also not the video or my choices in teaching. As you can see from how the lesson is received there are plenty of people who found it useful, and for those people including basic information about how to make an Am7 line or how to play an Fm pentatonic position makes the lesson too long and boring. I used to add explanations like that 5 years ago, but the response, or reaction from the viewers have made me change that. The reception of this video speaks for itself, doesn't it? Does that help explain it?
@@jamescoxiv9990 It is difficult to give too specific advice because everybody is different and at different levels, but maybe check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/ That is my perspective on getting started playing Jazz, and it is not about tons of positions. And maybe some of these videos: th-cam.com/video/5hmSQuMIf-w/w-d-xo.html
This is great! I find it amusing when you say simple pattern considering the framework which is pretty advanced stuff. Yeah, most can play that but not in the right place nor at the right time :D
I don’t play guitar 🎸 but you make this lesson so straight forward to understand . Somehow I find that guitarist like you really break down pentatonics in a very digestible form. Thank you sir.🇯🇲👍🔥🔥🤜🏾🤛🏾
It's actually refreshing to always note that you respect and understand naming conventions based on context. There are too many self proclaimed "teachers" that don't impart proper respect and understanding of music theory and how to correctly discuss and implement it. Kudos Jens !!
Jens Larsen - Oh yes I know.. I always enjoy your teaching, as it doesn’t mislead, as some do, and some of them should have enough experience to know better. 😉👨🏻
You had me at Pentatonic scale! Always a great scale that is at the aid of everyone, and it's great in any situation, and sounds good! Great insight here man
A few discoverie's: If we put the Jerry Bergonzi skipping technique to your lick we beget: over (D7alt): DBb GbF > F# D C Bb> CGbF D> F C Bb F#(nice Maj7 #11 shape) Bb F )Eb)D C possibility to create sus sound...
Jens . What model is the Yamaha guitar you are using and are there guitars of similar quality for $500. or less? How does it compare to the Gibson 335? Thanks
I love your videos so much Jens . I must admit I have to watch most of them over and over again, like this one, because there is so much there and you move very fast. But I would not want it any other way!
People never really discuss the insane utility of the major and minor pentatonics. Major pent skips right over the 11 avoid tone. Same thing with the minor 13. You have quick access to ALL of your tensions, b5 and dominants (3 for minor, b3 for major). Easy chromaticism. Easy Dorian. Your min7 arpeggios and chords. The list goes on and on...
You could try to check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/ to get some suggestions! And then browse this playlist to see if some of that fits your level and interests: th-cam.com/video/PyHXN3Vxhz4/w-d-xo.html
Good Teaching .......pardon me but Jazz players always sound to me... like they are searching and trying to find the right note to play.....also once I hear them start playing a group of notes ....I always know whats coming next... very predictable ....another sequence of the same patern of notes Sorry about that but thats why Jazz is very boring to me ....Although I do Love the Dueling Gypsy Swing Style Players Very Entertaining .....They go to extremes and can really get carried away ....I LOVE THAT ......THANKS AGAIN YOU ARE A GREAT INSTRUCTOR
Excellent work again Jens. I have just added pentatonic riffs to the arpeggios you showed earlier. It is such a simple 'trick' and I swear it now sounds like I'm playing Jazz.. I may now get around to swapping my strings over to the flat wounds I bought earlier :) Thanks heaps for sharing.
Just like any "easy" one, like chromatic - it's easy to learn, but to master it it's another thing. Thank You for helping me realising different ideas of how to utilize such a simple, yet powerful tool.
Hello Jens, you're videos and instruction are the best. Thank you for all you do !! Question - How do you keep up with the chord changes and perform chord-tone targeting while playing a song?
It is about thinking ahead, similar to how you read a text out loud. The main technique is usually referred to as playing towards target notes. Maybe check out some of these videos: th-cam.com/video/r_HZSUfOKwM/w-d-xo.html
Thank You !! Your video "Best approach: Target notes on a II V I " is providing useful guidance...Your the only instructor I have come across that illustrates a solid approach to following the changes and chord-tone targeting. Your point about some notes are better targets than others is very useful too.
Wow this is amazing ...thanks a lot sir👏🏽👏🏽👏🏽👏🏽🔥... By the way, Jesus is the Son of God. Believe he died and resurrection then repent from sin which is desobedience to God knowingly or not. The bible is true even though people used it wrong along time in the past😔♥️🙏
Fantastic lesson, Jens - one of the best yet for us rock guys. You can use all kinds of chromatic notes in between the Pentatonic notes. The Pentatonic scale is a skeleton onto which you can add all kinds of chromatic "meat."
man i just discovered your channel. i suck at improvising, also my flamenco guitar (the one i started learning with, after the old one i found in my garage) broke today and i have no money to buy other one. im just here to tell you that the work you do is AMAZING and im so so grateful with you because you choose to share it to us mere mortals, just f****g sharing it and thats the most kind and amazing thing to do. thanks for sharing maestro! monstruo!
Thank you very much mister! You are my favorite! I really improve my understanding of jazz guitar playing with every lesson! I'm happy that i have such an apportunity to learn with you for free! May be I could donate by any ways? Just tell me how.
