This is very good. Glad I circled back to your channel again. Do you have other 'play along' videos? I am finally able to get a jazz sound to my liking by imitation on these!
Hi Jef, thank you! Yes, there are a bunch more videos where you can play along with me throughout the webpage, I don't have them categorized as play alongs though :s so it might take a bit of digging around to find them.
Once you get past the Turn Around with the Solo,.. that's where Flat Five Substitutions and Tri-Tone Substitutes can enter,.. and once you get to that Stage it gets Really Fun,.. Plus,.. once you get into the Actual Tune you can also imply all of those Substitutions over the Chord Changes inside the Tune,.. Finaly,.. those Dameron Changes fit Very Nicely in other Tunes in the same key,.. Learn how to Solo over them and then just Imply those Chord Changes over a simple 'C Major' Chord,.. Great Job and Beautiful Blue Colour Guitar.
@@franciscomazzieri6817 The flat five substitution is Generally a Dominant Chord that you can use as a substitute for any dominant chord. It applies very nicely to the 12 Bar Blues, because of the use of Dominant 7th chords, and given that most Jazz Songs are Based in the Blues Form it works nicely. I Hope this Helps,..
Amazing! I like playing and listening to fusion, so this extended time is really gonna help find those notes that my I am hearing. I am finding that playing with a diatonic 3rds, ascending and descending helps my ear find anticipation notes, also leaving out the 4th degree unless it is a #4 for the raised Lydian sound (because all chords in these examples are major).
I'm glad you found the lesson helpful! Anticipating is the name of the game after all. If you like fusion, you might enjoy this resource as well: www.jazzguitarlessons.net/blog/the-post-holdsworth-jazz-vocabulary. Keep up the good practice :-)
I learned now from you mainly the 7ths and the 9ths are nice as guide notes this technique I knew already, I subscribed to your channel, you play very meaningful!!
Thank you very much. I liked it and I found it very helpful and sympathetic and I had fun to play it. I just missed the information that Ab j7 and Db lydian uses exact the same notes. So it was up to me to discover this (but this is ok.) I think this is helpful to know for the last exercise.
@@jazzguitar Im currently practicing the same stuff with Herbie Hancocks' Cantaloupe A Fm7, Db7 and Dm7 progression and Sunny's Progression. I am just getting used to apply different scales (without switching to the root on 6) within the same fret range. What would be the next step? Improve the timing, applying specific concepts in this practice you outlined in the video, applying outside pentatonics with the same color note that is present in the Dm7/7/maj7 etc or inlolve arpeggio's? After a while playing this Cmja7 Ebmaj7 Ab Maj7 Dbmaj7 within the same range it feels im still repeating to much of the same bunch of notes. any tips? thanks in advance
When you solo over chords and select notes over the individual chords, how do you know on the fly, if you are going to use f.ex. the major scale or the lydian scale? When I play this, I'm thinking: I'm in the key of C. On the C I use the major scale. On the Eb I'm in C minor (and since Ab is coming) I'll use C aolian scale (and not dorian) On the Ab I'm in C aolian and on the Db I'm in C phrygian. So I'm in C the whole time, but mode of C is modulating with the changes. Don't you think this way in jazz? If not, how do you know which of the major or minor scales that fits any given chord?
Hi there! I think we're actually thinking in similar ways, you're just looking at it from another angle. But it's totally valid! For myself, I've internalized the fingerings of the major scales more deeply than say, the phrygian scale, so I prefer to think that way. more info here: www.jazzguitarlessons.net/blog/soloing-on-fast-chord-changes All the best, Marc
Hi there - I actually wrote a blog post on this question a while back: www.jazzguitarlessons.net/blog/how-do-i-get-the-jazz-sound Thanks for asking! :)
The last chord shouldn't (IMHO) have the major 7th (being a C) because so it already has the root of the chord it's supposed to resolve to. Almost no more tension here (to my ears at least). BTW: That sequence (though with a G7#5 at the end) is backing that iconic steel guitar intro (I think played by Buddy Emmons) to the classic "Night Life".
moreorlesslikeso the tad dameron turnaround specifically is supposed to use all major 7 chords though, that was the sound he was going for, as opposed to a more typical turnaround. The parallel/open sound is what distinguishes it from say a 1 6 2 5 which sounds much mor diatonic. I guess he wasn’t really going for that strong tension of 5 to 1.
@@mysterybotts Yeah, possibly so. It's a bit harder, though, for the ear to really get the transition (or resolution) from the Dbmaj7 to the tonic (at least for me), as there's no tritone interval begging to be resolved in that maj7 chord. But I guess you generally have quite some options to choose from when doing tritone substitutions (as this sequence is of a straight 1625) - it seems like it's a bit more about tonal colour than straight ahead diatonic function.
