Jazz for the Curious Guitarist | Dan Dresnok | Skillshare

Jazz for the Curious Guitarist

Dan Dresnok, Guitar Teacher

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43 Lessons (12h 1m)
    • 1. Preview

      4:33
    • 2. Welcome to the Class (page 5 - 7)

      11:25
    • 3. Guitar Fundamentals (page 8-11)

      19:06
    • 4. Open Chords (page 12-13)

      14:44
    • 5. Barre Chords - Basic (page 14-17)

      18:47
    • 6. Arpeggios - Basic (page 18-21)

      23:00
    • 7. Rhythm Study (page 22-28)

      28:34
    • 8. Major Scale in C (page 29)

      17:59
    • 9. Techniques (page 30-32)

      18:41
    • 10. Types of 7th Chords (page 33-34)

      29:53
    • 11. Relative Chords (page 35-37)

      18:18
    • 12. Relative Modes (page 38-45)

      19:50
    • 13. Relative Chords with 7ths (page 46)

      20:39
    • 14. Arpeggios - 7ths (page 47-48)

      20:23
    • 15. Jam - Relative C Chords (page 49)

      24:04
    • 16. Types of 6 & 9 Chords (Page 50)

      19:04
    • 17. Relative Chords to the 9th Extension (page 51)

      16:00
    • 18. Arpeggios 6s and 9s (page 52)

      16:56
    • 19. Various Types of Chords (page 53)

      15:19
    • 20. Chord Numbering (page 54)

      17:20
    • 21. The ii V I Change (page 55)

      14:46
    • 22. Intervals (page 56-57)

      22:31
    • 23. Relative Chords to the 13th Extension (page 58-59)

      26:39
    • 24. Arpeggios 6/9, 11, 13 (page 60-64)

      17:03
    • 25. Chord Tones & Dyads (page 65-66)

      19:57
    • 26. Reading Music (page 67-72)

      28:54
    • 27. Cycling 4ths (page 73)

      11:11
    • 28. Altered Chords (page 74-77)

      21:38
    • 29. Altered Arpeggios (page 78)

      17:15
    • 30. Whole Tone Scale (page 79)

      9:27
    • 31. Super Locrian Mode (page 80)

      13:15
    • 32. Diminished Scale (page 81)

      15:23
    • 33. Passing Dim7 Chords (page 82)

      15:37
    • 34. Passing Dominant Chords (page 83)

      19:30
    • 35. Tritone Substitution & Secondary Dominants (page 84-85)

      17:29
    • 36. Advanced Pentatonics (page 86-87)

      19:32
    • 37. Bebop Scales (page 88)

      10:06
    • 38. Jazz Progression 1 (page 89)

      8:23
    • 39. Jazz Progression 2 (page 90)

      12:28
    • 40. Honorable Mention (page 91-92)

      9:21
    • 41. Dominant in Music

      6:30
    • 42. Phrygian Dominant Scale

      4:05
    • 43. Lydian Dominant Scale

      5:43
26 students are watching this class

About This Class

This is a complete jazz guitar lessons class. Beginner to advanced. Learn rhythm & chords, soloing, & jazz guitar theory.

*Be sure to download the PDF in the Projects & Resources section.  (It's called "Jazz for the Curious Guitarist - PDF.")  It's 93 pages long & contains all the text & tabs that you'll need for this class.  (If you have issues downloading it from your mobile device, then download it from a computer or laptop.)  Don't wait - get it now!

Welcome to Jazz for the Curious Guitarist! If you are ready to finally learn how to play real jazz guitar, then this class is for you. I will take you from the very beginning to show you the basics of guitar playing through to a high level of jazz in which you'll have knowledge of all chords that exist, basic & advanced scales & arpeggios, rhythm, and music & guitar theory.

I'll start the class assuming that you don't play guitar at all. I assume you are a complete beginner. The first 7 or 8 videos are all about teaching you the guitar basics to get you ready for the jazz lessons. The title of most videos will include the PDF page number to reference.

The lessons are cumulative (each lesson builds on the previous lesson.) We will work extensively on chords, scales, arpeggios, rhythm, music theory, and various jazz concepts.

Any kind of six-string guitar will work well for this course - electric guitar, acoustic guitar, or classical guitar.

Class Requirements:

  • This class is for everyone - including complete beginners!
  • You only need a guitar - any guitar with six strings.
  • We will start at the very beginning.

Who this class is for:

  • Anyone who wants to learn jazz guitar.
  • Complete beginner guitar players.
  • Intermediate guitar players.
  • Advanced guitarists.

What you'll learn:

  • Learn how to play jazz guitar!
  • Learn how to solo using every arpeggio!
  • Extensive music theory to allow you to teach yourself.
  • Learn how to play & construct any scale that exists.
  • Learn all of the relative modes throughout the fretboard.
  • Guitar basics for beginners or as a refresher.
  • Multiple advanced scales & soloing techniques!
  • Chord progressions & practice jam examples.
  • Use tablature and learn to read music.
  • Learn about altered theory!

It's well-known that many of the best guitarists in the world are jazz guitarists, so we have a lot of work to do, but I will get you there as quickly as I can! I know exactly what you need to learn. I know exactly how to teach you.

I'm excited that you're here! The world needs more jazz guitar players.

This is going to be a lot of fun! Let's get started.