Disculpa la pregunta Maestro. Es decir que sobre un acorde alterado podemos utilizar cualquiera de los modos de la escala menor melodica de la que proviene dicho acorde?? Obviamente con las alteraciones correspondientes... gracias y Excelente clase como siempre. Saludos desde Guatemala!
It's funny, I often think of these pentatonic scales and wonder if anyone else has found them. I accidentally discovered the major pentatonic with a flat 6 when working out how to improvise over a modal chord progression I made, and then I see it here. Amazing. Two of my favourites include 1 b9 3 5 b7 and 1 b3 4 b5 b7. There's so much scope for altering even these as well. A lifetime of discovery awaits.
Excellent comment. Those are both Japanese scales I learned long ago from a huge book of scales from all over the world that my best friends father (a jazz bassist) gave to him. They're some of my favorite scales still too. That line _"a lifetime of discovery awaits"_ is so true and it's that phenomenon that has kept me interested, driven and happy as a musician since I first tried to play an instrument.
Thanks Jens. Really appreciate your free! jazz and music lessons on yt. For those who go negative on you, I can only say - Delete, block, and - Go get a life! You don't like these free lessons, Pls Go Elsewhere
when you use the minor pentatonic on the relative major (or the other way round) you need to "rethink the funktion of the notes". I am always struggling with this, when I switch fast. Need more exersice. Thanks for the lession, it rocks! ;-)
Some people forget (because of genre bias) that a pentatonic scale literally just means it's a 5 note scale. Not only that, there are many different types of pentatonic scales. And as any even decent jazz musician (or any other genre player) would know, just playing every note in a diatonic scale is often just not very interesting. Regardless, there are many forms of pentatonic scales that many musicians are unaware of. Here is a good exercise to find some of them, and more importantly imo see how they relate to the diatonic modes (and perhaps how some of them may even have been discovered): Pick a key and play the standard minor pentatonic in the Aeolian mode position and move each scale degree up one whole or half step (keeping the notes from the diatonic key. As you do this you'll find 2 more spots that contain the same minor pentatonic scale, but also a few Japanese scales and one really nice Dominant (I call that one the Jeff Beck scale, lols).
Because one thing is to demonstrate something so you can hear how it sounds and another is learning how to feel time internally. If you think about it then it is pretty obvious :)
I like how these 5 note scales can get away from the bebop sound if anytime you don't really want to play bebop lines, but of course you could combine these 5 note scales worth bebop playing.
This is a really intense lesson. I mean there is a lot of information here. high level maintence. I would say that if you say in the title 7 pentatonic tricks- which there may yet be here. it would be helpful to add numbers into your feed. so that people who need about a week for each trick will remember where they are. but you're cool. keep it up.
@@AslanJazzLan Well, I edit some stuff before and I do the last 15-20% so that I get it the way that I want it. If you want him to edit your videos then you can hire him to do so, his e-mail is in the description of the video :)
@@JensLarsen Honestly, I love editing. It just takes me a long time. Your videos do look great and I'm learning a lot from them! ^.^Bebop playing is a weakness for me so I'm trying to develop that. I'd love it if you would check out some of my music analysis videos. My videos on Schism and Pnuema by Tool are two I'm very proud of.
Nagyon nagyon nagyon sok a beszéd!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Hi Jens! Actually Bb Major 6b pentatonic is Bb harmonic pentatonic. There is no Bb 6b Major scale. It calls Bb Major harmonic scale. Btw nice tutorials and I am your new follower!
Thanks! Actually the b6 pentatonic name is fairly common so I don't think it would be correct to say that it doesn't exist, but you can call it Bb Major harmonic scale as well, that name makes sense too.
Besides being highly informational and useful, the entertainment value of this video is off the charts. You really had me laughing with some of this content. I use modelers also and am torn between continuing to bring an amp to gigs or not. Thanks for providing your insights into this subject.
Great lesson! I've been practicing using these pentatonic ideas in solos in my own practice time this past week and I'm really liking this approach. I feel like it's opened up another realm of possibilities for what I can play and it's easy to do because it's pentatonic scales and patterns I already know. Thanks for making this video!
Regarding the application of the F-pent over the D-altered chord... so the go-to pentatonic for the altered chord begins a minor 3rd above the root of the altered chord. But the notes of the D-alt chord could also function as an Ab-alt, correct? Yet the pentatonic built on the minor 3rd of the Ab, which would be B-pentatonic (Cb technically, but...) do not work for the D-altered. I am missing something in here, definitely.
Thanks for replying Jens! Well, on D-alt, F-pentatonic works with an altered fifth and ninth, as you clearly point out, but B minor pentatonic has E, A, and B which do not belong on a D-altered dominant scale, do they?
A lot of times I find it really helpful to take a new strategy like the ones you demonstrate in this lesson, and find a really good place to use it in a tune I already play, then do it right there every single time for a while. (As an exercise, of course!). Here is a good one that years ago helped me get the sound and fingering of your Lydian pentatonic substitution into my playing, and now it has become a bonafide go-to approach on the song: on Girl From Ipanema, at the top of the BRIDGE, throw down an F minor pentatonic on that big F#major7 chord. It just works like a charm every time, and best of all you get two full measures in which to play with it. Do this every time the bridge comes around for a week or two, and you will totally own this cool pentatonic substitution. Thank you for another great lesson, Jens. Now I have to find a few tunes with perfect spots to throw in that major b6 pentatonic idea. Any suggestions?