@@jazzguitar Merci pour cette leçon. Il y a toujours a apprendre et certaines personnes comme vous m'aident à coller les morceaux du puzzle! Prévenez-moi si vous préférez que je commente en anglais. Merci !
The jazz police will pull you over for this sort of musical violation: The "Tadd Dameron Turnaround" from the classic "Lady Bird" and Miles Davis "Half Nelson" is Cmaj7 Eb7 Abmaj7 Db7 Your dreamy-latin-modal-style Vamp using the constant structure of all major 7th chords is not the typical jazz turnaround.
02:20 Tadd Dameron Turnaround
04:49 exercise 1
06:27 he solos
07:07 I solo
So so thankful...by far my FAVORITE instructor on TH-cam!!!
This is very good. Glad I circled back to your channel again. Do you have other 'play along' videos? I am finally able to get a jazz sound to my liking by imitation on these!
Hi Jef, thank you! Yes, there are a bunch more videos where you can play along with me throughout the webpage, I don't have them categorized as play alongs though :s so it might take a bit of digging around to find them.
Once you get past the Turn Around with the Solo,.. that's where Flat Five Substitutions and Tri-Tone Substitutes can enter,.. and once you get to that Stage it gets Really Fun,..
Plus,.. once you get into the Actual Tune you can also imply all of those Substitutions over the Chord Changes inside the Tune,..
Finaly,.. those Dameron Changes fit Very Nicely in other Tunes in the same key,.. Learn how to Solo over them and then just Imply those Chord Changes over a simple 'C Major' Chord,..
Great Job and Beautiful Blue Colour Guitar.
Thank you so much! Yes, sparkly blue... that's the one for me :)
-Marc
What is flat five substitution ?
@@franciscomazzieri6817
The flat five substitution is Generally a Dominant Chord that you can use as a substitute for any dominant chord.
It applies very nicely to the 12 Bar Blues, because of the use of Dominant 7th chords, and given that most Jazz Songs are Based in the Blues Form it works nicely.
I Hope this Helps,..
Also, your comping in itself is great to learn from. Merci!
Amazing! I like playing and listening to fusion, so this extended time is really gonna help find those notes that my I am hearing. I am finding that playing with a diatonic 3rds, ascending and descending helps my ear find anticipation notes, also leaving out the 4th degree unless it is a #4 for the raised Lydian sound (because all chords in these examples are major).
I'm glad you found the lesson helpful! Anticipating is the name of the game after all. If you like fusion, you might enjoy this resource as well: www.jazzguitarlessons.net/blog/the-post-holdsworth-jazz-vocabulary. Keep up the good practice :-)
Thank you so much!! I never thought about just breaking the chords down into longer sections. Very helpful!
Glad you enjoyed it!
Excellent lesson concept👌
great lesson Marc ! your work really stand out
Thank you :)
I learned now from you mainly the 7ths and the 9ths are nice as guide notes this technique I knew already, I subscribed to your channel, you play very meaningful!!
Thanks for the subscription! We've got more content on the way :)
great playing and presentation of concepts
Thanks so much! :)
Very nice lesson, perfectly addresses what I needed to work on and easy to understand/ listen to!
So glad it helped! :)
Good lesson thanks !!!
Thank you very much. I liked it and I found it very helpful and sympathetic and I had fun to play it. I just missed the information that Ab j7 and Db lydian uses exact the same notes. So it was up to me to discover this (but this is ok.) I think this is helpful to know for the last exercise.
Yes, great thing to notice! I forgot to mention it in the video but we put that on the blog. Glad you enjoyed the lesson!
Great lesson, I've been working on Lady Bird, love the turnaround and you have opened a door for me, Thank You...! 😎
Amazing... perfect timing!!
- Marc
What a great explanation!
Thank you :)
Nice exercise :o I will start doing it everyday... thanks 🙏
You're very welcome! :)
always a pleasure to jam with virtual you!
Likewise! :)
Good video. Thanks for the lesson.
Thank you! :)
@@jazzguitar Im currently practicing the same stuff with Herbie Hancocks' Cantaloupe A Fm7, Db7 and Dm7 progression and Sunny's Progression. I am just getting used to apply different scales (without switching to the root on 6) within the same fret range. What would be the next step? Improve the timing, applying specific concepts in this practice you outlined in the video, applying outside pentatonics with the same color note that is present in the Dm7/7/maj7 etc or inlolve arpeggio's? After a while playing this Cmja7 Ebmaj7 Ab Maj7 Dbmaj7 within the same range it feels im still repeating to much of the same bunch of notes. any tips? thanks in advance
thanks for your time!!!!
