I really like your explanation of "making the changes" and helps my solve my problem(s) as well. Glad to see you are on True Fire as well. You are in good company.
Absolutely --> the "chord transition" for sure. The term "changes" is used a lot by jazzers in a slang kind of way. Like "Hey, could we run through the changes of this tune quickly? I forgot some of the chords in the bridge".
This is one of the very best lessons on jazz improv you ever pubished, Marc. Not only one of YOUR best lessons but one of the best lessons by anyone! I will be reviewing this one a cpl times. Thank you!
I always love the truth you speak and I must say I bought a video from you years ago, and gave me a great foundation to build on the best lesson I ever had.
Excellent video! The three concepts discussed, not rushing (part of improving the “how”), clarifying what “changes” can mean for flowing solos, and recognizing and working through one’s resistance are very valuable. Thank you for addressing these topics so clearly!
Great lesson. I have that problem of rushing a fast lick, before I have mastered the fingering, and the alternate picking, so I have to slow down to get everything including the timing under my fingers.
Yes! Exactly. Slow it down, play front to back and back to front. Play it until your fingers can do it in your sleep. That's the concept of "etude" I mentioned in the 2nd tip in the video :)
Good lesson and happy to have followed. I am not a solo player but this information is relative to just about everything I like about the guitar. Thanks Marc
Yes, kind of. Starting with the most important note ... the C note in the Dm7 "falls down" to the B note (the 3rd of G7). This is the crucial one to master. All other ones have different levels of "urgency" in resolving.
@@jazzguitar that was the first one C to B that i what worked on. but after a little while it felt like the same sound all the time it got boring . then i realized overtime, not only can all the notes in a chord resolve than even the notes inside a chord can resolve too . i know its still only a beginning level of detail but for example. say we on a Dmin7 chord that just stays i think of this as G6 resolving to F6 GBDE resolves to FACD (it doesnt have to either the G6 can just ring over a dmin but it was just a way to help me expand a little at the time so dmin7/ G7/ Cmaj might be Dmin13/ GHW dim / Cmaj13#11 and the upper extensions can resolve in the same chord or ring and then the normal voice leading at the chord change . i really love another thing too G7/ Cmaj i like to play as Db6 / C6 Db to C F to E Ab to G Bb to A or another GHW dim to Cmaj13#11 just wondering if you think same way about all these thing? ( i know they not advanced or anything )
😂 I knew some people from the UK would get it! I just ... it's super common to use this "Pouf" sound as a french canadian. And it doesn't really mean anything.
Marc - this is SO helpful. It really clarifies the importance of distinguishing the “how” from the “what”. The bad news - there really are no shortcuts and no substitute for mastery and the many hours of practice that requires. Thanks for this!
I really like your explanation of "making the changes" and helps my solve my problem(s) as well. Glad to see you are on True Fire as well. You are in good company.
Happy to help! Glad you've enjoyed the video :)
You may in fact have used the word in your video, but it might better to use the word/concept "transition" instead of "changes"(?).
Absolutely --> the "chord transition" for sure.
The term "changes" is used a lot by jazzers in a slang kind of way. Like "Hey, could we run through the changes of this tune quickly? I forgot some of the chords in the bridge".
This is the best approach to guitar playing, regardless of genre. Great video.
Glad you like it!
Again, great way of teaching - very clear and handy explanations 👌
Thanks Alex
This is one of the very best lessons on jazz improv you ever pubished, Marc. Not only one of YOUR best lessons but one of the best lessons by anyone! I will be reviewing this one a cpl times. Thank you!
Thank you :) Glad you enjoyed it!
I always love the truth you speak and I must say I bought a video from you years ago, and gave me a great foundation to build on the best lesson I ever had.
Wonderful! Thank you :) Glad you're enjoying the materials
Excellent video! The three concepts discussed, not rushing (part of improving the “how”), clarifying what “changes” can mean for flowing solos, and recognizing and working through one’s resistance are very valuable.
Thank you for addressing these topics so clearly!
Glad it was helpful! Thank you
Straight up POWER house therapy
Aha thank you! :)
Great lesson. I have that problem of rushing a fast lick, before I have mastered the fingering, and the alternate picking, so I have to slow down to get everything including the timing under my fingers.
Yes! Exactly. Slow it down, play front to back and back to front. Play it until your fingers can do it in your sleep. That's the concept of "etude" I mentioned in the 2nd tip in the video :)
Awesome ;))
Thanks 😆
I’ve got all the secrets
Good lesson and happy to have followed. I am not a solo player but this information is relative to just about everything I like about the guitar. Thanks Marc
Awesome, thank you! Exactly: this applies to comping, or playing melodies, or ... anything musical actually :)
Very clarifying ... awesome content as always
Hey thanks :)
Nice.
Thanks Marc. I totally understand letting go and moving forward of the old stuff I play and learning new stuff. Now to try and put it into practice.
Have fun! Thanks
so for example that dmin7 to G7
D to C# voice leading
F stays same
A to G# voice leading
C to B voice leading
is this how you think about it?
Yes, kind of. Starting with the most important note ... the C note in the Dm7 "falls down" to the B note (the 3rd of G7). This is the crucial one to master. All other ones have different levels of "urgency" in resolving.
@@jazzguitar
that was the first one C to B that i what worked on.
but after a little while it felt like the same sound all the time it got boring .
then i realized overtime, not only can all the notes in a chord resolve than even the notes inside a chord can resolve too .
i know its still only a beginning level of detail but for example.
say we on a Dmin7 chord that just stays
i think of this as G6 resolving to F6
GBDE resolves to FACD
(it doesnt have to either the G6 can just ring over a dmin
but it was just a way to help me expand a little at the time so
dmin7/ G7/ Cmaj
might be
Dmin13/ GHW dim / Cmaj13#11
and the upper extensions can resolve in the same chord or ring
and then the normal voice leading at the chord change .
i really love another thing too
G7/ Cmaj
i like to play as
Db6 / C6
Db to C
F to E
Ab to G
Bb to A
or another GHW dim to Cmaj13#11
just wondering if you think same way about all these thing?
( i know they not advanced or anything )
Awesome teacher! Love your videos!
Thanks so much!
Great lesson... Very helpful.🎸👍
Glad you enjoyed it!
Thanks for this magnifique lesson
Glad you liked it! :)
Such a good lesson. Unforgetable
Thanks! :) Glad you enjoyed it.
puff concept understood!!
😂 I knew some people from the UK would get it! I just ... it's super common to use this "Pouf" sound as a french canadian. And it doesn't really mean anything.
Absolutely wonderful video. A lot of wisdom and value in this content. Cheers!
Glad you enjoyed it! Talk soon :)
Marc - this is SO helpful. It really clarifies the importance of distinguishing the “how” from the “what”. The bad news - there really are no shortcuts and no substitute for mastery and the many hours of practice that requires. Thanks for this!
Glad it was helpful! I agree with the "no shortcut". The fun is in the journey :)