Which of your videos would you recommend for me just venturing out of blues and starting to experiment with different sounds. I’m very simple in my theory. Thanks 🙏🏼
Furthermore what maybe could be interesting, is to declare what is unique of the Tetratonic but then Non Root for instance(I try to use exact your concept only with The root omitted): over D7alt: GbF CBb- C Bb GbF(stays the same)FC Bb Gb(larger intervals) Bb Gb F C My old concept would have been:(maybe for someone out there interesting)6 GbF CBb Gb F- +6 CBb GbF CBb and then if possible one octave lower...of course played over Ab7 it gives us Ab alt we could us the D again because it is the #11 (the character of the Lyd Dom)played over F7 we get Phrygian dominant but better to replace the F by a Eb: so Gb Eb C Bb
@Jens Larson, When you spoke of the Am6 Pentatonic, you suggested raising the 6th scale degree but in your example you raised the 7th scale degree (G#). AM I missing something or did you accidentally omit the F# in the ii V I example?
I love a new melodic minor pentatonic scale to play with! (Counter to an early jazz theory book I read, I always suspected the fifth mode of the melodic minor held wonderful opportunities!) (By the way, I bet this offers great textures over all of the other relative chords in melodic minor, right? (relative m7b5, m7b9, 7#11, etc...))
Okay I see why your maj penta b6 Lick sounds so Good..you built it on D F# C F Bb chord shape, the 1st of 4...you make me study this lick on metronome, Thanks again...I am studying this on piano first later guitar in 16th all keys(of course)
Hello Lens, thank you for your teaching. I watched another video before this one. Stopped this one at 1.34 to look at and try to play the tab on screen. Just want to say that i personally find the way lessons progress too linear and progressive for me. Just stopping here and playing the sequence of the tab a few times and not very well ie missing notes and loosing where i was on the neck. But i kept trying not worrying about how it sounded and errors did happen but the notes and where they are on the neck did sink in and I found myself forgetting about the exercise sequence but just improvising on the notes in whatever order happened to flow out of me......I think this is what I want to say to conclude as if I were telling myself: 1. give the tab as shown at 1.34 2. keep practising to get the notes going over them 3. be creative with them playing what ever you want to, just let it happen! This mirrors other fields and I am thinking about studies I have been doing on spiritual matters. 4 paths. I will note all four after this note. We get so sequenced in our thinking. its all logical left brain. Linear (straight line sequence/conscious mind progressing from a to b to c to.....etc) and not radial (lines at different angles out of a centre -spider diagrams/mind maps . Right brain is radial (emotional coming from unconscious mind). That is where creativity happens and its creativity that is missing. So thats my suggestion. Just a little thing to consider. Eg give a tab sequence of notes. Help people learn them on the neck. Help them to be creative with them...rather than sequencing a whole lesson which is difficult for people to remember and so enjoyment is suspended.... I hope that I am not sounding disrespectful of your talent and what you are doing in your lessons because no that is not the point. I shall be watching to learn more from you.... It might not be your style but there's a tube video by Steve Vai where he gives the story outline of how he wrote 'For the Love of God'. Have a look at that if you're interested because he says it better than I could. Title is 'Steve Vai Guitar Lesson - For The Love of God - Alien Guitar Secrets: Passion & Warfare'. 1. Via positiva. 2. Via negativa. 3. Via Creativa. 4. Via Transformativa (Rev Matthew Fox)........I have to add that at this time I am more interested in watching your teaching than his. We go through phases/have different needs at different times..
@@JensLarsen Not particularly, I just don't understand how it's pentatonic rather than diatonic. I can understand the basics of having a set number of notes in a scale that you're "supposed" to play over a chord progression, but I tend to look at the pentatonic scale as a shorthand grouping of notes that give a particular sound. If I use other notes, then the sound isn't there, and obviously I have to ask "what other notes?"
@@ColonelRPG I am also in that respect only using the pentatonic scale. So if I use it on a chord then that is the only 5 notes used. I am just not doing that on all the chords in the chord progression and just using basic material that fits those chords.
Hi jens, I'm enjoying your take on the possibilites with pentatonics. A whole new spectrum for me, since I have more or less neglected these scales. One thing that puzzles me is why Cm pentatonic is correct for Ab melodic minor ? Can you explain ?
You are incredibly generous providing this for free on YT. Thanks as always.
You're very welcome! I am glad you like the videos! 🙂
If you are able, you can show your appreciation on Jens' Patreon page. We all gotta eat!
It's called monetization bro.
Tommy Huxley bro he provides a lot more info than other and most you tubers. Supporting him on Patreon even at a $1.00 a month is helpful. I have been following him for 2 years and finally realized that he’s a kind person. And decided to make a small monthly contribution. But that’s me. Not judging. Keep playing!
Pfftt.... this is just very rudimentary concepts based on relationship between scales sharing common tones. Even high school students have learned this at some point.