Transcripts

1. Preview : hi and welcome to jazz for the curious guitarist. I'm Dan Dragsic. I'm your guitar teacher. I've been teaching guitar lessons for over 25 years. I've written a number of guitar method books, and I published over dozen online guitar courses. I am the perfect person to get you started playing jazz guitar. Jazz guitar is a lot of fun, but it is a little tricky to get into when you don't know the right things to look for the right questions to ask. I made this course just for you. I had the same experience when I was learning jazz. I knew how to play guitar. I knew a little bit of music theory enough to be dangerous, and I really loved jazz. And I always heard that if you study jazz and you got good at this style that it would spill over into everything else you played and it would make you a really accomplished musician. Well, that sounded great, and that's what I want it. But it was a really hard style to get into. And so, um, through a lot of exhaustive studying, I have finally learned how to play. I started teaching how to play jazz over 20 years ago, and now I'm here to show you have playing this course. So what you can expect going forward is we're going to start from the very beginning. You may be starting from scratch on the guitar. I am not really sure what your level is. You may be an advanced guitar player where you may be starting from scratch. I'm going to assume that you're starting from scratch. So going to quickly get us up to speed with a little the guitar basics, like how to read tab, get the guitar strings on basic chords, all of these things that we need to know quickly to get us up to speed. Um, then we are going to get into the jazz lessons, and we're going to start doing things like learning how to static or seventh chords. We're going to start learning all of the ways to use the modes to connects to the seventh chords and the other extended courts. Um, and the ways that the melody and harmony are interacting with each other is a huge piece of heaven jazz works, and so that is a lot of the stuff that we're going to learn in this course. But like I said, I'm taking you through in a cumulative way so that if you just follow the videos in order, you are going to be all set. Um, this course is not about reading charts, so we're not going to be doing examples from the real books or fake books. I'm going to be giving you all the tools, though, to go off and to read any jazz charts that you need to after you finish this course. When you finish this course, you're going to be ready to do that on your own, so we don't need to do that together. What we need to do is we need you to understand how to play a nine sharp five court or how to play a C 13 chord and what the scales are. Pitches are that are good idea for you to use to solo over those courts when they come up, Um, and so that's what we're gonna work on. That's what this course is all about. Most of the videos in this course also have a downloadable pdf that is attached. So get the PdF. Pdf is yours please make sure you get It's the text lesson of the music or the text of the guitar lesson to give us another visual help. Understand what we're supposed to do with. The lesson was about, and I'm really glad you're here. This is a lot of fun. Playing jazz is a lot of fun. It's a way to really take your guitar playing and just your musicianship to the next level . So really glad you're here. And thanks for watching this video and I'll see you in the next video. 2. Welcome to the Class (page 5 - 7): Welcome once again, Teoh Jazz for the curious guitarist I'm Dan Dress Nick, I'm your guitar teacher. I wanted to take a few minutes on. Explain to you what you can expect going forward thistle a pretty long course. The last time I checked, I think it was were over. 11 hours on the course is still growing, so there's a lot of stuff to work on What is a good way to go through it? So if you're starting from scratch, because I don't really know what level that you're coming into this at, So if you are a beginner, then just go in order. Okay? Go and order. Watch the first video than the second, video them third video and just continue on like that. That's the safe bet, because I put this course together in a cumulative way. So every every video builds on the previous video. You know, I understand that many of you are not beginners. Some of you will be intermediate players were advanced players. Eso you may you may say I've been playing guitar for five years or 10 years or 30 years. You may be playing for 30 years, and you may say I've been playing for 30 years. I know some basic scales, and I know my chords and I can play. I know some basic rhythm. Um, I just want to learn jazz. Great. I'm really glad you're here. There's a lot of really amazing stuff for you in this course. What you can do is you can kind of skip directly to the lesson that makes the most sense for you to get started. So if you already know your strains in every tab and your open courts, you don't need to watch those videos skip past up. Okay, So what is important here is getting the information. I want you to get the information as quickly as possible. So jump right to the video that you need. Um, a lot of guitar players can play guitar and what that means, really? Is that you? If you can play guitar, then you have a pretty good sense rhythm. You could keep it be. Keep the polls. You know your basic chords Europa, poor to disembark words. You can move around. You might know a scale, but really what? It means that you got a sense of pulse. You can keep the rhythm. Okay, so the guitar player that is able to play guitar to be is someone that can keep a rhythm. Okay, um and that's great. And a lot of people in that situation, though, they just haven't really studied a whole lot of get our theory or music theory. And so we're going to do both of those things, and this courses were going toe. Make sure that you've got all of the music theory that you need, but also, we're gonna make sure that you've got the application, okay? And application is actually playing your instrument, playing your guitar. So I'm going to make sure that you are learning all of your rhythms have read count your rhythms, which is directly applied to strumming and picking. Um, we're also going to work on the main fundamentals of guitar theory, which is going to be rhythm chords, arpeggios, skills modes. On that, we've got this maybe 50 category of techniques which you should always be using techniques , techniques being things like him rounds and pull offs and bends and slides and trills and vibrato, MSM, things like that. So these are your techniques and, um, but really understanding how to use chords, scales and arpeggios. Thes are the three things that are the melody and harmony on and how they work together. Arpeggios, courts and skills. Moz. So thes things all really kind of work together. What's interesting about those three categories arpeggios, court skills, moans, scales the modes of the same category. What's interesting is that they all have the kind of the same theory. What I mean by that is, if you understand the some of the basic or more best theory of how the courts work the harmony, um, that that is going to also directly apply the same exact theory to your skills, moods and our videos. If you learn a little bit about how skills amounts work, that theory that you're learning about scales and modes will apply directly to the arpeggios and the courts. So they all kind of share the same kind of music theory. It's from a little bit of perspective, but it's basically all the same theory. Soto learn the theory of one you'd you're also learning the theory of the other ones. So it's been my experience that these categories are the are the things that are going to say Look for success on the guitar. So you up for success in jazz, jazz, guitar. So these are the things that we need to get working on right away. And then, of course, um, the rhythm. I really just want toe hit that 0.1 more time. If you become a guitar and music theory genius, that's great. I really do hope you dio. But if you do, that still doesn't mean that you can play. Because remember, we said somebody that could really play guitar has a good sense of rhythm, so that's why the rhythm thing is important. OK, so it means that you're able to actually play to keep time to keep the poles, to do the changes on the beat. So the rhythm is a huge piece of playing to torrent that you need to get so music and guitar theory or pitches court skills modes hugely important when you're talking about jazz . But a lot of this is very intellectual, okay, so it's just a lot of like cerebral stuff that is mental. It's very kind of academic and exciting, but when it comes actually playing, that's where the rhythm is so we need to take the rhythm and plug the rhythm into all of this stuff. Now, we might be playing some jazz. Okay, Now, this is starting to get interesting. Um, so we are just going to, um, build on a lot of the different ideas in each section. So when we're talking about how this is a cumulative or that all of these lessons were going in and all these sections air going in and the sections were going to be like get your basics and the beginner and intermediate ird Office and advanced and I'm like that, that's how the sections were going to go, just full of them in order. Okay? And unless you are the best guitarist who's just jumping directly into I want to go directly to how to play the relative sevenths or relative seventh to the ninth degree, whatever. So jump directly to what it is. I needed jumped wrangling, and I need to start off with muds. If that's where you need to start off. That's great. Jump directly to it. So, from there, just follow it, okay? Because I am trying to say every time I do a lesson, I'm trying to say I haven't taught them this. Yes, I do. To make sure it teach them this before I move on. All right, so I'm trying to pay attention to your development as well. It's really important for May that I don't forget anything and that I will miss anything so that you get to learn all of the important stuff that you need to know. Oh, and, um, So what are the things about jazz that makes jazz tricky? Is that there's all these kind of special things that don't you wouldn't get them out. You won't learn these things out of the classical music theory. Look, trust me, because I've read several, um, music theory, books, textbooks, and still, there's a lot of missing pieces of the jazz puzzle for May. And when I was able to learn some of these tricks, um, they're really typing all together, so we're tying it together in this course. I'm showing you all the stuff I'm giving you all of the ingredients in the recipe. So not holding anything back in this course no secrets. You're gonna have it all by the end. Um, and but some of these things are some really advanced music theory concepts that are really just exciting and cool and do, and just things that you would not expected to be there. But we are going to after we've learned off the modes, we're gonna break out of the modes and started learning some other exotic scales or we're going to need for some of these situations. So the modes that unlocking the front board is a great start. It's something that I feel is essential for you. Okay, then we're going to take that to the next level and start working on some of these other skills and exotic arpeggios as well. So these are going to be some of the things that we need. Every almost every lesson video is going to include a downloadable PdF get PDS. So if you are trying to say what was the shape of the diminished scale again, well, you should have in the pdf, because I gave you pdf for that, or what was the How Do You play that a d Dorian mode? It's on a pdf compete ever. How do you play a C nine court? You know, get the pdf the pdf has all this stuff. So in the lesson videos, there's a pdf download. Pdf printed. Whatever. Get the PDFs PDFs. I spend a ton of time putting these. Pdf's together for you to make things easier, so please be sure to get them. They are a big part with his courses. Yeah, you should actually get pdf before you start watching the video and then the 1st 10 seconds download the pdf right away. Don't wait. If there's a pdf with the video, get it right away. Don't wait. Pdf Printed out. Two were opening on another screen. Have the pdf handy. It'll really hope for that lesson to make a lot more sense because you'll have another visual lawyer watching me talk about it. So get, I guess, and a Z we get towards the ends. There is a, uh, um, a couple of Jim Long videos that have got of some kind of man up John's progressions that weaken practice so long with, and it really does get to some pretty expert levels towards the end, of course. But like I said, the course is growing, and I do that plans to continue to add to always be continuing to add to this course, so it's just it's courses. So much fun is there's so much information here that, you know, we want to keep it going. We want to keep on learning as much as we can and get more. Resource is so Anyway, I'm really glad you're here. I feel like we've talked enough. I think it's time to jump in. So beginners start in the next video. And if you are vast that feel free to jump ahead. Please just do it. Just jump into the next video that you need and I'll see you in the next video. 3. Guitar Fundamentals (page 8-11): let's go through some very basic guitar concepts. We are going to start off by using tablature, also called Tab tab tablature. Um, and it's a good, quick way to jump into reading some of these guitar shapes without having a read actual music. When we get closer to the middle of the course, we're going to take a look at actually reading music. But for right now, TAP is going to get us up and running. Okay, so it's simple, very simple. Town is six lines. Okay, six lines represent the six strings on your guitar. Then what we do is we write numbers on each line and the numbers represent the frets. So if I have ah, maybe like a three, then I would tell me the third fret on the high strength. If I have zero, tell me open on the low string. Okay, we'll take a look at that more in just a minute. Let's take a look at the street name so we can communicate with each other on with string. Names are okay again. Looking at the tab six lines representing six strings on your guitar, and when you're looking at tub, a good way to think about it. Because people get confused all the time. Which is the high string, which is the low string. I can't remember which is which. This happens to people all the time. It's really simple. You've got your guitar. You lay your guitar on your lap like this just laid down. So you're holding your guitar, You lay it down in your lap, and now you're looking at your strings exactly like you'd be looking at the town on a piece of paper Exactly the same. So the top line eyes your high string in the bottom line, Uh, is your low string I say hi. I mean, hi. Pitch in low is Lou pitch. So the top line eyes is the high strings, the high pitch strength and the bottom line on the tub eyes is the low pitched string makes us okay. So if you ever get confused, which is the top string, which is the bottom string? Just go like this for your guitar. You're looking your strings exactly like you're looking at the top. Uh, so thestreet names going from low to high, low pitched average e a d g B e. Some new Monix that people used to memorize This are Eddie and Dean. Go buy eggs. Probably more popular. One is Eddie a dynamite. Good bye, Eddie. Eddie eight Dynamite. Good bye, Eddie. Okay, Eddie Dynamite. Good bye. Okay, so play me the a string, OK? We're playing these open meaning without pressing anywhere. When we played open, which is represented as a zero when you play open, we're not pressing anywhere. Okay? So plainly the a string. OK, so, Eddie and let me the d string Open A and Dean work 88. Dynamite. Good. Play me the B string, Eddie eight. Dynamite. Good bye. I play me The high e string is in the high pitch he string and it's time I Good bye. Let me the low pitch Eastern Good. That's it doesn't streams. I e g on e. We have to e strings to outside strings or both use. Okay, those are a couple octaves apart. So when you have the same no name, but they're different pitches higher and lower. They could be different. Actives octave. So the e strings are a few active support. We'll talk more about that later. Okay, um now, let's, um Let's take a look at, um, let's actually take a look at the chromatic scale. First, we'll come back to the tab in just a minute. We'll take a quick look at the chromatic scale. The chromatic scale is the musical alphabet. Okay, this is what every musician off every instrument uses to talk about the notes. We we all use the same notes. It doesn't matter if you play piano or trumpet or saxophone or guitar or sink, or even if you're a drummer. We only use the exact same notes of music. And when we talk about the musical alphabet, we're talking about the chromatic scale. So this is it is the chromatic scale. And, um, I'm gonna break it down for you. So it's makes sense. It is easy for you to use, okay? And when we say to scale, it's not really a skill that you play like you're gonna take a solo on a scale. That's not this. This is more like a, um, music theory thing for us to talk about how to find this note that knows. Play this note. You use it to help understand your instrument. Better the chromatic scale. Okay, the way it goes is a B c D e f G After G goes back to a a B C D e f g a b c d e f g Fergie goes back to just goes, keeps on going around and around in a circle. Okay, In between a b c D e f g, we have sharps and flats, the number sign or the pound sign with the hashtag would say hash tag right next and a right here. That's a short sign, and it just means one higher than, like one. Fret higher that just a little bit higher than one friend. So a shark is just one friend higher than in a note. Okay, so, for example, if I have no, here's my a string. I just go one for higher on the first fret. It is a sharp because it's on the first spread. One fret higher. That's a sharp. Now Sharps and flats are the same note. What I mean by that is, uh, sharp is just one front higher there, and a flat is just one front lower than in the flat. Has got a little be next to it. I know the 1st 1 we have is ah B flat. So to be with a little be next to a lower case be Here's a D Flats and D with the lower case be next to it E flats and E with a lower case. Be next to it. G flat a flat. The flat is the largest B Okay, it's flat one friend lower than when I said that The sharps and flats or the same know what I mean is in between A and B. There's only one friend, so just take my word for it. That this number here front isn't a note. This fret. Some friend of his A B note. So here's an eight out years of being a town where you're taking my word for it. Right now, there's only one friend in between the six Prep. It's in a sharp because this one higher than my unit and so six friend is a sharp because it's one higher than a. But the six friend is also be flat because it's one friend lower than my be note me B flat A. You sure so a sharp and B flat or the exact same note C, Sharp and D flat are the exact same note de sharp in e flat or these accident No F Sharp and G flatter the same note in G sharp in a flight are the same note we call them by their flat name or their sharp name, depending on key, were in. So for a lot of what we're going to be doing in the beginning, we'll just talk about the sharp names. But in jazz, we played a lot of horn keys so it would be playing in a lot of flats. Will be using flats a lot. One of the rules of music is that you you do not combine sharps and flats in one song. We're going to either deal with Sharps or we're gonna deal with flats were going to call them by one or the other. We're not gonna deal with both sharps and flats in the same song that's just don't doing music. So for the most part will be dealing with flats because we're playing jazz. But we may just call them by their short game just to keep it simple. Sharps and flats, Same thing. OK, so you could just practice the chromatic scale by saying a a short B C C sharp d d sharp e f f sharp g g sharp in the next again, you could also practice the chromatic scale by saying a B flat B C D flat d evil at e f G flat jeep a flat. Hey, both of those are the same thing. They're both a chromatic scale. Okay, so that is the chromatic scale. That may sound like a lot, but kind of as you go through this a few times, this will make more sense. The one rule that we have to remember about the chromatic scale to fully have it down is that we've got nothing between being C. Okay, there are no sharps and flats between B and C, and there are no sharps and flats between E and F. Okay, so there's no be sure. No, see flat. They don't Those no stone exist. There's no he sure there's no f flat. Those notes don't exist right from you two f. Um, right from you see? Okay, So what is a good way to practice the chromatic scale? Like I said, we can start off by just calling the sharp pains. Just keep it simple. A B C d e g a b c D e f g Everything has a sharp between it except nothing between B and C . Nothing between the f So let me that a strict Eddie and Eddie Meat got any 88 Let's go up one fret at a time and call up the note name. Okay, so a string sounds a note. First fret second for Be that Sabina. Third fret. See Casino fourth fret, See? Sure. And c sharp. Of course, if the same is a deflect. Same thing de sixth fret the short, which is the same as E flat seven e eighth fret f because we go right from eats F ninth fret sure, which is the same as G flat G. He loved it. Fred G Sharp, which is the same as a flat, full friend. Way to go back to again after the G sharp. Okay. And I'm on the 12 friend, which is my double dot. When we get to the toll friend, it will be the same as the open string name. So when you're practicing this when you get to your 12th fret which on most guitarists as a double dot fret worker. That's how you know you have gone all the way around the octave 12 fresh. You should think it's the same note name as the open string. And if you do that, you know you counted correctly, but you could keep going if you want to know. My 12 friends were just day because it's the same. Is my open a string? I could keep going? The sharp Be sure? Sure, he just keeps going. Okay, yeah, If I want to do this from any of my strengths, I just count the chromatic scale, but I have to keep in mind what string in my starting home. So let's start on the Let's Start on the Eastern, The High E String. I high pitch Eastern. Okay, so E So it's an e note. Okay, so I start counting from me, So that's E. So my first fret. That's an F because I had to start counting for my east during this time because it's in Eastern Open G four e 12. Fret my double dot. What I recommend you do is practice this on hold the strings, starting