The fragment you speak of is an old bebop technique which now is called enclosure -Enclosure is simply approaching a target note from above and below either diatonically or chromatically. You can practice it on all chord tones. In your example the G is the target chord tone, and it is approached from above Ab, below F, and then chromatically F#. You can vary it by many ways - scale tone above and below, scale above chromatic below, chromatic above and below etc.
I just discovered your channel and lessons and I'm very thankful and impressed. The range of your musical interest as seen in the lessons runs very close to my preferences, and speaks well of your desire to share your knowledge. I hope you continue offering your insights.
Yeah, I wondered how me trying to help people out deserved a thumbs down. Some people are hard to please!! Thanks for the comments!! I'll have fragments 2 and 3 out in a couple weeks!
Thanks for the comment. The harmony in the solo section of Have You Heard is basically a minor blues harmony. It takes some time to get used to you basically need three scales to begin working on it. C natural minor (aeolian), Ab7 mixolydian or mixolydian #4 and C harmonic minor (which you'll use over the 5 chord). That'll be the most basic way to begin with. Good luck!
hey fellow guitarist, I like your video and the lick, but I think it might be better if you explain the theory beyond the solo, what modulation does it use? It could also be even clearer if you played it on a track.
hi fili! great job, thanks! for me the best part starts at 5:32 when you start to break up the rhythm and use it in your solo. i've been trying to transcribe that part. it would actually be a bit easier if you played your solo examples against a one chord backing track as a framework to relate your solo to and not just over a click track. how about that? greetings from austria!
Great feedback! Thanks for that. I do have a example that will be me using all three of the licks against an actual Cm blues backing track so you will be able to hear it. But if you want to here how it sounds with comping just comp Cm over my improvisation because I was thinking exclusively of Cm over those lines. It'll be a comping exercise hehe
Great playing, Fili, and very good lesson! Only one question: why do you choose to contextualize your fragment in a generic phrasing, without a specific harmony? Thanks in advance.
First of all thanks for your answer. So you say that Pat uses this lick on a simple Cm: ok, that’s all and probably there’s nothing to add. Trying to explain the sense of my question: I don’t use to play horizontally and I’d like to; in particular, I’d like to master this way of “shifting backward” of the hand (i. e. of my musical thinking), making good “out of harmony”-phrases, but these ought to fit the II-V-I harmony. If I understand well, this is the case: you suggest to use this kind of phrasing inside a minor II-V-I progression, right? Thanks again!
Great lesson Fili! New Es-175? I've always loved Pats solo on have you heard; the use of very chromatic lines and his signature outside licks and vocabulary. Love the intro and your english is super clear as well, you sound better than me and it's my first language.
New Es-175 indeed! She's from 1979. Thanks for the compliments. I did grow up in Denver. Now I live in Boulder. So I learned it from a very young age. It's pretty much my first language too hehe.
The fragment you speak of is an old bebop technique which now is called enclosure -Enclosure is simply approaching a target note from above and below either diatonically or chromatically. You can practice it on all chord tones. In your example the G is the target chord tone, and it is approached from above Ab, below F, and then chromatically F#. You can vary it by many ways - scale tone above and below, scale above chromatic below, chromatic above and below etc.
I think I am finally ready to explore jazz guitar after 35 years of playing it. Thank you for breaking these things down a little.
Nice stuff. Totally agree that isolating these fragments is key because they have really wide application.
yup! That's true! Thanks for the comment!
I just discovered your channel and lessons and I'm very thankful and impressed. The range of your musical interest as seen in the lessons runs very close to my preferences, and speaks well of your desire to share your knowledge. I hope you continue offering your insights.
Thanks for the message! Great hearing this type of feedback!
Pat Metheny is the G.O.A.T
woah thank you! Praying Tanaka finds your pheasing and breakdowns very helpful
Great lesson. Thank you
Beautiful and very productive.lesson , THX a lot bro
Thanks for the kind words!