The Most Important Scale Exercise In Jazz
th-cam.com/video/2Ze22BNftAA/w-d-xo.html
A jazz solo will usually follow the chord progression that it is played over, the most important way that you do that is by using arpeggios over the chords.
You are probably already practice arpeggios, but chances you can do it in a better way than what you are doing now, and that is what I want to talk about in this video.
Content:
0:00 Intro - It is More Than Just an Easy Scale!
0:52 What is Pentatonic Sound?
1:10 #1 Minor Pentatonic - Difference between bop sound and pentatonic melodies
2:02 Comparing Bop and Pentatonic melodies
3:05 #2 Minor Pentatonic 3rd of Maj7
4:06 #3 Lydian pentatonic
4:26 #4 Minor 6 pentratonic on Altered Dominant
6:40 #5 Minor 6 pentatonic on Dominant
7:30 #6 Altered scale (maj b6 pentatonic)
9:30 #7 Lydian Augmented
9:53 Like the video? Check out my Patreon Page
If you think playing pentatonic scale is easy, you ought to try playing pentatonic scale three and four notes per string stacotto. Although this is performed by prog metal guitarist, it could actually be used effectively in Jazz. I have gotten incredibly fast at this, say one note at a time from 5th interval low E string to 22nd fret on high E string 4th interval of Am pentatonic scale. I have also been getting better at jump one back the same in both directions. I've been getting better at using these perspectives in all keys. I started working on this three years ago. I have also gotten very proficient at playing pentatonic and major scales with outside notes in Latin Jazz format swing. Sounds as good as what your doing except different. I have to admit that you have some ideas that I have not yet tried. Maybe worth looking into if I get the time. Cheers
I'm only three persons, not five. Two are awaiting resurrection, little me and Betty. There are only twenty possible black holes in a cube space time continuum universe. These dwell within two sets of four energy fields. Because the universe is multi dimensional time wise, all twenty are within the four stacked negative electrons. The one in the middle is surrounded by the second which is surrounded by the third. All three of these are surrounded by the fourth negative electron. That's my soul. The universe is much more complicated than a calculator. Although factoring in the square route of twelve is E=MC√ 1.2988200 it must also be shaped like a cube and have a history that repeats itself infinitely. The twenty spirits dwell within the Trinity which is the unity of three persons in one. The other two of the three have independent reality through subspace frequencies. This is the one seated upon the wings of the cherubim which inhabits eternity. There is no mathematical room for anyone else in heaven, therefore they are cast down to the earth. The speed of light is a constant. That is forever. These twenty spirits, that dwell within the four stacked negative electrons, switch places with each other in increments of one every 88 trillion years. There is not a more perfect Union or any union greater.
reeeallyy suuuper your mignuting of your vidéo so that we can work efficiently...
Thanks .
Gracias saludos desde México
Incredible! Jens cuts through the BS and gives you the info that immediately opens doors for your soloing.
Wow Jens, "simple pentatonic scales...." but the ways you show us how to use it is higher mathematics to me. I am really going to dive into this. Great stuff, as alwways, THANKS!
Go for it 🙂
Hi Jens, this is just a note of thanks. Thanks for your daily jazz guitar posts. Great stuff. I look forward to viewing your latest everyday.
My new home for 6 month. youtube channel of jens larsen. after feeling stuck on basics 7th chords and 1-2 pentatonic scales for months i feel like your teaching will finally let me break that wall.
This is incredible. I know all of these scales but haven't applied them like this. It's like someone telling you to speak English in a foreign country, and having it all work!
Go for it :)
I've looked at lots of Jens videos and feel he doesn't actually slow down to really teach anything. It's all skimming over topics but not actually teaching. So damn frustrating.
Usually, nobody likes to hear this, so most people interpret it as an insult, even if it isn't meant as one. Please keep that in mind.
There are different skill levels when it comes to lessons, and some may be above what you are able to follow. If you feel that this lesson would need me to show you how to play Fm pentatonic or how the Cmaj7 arpeggio works in an Am7 line then that is most likely because you don't have the skill level to follow along.
There is nothing wrong with that, also not the video or my choices in teaching. As you can see from how the lesson is received there are plenty of people who found it useful, and for those people including basic information about how to make an Am7 line or how to play an Fm pentatonic position makes the lesson too long and boring.
I used to add explanations like that 5 years ago, but the response, or reaction from the viewers have made me change that. The reception of this video speaks for itself, doesn't it?
Does that help explain it?
@@JensLarsen Good point. Do you have any videos that break down those concepts at a beginner level?
@@jamescoxiv9990 It is difficult to give too specific advice because everybody is different and at different levels, but maybe check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/
That is my perspective on getting started playing Jazz, and it is not about tons of positions.
And maybe some of these videos: th-cam.com/video/5hmSQuMIf-w/w-d-xo.html
Hi Jens Larsen....
I can to use your scales for piano ?
Is my instrument...
I AM beguiner...