with the open string name. Then when you conduce you Teoh make a bigger exercise is to pick a note. Any note? Just pick one note from the chromatic scale and find it on every string. So you start by boat going to the street name If you count up until you get to that note, Let's just do one real quick. So I'm going to look for C sharp. Okay. C sharp zone on the eastern eso counting up until I get f g sharp. A sharp BCC sharp. Uh, I'm gonna count on a strict, I assure the A c c sharp on the d string open T g sharp b g she sharp a sharp B c c Sharp notions and a little bit same every time I'm on the G string now g open. She sharp a sharp the a C c Sure. Now among the b string. Big open Sisi. Sure. Now on the high e string e open shirt. You t shirt day is your B c c sharp. Good. Okay, So we randomly picking up from the chromatic scale. We count up until we get it on every string. By the way, don't try to memorize where all the C sharps are or whatever you know. You pick, don't try to memorize where they are. That's not with the exercises, and that's not going to even help you. So don't do it. Don't try. Remember us where those notes are really fast. Accounting the chromatic scale and get really fast at identifying your string names. Any eight time like goodbye, Eddie. And then the chromatic scale get really super fast in both of those. And don't worry about memorizing anything else, OK? You can count up to the notes super fast. You don't have to have them memorized. Okay, Lastly, um, I want to take a look at the tab one more time. Um, when we have no Okay, So the numbers are telling us the friend and zero is telling us to play open. Um, so this is play zero on the next. We have second fret of the low e string. So it was 12 Now, when we're reading toe, we're going one of two things going on. We're going to have either a melody, which will be a couple of notes by themselves, or we're gonna have a court, and we'll know it's a court because the numbers are gonna be stacked up on top of each other. Vertical. So right here, I could see I've got some kind of accord. Okay, Um, and I don't even really need to know what the court is. I just have to put my fingers on these frets and play it. So starts on the a string. I've got to Okay. And then next dream is a three. Okay, The next drink is it to Okay. And extremism three. Okay, Got it. And I'm only going to have to strum what I'm pressing on. So I don't want to strong the outside strings because there's nothing on there. I was supposed to hit them open, they would have zeros on. So I'm just strumming on its a court. So I'm nto little one shot, okay? Actually wants of being a B minor. Seven flat, five chord. Okay, moving on. I've got a melody 320 on the high e string three and zero. Open on the street. Let's do it one more time. Let's put the whole thing together so you're too. And that's how you re tab. You literally just do what it says, Put your finger on the fronts that tells you to. On what string? If they're stacked up together than its according you have to strung them all at the same time. Okay, I think that about covers it for getting you up and running. So I will see you in the next video. Until then, I would love it If you would start practicing your chromatic scale, pick a note. Find it on every string, fast as you can. 4. Open Chords (page 12-13): Let's talk for a minute about playing over records. So in jazz, deer is a kind of unspoken rule that on the guitar we don't play open courts when you play jazz, Uh, you play bar chords, you're pressing on everything. Um, so, however, I am all about breaking the rules. I I firmly believe in breaking the rules. Of course, you first learned the rules and you buy buy them and you try it out the way that the Masters have shown you how to do it. Don't play open chords. And then after you do that for a while, you can experiment with breaking the rules. Um, but it seems wrong to jump directly in a bar chords without showing you the open courts first. So we're going to just run through some of the basic open courts. I'm going to show you my fingering positions, so when you're going through them, it will help speed you up to see what fingers I'm using as implying the open courts on. Do you got your PDS in? The additional resource is that you're looking at for all of these videos you're going through the pdf's in the additional resource is on downloading them to your computer or printing them out. We're just having them open and accessible. So you could look at them while we're talking about this stuff. So make sure you get all the all the PDS really important. So we talked in the last video about when we're looking at tab on. This would be true. We're looking standard notation also, but it's true for Tab true for san Fermentation that the notes will be stacked up on top of each other. Eso they'll be vertical. So stacks knows or stacks. Numbers means accord, and you're meant to strung all of them at the same time. Okay, so here we've got a couple of different chords. Um, and a lot of times you'll see the coordinated above Didn't write them above here because I'm just going to run through and call them out to you, But we can see a couple of different chord ideas here on the white board. So the 1st 1 that we got, we got a g court. So here is G chord. The main thing that you want to be on the lookout for is how many of the strings are we strumming? Okay, if the string has zero on it, then we're meant to play it open. So yes, play that string. Your benefits got zero y. So in the case of the G chord of the 1st 1 here were streaming all six strings. We're getting these guys open. This next one. The second court here is an A minor court and the a minor court. We are not strumming the outside strings were not getting the Eastern's. We're just getting the middle four strings. So a minor court just getting the middle four strings. Then we got a B 7/4 here, okay? And so we're not getting the low e string, but we're getting all the other five streaks so breaking through, but and then we've got a little many F quarter here. This is what I call him Easy F. Okay, there's a number of different F courts. Usually f will be a bar chord. Meaning we have to press on everything which we do in this one, too. Um, but it is a It's an uncomfortable bark word. And so this is easy, more comfortable version of the nets. Just a simple little three. Yo starts in the B string and goes 123 So stressed B string first fret second friends third fret 123 and we're just streaming on. What? We're pressing on this one. So let me go back to the beginning and run through the basic open courts. And, uh, that would give you the miners So we have a g Chord way d chord picking from the D string figuring on that one. Then we have a C court secret is picked from the A string A eight We have a cord. There are a lot of singing frets 0 to 2 to zero starting on the a string way Haven't e court equal on. And then, of course, we've got our F court, which we just talked about 1 to 3 eyes is the easier on easy way to think about getting to the easy F chord. It's like if you take a seat court, here is my secret. I was gonna drop these two figures down string phone. Good. Yeah, easier. Okay, um now let's go through the minors. So we've got, of course, you minor. It's kind of like, here's my equal. Just take this finger off a minor course eyes just like this guy right here. Good. Good. Do you want, um, let's go through a couple of seventh chords. So the 3rd 1 here is a B seven. All right, So be how about a piece up? So here's my e court. I just open up the string that pressing on Bill D String. I opened it up. Ah, do a PSA. Okay, So a court and I do the same thing. I opened up the string in the middle, that impressing on. So the G string goes open de seven. It's got, like, if I have a d chord, but my mental note who's back to France? So was it being 212 again strong about a Caesar, um, secret here going to add my picky into the mix. Right. And you may have noticed this, um, for most of these courts, I'm not using my pinky. Most of the time. When we do open courts, we don't use our pinky. A lot of ah, you guitar students will get in trouble for not using their picky enough. But I actually don't want you to use it unless you have Teoh when you're doing open courts . Don't use your pinky unless you have to. Okay, um, the reason for that is because, uh, if your news of these courts, then your hand has to learn how to stretch out to open up. And so you may take a short cut and use your pinky where you should be using your ring finger where your middle finger on and working on, stretching your fingers out. So don't use your pinky unless it is a four note court. Unless there's four things we have to press up. So, like the B seven right here this guys 2120 to We have to use your pinky because it's four things were pressing on. Uh, we're doing a Sisa. It's a four note court. We make a C court in the piggy. I was here on the G string on the geezer. Ah, um, what else? Let's look at a G seven. So a popular G seven would look like this. Okay. It's almost as if I took a C chord and I just moved everything else. Liar. OK, comin. G seven, Um, I personally don't play that position too often when I do a G seven. It looks like this. Good. Sort of like a starting off on a B seven. Shape the 212 You're in the low stream, going 3 to 3. Just usually. Um, Then let's take a look at our Meyer seventh chords. Okay? Month or so? So we've got a D minor sub. Um, this 111 2/1 12 and over. First fret first fret second friend and open the D minor seven. I actually, you know, it's in open court bar the 1st 2 strings on the first fret So, uh, just mashing down my finger on the 1st 2 strings. Get second fret that strong it from the open d string De miners, a minor said It's like doing a minor court, but we open up the G string, so just take a year off on, um e monitor seven. Like doing e my record, but we open d string, so we just take a figure off the D string way. We're only pressing on one string with a string second fret. Everything else is open for seven. You minor. So So this is possibly the easiest cord. I think that about covers the open courts theme. The there are more shapes you could turn almost any court into in open chord shape. If you get really creative where you could at least play it in the open of position, the technical difference between an open court and a bar chord is that an open chord will have at least one open string. So it has it least one open string, then it is technically an open Gord. So, like my Deek or, for example, impressing on three strings. But I got the one straight over. The D string is open. So technically, that makes that in open court, as opposed to a bar court where I've got zero open strings, no open strings in a bar court. You're pressing on everything for Barca word. So bar chords open up a lot of possibilities because you could move them around. They're very shape wise. So you learn a shape, Um, and you learn the root note and you can move it around. We're gonna take a look at them in the next video. Um, but it has got at least one open string. Then tighten plays a bar or is an open court. At least one open string makes it technically open. So and I don't even have to be down here. I could be up here playing some cord. And if I've got an open string, technically de court can appear to G court like this so we can get creative. I could do in a my record like this, you know, pressing on three, but one of a string way so we can get really creative with making arm open courts of the next. Um and that's something that I would advise you to to do as you get more comfortable with the fretboard in the notes of the courts, in the notes on the fretboard, so that we can say, Well, I know how to construct this cord, and I know that it's on the front poor. So I'm going to figure out an interesting and creative way to make noven cord down the neck because that's something that I liked our players do not do. It would make you special and set you apart if you ever decided to do that. So that would be very cool. You should do that. Okay, um I think that about covers it for the open courts. Thes are important to know they are the building block off. A lot of our bark words love our barker shapes. You can you can think of them as being built on open chord shapes. So, um, get familiar with these, and I will see you in the next video when we take a look at some of our bar boards. 5. Barre Chords - Basic (page 14-17): Okay, let's take a look at some of our bar chords as we talked about before. The difference between open chords and bar chords is that an open court will have at least one open string in it Mark words have not were pressing on every string, every note when we're playing a bar court. But they're huge advantages to bar chords, and it is the premise of jazz guitar is lots of los in Los Spark words. Um, so I'm playing on an acoustic guitar because I love the acoustic guitar. Um, that makes me a little bit unusual with jazz, although there are plenty of acoustic jazz guitar players. Um, but most jazz guitar players play an electric guitar. They will play at whole body or a whole body were semi whole body electric guitar most of time. Um, you know what? You could play jazz on any kind of guitar you got. You play jazz on a classical nylon stream. If you wanted to work flamenco, Spanish style guitar. Eso. If it's got six strings, you could play jazz on, it typically get our players will play off the whole body. Electric guitars. Um, sometimes you'll see people playing on an acoustic like I Okay, so let's jump in. Um, we've got two sets over here. Okay, so I got, um, Thies to bark words here, the G energy minor. And then I've got these two here, see in the C minor. Okay. These are very similar shapes on. And what is really important about markers is learning redundancy. Okay, this is going to come up a lot. Redundancy. We're going to learn about redundancy on and redundancy and music is a good thing. It's a good word. Redundancy means we're going to learn how to do something in a lot of different ways. And so for us in music too, have redundancy, it means we have options. We had a lot of different ways to go about communicating. One idea. So we want that we want as many ways to communicate an idea as we can. Okay, so the first thing we've got going on here is the G and the G minor bar chord. And down here, we can see we are rooting on the e string. So, um, the thes cores are G and G minor. Because my lowest note or my root note is a G note. So, guitar, when you say your root note, that means that you can say the name of this thing is, um, whatever. Because this is the root note in the room notice in this key. So my root note is this key where this no name that the whole thing is going to be in this key. Okay, so the root note tells you the name of the whole thing the whole court, the whole scale, the whole arpeggio, Whatever over the song you the root note can tell you that this whole thing is going to be in the Kiev whatever it is because there's room up is in the key. Okay, so what I mean by that is we're playing these shapes here. My starting note is on the third front to do a G where g minor. So on the eastern what note is that? Third Fret flow eastern. Sure, I counted up on the chromatic scale. So the third fret on the eastern is a G note. That's why Why do these shapes is G? Because my Rudo is G. Okay, Here's how we figure these. We've got 355433 Take my index finger. You press on all of the third fret all six strings on 1/3 front, and I'm trying to keep my finger straight. I'm not letting my knuckles, Ben. I don't want that. I'm gonna keep it straight, okay? If I let my knuckles bends and this may happen to you a little bit beginning, you're going to meet your gonna create a little hole for there to be no pressure. And that's a problem. We need pressure. So we want a straight so that we can get pressure on the strengths. If you do this, there's no pressure on the stream. Won't sound so keep your finger straight. All six strings Use your thumb to help you. So really grip between your index finger and your thumb is You're doing this Your grouping This Okay? A lot of pressure. These are not comfortable all the time to begin. So I'm sorry about that way. Have all the trees, though. That's good. We have all the threes. 33 and the three down here. Now we're going to our other fingers for the 554 Kratz got through front and then ideo 55 and the fourth threat. My milk. See? How do that got my ring on the A string My pinky on the d string My middle finger It's on the G string. So this is a G Barr. Okay? It's major. This G chord. That is a G major court and his G because Lois note right here on the Lower East ring is a genome. Yeah. Okay. I'll take the same court shape. My middle finger comes off, my bird comes off, my middle finger comes off. All right? So now what was the four with my middle finger comes off, and now my index finger is gonna be holding it down on the third. Fret. Okay. When I take off my middle finger, I just turned into a minor. So is G minor eyes that exact same route? I'm still in the third front, which is G. It's a middle finger off down a major G. Wear your difference. Good. Okay, so that is the difference between a major middle finger crossing or minor middle finger off . Okay, now, what's really cool about the barkers like I said before, is that some people call bark words moveable courts little courts because we can move anywhere we want. And so if he knows where our route notice and then we have the key of the new court, it's always gonna be the same shape. So, like, this is my geek work, right? G chord. If I move the whole thing up, my friend, just slide the whole thing up. One fret here, one friend. So I went from Judah G sharp. Okay, which is the same as a flat. So this would be a g sharp court. Just a flat court sharp or a flat something. And if I do Bill, finger off now playing G sharp. Minor war B flat minor. Oh, good. Okay, if I go up another front. Okay. Middle finger. Back down. Now what a rude up. The threat is an eight minute be court. Here's a C court. Uh, here is a c minor way. Haven't been able to play C minor up until now. So that's how you do it. Just climb up. So you get to see on your low e string. Middle finger comes off, See? Okay. So bar chords are also movable courts. By the way, bar is a bar chord spilled B A r r E B a r r e bar eso barkers. So we've got our major and minor position rooting on the Eastern. Now let's take a look at a major and minor position where we were on the a string. Good. So the 1st 1 I've got to see So it's just the middle four strings. Both of these middle four strings were not strumming the east drinks high or low Easter eggs at all. Okay, 355 There fret this breakfast prep different. The fifth threats. I'm actually going to use my ring finger to do fifth threats. Okay, all through, I just kind of mashed my knuckle. Did you see how I do that again? When you're putting, when you're pressing out more than one string, you don't want your knuckles better. Because if you have a whole for the knuckles bent, then there's no pressure. So I have to keep it finger straight. So just I'm actually gonna mashing in from that novel. So when I go for the five, I'm just mashing in the knuckle. So three, 55 it's a secret because my route Newt is the third front on the a string because for this shape, that's what we're calling our route. So a readout is the third fret on the A string and it's aciego. Is there a string? So that's a secret. Now, if I get all my figures into the mix, I believe the three word is I'm gonna go find 54 now. So to turn into a minor have to get all my fingers in the mix. Three, 554 This turns into give you the difference, Major. Now my sea liner ship, Uh, you may get a little confused in the beginning of the shape C minor shape looks very similar to by G shape, where I am reading on the E string. Even that's a completely different root note and it starts a string away. Okay, is the C minor starts on the A stream and the G stars on the east ring. So even though we are starting a stream away, for example, here's my G chord. Uh, but if I mean the whole thing down a string, I turn into a c minor. So you know, they look the same. They are difference way talked about the provable court part. Let's take a look at how that works. See, Major, Because my room a stream. So I go up a Fred to see Sharp S O A C sharp or D flat. Same thing. It's a C sharp, quirky flak work. There's a team or, uh, city. If I come down like this, I could turn into just done and these other fingers beast back my team ownership. But I go up front. I sure minor or e flat? Minor. Okay, let's turn this into a major. Just the two figures. It's just okay, let's go open in the front. Here's another way. All right. So, um, we now are figuring out What's that? We can start playing bar chords in multiple positions. There are a lot of different options here. Um, and one of the things that I want you to do is to start playing the game that we did with the chromatic scale where we picked a note and you said, I've got a find this note on every string. I want to do something like that with bar courts, where we're gonna pick a note from the chromatic scale. Any notes? Good. Um, let's do? Uh, c sharp, cause that's the one that we did before. We're finding those c sharp on and let's find we have to find at least two. They have to be bark. Words have to be barcodes. So we're gonna find to see sharp ports. One's gonna be rooted on the Eastern. No one's gonna be rooted on the A string. We said C sharp major, when you're playing this game with yourself, is the cord you're looking for, major or minor? It's shoes. Doesn't matter. Just choose. So you see, short major. Okay, so C sharp, major route on the east ring. Find my c sharp note. I plug in the shape for the East ring. Oh, uh, good. See? Sure. And then see sharp rule on the a string. So I'm gonna do the shape cause this major, we find a stream c sharp. Okay, So what that means is that now I can play if I have to play, see short court two options. I can either come up here to this one route on the east re working here this way. Okay. Lets Dio let's you know, let's do and, uh, f sharp minor. Have sharp minor. So this time, smiling right. So I'm gonna do the minor shape on the Eastern for F sharp. Good. There is sharp and no middle finger this one way doing? Sure. Uh, a string. I'm unemployed in the minor shape. Okay. Musical four fingers looking for sure. Good. So I've got two options for you. Straight. My choice. I could do either one I want were both. It's my choice because I've got two shapes that I can pick from. Um and, um, when we're getting into more complex courts, the's what we're doing right now, it will be the building blocks of a lot of them. So we're going to be able to take the shapes that we're learning right here and do a little modification to turn it into a more complex court. So I need you to really understand how