This is a tremendously important lesson and concept. It’s precisely what I’ve been focusing on over the past year or so and my playing has improved more in that time than the previous 20 years combined. People should really follow your advice. I’d love to see you do the minor chord as well.
Very helpful, thanks for the videos. The proper chord videos are super helpful as well, but seeing more of this, including a breakdown of a minor chord and other chord types, would be much appreciated. Keep up the great work!
Awesome lesson.. You are very generous to share this information with everyone. Please ignore the thumbs down. People who are not ready to receive information, are not able to understand what you're talking about. Thanks so much !
So valuable and systematic. You have answered so many questions I have wondered about for years, and given me a direction to pursue for a long time. It is practical ear training, turned into music.
Thank you for another fantastic lesson Sven! I'm learning so much from you because you give us a way to make use of what you're teaching in a musical way, pretty much instantly.
Sven another great lesson. My understanding of how to play this music and how it all hangs together has improved dramatically since I started watching your videos. Thanks I look forward to more. John
Ich bin total begeistert von deiner Art die Dinge zu erklären. Habe mich direkt in dem "scale Gitarristen" wiedergefunden. Dein Lösungsansatz für das Problem trifft bei mir voll auf den Punkt. 👍
Bei den meisten Gitarristen ist das zu einem bestimmten Punkt so, es gibt ja auch Stile wo man mit Scales prima klarkommt. Es freut mich, dass mein Video für dich eine Hilfe ist. Viele Grüße!
@@joelove7662 Töne die man vermeiden sollte. Je nachdem wie man klingen möchte und welchen Stil man spielen will, sind das auf ein und demselben Akkord manchmal ganz unterschiedliche Töne. Grundsätzlich kann man ja spielen was man will, aber Stile zu lernen und Regeln zu befolgen verschafft uns ja anfangs überhaupt erst die Möglichkeit differenziert und akkurat zu musizieren, denke ich jedenfalls 😉
@@SvenJungbeck Danke für deine schnellen Antworten. Ich bin schon häufiger über den Begriff der "avoid notes" gestolpert und konnte leider keine "richtige Definition" finden. Habe es mir bisher halt nur selbst zusammen gereimt was damit gemeint ist. Meine Überlegung war folgende: Avoid notes sind grundsätzlich alle Töne auf denen man nicht "landen" sollte beim isolieren. So wären , bei einem normalen dur Dreiklang die Stufen 2,4,6 und 7 avoid notes. Also alle Töne die nicht im aktuellen Dreiklang enthalten sind. Kann man das so generell sagen?
Great explanation! Only thing I suggest and do differently is focus on the interval names and fingerings more so than the note names per se. Obviously you need to know the note names to even find the 1, but it is faster to think "Where is the 3rd of G" and play it than to think "The third of G is B...now where is B" and then play it.
I struggle here too, but once it is firmly in your nut that the 3rd of G is B and they are interchangeable, it might increase your flexibility, as you would know that the 3rd of G is also the 5th of E, the 6th of D and so on. Actually this has given me an idea for an ear training exercise: play the B against G, then E, D etc. What do you think?
@@dingoswampheadI'm entering this conversation 3 years later, the approach that's working better on me is playing all diatonic chords with 7 as well, checking all the intervals, the triads and the note names xD so everything all together basically would be the best in my opinion. Because of the fact that I transcribed all of the diatonic arpeggios in all the positions and I strongly use the name of the notes rather than the number of them in the diatonic arpeggios when I get into improvising on a scale mode shape for example or just if I think about it like 'starting from a string' rather than from a position, but and the same time while moving across the fretboard using the very same diatonic arpeggios to improvise I tend to search for the intervals first, while thinking about what chord arpeggio I'm playing at least,
Absolutely, a scale by itself sounds like nothing. (but a scale) 👍 Which explains why so many shredders play it at lightning speed, to try and make it sound like something. I like your approach.