Yes, this works for piano as well 🙂
This is great! I find it amusing when you say simple pattern considering the framework which is pretty advanced stuff. Yeah, most can play that but not in the right place nor at the right time :D
Thank you 🙂 Simple and easy is often not the same 😁
I don’t play guitar 🎸 but you make this lesson so straight forward to understand . Somehow I find that guitarist like you really break down pentatonics in a very digestible form. Thank you sir.🇯🇲👍🔥🔥🤜🏾🤛🏾
You are very welcome 🙂
Jens, wanted to point out that a few of your playlists are named “Learn Jazz Make, Make Music” with the word “make” twice. Thank you for your work!
Thank you! I will check it out 😎
It's actually refreshing to always note that you respect and understand naming conventions based on context. There are too many self proclaimed "teachers" that don't impart proper respect and understanding of music theory and how to correctly discuss and implement it. Kudos Jens !!
Thank you! 🙂 Glad you think so, it is quite a minefield with some of these things
Jens Larsen - Oh yes I know.. I always enjoy your teaching, as it doesn’t mislead, as some do, and some of them should have enough experience to know better. 😉👨🏻
I need some simple jazz chords to get started in jazz. It can get VERY COMPLICATED for the "pop rock" guitarist!🤣👍🏼 ...I'll keep watching.
Wow... subbed within 2 mins... thanks!
Thanks! Hope you find more stuff you can use :)
Never about the notes. It’s always about the space between them, intervals and timing.
Exactly 🙂
Bleedin' gums Murphy also said that to Lisa in the Simpsons : ) It's so true, phrasing is everything
It's about the note you don't play
This video totally blew my mind
A simple and understandable way for us the rock players to learn more jazz. Thank you for sharing!!!
Glad you enjoyed it!
Lovin that Bb major b6 pentatonic Jens. I just learned something, Thank you.
You're very welcome 🙂
You had me at Pentatonic scale! Always a great scale that is at the aid of everyone, and it's great in any situation, and sounds good! Great insight here man
Thanks RC :)
@@JensLarsen You are very welcome!
yea pretty much text book example of how it's less about the scale or notes it's more about how you use them
Glad you like it! :)
A few discoverie's: If we put the Jerry Bergonzi skipping technique to your lick we beget: over (D7alt): DBb GbF > F# D C Bb> CGbF D> F C Bb F#(nice Maj7 #11 shape) Bb F )Eb)D C possibility to create sus sound...
Jens . What model is the Yamaha guitar you are using and are there guitars of similar quality for $500. or less? How does it compare to the Gibson 335? Thanks
It is an SG1000 from 1975. I don't know if you can find one that is similar for $500
@@JensLarsen Thanks Jens.
I love your videos so much Jens . I must admit I have to watch most of them over and over again, like this one, because there is so much there and you move very fast. But I would not want it any other way!
Glad you like them!
I just think and throw the Pents around like they were a Maj 6/9 or m7sus arpeggios.
Not a horrible strategy for sure! :)
Thanks for this! I love your vids!
My pleasure!
People never really discuss the insane utility of the major and minor pentatonics. Major pent skips right over the 11 avoid tone. Same thing with the minor 13. You have quick access to ALL of your tensions, b5 and dominants (3 for minor, b3 for major). Easy chromaticism. Easy Dorian. Your min7 arpeggios and chords. The list goes on and on...
Hi Jansen, I have came across your channel. I am new with Jazz, which of your videos should I start with? thanks
You could try to check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/ to get some suggestions!
And then browse this playlist to see if some of that fits your level and interests:
th-cam.com/video/PyHXN3Vxhz4/w-d-xo.html
@@JensLarsen Perfect. Thank you
No one:
Me: I have never played jazz in my life
You've gotten so good at making your lectures appealing without compromising on content! Thank you for all your shared knowledge :)
Thank you! Glad you like it :)
Good Teaching .......pardon me but Jazz players always sound to me... like they are searching and trying to find the right note to play.....also once I hear them start playing a group of notes ....I always know whats coming next... very predictable ....another sequence of the same patern of notes Sorry about that but thats why Jazz is very boring to me ....Although I do Love the Dueling Gypsy Swing Style Players Very Entertaining .....They go to extremes and can really get carried away ....I LOVE THAT ......THANKS AGAIN YOU ARE A GREAT INSTRUCTOR
Larsen, you have a space in the open source teachers hall of fame ! No, seriously. You make it real, buddie. thank you!
Thank you! :)
Excellent work again Jens. I have just added pentatonic riffs to the arpeggios you showed earlier. It is such a simple 'trick' and I swear it now sounds like I'm playing Jazz.. I may now get around to swapping my strings over to the flat wounds I bought earlier :) Thanks heaps for sharing.
Just like any "easy" one, like chromatic - it's easy to learn, but to master it it's another thing. Thank You for helping me realising different ideas of how to utilize such a simple, yet powerful tool.
Go for it :)
Why don't you explain and give slowly examples to beginners like me ...😛
Greetings frm Indinesia..🙏🇲🇨👍🏾
Jens is the *MASTER!* Thank you for helping to expand my musical universe!
Thank you, Jume 🙂
I´m a metal dude, but I could watch this all day, the clarity of it is astounding! Subscribed.
Hello Jens, you're videos and instruction are the best. Thank you for all you do !! Question - How do you keep up with the chord changes and perform chord-tone targeting while playing a song?