to do the major and minor courts that we're doing right here. And we did go through the open chords a little bit if you pick it. If you think a note or chord that you're looking for, that can be play also as open chord. Then I would like you to play in three positions. For example, if you said I'm going to do a deep minor d minor. Okay, so d minor you're coming up doing is rooted on the E string playing in your minor shape. Here's d minor. Uh, you're gonna do it on the A string plugging in your liner on, and then you also know it as an open court. Okay, so that's three positions that you can play the D minor. Anything that you plays. Open court G C E. A minor, even anything good players in open court. You should be able to do open and then to bar shapes. So that's a total three different shapes for anything you could do also is over. You can't play it open. You should be able to do a minimum of two bark wood chips, one rooting on the Eastern one reading on the a string. So I think that about covers it. Like I said, these guys build on them for some more complex shapes. Uh, but, uh, go practice your major and minor bar ports in at least two different positions Eastern and rooting on the A string 6. Arpeggios - Basic (page 18-21): Let's talk about arpeggios, rpech shoes or one of the main foundations of playing jazz guitar arpeggio is if we take a cord, any court and we identify the notes that make up the court and we just play them in order in order that they would go in the scale, then that's arpeggio. So you can think of an arpeggio as a little mini scale that on Lee has the notes of the court or a chord that we're playing the arpeggio off. Oh, so unlike a scale that has a lot of different nose in it, you could make a lot of cords out of one scale. But with an arpeggio, you're just focusing on one chord, and this is a huge, huge advantage to us. We were playing jazz because jazz doesn't follow the rules. That's what it is all about is breaking rules. And when we're breaking rules in music, that means that we cannot rely on a single scale to get us through. When we're soloing, we rely on the arpeggio Europe NGO gets us through it. All we have to do is learn how to create arpeggios on the fly quickly. What we're playing and we can solo it through any court change that happens. Any crazy wild cord that seems out of place at the time, we can figure out a way to create a solo over that chord using an arpeggio. Okay, we need to go through the building blocks first of the arpeggios. It's just like with the bar courts building blocks. So we learn the basics. And then from there, we make a couple of small modifications, and we can change what we know to be the new things. The new courts view arpeggio. So that's what we look at. So here, what we're looking at is I'm gonna you lots a redundancy. Okay? I've got three different positions of C major arpeggio, and I've got three different positions of a D minor arpeggio. Okay, Like I said, you could make an arpeggio of any court. Any court that exists could be arpege e ated. Okay, Um, so in all three or sorry, all six of these examples 123456 On all six of these examples, our room note is going to be the lowest note of the shape. So here for the first threes, see examples. Um, this eight right here is our were note. Eight on the low e string. So that's a C note and then three on the A string. That's a C note on the way up here on 15 on the A string. That's a C note. So our root note is see every time. So that makes it really easy for us to find the arpeggio quickly. Same thing is going on here with the de miners. Okay, the root note is the low stone Every time it's going to be a di. So 10 on the Lower East ring that's a denote and then five on a string denote, and it's five again. Second. Sure. The third shape it's deep every time it's detour route is the lowest note. Okay, the reason for all the different shapes. Sometimes in some other courses we have talked about just learning one shape to get through the arpeggio. And sometimes one shape is all you need when were playing jazz. Though, uh, there is so much arpeggio happening that we need to be able to access an arpeggio for any cord without having to move too far down the fretboard, so these three positions during positions of major and three positions of minor. What they do is they span an entire active they will cover all the way into through 12 frets. And so what that means is that no matter where we are, we're going to be able to construct arpeggio in the position that we're in over whatever. Fret pretty much over whatever friend we're. And we're going to be able to construct an arpeggio. Okay, so what I'm gonna do is I'm gonna go through the shapes just so you can kind of watch my fingering. So go through the first shape, the C shape we're rooting here on the, um, on the tough, fresh herbs. Sorry. On the eighth. Fret, Fret. Starting with my bill finger things you may have noticed. Is that what I came down here? Way be, string. I just kind of slip up with my index finger so that as I continue on, I hit my high note with the pinky. Okay, good. As we said, those are Onley notes of the Sea court. Just a c major chord. That's it. No different notes. Okay, let's look at the next shape. So this time we're bringing on the third front on the A string. See rager during this position with my index finger, huh? They stretch with Pinky to get to this up big jump again with Pinky to get to that high eight going from the three Teoh when you're trying to memorize this, an easy way to think about it is that I kind of stay put for most of it. So open till we get to the high string. I think when I go to jump to the high note, the high note is a C again s not to see that eight. So when you're looking for your high note, he's going to the same as your root note. So that is see arpeggio Andi. Then we've got this trip over here, which I started off high because I didn't want Teoh mess with any open strings. I want to give you this all in a closed our position. So certain way of here on the 15. Okay. And I'm starting this position with my pinky. Okay, do that again. Story on 15 with my C major. What's interesting is that, um if I connects these three, we could see the lowest one that I had. And that's the easiest way to think. That is worse. The lowest friend. Where's the highest friend of all three shapes that you got eso the lowest. Fred is here in the third, Fred. The highest is 15 in the middle would be eight. So if I got to go through this shape, that three and then I'll do my middle shape here on the eight and then I'll do my high shape on the 15. It's take a look at that three. And did you notice when I went through these fives here? I was just kind of dancing my finger, my refigure over each one. We owe it to the H now, going into my first position. Okay, I'm gonna do my last position. 15. 15 on Easy trick To use on the guitar is to find an octave is to either add worse, attract the number 12 So and that's how you figure out where the optimists higher or lower . So 15 Let's go minus 12. 15 minus 12 is three. So that is where we started was three right there. So was three plus 12 15 and that's where we ended up at the octave. So we spend one octave so we could just keep on going and connecting these shapes because we've got the three shapes that span an entire active. That's perfect. That's exactly what we need. So no matter where I have inside of this active, I've got three different shapes where I can start accessing, see major arpeggio on. By using my roots, I can move around to start doing any other key that I want. Well, look at that. Um, let let me stay on the majors from just a second. I want to go through. Gonna do the same thing I did, but this time I'm going to a send the starting on the three. Then I'm gonna descends This, uh, this middle position here around the eight. And then I will re ascend over here in the 15 so we can make a sound a little bit more melodic instead of starting in the low note every time I'm gonna alternate. Okay, So starting low, they say, Oh, no, the no that makes us todo. Okay, so that is a good way to practice going through all three positions in one key that was just see. So what that means is that if someone's playing a C chord, well, so was playing that C bar chord. I can start playing around with these arpeggios any of these three shapes because I'm just going to be playing the notes of the sea court way. That's just notes from my C court every single time. Okay, let's take a look at the miners, all right? You don't just stick with it. So we get through these three minor shapes were gonna be really looking good. Um, de miner, starting with the routing on the eastern. Okay, 10th fret. Bring this with my index finger. Right. Let me do that again. The way that I would recommend you pick these. What you're practicing them is to alternate picking. Down, up, down, up, down, up For each different note, just alternate picking. You just did a down pick, then the next no should be in up on the next note. Should be a down. Just keep on alternating like that. And some of them you do a couple downs in a row. That's OK. It's not the end of the world. There is a technique called economy picking where if we're going in one direction, will pick in the same direction for going backwards will pick about backwards before, for all I know is going forward. That's called economy picking meeting that we're trying to stay economical with our energy . Um, so that's OK. I like using alternate picking because it sets us up to mix up our movements. I don't want to get into a pattern of always going through Europe NGOs in a predictable way . I want you to be improvising with them, so I don't wait, just playing them from beginning to end when you're actually soloing. I want you to be moving back and forth, and I want the directions to always be alternated. So you're playing four back before back and eso I don't want you to feel like you have to always be going all the way through the shape on. If you are alternate picking, that sets you up to be able to go in any direction that you ever want to go so you can start make it's pretty melodies. So alternate picking is what I recommend, but if you deviate from that a little bit, that's okay. too. Okay, s So we got the d minor. The 1st 1 Let's take a look at the 2nd 1 Starting on the a string. All right. So, Friend, also starting with index finger. This position is just like this position here where my high note is the last time. The 10. He's going to be the same as my root note. Okay, so the tender hair is a d notice. The same as my starting note five. Dino. So when you're looking for it when you jump? Because when we start changing keys and we jumped to look for that high note, it's the same note as our rueda are starting. Okay? Studio. Okay, let's look at our third shape. Our final shape. This one also starts in the five, but we're going to start this one with Pinky, okay? I love d. Right. This is sort of backwards looking shape. All right, now are exercise was to go from the lowest front hallway apps, the high spread. So our lowest Fred I was looking Wait here. And then our little front looks like it's about sure, and there are highest is, of course, will be around the 10th fret. This is going to be different, depending on what key, right? So whatever the key of the arpeggios in it, just it will be. These shapes will be in different places on the fretboard. So we're really just looking for these routes. Root note. Rude up, rooting up redoubts. No room. When we look at the two majors the three a string in the 15 on the A stream we pointed out those air these same over just a octave apart. They're on the same strength of both sees there just an octave apart. So if we looked at this in a different key, it would look pretty much like your starting on the same note we would be doing afford version backwards version from the exact same Rudo again. The reason we're doing this one on the 15 because I didn't want to access any open strings . So I want to make sure it was a closed Oh, a closed system. Because if we started backwards on the air, fret you started looking like I was part of the sea court. We started having the use of the open strings that makes sense. So we're gonna go from here to here to here on the de miners. Our highest knew that we hit was 13 right? This 30 right here in our lowest other we hit was want this one right here. What is one plus 12 12 is the magic number row always adding or subtracting 12. What's one plus 12 is 13. So between 1 13 that's our active. So we spanned an octave and that's exactly what we want. We can span and octave and get everything we needed one active. We're good to go because the thing will just continue. The shapes will just continue up into the second octave or down below into the first active . Okay, let's go again. And this time was alternate are registers. So we're gonna go from low, high low just to keep it more melodic instead of starting with load of every time. Go backwards makes us good. Excellent. Excellent. Excellent. Ok, so this is a great thing to practice to get comfortable with all three shapes of the major arpeggio and and all three shapes of the minor arpeggio. Like I said, this is the bulk of the work when it comes to arpeggios because the rest of it. When we start getting into extended arpeggios trying to get arpeggios for all these different kinds of courts and I dont changing keys, you're going to be working on changing keys with these. But when we try to do like a seven chord or minor second quarter 9/4 13 chord, they were doing extended arpeggios of more complex courts. It's going to be built on these shapes. You're going to use these shapes is the foundation. You will just change. It was tracked a couple news, but you're building on the ships of these shapes. You want to know very well. Okay. Eso a good idea for you right now would be to get through these shapes and to practice them . Once you get through doing one key, I would recommend trying to dio a different key. Just move it and say, I'm going to We didn't see see, major all the way through. And so I'm going to do maybe a cute a major do a major. Maybe I'll want Teoh g minor do g minor all the way. Good. Take a couple of different keys and just start bouncing through all three shapes and again . You want to make some major admire. Sometimes you're gonna practice a major, and sometimes you're gonna practice a minor. And this is going to really set you up for solar over jazz because unfortunately, you can't just say that we're gonna play this jazz song and it's in the key of C major. So just play all the notes from C Major, your solo, and it's gonna sound great. Maybe a handful of jazz songs work that way, but a lot of them we're going to need some more heavy duty tools and the arpeggios We're gonna be the answer. So work of the shapes and I we'll see you in the next video. 7. Rhythm Study (page 22-28): Let's talk about rhythm. Rhythm is the driving force in all music. There are a number of different elements of music. Um, and rhythm is probably the most important of all of the elements of music. Some of the big elements of music would be harmony. Melody, Um, timber. Um, rhythm is the thing that set race music from sound. So sound is chaotic and there is very little consistency is not stuck grouped in any kind of way that human brain can understand eso. That's why rhythm is something where you can just have a drumbeat and people can dance to it. Good people can steal it and connect with it, even if there is no melody and no harmony present. Um, Melody would be single notes like a solo Onda Harmony would be courts that you go without that stuff. You could just have a drumbeat. People can connect with it. So it is really crucial that you spend a little time studying your rhythm. So we are gonna do a crash course right now and try to get you up to speed. Okay, um and rhythm is something that we have to read, but I'm gonna show you how to do it. It's really simple. And the cool thing is that a some point we're gonna have to take a quick look at reading music, actually reading music. And, um, reading rhythm is about 50% of reading music. So half of reading music is learning where the notes are on the staff and how to play him on your guitar. And the other half of it is what is the duration? What's the rhythm of each of those notes? So right now, we're gonna focus on that, and this is all as it relates to actually playing air guitar strumming and picking. And how did we do it? How fast, How slow. And what is the timing off playing all the stuff that we're gonna play? Okay, so on you got your PDFs. This is a time where you absolutely want to get your PS in. The additional resource is print them, download them, open them up, get them out, and start looking at the because this is something that I want you to practice. And I don't want to practice it in the sense of you Go through it once and you say, Oh, I got I went through a long time. I have it. You need to really go through it and just really keep going through it even after you have it. Continue going through it. Always be working on your rhythm of I I had, uh, one great piece of advice from one of my mentors years ago. Um, and, uh, we used to go Teoh musical jam together, and, um, I actually I was young and I complained to him at one point that sometimes the jam gets a little boring sometimes gets a little boring for me, um, toe to go there and play with those people. And he told me that I should be working on my timing and, um, yeah, it totally changed the way I think about playing music. Playing music with other people is that it's not always about how interesting now, fast and how complex the chords and notes are. You could just take something super simple, like the beat and try to get better at being more accurate with the beat and with your timing. So, rhythm, rhythm. Is everything okay? I don't talk. Let's jump into it. So I'm going to just go through some of the things that you're going to look at under pdf. So I'm going to try to cover off on some of the main pieces that I feel like I need to know . Okay. Rhythm is be, uh, broken up into beats arrests, so beats and arrests, Um, and beat is obviously we're playing were strumming or picking a note on about how long it lasts and arrest. This silence is the same thing is how long it lasts. But is silence for that amount of time. So a combination of beats arrests. Now, inside of each measure can we've got measures. And the measure is basically how we break up the amount of beats arrests. So down here of the bomb, I just did a quick little sample rhythm for us. I'm gonna use it to point out some things. These of being lines here. Okay, These are measured breaks so we can see this is a measure. That's a measure. That's a measure that's measures. Like all this is a measure. All this stuff is So here's a measure. Will this stuff inside here This is a measure, and that's a measure. So the measures tell us inside of each one of these measures is the exact same number of beats. Be Adebola be sent rests together. That's where we have one complete measure. The measures will have the exact amount on the exact same amount of time. Okay, what The amount of time is based on what our time signature tells us. Eso right here. We're in a 44 time. The top number tells us how many beats quarter notes. How many quarter notes on and the bottom members telling us for So we're dealing with quarters, so there's 4/4 notes. The top number tells us how many the bottom number tells us what kind of beat is so There's only gonna be two kinds of bottom numbers that you're ever going to deal with. It's either going to be a four or it's going to be an eight K s. So if you're dealing with the four, which you usually deal with four, it's telling you quarter notes. So there will be four quarter notes in every single measure or some kind of combination. Beats addressed the equal 4/4 notes. You could have another common time signatures A 34 so you have 3/4 notes instead of every measure, you could have a two for two cornets. You have a 54 5/4 notes and every measure. So that's the time signature. And if eight was the bottom number, then it would be eighth notes. How many eighth notes? Maybe there would be 68 B 6/8 nous in every measure, a combination of beats and arrests that equal 6/8 notes. So that's what the time signature tells us. You're gonna see this at the very beginning of a piece of music. The first thing that you're going to see when you look at the piece of music is going to be the time signature. Sometimes 44 is represented with C, which means common time because it's so come that sometimes I'll just be a seat. That means common time 44 is the most common time. We deal with 44 frequently. Okay, usually is four beats. So let's take a look at the beats and rests. Um, all right, so the first thing that we've got is a circle that's hollow. There is a whole beach Hello circles. Holding gets four beats, is held out for four beats. 1234 1234 1234 The whole bi. Now it's equivalent rest. We everybody has an equivalent. Rest on. So this is what the whole rest looks like. It looks like a top hat that's upside down. Good. So that will be four beats of silence. If you saw one of those guys for these subjects, the upside on top. OK, next, We've got a whole circle with a stem line that's 1/2 beat Gets to 61234 Did you notice how the 1st 2 were? 12 and then the next half note was three and four. Does it get students? 12 34 234 Okay, so we've got a total four beats in the measure that you have to fill it up. You have Philip off somehow beats and rests well to 341234 Also. Now we've got a filled in dot with the stem on it. See the stone stem attached to the filling dot This is 1/4 note. The quarter note is the beat. When people talk about the beat when we talk about the beat. Talk about quarter notes. It's 1/4 note to dot with stem line to coordinate its defeat. When we're saying 4/4 notes were saying four of these guys, 3/4 note is the basic unit of measure when we're dealing with rhythm. So the most common unit of measurement in rhythm is the quarter. It's the beat. And when we talk about tempos were talking about how many quarter notes in each minute. How fast is the temple Have any quarter minutes? It's all based on quarter bits. Okay, so the quarter note just gets a B one B each. So we got four beats in a measure. It's gonna go 12 three for a veto on every tap on every single beat. 1234 And we will be doing all this stuff on the guitar. Just stick with me. Quarters. 