Thank you for the nice line I’m starting to get it up to speed a bit you have some serious chops nice work
grazie Fili, this is very good lesson for me to start with jazz
Super confident playing.
haha, that person that gave this a thumbs down, just imagine how bad they are at guitar. Thanks for this. I always love learning more Metheny.
Yeah, I wondered how me trying to help people out deserved a thumbs down. Some people are hard to please!! Thanks for the comments!! I'll have fragments 2 and 3 out in a couple weeks!
I have a transskription Blues for Pat solo - check it out😊
Nice T-shirt were did you buy that?
More and more come ideas that have been already developed in the sixties to a wider public.
Nice work.I've always wanted to delve into Pats lines.
Great lesson!
Glad you liked it!
Good articulation is a must.
Thanks Fili it was very helpful
you have to do another fragment - this is great
fili you're the best!!!
Thanks dude. This helped a lot. I'm still trying to learn the damn have you heard changes.
Thanks for the comment. The harmony in the solo section of Have You Heard is basically a minor blues harmony. It takes some time to get used to you basically need three scales to begin working on it. C natural minor (aeolian), Ab7 mixolydian or mixolydian #4 and C harmonic minor (which you'll use over the 5 chord). That'll be the most basic way to begin with. Good luck!
Thank you so much bro
hey fellow guitarist, I like your video and the lick, but I think it might be better if you explain the theory beyond the solo, what modulation does it use? It could also be even clearer if you played it on a track.
thank you teacher.good class l like
Love the guitar what model is it?
Gibson ES-175. it's a 1978 one if I'm not mistaken
Cool man. Not gonna do it, but I definitely would use your vid if I hadn't 3 other musical aspirations.
hi fili! great job, thanks! for me the best part starts at 5:32 when you start to break up the rhythm and use it in your solo. i've been trying to transcribe that part. it would actually be a bit easier if you played your solo examples against a one chord backing track as a framework to relate your solo to and not just over a click track. how about that? greetings from austria!
Great feedback! Thanks for that. I do have a example that will be me using all three of the licks against an actual Cm blues backing track so you will be able to hear it. But if you want to here how it sounds with comping just comp Cm over my improvisation because I was thinking exclusively of Cm over those lines. It'll be a comping exercise hehe
Great playing, Fili, and very good lesson! Only one question: why do you choose to contextualize your fragment in a generic phrasing, without a specific harmony? Thanks in advance.
Hey Roberto,
What do you mean by that? Pat Metheny played this fragment over Cm. So Cm would be the harmony.
First of all thanks for your answer. So you say that Pat uses this lick on a simple Cm: ok, that’s all and probably there’s nothing to add.
Trying to explain the sense of my question: I don’t use to play horizontally and I’d like to; in particular, I’d like to master this way of “shifting backward” of the hand (i. e. of my musical thinking), making good “out of harmony”-phrases, but these ought to fit the II-V-I harmony.
If I understand well, this is the case: you suggest to use this kind of phrasing inside a minor II-V-I progression, right?
Thanks again!
Yes, you can use that in several different ways and one of them would be during a ii-V-i to Cm.
Ok, thanks.
5:50 "come to the light booooy"
Great lesson Fili! New Es-175? I've always loved Pats solo on have you heard; the use of very chromatic lines and his signature outside licks and vocabulary.
Love the intro and your english is super clear as well, you sound better than me and it's my first language.
New Es-175 indeed! She's from 1979. Thanks for the compliments. I did grow up in Denver. Now I live in Boulder. So I learned it from a very young age. It's pretty much my first language too hehe.
bueno maestro
see how that flows
who would give thumbs down ? lol- makes no sense
Não que eu tenha problemas com o inglês kkkkkk, mas pq vc n produz conteúdo em português? Abraço
You give private lessons?
Hello. Yes I do. I have students all over the world. Shoot me an email and we can set a time for you. filiguitar7@gmail.com
Fili Filizzola i sent you an email right now
Pat plays like Pat. We all must play like ourselves
Sure but Pat studied those who came before him and those around him to develop his style just as we study Pat's to develop our own.
y'a un manque de générosité là: tout ce palabre pour une petite phrase et beaucoup de démonstration personnelle