It is about thinking ahead, similar to how you read a text out loud. The main technique is usually referred to as playing towards target notes. Maybe check out some of these videos: th-cam.com/video/r_HZSUfOKwM/w-d-xo.html
Thank You !! Your video "Best approach: Target notes on a II V I " is providing useful guidance...Your the only instructor I have come across that illustrates a solid approach to following the changes and chord-tone targeting. Your point about some notes are better targets than others is very useful too.
You´re awesome but I´m not at this level YET, gimme a sec, I´ll be back I swear.
Go for it!
Wow this is amazing ...thanks a lot sir👏🏽👏🏽👏🏽👏🏽🔥...
By the way, Jesus is the Son of God. Believe he died and resurrection then repent from sin which is desobedience to God knowingly or not. The bible is true even though people used it wrong along time in the past😔♥️🙏
Fantastic lesson, Jens - one of the best yet for us rock guys. You can use all kinds of chromatic notes in between the Pentatonic notes. The Pentatonic scale is a skeleton onto which you can add all kinds of chromatic "meat."
Yes, but you will miss the diatonic stuff if you want to play bop though :)
extremely useful Jens - thanks and now supporting on Patreon :)
Thank you! :)
man i just discovered your channel. i suck at improvising, also my flamenco guitar (the one i started learning with, after the old one i found in my garage) broke today and i have no money to buy other one. im just here to tell you that the work you do is AMAZING and im so so grateful with you because you choose to share it to us mere mortals, just f****g sharing it and thats the most kind and amazing thing to do. thanks for sharing maestro! monstruo!
Thank you very much mister! You are my favorite! I really improve my understanding of jazz guitar playing with every lesson! I'm happy that i have such an apportunity to learn with you for free! May be I could donate by any ways? Just tell me how.
Disculpa la pregunta Maestro. Es decir que sobre un acorde alterado podemos utilizar cualquiera de los modos de la escala menor melodica de la que proviene dicho acorde?? Obviamente con las alteraciones correspondientes... gracias y Excelente clase como siempre. Saludos desde Guatemala!
Glad you like it!
algo me dice que no habla español el maestro
Yes! This is super helpful. Thanks!
Glad it was helpful!
It's funny, I often think of these pentatonic scales and wonder if anyone else has found them. I accidentally discovered the major pentatonic with a flat 6 when working out how to improvise over a modal chord progression I made, and then I see it here. Amazing.
Two of my favourites include 1 b9 3 5 b7 and 1 b3 4 b5 b7. There's so much scope for altering even these as well. A lifetime of discovery awaits.
Excellent comment. Those are both Japanese scales I learned long ago from a huge book of scales from all over the world that my best friends father (a jazz bassist) gave to him. They're some of my favorite scales still too. That line _"a lifetime of discovery awaits"_ is so true and it's that phenomenon that has kept me interested, driven and happy as a musician since I first tried to play an instrument.
I love this. If any thinks pentatonics are too simple, go listen to McCoy Tyner.
Exactly :)
I am working on this after work tomorrow!
Go for it! 🙂
Thanks Jens. Really appreciate your free! jazz and music lessons on yt. For those who go negative on you, I can only say - Delete, block, and - Go get a life! You don't like these free lessons, Pls Go Elsewhere
Glad you like the videos Denny!
Jens just made pentatonics cool again. MPCA ? ASPCA? Should we all put that on a red hat and wear it to rallys ? ... no.... me either.
when you use the minor pentatonic on the relative major (or the other way round) you need to "rethink the funktion of the notes". I am always struggling with this, when I switch fast. Need more exersice. Thanks for the lession, it rocks! ;-)
That's really just a question of practicing it and making lines, then your ear will start to pick it up as well.
Hi Jens Larsen... can I humbly request some infos about half step improvisation...thanks in advance..
Half step improvisation?
Some people forget (because of genre bias) that a pentatonic scale literally just means it's a 5 note scale. Not only that, there are many different types of pentatonic scales. And as any even decent jazz musician (or any other genre player) would know, just playing every note in a diatonic scale is often just not very interesting.
Regardless, there are many forms of pentatonic scales that many musicians are unaware of. Here is a good exercise to find some of them, and more importantly imo see how they relate to the diatonic modes (and perhaps how some of them may even have been discovered):
Pick a key and play the standard minor pentatonic in the Aeolian mode position and move each scale degree up one whole or half step (keeping the notes from the diatonic key. As you do this you'll find 2 more spots that contain the same minor pentatonic scale, but also a few Japanese scales and one really nice Dominant (I call that one the Jeff Beck scale, lols).
I don't understand why you warmly encourage to not use backing tracks but while improvising, most of the times you use backing tracks.
Because one thing is to demonstrate something so you can hear how it sounds and another is learning how to feel time internally. If you think about it then it is pretty obvious :)
Loved this lesson video! I learned some cool ways to use pentatonics that I can use immediately! Thanks Jens!
Great to hear, Christopher
Wow great ideas and about 6 months worth of lessons in one shot
Thank you 🙂 Go for it
I like how these 5 note scales can get away from the bebop sound if anytime you don't really want to play bebop lines, but of course you could combine these 5 note scales worth bebop playing.
This is a solid and rewarding introduction to pentatonic usage over ii v i's Thanks Jens.