1234 All right. Um, and I think I skipped past the, uh, the half rest. So the half arrest looks like the top hat that's on your head. Whole rest is the upside down. Tell a pad and 1/2 rest is the hat on your head. Okay, it's two beats of silence. The quarter rest looks like a jacket e three or maybe a lightning bolt. That's the quarter rest. So one beat of silence, four weeks of silence to beats of silence. One beat of silence. Okay, moving on here. We got in eighth. Note. It's a dot with stem a little flag. Let's go. One flag, one flag hanging off the step. That's an eighth note. I know it's an eighth day because it's only got one flag. Eso one flag means it's Nathan. If I have eight notes next to other iveness, I can connect the flag. So instead of the flight hang down, you see how for these guys right here? I just connected it. So that's a being Turn the flag into a being. So one beam or one flag means I'm dealing with a thickness. That eighth note is half of 1/4 so it takes to a business to equal 1/4. So if I have a B one, I could stick to it goes in there, and I can't as Aunt One. And so it actually goes twice as fast. All of these air going twice as fast as the previous one. Okay, we got fitted twice the amount of time. So if I've got cornered, I was going 1234 and I want to turn into eighth notes. Mistaken aunt in between each one. Good one. Hands two and three and four hands. Okay, everything gets in and including the 44 end one man's two and three and four and one man's two and three and four and one tends to Pam's three and four. Just keeps unrolling. No pause. Just keep going. The rest for the eighth note is a slash. It's got one flag, says a slash one flag. If I see one flag, I know I'm dealing with in 8th 1 flag were one being. I don't do it with Nathan. Note. Okay, lets see two flags for two beams that I'm dealing with 16th notes. Okay, 16th notes so I can fit 4/16 notes inside 1/4. We keep going half the size of the previous thing, so 16th notes or half the size of a thickness. So if I could fit to age knows inside of 1/4 that I could fit 4/16 notes inside of 1/4. Okay, and the way we counted is we had an E and an up in between. So quarters go like one, three, four. Then I'm gonna count 16th. There was, like, one d and all. See the and is still in there. I'm adding the e and the O one D and two D and three D and four on paper when you're looking at your pdf, uh, one e t e the and is a plus sign, and it just looks like a don't say Hey, Colin. Uh oh. Okay. One D and two D and three d and four d n a monkey and up to eat and a freaky for okay. And if I was going, um, from quarter notes in the 16th this so I just want you to know we're going We're really going a lot faster. Okay? So for ruling three four, I need to fit four beats inside of each one each quarter. Do you make 16th three or lucky? T 3 41 It's you. Three four. 1234 If I go from quarters to 8 to 16 sold one measure of each. But three, four, one man's two and three and four Lucky Teoh three. Good. Now, the rest for the 16th up is a slash has got two flags on it. Okay? And just like with the eighth notes, if I connect 16th notes with each other that we're right next to each other, then I just make beings instead. But there will be two beeps. Two flags becomes too meets. So if your c two beams uh, you know, you're doing with 16th notes two flags were two beams Begin with 16th 1 flag, one being you're dealing with. And, uh, the rests will look like slashes. And is one flag were chief lax. That's how you know if you're dealing with days no, or 16th. And so for all the stuff that we talked about is what would be considered to be in do full time, So doable time means anything divisible by two. Okay? And so all the stuff that we've been doing is in doable time real quick before we move on. Um, if I was playing, I was playing the cores like a g Barr court. And, um, I was just doing quarter notes. I would go down, strum on whole note downstream on the half note and down strum on the court notes. So any of those I was from down every time, Every time when I slip into eighth notes, I would strung upon the ants every time, every and it would be enough strong. So whole note would be like Teoh. 3423 4/2 notes also dance Teoh words still down. Now when I go into eighth, notes are going to go up on the ants, every single and is gonna be up what I'm doing. If I want to stick arrest in, they're going to keep swinging my hand. Okay? And that way I want to make sure that I always do the one teacher before is it down. And I want to make sure that up, sir. Always gonna be ants. So if I just stick arrest in there like what if I rest on just the very first? Beat that one. Okay, so one we'll see Ideo silent, strong. I don't make contact with you. Make sure way thing. That's how I want you to treat that eighth notes. Okay, you're constantly gonna be swinging your hands. And if you have to arrest, just don't make contact on that beat 16th notes or give me the exact same concept. We're going down, up, down, up, down. OK, but this time we're going down on the ones in the ant's going up on the ease of those was breaking it up. So it's like one. Hey, and up to a And what is the exact same concept? Buying me to stick arrest in there or hold a beat out? Keep swinging my hand. I'm just not gonna make contact. Good. Um, see how I am just moving my hands but not making contact on symbols. Beats I don't want to hit. That's how we're going to treat 16. All right, moving on. So when we have double time, everything is divisible by two. Sometimes we are going to play in triple time. Okay, triple times where we could break the corner into three pieces. You're always going to know that you're in triple time dealing with triplets because there is going to be a bracket above it. And a three. We're sometimes a six. If you're doing with 16th note triplets, it could be a nine were 12 is something that's divisible by three, okay and always will be a bracket. In a number like 369 12 something has to visible by three. And so what's really common in triple time is theeighties. No, triple it okay. And you count it like one trip blitz One trip plant to triplet three triplet for triplets. Okay, we can start getting kind of bluesy on sometimes a jazzy feel by incorporating triplets. And you can use triplets alongside of all these other kinds of beats, and it really gives us a lot of diversity within a rhythm. So if we were just going through a measure of eighth note triplets, it's got one being one being okay and the rest is gone. It's just slash with one like it looks exactly like the eighth rest. It just has that bracket with three to tell us we're dealing with eighth. No triple rest. Okay, so one trip let to trip with three triplet fortune but contribute to trip but three trip but for trip but one trip to triplet three to fortune, it's a it's pretty simple eso We can connect the eighth note triplets to anything that's doable to get a more complex for themselves and I can rest on any one of these triple beats . So it's one triplet will say I want to rest on the trip. Okay, One trip. Let trip. But truth for true to give us a swing Feel all right? We're following arrest on the you let Okay. One trip. Let to triplet. Triplet for trip. Let you started to hear it. Sounds pretty cool. Let's rest on the 112341 trip to trip three. Trip for okay. When were strumming eighth new triplets. I would recommend strumming them all down. Hold down. Okay, um now, now let's move on to our example, Okay. I think that we've covered most of the rhythm concepts. I want you to go through the pdf's and start tapping these out and then also grab your guitar and trying to strong remount eso. It's a process, but you warn you do this the stronger rhythms going to get and you could do a lot of this without your guitar just to kind of get used to the county rhythm is the weakness of a lot of guitar players. Live guitar players have not spent much time on rhythm, so if you want to become a little more special than the average tourists. Develop your rhythm. Okay, so let's just tap go through what we wrote. Sure. The example of the bottle. Got a hold of it on half beat and quarters. Encores and eights. It rests. Notes. 16. Those here. Triplet Here. I have 1/4 rest here. I have a dotted half notes there. Okay, let's look first of the beginning. The whole 1234 to 341 You 3412 Fortunate. One, 234 Okay, so your first question is probably what the heck is with is dotted? Half note. Okay, there is a device in rhythm called dot. What we do is we can put a dot next to be or arrest adds half of the original value to it, so it adds half of the original value. So how many beats does 1/2 note? Get company like quarter notes. Does 1/2 note, get half note, gets to quarter notes, gets two beats. Right, So we're gonna add half of tubize. So to have two beings, one being so we're going to make it three beats. Hafner gets two beats. So we're adding half of that value to itself. So it's gonna become three Bs large. So to make a dollar and 1/2 note, we're saying this half was gonna get held out for three beats. Two beats dot There is a way to make any rhythm possible with our system of music. Dots are one of the things that you will see from time to time. Um, so have 1/4 rest here. So those one were one hands of rest. And then 234 This gets held after beats 23 and 4234 That makes us okay. Lets go. You're one more time. And I think this measure right here, let's just take a look at this measure right here. Okay? Restaurant Want one. And so arrest on one, but at the end and then arrest on to hit that one and two and three and got that. So far. One and two and three p. And four trip. I got it. No, triplets on before four trip, but okay. Freaky end of four. Troop one tends to hands. Three key. End of four. True, but okay, one to three. Four. So exactly. All right, let's do the whole thing again. School faster. OK. To 34 123 one, three and 412 Fortune put 1234 to make sense. All right. If I were you, I would be saying, How would you play the guitar? So let's displayed on the guitar Do it with this sea doo with D Minor chord d Minor bark word 234 34 One more time. Okay, let's do it again. This time was kicking up Teoh F sharp. Minor chord to three for three. Got it. Okay. I think that we got you in pretty good shape for the less eso we will be referencing rhythm through. Of course. Please take a good long look at this stuff. And, um, like I was told many years ago, you can always be working in the rhythm and your timing and by timing, we're talking about your ability to make sure that the notes are just as long as they're supposed to be. Not too short, not too long, just the exact perfect amount of time. Perfect timing. Okay, so I will see you in the next video 8. Major Scale in C (page 29): Let's talk about the major scale. The major scale is going to be the foundation for a lot of the skills, and most that we're gonna go through the course, the major scale. We will be using it to solo over a good deal of jazz, but it's going to be a watching pad for us to start using the other modes and other scales . Figure out what is the appropriate thing for us to solo over. At the time we were were so low in jazz. The major scale is the most popular scale in the world, So every country throughout the world is the most popular scale. Um, okay, let's jump into it. So I am giving you the major scale in the key of C because this is a good and easy way for us to jump into dissecting and understanding it. Um, the key of C is unique in that when we talked about the chromatic scale, we talked about how there's a B c D E f g goes back to it again. All of those don't tickle natural A B, C E g. Those are natural news, meaning they're not sharp, but they're not flat. So you got the natural notes, ABC G And then you have all the sharps and flats. And when we combine it, then you have the chromatic scale in most Kiesel in every key except for one, we're gonna have a least want or sometimes several sharps and flats mixed in with the natural notes. This is something that is determined by our key, our key signature. But there is one key that has no sharps and no flats. And that's the key of C major. Okay, See, Major is on. Lee got natural notes, so the notes of the C major scale starts and see because we're QC C d e f g a b. Those are the nose of the C major scale. So it makes it makes life pretty easy for us to discuss all the different ways that we can break up and analyze the major scale than breaking out into the moods. Also, eso want Teoh go QC in the notes of the C major scale C d E f g A b. Okay, so here we are going to be starting on the eighth front. Go. And here's the really good news Also is that this is your first mode. There are seven modes that we're gonna go through a little bit later on. And so this is one of thes seven boats that we're gonna be going through later on. We're just go ahead and knock out one of them right now. Okay? We're starting this one with our middle finger, OK? And sometimes we have to do a little shift with their hands. Not in this one. On this shape, we don't have to give it all our hand can kind of stay put. So our middle finger is starting it out, and we are going to stay finger to a fret being that each finger is going to be assigned his own. Fret. So the middle finger gets all the eight front notes. The pointer finger is going to get all the seven front us. The ring finger is going to get all the ninth fret notes and the pinky is going to get all the 10th front. It's that's called finger to a fret. Okay, so we're saying finger to a friend on the C major scale. All right, so let's just run through it. Eight Next. Next drink 79 Next, during 79 10 again extreme. You know, high string is 78 10. Okay, let's go through it again. Backwards each time, starting from the pick, you know? Good. And as I'm playing this some ultra and picking, going down, up, down each note just alternate. Picking down, up, down, up things is going to make me fast when I want to use a fast runts doing the alternate picking. Okay, um, now let's just talk about a couple things. My root note is my storing note, just like with the bar chords that we've done so far. Just like with all of the arpeggios that we've done so far by starting note is the root note So eight C g T shirt a t c. Eight, you first my seat. So that's why this is the Theo that 10th friend that high note this very less story here. He kind of wants to go a little bit. You keep going past the scale may sound like a little bit. What the The C note ends on the A friend on the other Eastern, obviously. But since we're you scales for soloing, I want to make sure that we've got all of the notes within our reach that we could get. So I wanted to get that extra to have friends in there because it's something that we may want to do a solo. Maybe that note. Okay, so the first thing that well and I john it down over here the Ionian, because it's also known as the Ionian mode told you, is the first mode. Um and don't worry about that. We will discuss the most a little bit later on, but it's the major scale. Is also called the Ionian mode. Ionian. It's a Greek word S O C. Major scale or the Ionian mode. See exact same thing. It's the exact same thing. See, Major see Ionia exact same thing of the first thing that pops out of me is, um this is a movable shape, just like the barkers just like the arpeggios. We if we know this and we've got this shape memorized, that we can play the major scale in any key that we want just by routing it in that key. So we're playing in the key of C right now. But for example, if I wanted to play in the Q A. A major scale. So you're see. So here's B is B flat. Here's a So I just take the exact same shape. Just plug it in right here in the fifth. Fret. That's the a major scale. If I say here was a in the fifth. Fret. So here's a flat Here's G. So I played in 1/3 friend, Theo G major scale. I go back. One more friend. Sure, sure. G flat wear the froth. I've come to the 12 friend to the majors and so I can play this in all 12 keys. I'm just playing the exact same shape every single time. I'm just starting on whatever root note of the key that I want to play it. So that is one thing. We get this one shape that we could play the major scale in all 12 keys. Okay, that's huge. That is really huge. Okay, so now let's talk about thes scale degrees. Um, the major scale, all of the moats and the major scale have only seven individual notes. There's only seven different notes. The eighth note is considered the active, so the eighth note is the octave is actually where the word comes from. Oct. He's eight. So the eighth note is the octave octave is exactly same as the first note. It's just higher or lower, but is the same as the first note eight, same as one. Andi. We'll talk about that more later on, too, because eight is the same one. Then that means that nine would be the same as to okay, we'll talk about that more later. What I want to do is I want to identify the seven different scale degrees we're gonna do it very simply, was gonna count up to set. And then after seven, we go back to what? So what I mean is we're going toe play through the scale shape on C major, just like I wrote it down way play through that. But we're gonna count up to seven for each note. So 123 Now the next. Now I'm gonna say one, because I'm just gonna go back to one again one, because it's the same as my first notes octave. So my next does give you two. That's a two. All right, Let's do that again, Theo. Good one. Every time I had a one. It was gonna be that C Note the first note. Every time. One there was one there there was a one on the D string was the high one of the highest ring. Those are all CEOs. Every time I headed to good here was first to denote. And then I had another two right here denote again when there was another Teoh Dino every time I had three, was it three e note three years. And you know, every time I hit the same interval, even those different octaves, I say the same interval number, it's gonna be the exact same note. It'll be a different active. It will be the same note. No name. That's what we're trying to do. Trying Teoh identify the note names D intervals. Okay, when we're going through the scale degrees like this, we are trying to say, for example, I know the key of C that all the twos air gonna be d notes and all the threes. They're gonna be e notes trying to figure that kind of stuff out and make it simple. Okay, so too now when I go backwards, I'm going to count backwards. That's the key to doing it backwards. So here's a one on my scene. So we go backwards. So you six, 65432123 Okay, now I'm identifying all my skill agrees. And this way I can start saying, OK, I just want to grab the fives or I want to get the 50 or I want to really go for the threes . And so this is something that we're going to be using quite a lot. Going forward is identifying the scale degrees, Um, when we are dealing with the major scale and we're thinking about it from a motile perspective, and what I mean by that is, when you're playing jazz, you want to be always thinking about the court that's being played. Okay, so we're treating the music as every time there's a new chord. There is a new opportunity going on first solo. There is a new set of rules for us to focus on, and every time there's a new chord we want to be, we want to be supporting that court. So we want to showing it in our solo. We need to be using tools like the arpeggios and the modes and scale degrees to support that court so that when we're soloing, it's evident what the court is that is being played. Okay, so when you were going through the major scale, you want to be able Teoh, identify all of your scale, agrees on and off while going and playing this thing in all the different keys get used to playing it up high and down low. You may notice in the beginning that playing it down low, where all the friends were spaced out, it was completely different from playing it up high, where everything is kind of squished together in the front or smaller. It's totally normal, totally normal work on your alternate picking. That is a big piece of this because once you get more comfortable with the major scale you're going, I want to start playing it a little faster. And so to do this fast bursts, we want to do the alternate picking. So down, up, down, up. Yeah, and be conscious of the scale degrees. What is the scale degree? Eso if I asked you what is the fifth off? See? Simple. Is that what is the fifth of C you would say Look, 12345 That's the fifth And I was so good. What's the note Where we call it, You say, Well, what's 10th? Fret on the A string. Counting up, counting up county up coming up and it's a G note. Okay, G is the fifth of C. That's it. That's the answer was the fifth of C G. What's the third of C? Okay, I'm no on 23 OK, what's that? Newt? Counting, counting counting. And it's a E. So E is the third of C and good, and it is He's the author of C. And so at this particular moment in time, you may not see how that information is important to relevant. It is very important, very relevant. So we're gonna be using this stuff a lot. Right now, I want you to get comfortable with the major scale shape and also were learning scales and arpeggios for soloing. So this is not just an intellectual exercise. We're going to be soloing a lot. Lots of improvisation. You are going to be soloing. You are going to be making up these cool legs using the major scale. So first thing I need you to do is to be confident with ship and to also understand the scale. Agrees so we can talk about some different ways to use it. Okay, Um, I think that about covers it work on your major scale. 9. Techniques (page 30-32): Let's talk about techniques, so techniques are a great way for you to show your style when you're playing guitar, what makes you special? What makes your playing unique and what makes you sound like you? So when people talk about a guitar players style, a lot of times they're talking about their techniques. Obviously, there are things like no choices rhythms, the tones and electron ICS equipment that they have, but a lot of it really is going to be The techniques. Techniques are your ability to get sounds without picking every single note so we could get a smoother kind of sound without having to pick every single note. So we are going to go through a couple basic techniques that you can use all the time. OK, I want you to start practicing using techniques all the time. Um, and of course, be sure and check out your pdf's where we've got some more in depth. Look into this stuff. Um, the one of the cardinal rules of using techniques is that you want to make sure you are using notes within the scale or arpeggio that you're supposed to be A. So we're not just randomly picking notes. Okay. You are using techniques within the notes that you're supposed to be using. Okay, Like within the scale that you're allowed to use this moment in time. There, of course, are things like outside notes, notes outside of this scale, we're outside of Europe, NGO that we can sometimes access. And of course, I want you to do that. But I want you to know what you're doing first. So in the beginning, when you're practicing techniques, um, don't just randomly grab notes, use notes from a scale. Okay. Used those from the scale that you're supposed to be If we are just getting started with scales that I want you to take the major scale and you're gonna work on techniques within the major scale. For example, if we were just working on the major scale in the key of C, then I want you to warm up techniques in the major scale in the key of C, and you can only use those notes. You can only go from a note in the key of the C major scale to note the C major scale. No other notes, no outside notes. Okay. Only those notes like, for example, if we're doing a 10 78 10 79 10 10 10 78 10 then you can only use those nose to practise techniques for right now. Eventually, we're going to be like, oh, being that up and using outside notes. But for right now, stick with the nose and scale from a note in the scale. 