Great video. I'd like some help this way with approaching dominant, diminished and whole tone sounds if you can. I've been looking at some of Djangos solo improvisations and while a lot of it is cycles of the same progressions over and over his use of harmonic devices and dominant tensions are what make the movement through the same harmony so much more compelling. I'm trying to get to that point where I have a lot of options for tension and adding movement to my playing but its a slow process as always. Thanks!
This is a good angle to take when learning, personally I don’t see any help in learning the letter/name of the note, understanding visually the chords and where each note from the arpeggio is should be enough for you to allow your ear to guide you. After all music is you making sounds by moving around in patterns. It seems to be an unnecessary extra thing to learn note names. I’m with you totally on your angle involving focusing around chord tones and then playing chromatically into it. Thanks for all your lessons Sven. Your a great teacher !
Hey, concerning the note names I can say, that the way you organize your stuff doesn't matter, as long as you got the fretboard under your control. Stochelo Rosenberg for example, I played gigs with him, talked to him. He says" I don't know any theory " that's actually not true. Only thing he doesn't know are the terms to name it. If you find the notes it doesn't matter, but for not so talented players it's an additional help. And that's not meant to sound disrespectful. It's a vast range of talent and I'm surely not a genius. But however you do it. You need the sounds precisely at your command. Against a donation I can send you my chord glossary and minor swing plus Troublante Bolero in detail. The chord glossary contains all important voicings from the same root. So you got to move them yourself. All the best, Sven!
This is super helpful. Just to clarify--when you apply this to improvisation, you have to change which triad notes you are landing on/working with every time the chord changes right? So you really need to know the chord progression beforehand.
@@SvenJungbeck Oh, that reminds me of one further question. When the rhythm player plays those quick (1 or 2 strum) embellishment chords in between the main chords (like to walk the bass or something), do you follow that in your solo and briefly use the new triad, or is it so quick you can ignore it? I would think you might need to follow them, but the rhythm player often adds those embellishment chords in on the spot, right? So you wouldn't know beforehand where to go next.
@@cscochran no need to follow! Think simple in the melody. These passing chords are not recognized by one's ear as new harmonies that matter. We tend to hear harmony in its most direct meaning, even if people are not educated at all. So we hear - this is tonic like - subtonic like - that goes there.... etc
This is great stuff but I find it difficult to pick up the chords he is using and/or sit through the fingering. I would pay good money for the chord charts to these Proper chords lessons
Hi Andre, Just give me your email! I can send you a chord glossary. Then you can PayPal me on my email: Sven.jungbeck9@gmail.com What you consider as decent.😉 What do you think?
Best gypsy teacher on the internet
Agreed 👍
This is a tremendously important lesson and concept. It’s precisely what I’ve been focusing on over the past year or so and my playing has improved more in that time than the previous 20 years combined. People should really follow your advice.
I’d love to see you do the minor chord as well.
All chords will be uploaded soon!
Sven, you're such a godsend.
You're an excellent teacher, Sven.
Thank you so much!
Very helpful, thanks for the videos. The proper chord videos are super helpful as well, but seeing more of this, including a breakdown of a minor chord and other chord types, would be much appreciated. Keep up the great work!
Wish I had this quality of teaching when I started learning. Would've helped me a lot, well done.
Look up duved dunayevsky
Awesome lesson.. You are very generous to share this information with everyone. Please ignore the thumbs down. People who are not ready to receive information, are not able to understand what you're talking about. Thanks so much !
This is insanity! Thanks for giving lessons we simply cannot play guitar without playing gypsy guitar
So valuable and systematic. You have answered so many questions I have wondered about for years, and given me a direction to pursue for a long time. It is practical ear training, turned into music.
Fantastic lesson More more more please thanks for your knowledge and effort thanks
This kind of lessons are rare to find ! All the videos are worth so much. Thanks very much.
Thank you very much. This helps a lot!
Thank you for another fantastic lesson Sven! I'm learning so much from you because you give us a way to make use of what you're teaching in a musical way, pretty much instantly.