1 XL “Learn Jazz, Make Music” T-Shirt please!
yeeeessss : "the Larsen effects" !!!!! lol
This is a really intense lesson. I mean there is a lot of information here. high level maintence. I would say that if you say in the title 7 pentatonic tricks- which there may yet be here. it would be helpful to add numbers into your feed. so that people who need about a week for each trick will remember where they are. but you're cool. keep it up.
If you learn them one by one during a week then don't you then think that you can remember which one you know?
"It's never about the nooootes".
Jens getting hip in the editing.
Actually my brilliant editor is getting hip :)
@@JensLarsen You have your own editor?! Jealous... I have to do all my editing myself.
@@AslanJazzLan Well, I edit some stuff before and I do the last 15-20% so that I get it the way that I want it.
If you want him to edit your videos then you can hire him to do so, his e-mail is in the description of the video :)
@@JensLarsen Honestly, I love editing. It just takes me a long time. Your videos do look great and I'm learning a lot from them! ^.^Bebop playing is a weakness for me so I'm trying to develop that.
I'd love it if you would check out some of my music analysis videos. My videos on Schism and Pnuema by Tool are two I'm very proud of.
Nagyon nagyon nagyon sok a beszéd!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Anyone who studied music at college knows that pentatonics are a powerful tool.
Hi Jens!
Actually Bb Major 6b pentatonic is Bb harmonic pentatonic. There is no Bb 6b Major scale. It calls Bb Major harmonic scale. Btw nice tutorials and I am your new follower!
Thanks! Actually the b6 pentatonic name is fairly common so I don't think it would be correct to say that it doesn't exist, but you can call it Bb Major harmonic scale as well, that name makes sense too.
Ever feel like you need to go back to school and listen . Credit where it's due though, l do want to understand or at least try.
Did you cover Hungarian Gypsy minor in G?
Thank you very much for this gift !! . Best regards from México !
You're very welcome! I am glad you like it! 🙂
I found this video very useful
Thank you so much sir for continuing to know videos like this.I would love to learn jazz music..thank you again
Glad it was useful 🙂
Besides being highly informational and useful, the entertainment value of this video is off the charts. You really had me laughing with some of this content. I use modelers also and am torn between continuing to bring an amp to gigs or not. Thanks for providing your insights into this subject.
Glad you enjoy the videos 🙂
Thanks maestro 🔥🤙
Glad you like it 🙂
the minor 6th pentatonic is also known as the kumoi pentatonic scale.
Great lesson! I've been practicing using these pentatonic ideas in solos in my own practice time this past week and I'm really liking this approach. I feel like it's opened up another realm of possibilities for what I can play and it's easy to do because it's pentatonic scales and patterns I already know. Thanks for making this video!
Regarding the application of the F-pent over the D-altered chord... so the go-to pentatonic for the altered chord begins a minor 3rd above the root of the altered chord. But the notes of the D-alt chord could also function as an Ab-alt, correct? Yet the pentatonic built on the minor 3rd of the Ab, which would be B-pentatonic (Cb technically, but...) do not work for the D-altered. I am missing something in here, definitely.
No that seems correct. Do you find it strange that Bm doesn't work on D altered?
Thanks for replying Jens! Well, on D-alt, F-pentatonic works with an altered fifth and ninth, as you clearly point out, but B minor pentatonic has E, A, and B which do not belong on a D-altered dominant scale, do they?
Exactly 🙂
Watching from Brazil...
Excellent! Just what I needed. So glad I found you, Mr. Larsen.
Glad to help!
A lot of times I find it really helpful to take a new strategy like the ones you demonstrate in this lesson, and find a really good place to use it in a tune I already play, then do it right there every single time for a while. (As an exercise, of course!). Here is a good one that years ago helped me get the sound and fingering of your Lydian pentatonic substitution into my playing, and now it has become a bonafide go-to approach on the song: on Girl From Ipanema, at the top of the BRIDGE, throw down an F minor pentatonic on that big F#major7 chord. It just works like a charm every time, and best of all you get two full measures in which to play with it. Do this every time the bridge comes around for a week or two, and you will totally own this cool pentatonic substitution. Thank you for another great lesson, Jens. Now I have to find a few tunes with perfect spots to throw in that major b6 pentatonic idea. Any suggestions?
Hey. What guitar is Jens playing in this video?
I was transcribing Pat Metheny's Slipping Away and I noticed a beautiful use of pentatonics too. Just in a few places, but it fits perfectly.
Yes, he is really good at that!
This is Value and is worthy of anyone's time
Thank you! :)
Muito obrigado pelo interesse em nos ensinar..
Which of your videos would you recommend for me just venturing out of blues and starting to experiment with different sounds. I’m very simple in my theory. Thanks 🙏🏼
Maybe check out this post jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/
Very helpful and I have been practicing the licks changing fret position and key .