200 on the scale. God. Okay. Eso here are some of the basic techniques. OK, we've got them listed eyes. H p S t R b. So what? We're working with our hammer ons, pull offs, slides, trills or vibe, Rato's and Ben's. The's are all very cool techniques. Okay, So and I just wrote long line because they could be done anywhere on any string at any point. Um, except of course, you're just going to use them over the C major scale. Um, okay, so what a run down. Ah, hammer on. All right, So here's how it works of two and three. Okay. Second friend, the third fret got h over it, the little connector, and let me know that there's a technique going on. It is going to be self evident. We'll figure that out in a minute. How what the technique is supposed to be. So here's how Amron works. I'm going for the second. Fret to the third Fret um, kind of breaking with her. Keep it in the skill. I just want to show you how it works. We could be using any of our figures to executed technique. Okay, usually when you use your strong fingers because we want the technique to really come out. So where we used to use figure to a friend still do. We want to use it for speed and to help us memorize the shapes and to get muscle memory theme times where I think it's OK to stop using figure to fret is when you're doing a technique because it's more important that the technique comes out well, he comes out clearly. You want your strong figures to do it, so excuse the technique and really haven't come out. Use your strongest fingers, uh, for 2 to 3 with a hammer, we hit the second front we're pressing on, and we're going Teoh hammer with our middle finger or our next finger. So every ounce of the third friend and I'm hammering it's called a hammer on so really smack it. I don't want to go down softly e going softly. Just gonna butte it. I don't want you to know. I wanted to wring out really smack it on wall. I'm spec it. I'm continuing to hold down the second fret with right here. That's a hammer on. So this could be done anywhere on any strength. I'm just looking down the back up on I smacked down the fred above it. It could be any of the fronts above it that I could reach forth Fred. Fifth friend Pinky. Oh, those are all hand rods. So to keep it in the c major scale heralds. Okay, pull offs are sort of the opposite of this. All right, s oh, I've got a three into two. I've got a p above to let me know that supposed to do a pull off. What I'm gonna do this time is I'm gonna have to press on both. Same time pressing on the third. Fret pressing on the second fret Both pressed Same time Gonna hit the three. Pick it now. Twinning off twe off the three. And I was still holding on the second front. What? I mean when I say 20 get off 20 off with my left hand where I'm pressing you kind of want twang it so it rains a little bit So hit it, impressing the 20. It also comes down to this note poll Do that with any of the fresh that reach. I just have to make sure impressing on both of I hate the higher one. So maybe I felt with my ring finger 24 trade off too long Mega with my pinky here. Five pressing on both Twang it off. Whatever figure that's coming off after really twang pull on the string, The range is really nice. Okay, hold off. Good. So whole officer. Nice day definitely can rip up your fingers a little bit because you're twang and so much, but they come out nice and clear because it's you can control. How much vibration getting by How much training? Give it to pull us a great Um Ok, um and before when I was saying is kind of self evident. Which, which kind of technique you're supposed to do? Hamlet on goes up, goes from a loan it to a high note. Pull off goes down, goes from Ohio to alone up. So a lot of times, if you see two notes that are connected with a little connector, you can only be one or the other. If you're going from low to high, it's gonna be a hammer on if you're going to buy all those pull off. Okay, Now, let's take a look. A slide. A lot of times slides, they don't have the connector. They're gonna have this little It's more of like a little slash between. It's kind of like your tells you you're going from this guy, that guy. So you're going from the to five, okay. And so what I do is I hit the two second front on and I'm going to keep pressing and slide my finger, all the waves with Fred. And as I'm going up to keep pressing down all the way, I cannot let up my finger, okay? Have to continue pressing the entire way, right? I could slide up and I could slide back. So I go from five to just reverse when did five to to Good. If I was sledding within C major scale Dio slides the thing that I recommend you do when you're doing a big slide is don't look toe. Watch your figure as you're going as your sliding. Fix your eyes on your destination for it, where you want a land where you want to end up. Just look at that and do your slide until you get there. It's the best way to be accurate. Don't want your finger as it's going. Look at where you're going and just go directly to that front. That's a slide. Um, the trill. Okay, when we haven't known, it's got this kind of wavy, wavy water looking thing above it. It will sometimes say tr like a trill or may say vibrato R v I V um, what's going on with that? So here I'm just going to take this fifth fret. Go on the B string, okay? And I like to do this with my middle finger because it's a strong figure, and I basically just gonna shake slightly, shake up and down the note. After I hit it, she get up now That's it. I brought sometimes called a trill, and I don't want to go. I don't want to bend it, too much. I'm not trying to do that. I don't like doing these big jumps in the pitch. I just wanted to be a little bit like a rubber band. What happens is I'm getting some sustained out of it. It's going to read a little bit longer, and I can get a little bit more volume so I can accentuate a note by giving it a little bit of a trill or good. And of course, I have to press on it the whole time. And I'm keeping it right behind the threat. It is. The sweet spot is directly by in the middle. It's the best place to press. It's the point of least resistance directly behind metal on it directly behind it. Um, bending. Okay. Bending is where we are trying to bends to a higher note. Um, so in the case of what I wrote down were four threat telling us to go the fourth threat. I'm gonna do this on the B story. Okay. When you do this anywhere, do not be straight on the fourth for and so is telling me to bend hit this note, bend it up, so I'm gonna hit it and I'm going Teoh, Then keep pushing. I'm going to actually push up on the string to try to get the pitch up to the note on the next friend, which would be this. Nor hear the fifth fret. So I want thats note to get bent up to this new so forth. Fret trying to get this. See how getting the story here. Okay, that's a four bet. Now, if I was playing in electric, I have seen electric players that will do to know they bet up to friends. They could end up sometimes three friends. There are some luxury players that have some real skills inventing, and they can bend very accurately. Two and three frets, which is amazing when you see a person who is playing and they could just execute these really accurate bends where they're going to entry friends high. That's really great. The fact that they don't break their strings always impresses me. Um, so that's a forward then. We've also got a reverse bet. Okay, And reverse bag would be basically if I took this right here. The betting, the fourth fret. So I'm going to do the whole process, friend, press and I'm gonna Bennett. I'm just not gonna pick it yet. I saw push. Now I figure after a bent it water releases and bring it back to, you know, have to keep pushing all time, so push up it, let it down. That's a reverse bet. Okay, so you the reverse bets, we are going bringing the note down. Good. That this That's reversed. Four vents. Reverse that. And like I said, we want Teoh, for the most part, keep our techniques going from a note in the scale to scale so we don't have too much outside. There's going on Ben's you Benton slides. You have a little bit more leeway with because you can sometimes take a note outside of the scale and come into the scale with it. Really, As long as your destination note happens to be in the scale somewhere that you're supposed to be, he's leisure destination is there that you are gonna be just, like, sort of sound good? So that is something that I would work on. Start working on this as you're working on a major scale and as you're going to your modes , start working on adding in some of these techniques, and you could use them as often. Aziz, you want point out. One other thing. When you're going through your ribs, it is that the players discretion as your discretion. You get to choose the rhythm of the technique, how long or short it takes to do the technique. Are we going to do a fast hammer like uh, or a slow hammer like me? The minutes record does So could be any technique. And the question is, Theo, The theme question is, How fast or short do you want the technique to be? That is up to you, And that's one of the things that you get to decide As you're playing. You get to say, I want to do a quick technique. I wanted to a short technique. What these knows to be spread part are close together. So that's another nuance that you could bring to add to your style of William of what you're playing. If you are not working on scales, maybe you're doing arpeggios Theme. The trill or vibrato was something you could always do. Any time you got one note, give it a little bit extra. You always get a little bit of that. Just working on getting a little bit. Just give us a more sustained on a little bit more life. Okay, So go work on You were techniques. 10. Types of 7th Chords (page 33-34): Let's talk about the different types of seventh courts in jazz. The most basic kind of chord that you should be playing should be 1/7 chord. Um, it's very uncommon Jessel for you to be applying a major or minor court just a plain major or playing Meyer. Typically the most basic chord in jazz is going to be some type of 1/7 chord. So what a lot of guitar players don't know is that there are a lot of different types of seventh chords. Um, so you can't just say, Oh, play that seventh course unless you're talking to a musician who really knows their stuff and they can figure out what kind of some court it's supposed to be. So we're gonna talk about that. We're going to try to get you that kind of musician. Um, so we are gonna deal with five different types of seven chords right now. When we say 1/7 chord, the proper terminology, we're referring to a dominant seventh chord. So if you just say a seven chord, it means, like, say, for example, a C seven or a G seven. Okay, Just a plain said in court kind of like when you first started learning guitar and you learned maybe a couple of seventh chords in your open shapes. D seven R E seven or a seven Some of your first open courts that you learned those are called dominant. So since we're getting different types of seventh chords, we want to use that word, the word dominant when you're just talking about playing seven. So those were cold, dominant seventh courts, and they're just written as just with a plain old seven. Sometimes you will see the word dumb or dominant because that starts referring to the possible extensions. Okay, so the plan on seven is a dominant some court off. Next, we've got a That would be this guy going through a couple of different shapes on all of these courts here. So that's just a plain old Jesu were G dominance. All of these shapes are here. Over here, we got a minor seven. And so you got the lower case. M obviously is showing us that it's gonna be a Gene Meyer on seven. So g minor seventh. So we've got a couple of different shapes going on here. Then we got what's called a major seventh. This is an interesting chord. It's got a triangle symbol. Sometimes you will just see it looks like G triangle, the triangle eyes telling you that it is a major sub. Okay, um, sometimes you may see Page seven major seven. Sometimes it may just say Major major on DSO since the court, like a G court. Of course, that's major, cause there's no lower case out. So sometimes when you just see the, um, the word major is implying that's a major seventh. Okay, the major seventh is a really interesting court because we it starts showing us some things about the spelling of the notes in the court. For example, um, we know that the court is major because there's no lower case out. So to call it a major seventh, it's actually telling us the seventh interval is what's major. The G, of course, is already image. We don't have to change it. We don't even have to say that it's major. It's already major, calling it a major seventh. It's telling you that the seventh interval, the extra note that were adding into the court, that's what's major, as opposed to what we have going on these courts. The G seven, the dominant seven minor seven. The seventh interval on those eyes gonna be what's called a minor. Something I don't want to confuse. You were going to cover this all in the intervals section, but the G major seventh is interesting. One confuses a lot of people, but it is one of the pretty scores, and one that was common ones that we see in jazz. Um, okay, down here. We've got a minor seven flat five. I put this one, Q B. Both of these ships be biter. Seven flat five. So essentially was going out. Here is it is a minor seventh corps. Okay, Just like this guy from under seven. This wasn't Q B, though, but it's gonna flat five interval flooded. So that's kind of interesting one. And it's This is a very common court jazz. All of these cords are extremely common in jazz. Okay. And then we got lastly, a diminished seventh diminished seventh chord pops up along the time all the time. Just, um and it is what is known as a passing chord or a walking toward. So when you hear guitar players that are playing lots of chords really quickly. A lot of times what's going on is the course that they're using to walk from one court of the next will be diminished. I assure you that works later on. Right now, I want to go through these shapes just to kind of get your feet wet with them. So I started off by saying that the most basic kind, Of course you're going to play jazz going to be some kind of 1/7 court. That's 100% true. Um, the interesting thing about jazz theory is that when we learn more about it, we can learn how to, um, minimize the cord name. So, for example, if you had a really complex cord, we can minimize it and strip away some of you so the unnecessary notes and bring it down to its fundamental foundation, which would be the seventh chord. And so a lot of large courts courts with big names. We can strip them down to what they're appropriate. Sub court would be so a lot of times, if you see accord and you just quickly can't figure out the shape or where to do it, you can strip it down to its basic respective seventh corps. Whichever one of these guys, it's supposed to be played that So with these five shapes right here, these different not shapes but types. These five types of seven course you could play almost any jazz saw you could get you almost any jazz song score two separate Good score to sound like that song. Because the Seventh Court is even, though is the most basic version of playing jazz song. It gets the point across the most clearly. So you want to be a master of your seventh course, because once you get pretty good at your seventh courts, all your different types of seventh chords and how to use them in which one gets what type ? Um, then after that, playing jazz gets a whole lot more fun because everything after that becomes a lot more ornamental. It starts to be like just extra, a little extra stuff that we could do to make it interesting. But the foundation has been laid because the seventh chords are the foundation, and so what we want to start doing is we want to get into this idea that we are playing except for what kind of support is it? Is it a dominant seven is in a minor. Seven is a major seven. Is a minor seven flat five? Or is it a diminished seventh chord? Great. So let's go through a couple shares. I'm just going to show you, um, where some routes around some of them and how long? Figuring. And, of course, a lot of these shapes. This is just something to get you started, so there are definitely, definitely war shapes to play than these. And this is something that jazz guitar players will spend a lifetime looking for. New ways to play these courts new shapes, new ways to figure them. That's part of the funds. When you start learning war and you get a couple of these out of your belt to start accumulating some or shapes or developing shapes on your own, very run shapes out. That's where playing jazz could be a lot of fun. It just keeps going, keeps going. But once you have these under your belt or a couple of these under your belt, you're going to be able to play most jazz socks, so this is really excited because we're getting into. Okay, so the G sevens I've got Looks like I got about five different shapes up here for you Of the dominant seven. I put these guys in T G. Okay, so the 1st 1 we got right here, it's based on our major bar chord. Bring on E So G on E. And all I do is I take my pinky off. Picky comes off. So I opened up the D string. So the D strings now? Sure, Theo. 1st 1 second one, this guy is rooting on the a string. So the low stone again is the Rudo G 7 12 10 12 This one is kind of based on our major bark worship. From the A string, the huge e would be 10 12 for 12. So here we're just opening up that cheese drink, but it's going to be held down by the index finger this time, so I'm gonna have to bar with my index finger a little bit to get Do you have those 10th fret ST. This one has a great sound. It's just got the bare minimum that we need to really get the sound with the Oh wait. Okay. Good. Um, now we've got this shaper here, Um, starting on the D string. 12 12 12 13. Okay, bar those twelves with my index finger. That and get the 13 like this. Good. The root note on this guy is actually going to wind up being on my G string. Okay, because it's a G note right there. So if I get the g strings, there's McGee is barred. Okay, Israel G Dominant sense. Um, now I've got this guy right here. Okay. 767 on the high strings. This guy looks like my first d seven chord that I ever large All right. And I know that what I play d seven fouls playing D This is the difference between a d on December. So the B strings back to frets. So when I play it like a d seven chord, if I just played thes three strings, there would actually be no denote it. There's no dino in this. So how do I know where my route is? Well, I know that if I would, I went out to friends on the B string. That would be my Rudo right there on d right here. So I'm gonna have to kind of figure out what I use this shape which I used to shape all the time because it sounds great. Um so to do 767 I know it's G because if I want to friends on my B string would be on my Gino the beast. You can think of it as go to the root note on the B string. Here's a G. Go back to France, then plug in your what would be like your G seven shape, Theo G seven. And then, lastly, we've got 3 to 3, and this is a basic seven chord triad. Try at three. Note Chord. The Triad is the foundation for any courts. Try and just means a three note chord and it's your building block for any kind of court. So it is a basic dominance and try it. Okay, so just going through my dominant seven qg we've got way that one. So that is a lot of different possibilities for dominant sound. Of course. Okay. And you may already know a couple of these Have you been playing some blues? So let's take a look now at our Meyer seventh courts. Um, I'm gonna do is I'm going to go to my minor bar chord route on the east drink. Okay, big he comes off, but I'm picking back down on the B string six. Fret that now Big, you know, here is extra toe way. We are repeating a note when we do it, we don't have to use the picky on the B string where you just leave it off. I like it. Pinky down extra a GI That's one shape. And then another shape of a minor seven g go Tough front on the a string. Okay? And this is like, if I do my lyre bark word shape yea string Eugene Meyer and then take pinky off. Leave it off is G So we've got way. So there's a too easy shapes for minor seventh court on. We're rooting on either the eastern or the A stray. So Okay, now let's take a look at our major seventh chord. Um, this one is such a nice sounding chord, right? So the 1st 1 we've got, um, the way that I like to play everyone's got their own kind of figure preferences when they're doing jazz um, the way that I like to play it is three x 44 This is one shape. This is how I do it. So the X means we're going a butte. That string. So I go there, Fred X and the X just means I'm going to kind of live the skin under my finger. Touch it. So it's gonna be a little bit just a little commuted. Three. I'm kind of muting the street underneath it. Get four and four. Okay, that is one option for the major seven here is No. This is a great one. Diagonal shape starting on the high street. 2345 OK, so too 34 What? Just a complete diagonal shape and we're on Lee Streaming What? We're pressing Theo. Think of the root note on this one as being picky. No, or it's like one Fred behind or what, friend Above where you're starting from. So we're starting on the second Fret So incredible. That's my g. Just starting one fret behind my G. Oh, right. The things that I think he knows because my pinky notes g really pretty court. All right. We've also got some over here on the A strict. Okay, 10 front 12 11 12. This one is also based on the bar chord A stream. I'm just a G string note, and it's coming back. So I went with 10 12 11 12. Okay, moving along. We've got study on the D string. 