You're very welcome Bruno! :)
-Marc
Thanks a lot! To me this video was perfect 👍
Thanks so much! :)
I did choose to watch this and I am glad you appreciate it thanks
You're the best! :)
When you solo over chords and select notes over the individual chords, how do you know on the fly, if you are going to use f.ex. the major scale or the lydian scale? When I play this, I'm thinking:
I'm in the key of C. On the C I use the major scale. On the Eb I'm in C minor (and since Ab is coming) I'll use C aolian scale (and not dorian) On the Ab I'm in C aolian and on the Db I'm in C phrygian. So I'm in C the whole time, but mode of C is modulating with the changes. Don't you think this way in jazz? If not, how do you know which of the major or minor scales that fits any given chord?
Hi there! I think we're actually thinking in similar ways, you're just looking at it from another angle. But it's totally valid! For myself, I've internalized the fingerings of the major scales more deeply than say, the phrygian scale, so I prefer to think that way.
more info here: www.jazzguitarlessons.net/blog/soloing-on-fast-chord-changes
All the best,
Marc
glad i found this. very well done
Thanks so much! :)
yeeheeeee 😍 thanks!!!
great as always.
Thank you! :)
Really nice video, and awesome guitar tone! How do you get it? What EQ do you have?
Hi there - I actually wrote a blog post on this question a while back: www.jazzguitarlessons.net/blog/how-do-i-get-the-jazz-sound
Thanks for asking! :)
Really nice playing. I hear a good bit of Pat Metheny in your soloing.
Lou Rossi I concur. I felt the Metheny-ism in some of those phrases.
He's an influence for sure! :)
Marc
Nice.
Clairement du quebec, bonjour a vous!!
Bonjour! :)
Oui -- un Québécois ici ... avec beaucoup d'affinités avec le jazz américain!
praise the sun tho
A song for Nicholas ahah yes!
Did you have that painted blue?
Bought it like this actually! I wrote a little blurb about it here: www.jazzguitarlessons.net/blog/marc-jazz-guitar-gear
- Marc
Tab guitar👍
The last chord shouldn't (IMHO) have the major 7th (being a C) because so it already has the root of the chord it's supposed to resolve to. Almost no more tension here (to my ears at least). BTW: That sequence (though with a G7#5 at the end) is backing that iconic steel guitar intro (I think played by Buddy Emmons) to the classic "Night Life".
moreorlesslikeso the tad dameron turnaround specifically is supposed to use all major 7 chords though, that was the sound he was going for, as opposed to a more typical turnaround. The parallel/open sound is what distinguishes it from say a 1 6 2 5 which sounds much mor diatonic. I guess he wasn’t really going for that strong tension of 5 to 1.
@@mysterybotts Yeah, possibly so. It's a bit harder, though, for the ear to really get the transition (or resolution) from the Dbmaj7 to the tonic (at least for me), as there's no tritone interval begging to be resolved in that maj7 chord. But I guess you generally have quite some options to choose from when doing tritone substitutions (as this sequence is of a straight 1625) - it seems like it's a bit more about tonal colour than straight ahead diatonic function.
👍🏼
Conteúdo ótimo mais fala de mais
Got a 404 when I clicked on the blog post card at 1:10
Should be fixed now! Thanks: www.jazzguitarlessons.net/blog/soloing-on-fast-chord-changes
You're definitely a Quebecer !
You got that right! On peut rien vous cacher :)
@@jazzguitar Merci pour cette leçon. Il y a toujours a apprendre et certaines personnes comme vous m'aident à coller les morceaux du puzzle! Prévenez-moi si vous préférez que je commente en anglais. Merci !
The jazz police will pull you over for this sort of musical violation:
The "Tadd Dameron Turnaround" from the classic "Lady Bird" and Miles Davis "Half Nelson" is
Cmaj7 Eb7 Abmaj7 Db7
Your dreamy-latin-modal-style Vamp using the constant structure of all major 7th chords is not the typical jazz turnaround.
[sirens in the background]
😎😎
didn’t help
solo sounds nice and jazz ... but the chords sound really shit to me ;) but,yeah ...
What do you mean "shit"? LOL
Like... the harmony? Or the way he plays them? Your comment is a great example of DE-structive criticism!
@@jazzguitar everything wich is not good! LOL
Paul Gerards there’s no reason to be an asshole about any of this. please take ur negativity somewhere else if you don’t have anything nice to say
Rollie Pena his friends told him that he is a brilliant guitarist...and he actually believes it.
Ugh 2 minutes of chatter
No juice
Next
Leo Montesinos take the money you saved buying this video and go buy an attention span. Jeez...ungrateful people.