Thank you,Sven. Very interesting. Cпасибо✌
Thanks Sven. Such a good teacher - getting down to the essence
wonderful teacher !
Sven another great lesson. My understanding of how to play this music and how it all hangs together has improved dramatically since I started watching your videos. Thanks I look forward to more. John
Great lessons. Thank you
Ich bin total begeistert von deiner Art die Dinge zu erklären.
Habe mich direkt in dem "scale Gitarristen" wiedergefunden. Dein Lösungsansatz für das Problem trifft bei mir voll auf den Punkt. 👍
Bei den meisten Gitarristen ist das zu einem bestimmten Punkt so, es gibt ja auch Stile wo man mit Scales prima klarkommt. Es freut mich, dass mein Video für dich eine Hilfe ist.
Viele Grüße!
Beim wiederholten sehen stellt sich mir die Frage was "avoid notes" für dich ausmacht? Hast du Lust das kurz zu umschreiben?
Danke im voraus
@@joelove7662 Töne die man vermeiden sollte. Je nachdem wie man klingen möchte und welchen Stil man spielen will, sind das auf ein und demselben Akkord manchmal ganz unterschiedliche Töne.
Grundsätzlich kann man ja spielen was man will, aber Stile zu lernen und Regeln zu befolgen verschafft uns ja anfangs überhaupt erst die Möglichkeit differenziert und akkurat zu musizieren, denke ich jedenfalls 😉
@@SvenJungbeck Danke für deine schnellen Antworten.
Ich bin schon häufiger über den Begriff der "avoid notes" gestolpert und konnte leider keine "richtige Definition" finden. Habe es mir bisher halt nur selbst zusammen gereimt was damit gemeint ist.
Meine Überlegung war folgende:
Avoid notes sind grundsätzlich alle Töne auf denen man nicht "landen" sollte beim isolieren. So wären , bei einem normalen dur Dreiklang die Stufen 2,4,6 und 7 avoid notes. Also alle Töne die nicht im aktuellen Dreiklang enthalten sind. Kann man das so generell sagen?
Thanks for a great lesson
Best lesson ive ever had. THANKYOU
Great explanation!
Only thing I suggest and do differently is focus on the interval names and fingerings more so than the note names per se.
Obviously you need to know the note names to even find the 1, but it is faster to think "Where is the 3rd of G" and play it than to think "The third of G is B...now where is B" and then play it.
I struggle here too, but once it is firmly in your nut that the 3rd of G is B and they are interchangeable, it might increase your flexibility, as you would know that the 3rd of G is also the 5th of E, the 6th of D and so on. Actually this has given me an idea for an ear training exercise: play the B against G, then E, D etc. What do you think?
@@dingoswampheadI'm entering this conversation 3 years later, the approach that's working better on me is playing all diatonic chords with 7 as well, checking all the intervals, the triads and the note names xD so everything all together basically would be the best in my opinion.
Because of the fact that I transcribed all of the diatonic arpeggios in all the positions and I strongly use the name of the notes rather than the number of them in the diatonic arpeggios when I get into improvising on a scale mode shape for example or just if I think about it like 'starting from a string' rather than from a position, but and the same time while moving across the fretboard using the very same diatonic arpeggios to improvise I tend to search for the intervals first, while thinking about what chord arpeggio I'm playing at least,
Excellent
Keep it simple 👌
sometimes juste a short video is enough ! thx a lot Sven
Absolutely, a scale by itself sounds like nothing. (but a scale) 👍 Which explains why so many shredders play it at lightning speed, to try and make it sound like something. I like your approach.
Really good lesson. Subbed!
Thank you so much
Thank you for this, exactly what I need as a beginner in gypsy jazz improvisation
omg so much help! thanks!
This is very helpful. Thank you 😊
At 5:47, I thought for a moment you were going to play the Tennessee Waltz! Great lesson, thanks!