5777 Okay, so I'm going tonight, Friend, This is a Gino against the rude of G. And I'm gonna bore these sevens with my ring finger. Goose ends up seven Barmal with my refigure. Kind of like we did with our our board before when we were rooting on a mash down my knuckle. So 577 really pretty sound. All right, So just re capping the major seven sounds we've got okay, That is really pretty court. So in jazz, when you are meant to just play a major chord, it will be a major seventh court because we don't play just major chords and jazz. We play major seventh. So if you wanted to just takes a basic cores and turn them into jazzy sounding very basically doing it is any major courts would be probably a major seventh minor chords would probably be minor seventh. Um, okay, Yeah, let's move on. Um, the minor seven. Flat five. That sounds like a whole lot. Meyer seven flat five. It's B minor seven, flat five. OK, eso for both of these shapes here or root note is on the Lois the lowest string that were playing. So and you may be thinking, Well, I don't really need to worry about that one. We're gonna play this a lot nicer seven Flat five is a very common quarter jazz. We're gonna play it a lot. It's not just common in jazz is common in the classical music theory of how we construct scale on how we get the cords from the scale is one of the basic courts, Believe it or not, eso starting on the A string to 3 to 3 quick and are starting notes of bees be Meyerson flat 5 to 3 to three. Some people like to use all four fingers in the beginning, when they first learned score, they like to use all four figures. Um, I was just like I would recommend you get used to using three fingers. Actually, for many of these courses, you can try Teoh. I use three fingers trying to free up your pinky so you don't use your pinky unless you have Teoh. Try to not use it that often. Because we want keep are picky free. It'll give us more opportunities to play a round. Of course, later on, if we don't have the thinking also, we can get to the court in a hurry when we're using less fingers. So I'm just kind of mashing down the second right here, so I could go to three. I've already got 23 struggling to four middle strings here. 33 b minor, seven flat. Now, I can also play reading on the lower East. Okay, Got all my seven. So you get on my sevens next finger, eight. Yep. I just need to get the 10th fret with my pinky on the the beast for 10th for okay. It's a strong pull. Six way, way cool. Okay. And last week we've got diminish itself the scene to herself, but it QC to try to make it easy. Put all these on the keys that they're in to try to make it easier for you. Okay, So, um, route notes and Rooth. Lowest note is already both of these. 34 to 4. OK, 34 to 4. Kind of Looks like your fingers. Kind of like a pretzel, but you kind of get used to the shape 3 14 for my Louis. No, See, it's my room. Good. And I can also play it were routed on the D string. 10 11 10. Okay, so I'm going to smash down on my tents just so I don't have to use my fingers. Levin, love. All right. Okay, so that is see Diminished. And I could go ahead and share with you One of the tricks with diminished seventh chord. I'm going to show you how to put all these together. I want you to first get comfortable with shapes. Um, but I'll share with you the, uh, Demeter, some trick right now. One of the tricks that we can use on it. It is a symmetric cord. What that means is that, um, week, the way that we could use it. One of the ways we can use it is by moving it in any direction. Three frets. So, for example, if I take first shape right here, 34 to 43 44. Got. All right. Um, I can move this exact same shape. Three frets in any direction indefinitely, and it's gonna have the exact same notes. We're gonna be in a different order, but it will have the exact same notes. So I'm on three. So I'm just gonna slide up 56 Okay, this has the exact same knows is the one I just played. I'm gonna move up another three frets 123 started. Sound a little familiar to you for this before? Okay, now go another three, Friess, because it goes in definitely three friends. Definitely any direction, Teoh. Okay, Every time I do this, I'm playing the exact same four notes. There's four knows impressing of four strings play four different notes. The exact same four does every time. They're just in a different order. That's why it sounds a little different, but it's the exact same for years. Steve, diminish yourself. I could do it using the second shape. Also, any kind of diminished self. I could use this trick. It's always the exact same court. And so if I needed to play a seed minor seventh, you know, you learned here on 10 11 11. But I could come down playing on the seventh front. We're gonna play here on the fourth fret or we could play here in the first phrase. All of those are cold. The exact same thing there, all cold seed because they have the exact same does. It will get into that a little bit more detail later on. But for right now, I want you to focus on getting comfortable with all of these shapes. I'm telling you that getting this stuff under your belt, you're gonna build to jump in and play rhythm guitar over pretty much most jazz songs that you could come across. So if you know someone that wants to get together, place in jazz with you. If you can knock out yourself courts thing, you're going to be able to at least play jazz rhythm guitar, which is a big deal. Jazz rhythm guitar players are really good. So work on your various types of seventh chords, and we're going to start talking pretty soon about how they work together, what the proper order would be 11. Relative Chords (page 35-37): it's time for us to talk about our relative courts. Our relative courts are based on the notes off the major scale, the scale degrees. And so what we are looking at here is, um, here I have the notes of the C major scale. Okay. C d E f g a b. These were just notes from the C major scale and the went through the C major scale and we were counting out the scale degrees and we counted up to seven. Right? 1234567 So when we go through it, C major scale 1230467 And it just repeats itself keeps on repeating itself. But there's only seven different notes. That is an important thing to understand is that there's only seven different notes in the major scale. And so if we went a little deeper and we wanted to identify all the notes, one is the See, The second note is a D. I notice a G six note isn't a note is a B okay, so C d E f g a b. Those are the nose of the C major scale. Now what we can do on this is a big part of music theory. Here is where harmony and melody intersect. They come together. So melody is the scales or playing the notes one at a time in harmony or the courts are where we have the notes are stacked up and we're playing courts harmony. So harmony and melody, they work together. They are really one of the same. They're just different ways of looking at the notes. We can look at them individually or we can look at them together. But the theory that we use is the same what we're talking about. Harmony, ability. It's all the same theory. Um, okay, so what we can do is we can take each note from the major scale and we can extrapolate accord that would be associated with that note. If there was gonna be one court that would be associating with each scale degree of the major scale. And that's what we're looking at down below is the court that gets associated with each note. Another thing that we're looking at here is thes Roman numerals. So and this is what is known as the, um some satirical these national charts or the Nashville numbering system on this is what studio musicians worked with. It is a way of writing music, of writing courts without actually saying it's in this key. So you may just write down a bunch of Roman numerals and then you may say, OK, let's play in the QC. So whatever the one Roman rule is is gonna be the sea. And then from there, you know what all the other Roman numerals are, where you could say, Let's play this in the key of D So than the one Roma new rules going to be in the key of D And then all the other room rules will shift depending on whatever the oneness. Just make the one Roma numeral the key of F. Okay, so then everything will now be and whatever is relative to the key of F, we'll talk about this war will continue on. So with Roman enrolls in music, he goes up to seven. Okay, and you have upper case and lower case. Uppercase Roman numerals mean it's a major chord in lower case Roman numerals units a minor course. All right, so it's pretty simple. So here you've got upper case one, meaning it's a major courts of C major. Lower case, too, means it's a D minor and the two is telling this is the second degree. It's the second quarter in sequence, so obviously that's deep. You see, Lower Case 373 is a low case. So that's gonna be in e minor court case for eso is the one with the next to it. That means for his upper case. So that's going to be an F major chord of case five. Just to the myself. That's five. And so that's a G chord. Major Lower case V with the one next to it. That's a six on. And so that is a Meyer is lower case, lower case Roman numeral and then a lower case. Seven little V with two eyes. So that is a minor seventh, and I've got an extra extension at the end of it. Where says seven flat five. And we just saw that court minor. Seven flat five. So this is a B minor seven flat five. Now we are going to take this concept and really blow it up. We're going to really blow this concept of of the relative cords and start looking at it from the viewpoint of all the extensions that we can have and where these court extensions belong, like, Hey, what call? Um, it would go in, but we first have to understand how the basic relative courts work. And that's what we're looking at right now. Um, these sounds degree the B it gets that extension. It doesn't want to be just a simple court. It cannot be just a minor chord. It could go without the seventh and just have a flat five. That is a really tricky court to play on the guitar. Just a minor with the flat five without it sounding kind of just dark and awful. So we're going to leave it alone. And our seventh chord is going to be that minor seven flat, five b minor, seven, flat five. Okay, but everything else is either going to be just a plain major were playing liner just for the time being. Um, now this is there's a pattern. There were several patterns going on here, and this is going to be the same and any key that we're going to be in. So as we change keys we're gonna play the key and D d major or G Major or B Flat Major or e flat Major. Every time we changed the key, um, these Roman numerals will stay exactly the same thing. Only thing is going to change our the scale notes some Tom and the relative their roles, of course, that go below it. But the Roman numerals will stay the same. The one will always be uppercase. One core is always gonna be major. The tune that three are always going to be minors. The four the five are always going to be uppercase. They're always gonna be major. The six will always be lower case minor. And the seventh degree will always be lower case with the seven flat five extension. That's always gonna be the case, no matter what key were in. So I mentioned before I want to do in the qc for a few different lessons so that we can just not have to deal with Sharps and Flats for right now we keep all the notes natural. Okay, so we're we could learn a whole lot of stuff just from this right here. Um, the initial stuff that jumps out at me. Is that the one? The four of the five are major courts. 14 and five are the major courts C, F and G. Those were the major courts. That's true. In every key, there are 12 keys and everything that we're gonna be in one the four of the five of the major courts. That's always true. It's always gonna be true. 145 majors. The 23 and six are always gonna be the miners. 23 and six minor, minor minor. Theo 23 of the six were always going to be minor courts. And that seventh is always gonna have that minor seven flat five. Um, what's interesting about that seventh degree? The minor seven flat five is that this is a very standard classical music. Very guitar theory concept. This is hundreds of years old. Okay, this has been ran for a long, long time. Um, lot of styles of music will focus on the 1st 6 elements. The 1st 6 degrees that minor seven flat five. You know, that barely gets played in a lot of other styles of music. Um, but it gets played in jazz all the time. So jazz is why these great styles, where is embraced some degree, really embraced, and we use it a lot, so that's great. I'm excited to be using it, Tom, and is special. It's on its own. We can kind of think of this whole thing is being maybe three categories. We've got the dangers, the 14 or five year old majors. That's one category we've got, the miners, that to 36. Those are all the minor chords, and then we've got the seventh degree. It's in its own category because it's got that minor seven flat five and it's the only one that's like that. Okay, well, this is pretty cool. Pretty cool. Um, And this thing also, we'll talk about this later on. But this concept of the relative courts grid is going to be extended into what we started looking at our scales and how our modes will work. Because, like I said, melody and harmony are completely connected and so we can look at it from the cord view, which is what we're doing right now. We're looking at it from a court perspective, and we can also look at this exact same thing from a scale perspective, and we're gonna do that a little bit later on. But relative courts, this is a huge piece of music theory, and this is going to help you to understand what is going on when you're looking at assault when you're looking at courts because part of your job as a jazz musician is to be able to look at a bunch of courts. If Vigorelli was going on so that you can figure out what you could do, what you could get away with, that's gonna make sense. And it's going to stay true to the original song. And so this is a big piece of very here. Okay, so let's just go through these corns for men and see what they sound like. Okay, I'm going to go through some bar shapes on these guys. So we've seen and we're going through the majors and miners. I know that jazz. Usually we're going to focus on the seventh. We'll do that in a little bit right now. I just want to do the basic courts. See, major D minor G uh, B minor seven flat five. This guy was the one of the positions we could do is on the a string to 3 to 3. Starting on the A string. 2323 This seven degree has another name. It's also called a leading tone two leading tone. It leads to the one who wants to go to the one. The seven wants to go to the one. So this B minor seven flat five wants to resolve Teoh. You hear the resolution so the seven court wants to result to the one chord. Okay, so let's go through the sequence again, Um, one all the way. She sure he's against stress in different positions. So see, major minor B minor seven, flat five. Here is another position. Now, this one is 7877 10 7 Do you hear that? Resolution from the B minor? Seven flat five to see. Okay, so this is something that you can have a tremendous amount of fun playing around with. I just played them going in order. But one of the things that well, this is summers Tool for one is if we just started jumping around and started putting the scores together in different sequences. That is one of the tools that songwriters used to right to read songs. Um, and this is like I said hundreds of years old, this system. So some writers have been doing this for a long time. Um so if we said we're just going to play around with the 145 let's just hear that for seconds. Yeah. So that sounds like a whole lot of rock songs. It could be blues, bluegrass, folk. A lot of stuff is going on for five. Check out the two on the three. You know what? Let's go 6 to 3. Let's check that 63. So pretty cool. Um, we can go. Maybe from the G, um, to the d minor. That should send interesting go. So there's a lot of different possibilities. And we could sit around, go through every permutation with different sounds at the moment. It doesn't sound that jazzy is going Teoh when we start throwing in the extensions, the jazz ease thing about this right now is going from minor seven flat five, resolving into our one court, That sounds like something right there. Um okay. So I want you to focus on the relative courts and tried to familiarize yourself with the pattern. Keep in mind. 145 or majors 23 and six. Or the miners. That seven is the special one. It's the minor. Seven flat, five minor sins left. Five. Andi, if we were gonna put this in a different key, I would love it if you would contemplate what that might look like. So if we were going to do another key, Granite is going to have a sharp or flat or multiple sharps and multiple flats in it. So you want to be prepared for that? But we're just going to take the seven scale, agrees, and we're going to plug in the respective court every time. 1/4 of the major to the three will always be minor. Before in the five always be major. The six will always be a liar, and the seventh will always be that minor seven flat five. And then you're going to have your relative courts. And from there we can start looking at the extensions. Um, but I think that this is a great starting point for us, aren't so Start playing around with you were relative cords 12. Relative Modes (page 38-45): let's go through our relative moods. Um, I've mentions most a few times up until now and alluded to them, so we're gonna jump in and go through them. I'm going to make the modes as simple for you as I possibly can. Essentially, what they are is taking a lot of the notes from the major scale. In this case, we're doing C major scale staying the C major whole natural, and we are finding positions to play those notes all over the fretboard. Okay, there are a few different perspectives to look at how to use the moods. So one of the perspectives on using the modes is, well, you learns thesis, major scale. We learned it starting on the eighth. Fret. What if I want to play the c major scale everywhere. That's what we use the votes for. They are seven positions that wind up covering all off one active, and after we get past one on active, it just continues on. So if I want to play the c major scale everywhere, then I need to learn all of these shapes. Um and you know, that's one of the things about jazz is there's a lot of different shapes to memorize. But the modes I started studying the moods before, long before I got into jazz, because I, for whatever styles of music I was playing rock or bluegrass or whatever I was playing at the time. I wanted to understand how guitar players were just having so much fun going up and down the fretboard and all the notes that they had access to. I didn't understand how that worked until I discovered moods. And that's essentially what guitar players are doing is you are taking the same seven notes of the major scale, and you are creating these different shapes. There is a total of seven shapes, and every time you're gonna have a different shape. So there are seven different shapes, but they all have the exact same notes. And so when we go through these different shapes, as long as they were spaced out in the right way, they're going to have the exact same notes and so you could jump from shape, shape and you'll be there different shapes. But they have the same notes and says you jump from shape to shape around the fretboard. You're always going to be on the same notes as you were when you were maybe over here in the key of C major on the eighth. Fret. So that is one approach to playing the moods. Um, another approach to playing the modes would be we can solo over the specific cord that we want to in the sequence. So we talked about the relative courts and how each scale degree has its own court that gets associated with it. So, for example, the C in C major scale gets associated with the C major court. The D C major scale is associated with the D minor Ford. So maybe over the c chord and we're playing in the QC and a C chord, I would solo using the C Ionian itself the actual major scale and over the D minor court. If there wasn t Meyer Court, maybe I would play this Dorian mode right here. The d Dorian during but the key it d because that is the mode or scale that would go over the D minor chord. And the word relative means that these shapes all have the exact same note. As long as I keep them in the correct distance from each other, and the distance is going to be the same as the distance from the notes once of the next. So Aziz, long as I am keeping all of the modes in the keys relative to the scale. So, for example, the Ionian I played in the key of C or the Ionian is the major scale. It's the same thing as long as I keep you see him good. The Dorian Mode mode Number two. As long as I played in the key of D that I'm good, I'm going to be a relative to the C major scale the e If I play this fridge Ian in Kiev e As long as I play the fridge Ian in Kiev e I'm going to be a relative to the C major scale will be playing the same notes as long as I play the Lydian in the key of F, I'll be relative to see major laws that playing mix O Lydian in the key of gov relative to see Major because I planned the Aeolian in the key of a will be relative to see major loss . I've played a low grade and be I will be relative to see Major. That's what it means relative. As long as I keep everything in the right distance and in the right key, then it will have the same notes. Eso there are a couple different ways to think about it like that. Um, but the way that most guitar players approached the modes is to be able to unlock the fretboard playing in one instance. So, for example, playing. See, Major, I wanna do it everywhere. So I will use all seven mode shapes to unlock the fretboard. Or we could have a song that is actually Key and Dorian So the whole song could be based in D. Dorian still is relative all of this other stuff and maybe there is still some of these other courts in here, But de door in D minor chord and the D Dorian is the main focus of that song. So I will still have all of the C Major. Dorian, the fridge ing will still have all of these moods at my disposal. So there are a couple of different ways to think about them. What I want to do is I won't go through the shapes, so you could see how fingering them. Okay, we already know. See, I in rooting with Bill Finger. Okay, I'm starting here on the way. Theo, you want practice these four backwards, Okay. See, Major, you already know that one. Let's take a look at the D Dorian Swim starts on the 10th fret. And for all of these bows, we're going to root on the Lower East ring for all of okay. So tough. Fret for the D, Dorian, starting with my index finger. I did a little shift right there When I got to the D string, I should back so shit back one Fred way, Theo. Sometimes in these boat shapes, we have to do just a slight shift to grab. Ah, fret that is, instead of being four friends apart, we might have five friends apart. And so, generally we do when there's a friend that goes outside of your figures, your friend, you just shift your whole hand shape into it, and you stay in that until you have to shift up again. So the whole thing moves and you just shoot