Great. Go for it 🙂
i see this beard guy and i know i will not understand a word
Your mom is a beard guy
@@JensLarsen LMAO
why see him then? LOL
Furthermore what maybe could be interesting, is to declare what is unique of the Tetratonic but then Non Root for instance(I try to use exact your concept only with The root omitted): over D7alt: GbF CBb- C Bb GbF(stays the same)FC Bb Gb(larger intervals) Bb Gb F C My old concept would have been:(maybe for someone out there interesting)6 GbF CBb Gb F- +6 CBb GbF CBb and then if possible one octave lower...of course played over Ab7 it gives us Ab alt we could us the D again because it is the #11 (the character of the Lyd Dom)played over F7 we get Phrygian dominant but better to replace the F by a Eb: so Gb Eb C Bb
@Jens Larson, When you spoke of the Am6 Pentatonic, you suggested raising the 6th scale degree but in your example you raised the 7th scale degree (G#). AM I missing something or did you accidentally omit the F# in the ii V I example?
I don't know. Can you give me a time stamp in the video?
Too much talking ... pure action
Thank you Mr. Larsen for this brilliant concept! I got to try them out.
Go for it!
I love a new melodic minor pentatonic scale to play with! (Counter to an early jazz theory book I read, I always suspected the fifth mode of the melodic minor held wonderful opportunities!) (By the way, I bet this offers great textures over all of the other relative chords in melodic minor, right? (relative m7b5, m7b9, 7#11, etc...))
Okay I see why your maj penta b6 Lick sounds so Good..you built it on D F# C F Bb chord shape, the 1st of 4...you make me study this lick on metronome, Thanks again...I am studying this on piano first later guitar in 16th all keys(of course)
Hello Lens, thank you for your teaching. I watched another video before this one. Stopped this one at 1.34 to look at and try to play the tab on screen. Just want to say that i personally find the way lessons progress too linear and progressive for me. Just stopping here and playing the sequence of the tab a few times and not very well ie missing notes and loosing where i was on the neck. But i kept trying not worrying about how it sounded and errors did happen but the notes and where they are on the neck did sink in and I found myself forgetting about the exercise sequence but just improvising on the notes in whatever order happened to flow out of me......I think this is what I want to say to conclude as if I were telling myself: 1. give the tab as shown at 1.34 2. keep practising to get the notes going over them 3. be creative with them playing what ever you want to, just let it happen! This mirrors other fields and I am thinking about studies I have been doing on spiritual matters. 4 paths. I will note all four after this note. We get so sequenced in our thinking. its all logical left brain. Linear (straight line sequence/conscious mind progressing from a to b to c to.....etc) and not radial (lines at different angles out of a centre -spider diagrams/mind maps . Right brain is radial (emotional coming from unconscious mind). That is where creativity happens and its creativity that is missing. So thats my suggestion. Just a little thing to consider. Eg give a tab sequence of notes. Help people learn them on the neck. Help them to be creative with them...rather than sequencing a whole lesson which is difficult for people to remember and so enjoyment is suspended.... I hope that I am not sounding disrespectful of your talent and what you are doing in your lessons because no that is not the point. I shall be watching to learn more from you.... It might not be your style but there's a tube video by Steve Vai where he gives the story outline of how he wrote 'For the Love of God'. Have a look at that if you're interested because he says it better than I could. Title is 'Steve Vai Guitar Lesson - For The Love of God - Alien Guitar Secrets: Passion & Warfare'. 1. Via positiva. 2. Via negativa. 3. Via Creativa. 4. Via Transformativa (Rev Matthew Fox)........I have to add that at this time I am more interested in watching your teaching than his. We go through phases/have different needs at different times..
Remember that not all lessons are made for your level, and some of my stuff may be really easy to others while very difficult for you 🙂
Thank you so much😊
Gracias Jens Larsen, muy buena leccion !!!! saludos desde Barcelona !!!
Glad you like it 🙂
Awesome info. I learned a lot. I plan to visit this particular video till I have it down. 🌻
very nice guitar video! thank you.
Miss your lessons Jens! Been real busy lately, but, it’s time to go back to wood shedding. Thanks. 👍🏼👍🏼👍🏼🎼🎶🎵🎸🎵🎶🎼
Thanks José :)
Kool channel
Thank you 🙂
Am I missing something here?
You say you're using the pentatonic scale, and then you use something else?
What?
I guess you are. Is the concept of improvising using more things than a single scale and following the chords very new or difficult to you?
@@JensLarsen Not particularly, I just don't understand how it's pentatonic rather than diatonic. I can understand the basics of having a set number of notes in a scale that you're "supposed" to play over a chord progression, but I tend to look at the pentatonic scale as a shorthand grouping of notes that give a particular sound. If I use other notes, then the sound isn't there, and obviously I have to ask "what other notes?"
@@ColonelRPG I am also in that respect only using the pentatonic scale. So if I use it on a chord then that is the only 5 notes used. I am just not doing that on all the chords in the chord progression and just using basic material that fits those chords.
@@JensLarsen Oh, I see what you mean! Thank you for taking the time to explain it, very much appreciated!
Hi jens, I'm enjoying your take on the possibilites with pentatonics. A whole new spectrum for me, since I have more or less neglected these scales. One thing that puzzles me is why Cm pentatonic is correct for Ab melodic minor ? Can you explain ?
Thank you! Try to check out the video I posted Thursday 🙂
Easy to understand tutorial, thank you very much.
Glad you like it 🙂