Banjo-Intermediate & Jazz | Jody Hughes | Skillshare
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2 Lessons (13m)
    • 1. FundamentalBebopScale2

      3:35
    • 2. FundamentalBebopMin3rds

      9:38
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About This Class

In this class I go over techniques for playing jazz banjo.

I start with the Bebop Scale/Arpeggios because they are an integral part of jazz improvisation

Next I move on to the Minor 7th chords.

Meet Your Teacher

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Jody Hughes

Banjo, Improv, and Music Coach

Teacher

 

 

 

I've taught and played music for over 25 years. During that time I've been fortunate enough to perform on the stages of Carnegie Hall, The Grand Ole Opry and the Ryman Auditorium. I'm a 3 time Georgia State Banjo and Guitar contest champion.

In addition to teaching online and in-person I play private events around the Southeastern U.S, both solo and as a member of the banjo+Cello duo group Bow N' Banjo.

My background is in acoustic music-bluegrass, jazz, folk, and classical. I studied Improvisation and Jazz under nationally acclaimed pianist Kevin Bales for 5 years. Studying under a pianist as a guitarist allowed me to have quite a unique perspective on all of my instruments.  Other training includes vocal lessons, guitar and ... See full profile

Related Skills

Fine Art Creative Banjo,

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Transcripts

1. FundamentalBebopScale2: everybody. Welcome back to Jodi Hughes Music Video, Siri's and in today's lesson, we're gonna continue to talk about fundamental bebop and the last lesson we talked about arpeggios playing off the higher extensions 357 and nine, so to speak. And in today's lesson, I would give you the bebop scale, as they call it, and give you the logic behind. Why was this thing created to look the way that it does? Okay, so let's consider a G sap. According the court tones are G, B, D and F, otherwise known as on 357 numerically speaking. All right, let's suppose I started on the G on. I wanted to play a G seven scale. It would be Gene and then an f and then an e two a d on. And then I'm gonna stop on the sea. And I'm about to show you why. Because if I do that rhythmically one and two and three, beat three ends up being a C. No, that's not a note we want on the downbeat here. We want it to line up to where the court tones either the one the third, the fifth or the seventh are on 123 and four and the beat sequence. Okay, so the bebop scale offered up a solution. How do we solve this problem and fix it toe where the court tones are on the downbeat, even the five on and on and even the five ends up on an And so we have to fix this. And the way we fix this is by introducing 1/2 step between the G and the yeah, So it's gonna go G f sharp, F E D C B A and finally G is the downbeat of the next measure. So now rhythmically one and B two is the seventh and three. B three is the fifth. Now we fix the problem and before, and that's the third of the court. So I'll do this faster. You can begin to hear the jazz nous of it, okay? And it has that nice swing. So once again, the right hand it doesn't really matter too much. As long as you're alternating, there's no given way. I'll give you what I'm doing. I'm playing metal and next medal and X. And then I switched to thumb index. Okay, so let's just say you had a song that was, You know, you wanted Sham out on G Sepp. Well, three moving up to Seo. So for now, just practice the scale like that. And I'll be honest. There's gonna be multiple fingering lots of different ways to play the skill. But we have to start off simple and build on the complex and kind of how you can work with this three more and maybe going to some other leg, you know, and mess around with it like that for now. We'll make it more interesting later on. And I'll teach you how to combine the arpeggios and combine it to make a bunch of different kind of nice, jazzy little licks and things. Okay, so take care until next time, stay too. 2. FundamentalBebopMin3rds: Hey, welcome back to Jodi Hughes music. And in today's lesson, we're gonna continue our talks about bebop scales and how to apply this. This is for you more advanced banjo players out there. It looks like there's been a good bit of feedback about the other video, so we'll take a little bit further, okay? And maybe we'll continue this for a while as long as there's people watching that. So what you're gonna find out on the are going to see on the screen is that you're gonna see a G seven a B flat, seven a. D, flat seven, and an east of court. Now, why don't have these up? First and foremost, they are related by a minor third. You moved it up in my own thirds. That which would be what you get on the screen. There are better voicing, saying play at this point, just understand they're related. Five. Mine asserts. Okay, now, why don't have these particular courts? So if you're gonna look at these cords are gonna find out that they share more than one note in common. So a G seven has an F in it on, and it also has a Deanna. And it turns out that B flat seven has those same notes in it as well, in addition to others. But so basically, they share more than one note they share a D and they share on F. Okay, now, if you look at G seven and seven, you're gonna find out that they share a B and A D. Ok, And then finally g seven and G flat seven d flat seven is what's called the tri tone of G seven, and it shares a B and an F with G. Okay, so all of these chords and summary they share more than one note, and so they make for good substitution of one another. You can kind of arrive at this with your diminished scale. Some people come out like that, but basically towards that are minor thirds away when their dominance of each other you've heard those cartoon is kind of sounds they