Excellent video, thank you 👍👍👍
great lesson thank you
Great teaching style; adding context to detail, without being confusing. Subscribed! 🙂👍
Thanks Sven, love your videos
Useful, succinct overview
Geesh this is gold
Vielen Dank Sven!
I can't wait until Scale Madness Part 2!
Coming soon!
Thanks man!
Great video. I'd like some help this way with approaching dominant, diminished and whole tone sounds if you can. I've been looking at some of Djangos solo improvisations and while a lot of it is cycles of the same progressions over and over his use of harmonic devices and dominant tensions are what make the movement through the same harmony so much more compelling. I'm trying to get to that point where I have a lot of options for tension and adding movement to my playing but its a slow process as always. Thanks!
This is a good angle to take when learning, personally I don’t see any help in learning the letter/name of the note, understanding visually the chords and where each note from the arpeggio is should be enough for you to allow your ear to guide you. After all music is you making sounds by moving around in patterns. It seems to be an unnecessary extra thing to learn note names.
I’m with you totally on your angle involving focusing around chord tones and then playing chromatically into it.
Thanks for all your lessons Sven. Your a great teacher !
Oh I would also like pdfs of the proper chords series, do you have this as a Patreon bonus which I could subscribe or just make a donation for?
Hey, concerning the note names I can say, that the way you organize your stuff doesn't matter, as long as you got the fretboard under your control. Stochelo Rosenberg for example, I played gigs with him, talked to him. He says" I don't know any theory " that's actually not true.
Only thing he doesn't know are the terms to name it.
If you find the notes it doesn't matter, but for not so talented players it's an additional help.
And that's not meant to sound disrespectful. It's a vast range of talent and I'm surely not a genius.
But however you do it. You need the sounds precisely at your command.
Against a donation I can send you my chord glossary and minor swing plus Troublante Bolero in detail.
The chord glossary contains all important voicings from the same root. So you got to move them yourself.
All the best,
Sven!
Fantastique as usual. Thanks so much Sven.
I dont understand though when you say that C is an avoid note in the G major scale ?
TY
Gypsy King 🤴
im impressed you could sing that high b note lol
Singing the added 2 arpeggio backwards really makes you a dbag 😁
Regards.
This is super helpful. Just to clarify--when you apply this to improvisation, you have to change which triad notes you are landing on/working with every time the chord changes right? So you really need to know the chord progression beforehand.
Hi,
That's how it works!
Being the music instead of playing a scale patterns "to" the music.
😀👌
@@SvenJungbeck Awesome. Sounds a bit daunting, but I'm very excited about changing the way I approach soloing. Thanks so much!
@@SvenJungbeck Oh, that reminds me of one further question. When the rhythm player plays those quick (1 or 2 strum) embellishment chords in between the main chords (like to walk the bass or something), do you follow that in your solo and briefly use the new triad, or is it so quick you can ignore it? I would think you might need to follow them, but the rhythm player often adds those embellishment chords in on the spot, right? So you wouldn't know beforehand where to go next.
@@cscochran no need to follow! Think simple in the melody.
These passing chords are not recognized by one's ear as new harmonies that matter. We tend to hear harmony in its most direct meaning, even if people are not educated at all.
So we hear
- this is tonic like
- subtonic like
- that goes there.... etc
@@SvenJungbeck Great, makes sense. Thanks!
This is great stuff but I find it difficult to pick up the chords he is using and/or sit through the fingering. I would pay good money for the chord charts to these Proper chords lessons
Hi Andre,
Just give me your email!
I can send you a chord glossary.
Then you can PayPal me on my email:
Sven.jungbeck9@gmail.com
What you consider as decent.😉
What do you think?
Are you using a pick on nylon strings?
This is a steel string guitar !
@@SvenJungbeck the headstock threw me for a loop. Great lesson, though!
Why do you start the G Major 7 with the F#…..F# G B D?
Love your playing but music theory is so boring 😴😪
You picked a hell of a genre to not like theory...😂
as far as theory goes this was very very light. merely just talking about intervals to add color.