make for good substitution and we can apply this knowledge to our bebop skip. So let's go ahead, get start. So g seven we've already done way said that that downbeat plans us right on the G, which is the five of seat and the reason. The whole reason, just kind of review that we put that half step on there was so we could stay on the down beats with our scale. Third on. And then there's the fifth of I see. So let's take a look at B flat seven. So if I come down here and I just play it and you can see it on your screen Oh, that's what I have written now you could go straight down the scale and you wouldn't really end up on the right note, so you'll hear that I had to modify it and what I did. Four. I jump back to four of the third string and then I looked to the seat. There's a lot of solutions, people, sometimes dramatically. Personally, I feel like I already has enough romanticism, so I don't want to ADM. Or it's just balance for me. Uh, if you look on the screen, I had another solution. I went back up like an arpeggio, and then I landed on the E and the secret. So either one is fine, but just kind of so you can kind of hear this thing. That's how it would sound going from the G seven, the g o. Let's kind of get into a little bit more in depth with this. What is actually going on here? So number one first and foremost was starting on a B flat, which is the sharp nine of a, uh, basically a gene seven there. So you're starting on the sharp nine of the G seventh and then you're gonna be here, which is the flat nine. So it's shot nine lat nine on and and then that is an F So that is like the seventh. Oh, now you're finally on a d there, which is just the fifth. Nothing fancy. And I drove down to the third to see, so Okay, so basically what this is doing for you is just creating more altered sounds. You're getting a sharp line. You're getting a flat nine. Now, instead of just the old Manila sound, Nothing rolled in l. A. But sometimes you want it to be a little bit more out there and fancy, right? Eso What's cool about this, though, is what you really get this. You combine them, you can run down this one and then going to maybe just a straight G seven pattern. And there's all this infinite ways of connecting. I'm just making them up as I go here. But anyways, so you can string them together, too. And that's when you can create these really long, intricate harmony harmonically complex lines. Okay, so that's B flat seven. You get a sharp line nine regular, seventh, regular, fifth. And then however you want to get into it. Oh, Like I said, some people will play dramatic all the way. Now let's look at e seven. I'm not gonna do all these. I'm skipping the tri tone one. Figure it out, you know? Okay, work on If you have questions, let me know. But I'm gonna go over enough of these that hopefully you come up with somebody your own solution. So we're gonna go to E seven down, and I'm gonna walk down 87 from here on the second string. Uh, it's out there. Right? So the reason being is your starting on the 13th e, There's the five Souto way back to the third. Um Ah, that is the flat nine are now. You have a sharp of course. Uh, which is a major. Seven. That's on off beat. So it's not right if it bothers you, huh? You could mess around with, come up with different once. But you know, usually when things went off beat, they don't really to tear the ear too much, so you can play around with this. But this one is Oh, that's a unique sound to it, too. Because you're starting on a regular 13. There's your flat nine. Yes, but so these were different. Sounds kind of play through all of them here real quick. So we have G seven or some things I know. We're kind of hard to hear out there sounding, uh, just don't have any companies, But the idea is that you take this a little bit further and you can take one bebop scale. This why you should practice it in multiple keys. You know, you should be able t o wherever you want to do it F and and so forth. So I want to be able to do it over multiple courts because the courts that you could do it over the more you can string together and create all these different elaborate harmonies, you know, going back to my example, I could take B flat 70 arpeggio e seven on Stepped Out of Harmony. Come back. No, it's old balance. It is all subjective. It's up to you How far out you get with this, But hope needs to help to apply it a little bit. Mawr, um, to those of you, that kind already mastered material and worked on it. So there you go. You can You can run g seven bebop. You can run B flat seven d flat, seven e seven. You can run all of these over the top of a standard 5 to 1 and see or a seven to see if you will. Okay. And maybe more on this a little bit later. For instance, today we just started on the routes. It turns out that you can start on other notes in the scale which you should be able to do , and we'll talk about maybe starting on different beats. And what are the repercussions of that? Because you sometimes have to fix things. It's a little bit mathematical. You have to figure out How do I come out of this? You're the same thing that we just did You know, I can't just keep going forever and come out on the right. Beat on the thing. One thing. I was going to show you real quick. I like this one. In jazz. We come out on the nine a lot of times we want this. So you have to come out on one. So a lot of times on and on the nine, there s Oh, so you don't necessarily have to come out on the one that third of the fifth in particular with jazz or classical music or what not, But it's good to be able to just kind of run the standard ones first before you start trying to get into all this. Okay, So if you guys have any questions, let me know. As always, I'm available for online lessons in the banjo theory. Whatever you guys want to work on, we could certainly work. All right, take care