your hands. Do the one fret shift. It's just going to be a one. Friendships. Okay, one more time. Shift starting a G string with I think you on t e for ji in the u virgin is a f sounds. So ph are Why fridge? It's like you go to the fridge to get some food. Fridge yet? Okay. Freshening Q v. This one is completely figured to a friend, so no shifting. Good. Okay, let's go down to the F Lydian, you come down here to the first fret. This one's got some big jumps. OK? So f Lydia did that with my Okay, It's good for something. F Theo. Right? Okay, G big. So Lydia good were this one with my middle finger is the G Mex Illyria. And you could see how I shifted up when I got to the beast. Rio. Okay, good. Let's go through the A helium. That's a e o. That a eo is pressed. Liken. Ease out. So's e olio. A deal in the aeolian mode is the exact same as the minor scale natural minor scale. So you got major scale, which is the Ionian, and you've got the natural minor scale, which is the Aeolian number six mode. So a or a natural good. Now the seventh mode is the low Korean, the local remove. This wasn't Q B. It occupies the same space as the C major scale. So it's gonna be an easy one of memorized because it it occupies the exact same France. The same space we just started with that one extra Fred on the seventh right here. So everything else is identical to the C major scale. Just started with index finger on the big It's OK, good. That's all seven mode shapes and we have them space down, so they are relative to each other. Meeting everything I just played was just seven notes. I only played seven Does. I played in seven different shapes, but it was the exact same seven notes. No more, no less. And, um, they were the seven notes of the C major scale. So that is what makes it relative. Um, and what I could do is if I was say, for example, playing in the key of C Major. I said, I start slipping from boat to boat sold. So playing in a major way, Theo, Theo, Cool, sloppy. But I was just going from shape to shape and every time I was I was safe because I was only hitting the notes of C major scale part of what I was trying to do to keep it sounding like it was in the key of C was I was trying to keep coming back to my C note. So even though I was going in different shapes, I was looking for my C note every time. Um, and an easy way to think about how people use the modes is the use of root notes. So rude notes are huge when you are going through a load. So in our example, where if we were gonna play in D Dorian the way that you could make it sound like it's indeed or it is by focusing on this de rue notes and we know that we've got we're starting note is a denote and horse are other e string note is gonna be a denote We also have on our d string here ring finger D string eyes also another denote So every time we're going through a mode check this will be or three were nuts or are active shapes d de so I could be cute C A C C C performing deeds T E every time is gonna look the same. So if I am in, say my door, I want to so it But I want to make sure this keep it sounding like it's a d. I won't keep coming back to one of those three. - So doing this within the shape. And if I was going to expend out to the rest of fretboard, I just want to do the same thing. I want to keep on looking for my denote, even though I'm in a different shape. So let's get shot. So Dorio, - because I kept on coming back to my D route, may not have been the cleanest soul, but I kept it indeed, during because I kept on bringing it back to the D, rode up. I was only playing the relative modes relative to the d Dorian or the C major, and but I kept indeed, Dorian because of the denotes that I kept coming back to. So the motives were going to be something that we're going to be talking about frequently. I want you to start working on these seven shapes and getting used to them. The good news is that you've already got the major scale you've already worked on that. And the seventh mode. The low creating occupies the exact scene space as the major scale. So that was going to be an easy one for you. So start working on your relative moods and we will be looking into how to use them for solos a little bit later on. But right now, just start getting these under your belt, and there are there are literally analyst solar possibilities for you when you're using the most. 13. Relative Chords with 7ths (page 46): Let's talk about our relative cords using all of our sevenths. So this is going to set the stage for us. For all of our extensions going forward on, it's going to show us a whole lot about how the relative chords really work in jazz. So we are using Key of C major, just like before and over here of God the notes of the C major scale C D E f G A and B. I love it. I've got the Roman unrolls, the national numbering system, to show us the the cord intervals scale agrees, um, ends below it. We are plugging in the, uh, the respective seventh chord that goes with each scale, the record each chord, uh, in the road. So just real quick. What's going on is we've got uppercase. M is the major seventh, and the lower case sound is the minor seven. Um, the seven by itself is the dominant seventh. And then, of course, we've got the minor. Seven flat. Five. The bee is getting both the minor seven flat five and the diminished seventh chord. So we'll talk about that in just a minute. Um, what we took away when we first looked at the relative cords. Was that the 14 and five or the majors and the two dream six or the miners? So now what we're looking at a little bit more closely is what kind of seven court do each of these get? And so quickly? The first thing that I see is that the one and the four are both getting the major seven chord. Okay, so it's not the one for in flight. It's just the one of the four. They get the major seventh chord. Um, so C and F would both be a major seven. Uh, the G, which is the fifth. It's also major, but it is dumb it So it is just getting the 7/4 the dominant seventh chord. Eso the fifth is always gonna be dominant. It is our primary dominant, our first dominant. It's the main dominant court. So every time you come to the fifth, that is the only one in the road that gets the plain old dominant seventh chord. Um, okay, the 23 and six are all getting the minor sevens, so that still is consistent with everything we've seen. Um, end the the B. Now, of course, the baby is already defaulted. Teoh, the minor seven flat five chord were also adding in the diminished seventh. Now what we're looking at here is we're starting. Teoh, get some court extensions going on. Eso in jazz when we are dealing with large towards, you know, chords with a lot of numbers and names attached to them, we're either going to be dealing with extended courts or altered courts. So we're going to look at ultra much later on. Right now, I want to get you up to speed on all of your extended courts. Generally, when we're talking about extended chords, we are referring to courts where we're adding notes into the cord and the notes are originally from the scale. So that would be notes that would have originally been in the scale Um, nos from the C scale. So an extended court would be the normal cord plus notes from the C scale. Um, So, for example, when we're playing our C major seventh, it's all the regular knows of the C chord. Plus, we're adding in our seventh degree from C, which is a key note. So it's like a C chord plus a B note. That's what The major, seventh this when we're doing a D Minor seven were playing all the notes of the D minor chord, but we're adding in these seventh, which would be the seventh of D cut. So do use one in the case of D Minor or do you minor? 71234567 c would be the seventh in the key of D minor. So so is it. Do you monitor court and we're adding a scene up into it. They're gonna make sense. We are doing an F major seventh, so it's a regular F major chord, but we're adding in the seventh of F so F is one in this case. So 1234567 So we're adding in that e note for the F major seventh, and that's essentially what we're talking about. Extended chords. We are just extending past the 13 in the five, which is what the basic Triad is. In order to make a regular major or minor chord, we have to have the 1st 3rd and fifth intervals, and then, uh, then you have the it's going to be getting a major court or a minor court in the third degree is going to tell us if that cord is major or minor. We'll talk about that more in the interval section, but 13 and five equals regular major or minor port. The third is going to tell us if it's if it's going to be major or minor. So the third determines major minor. Um and that's always true. But like I said, we'll talk about that more of the intervals section. Okay, so we have extended chords, which records with notes from the scale, and we have altered courts, which are where we will add in those that are not from the scale and we used both and jazz . However, the primary, the main thing that we're gonna do it would be extended courts of mostly and jazz. You're playing extended courts and you may have a couple of ultra courts that get popped in also, but we can't have too many notes that are outside of the scale. We have to kind of keep the thing under control. So we're mostly gonna be dealing with extended courts. Um, the exception right now, would be this diminished seventh that's going over, B. Um, soon, the diminished seventh would be an extended cord. I want to put it in the extended category, even though it does have, um, a note that does not fall into these C major scales. Got one note that doesn't fall into the C major scale. That's OK. It's not a huge problem. The reason I want to use it is because it's one of the seven course that we have been learning the diminished of, and it is a very common substitute cord for the seventh degree. So, normally in jazz, the main court of the seventh degree of B is gonna be our minor seven flat five. That's our main court. If we were going to substitute it, we could use a diminished south. Really common. Okay, so let's just jump in and was here with these sound like, Okay, so we've got a few different shapes just going to use him pretty basic shapes here. All right, so we got C major seven really pretty de miner. So e minor. Seven, major, sir. Way have g seven. Yeah, and we have a minor seven. We have B minor seven flat five. So way also have the diminished seventh. So beating yourself and as we talked about before, the seven wants to resolve back to one chord. So going from B to C major and that completes a little set. So we are really officially into jazz lands now. So when we're playing seventh chords A with the different types of seven courts, we are open running. So what we want to do now is we want to practice going through her different shapes and going through the cord row, Uh, is I like I mentioned before, this is setting the stage for all of the up and coming court extensions I'm going to be playing. So what I mean by that is that the big lesson here that you want to learn is that the one and the 41 and the four are both major sevens. So that means that as we start building on more extensions, they're going to be built upon a major seventh chord. So the major seventh chord is now going to be a foundation for all or most of are one and four ports. The 23 and six are are minor chords. And for the most part, they're just going to stay. Meyer So But they will be building upon that minor seventh chord. Uh, the fifth we touched on. That's dominant. Dominant gets his own category. It's special. It's the only one that just gets that plain old dominant court. And all of the extensions that we're going to be building on the fifth degree the dominant over the G chord are going to be also dominant courts. So as we start getting other extensions, those courts will also be called dominant. Um and, um, the B is always going to have that sort of we could call half diminished. It is, uh, got the flat five. So it's a minor chord. It's gonna have served in it and it's going to have a flat five. Um, OK, another way we could approach that diminished seventh, by the way, will be is coming up here where we rooted on the D string. So I'm up here on the ninth fret 9 10 9 10 and resulting to my C major. So where I could come up like this resolved Teoh this. See, Mayor, that's a nice Okay, So what we wanted practices going through all over different shapes and getting comfortable with bouncing around these different chords. So a good way to do it is just by climbing up the courts way, - so just going in order, going through the different shapes, playing through the courts. And what I was doing there at the end was the diminished seventh trick that we talked about . Where we take the diminished seventh chord, be here diminished seventh on and I can move it. Three frets in any direction and I could just keep on moving. Three frets and it will be the same court, so this is be diminished. Three fronts. Three friends, three friends be diminished. Seventh So diminished. Seventh chord. There are music theory books. There are books that are just dedicated to talking about diminished theory. Uhm, diminished theory goes pretty deep is pretty complex stuff. One of the things that we want to be aware of is that there are only a certain amount of keys of the diminished court, and that's because it's a symmetric cord. So what I mean by that is that this is be diminished. Seventh here on the second friend on and I come up three frets, I said. That's also be diminished. Sure, it's be diminished. Seventh and I'm on the d root note. So it's also de diminished self and I come up three fronts again on me Defender Seventh. It's also de Demeter. Seventh and along The effort notes was also F diminished. South I come up three frets G sharp diminished seventh, and it's also f diminished seventh and is also a d diminished seventh. And it's also be Demeter Seventh. Whoa! So it is for courts in there. When I go up, another three frets going around the world and I'm back on Be it again. So it is all of those courts. So there's only a certain number of keys that we can play defense horn in, since it shares the exact same notes with multiple keys. Um, OK, another way that we can practice going through the seventh relative courts. The extensions is by jumping around a little bit, so going like between the one and the floor is a good thing to practice going between a C major seven. If these shapes were giving you a hard time, you're still getting used to court shapes practice going from lake shape, toe leg shape. So see major. 72 F major. Seven. Way to go through our minds. Going from the D. Meyer, we want to bounce around a little bit. So it's good D minor Teoh A minor tiu. The you might be Oh, wait, thank you. Want practice going from? Since there's only one kind of a dominant chord, we have to pick something else to go to it. So maybe going between the minor seven about a D minor seven to the G seven port, there are ways to do easy finger rings, and we talked about that. There are all kinds of different court shapes on redundancies that we have, so you can kind of pick the shapes that you prefer summer going to be comfortable, and some are going to be more difficult. Sometimes the more difficult ones sound better, though that is the reason to do that. Even though there were difficult for us. They sound there, so but you have to kind of figure that out what you like and what sounds good. Let's go from a D minor seven to a G dominant set, actually figure wise I could do this movement right here. And it's pretty much the same thing for my hand. I just jump down the string for everything. Your g seven. Oh, good. Okay. And, um, we should practice going between the B minor seven flat five on C major on and do it in a couple of different positions going for the be diminished tiu C major CEO and one of the things that you see me doing along with him, uh, one of playing is I'll be struggling a little bit and they will pick through the court. Theo. So this is a nice technique to use. It gives us a little bit of a melodic sound. So picking through the notes, um, that's a good thing. Okay, so, um, the big take away from this 11 and four major sevens five is dominant. 23 and six. Still minor. Okay, they just get minor. Seventh and B. We have minor. Seven, flat. Five. And we're adding in the diminished seventh chord into it, which we can substitute so over the B, we have a choice. We can play the minor seven, flat five. Or we could go for the diminished on likes recalling Teoh. Okay, I think that this is setting us up pretty good to move on to the next video. We'll see you there. 14. Arpeggios - 7ths (page 47-48): Let's go through our arpeggios using the new seventh extensions. So we are just building upon the arpeggios, the major and minor pitches that we already learned. Um, for the most part, I am not turning out all these because they're too many to chart out. But we can easily figure out how to get the extensions in. They're going to show you some simple tricks to do that. Um, and of course, you've got your pdf's where I do have everything charted out. So I hope you got pdf's from the additional resource is printed or open somehow in front of you. Um, OK, so, um, when we are dealing with the major seventh arpeggios is we are just arpeggio hating the major seventh chord. That's what an arpeggio is. We're taking the notes of the court, and we are isolating them and playing them one at a time in order. So since we talked about with the cords, everything is built on the major 13 and five basic triad of the court. We still have that in our basic arpeggio. With an extension, we are just adding in an extra note. And so the extra note in this case is the seventh. But what kind of some of is it? That's the question. Eso The major seventh chord is going to have the major seventh interval. The major seventh is one fret behind the octave or the root note. So wherever your root note is in the arpeggio, it is gonna be one fret behind that. So, for example, if I am playing a C major seven or Poggio, I can start off by jumping into my C major arpeggio. Okay, so So that's my basic c major arpeggio. Now what I want to do is I want to add in that seventh degree, and it's going to be one friend below all of my C notes. Okay, That's what major seventh means major. Seventh means that seventh degree is only one friend behind the route, so I'll just start into it and all over the seventh on my like, it's my first active one 35 Now my next note is a one again because we just keep going. 135135135 Now this is my one again, so I'm going to go one from behind it. And that's the seventh. Good. There goes one. My next note is the one. So I'm going to go one Fred behind it. That's this Up 13 Okay, so let's try again. Three. Okay. And that's I was also. And when we're going through the arpeggios, um, people will sometimes make a decision to skip past the room, especially on 1/7 arpeggio. You may decide to only play certain room notes and skip other ones because it can add more emphasis onto the seventh degree. So what I mean about as we could go, I skipped the one and just go right to the three. Next the oh, I just get one again. Just go right to the next high tree. Okay, so let's try it in a different position. All right? So I'm going to go in this position here so rude on a string C major way, C major. When I get to my C note, I want to hit the fret behind 135 So my next notes the one to go one from behind it. Then one my next notes the 1 71 from behind. I could even go one for it behind. Starting note if I wanted Teoh. It makes sense. When you are doing extended arpeggios, we start getting into. It's not so much of a gray area as it is a player's preference. Layers preference. You get to choose. Do we play all of the notes, or do we want to decide that we're only going toe? Really focus on certain notes? And so it's a good idea to choose the most important notes that you want to emphasize that you want to stand out. And if you're playing an arpeggio over a major seven chord, you definitely want to hear that major seven. So you may skip a couple of notes you may skip a couple of routes were octaves see measures up. Okay, let's take a look at the minor sevens and the dominant sense. These guys both operate the same way. So we're starting off with the, um, we're starting off with the regular arpeggio. So the monitor seven gets the minor. Or did you? And the dominant core gets the major Arpeggio dominant is major. Okay, so the fifth degrees major, it just happens to be dominant, goes into his own dominant category but dominates major so seven court Still venture? Um, so we just want to take the major organs, you know, for the seven chord and the minor arpeggio for minor seventh chord Thies to court thes two are pitches Both have the same kind of seventh degree, though has called a minor seventh. All right. And we will be doing an in depth look at intervals shortly. The minor seventh terrible is two frets Behind the route were the octave. So over here with the major seventh chord we're applying the major seventh interval which is one front behind the active where the root note and for the next two guys, we're gonna do the minor seventh interval, which is two friends behind the root note. So all you have to do is go through the regular arpeggio And if you're doing a minor south , you're doing a minor arpeggio and we're going Teoh, it added in the note, That's two friends behind every Rudo or every octave Take a look at that s so we have a d minor seven arpeggio. So I start off with d minor arpeggio regular d minor every time I get and it's 135135135 That's how the arpeggios go. 135 1st 3rd and fifth. Every time I get to a one, I'm going to go for the fret. Two frets back. I'm going to go to France back from the octave at that 135 Now this is my next one. Something to go to France. Panic. That's myself. Degree. And then I had the one 13 And this year's not explore so I can come to France back. This guy, right? You can keep it in the position to go for this. No. Three so soon. That is a minor seven arpeggio. Andi, it kind of looks like a little miniature pentatonic. Minor scale. If you happen to know that one like a little mini, that's atomic minor scale, no less a note. Okay? And so this is something that we could do over the D minor. The minor ends the game honor, so it's going to be the same thing. So we got a deal hired 1333 you two friends back for my lowest story because I could always do that anywhere, anywhere on the fretboard, where I've got access to it. so if I was doing this stills A. So if I took my a minor from a different position, Maybe if I dio things shape of it, this is my next. Once I'm to come to France back. So one good, that's a letter. So now let's take a look at our dominant seventh chord. Got this one of the key of G. So if I have, uh, start off with Major arpeggio the dominant, it doesn't have a major seventh immobilised. The dominant, even though it's a major court, has a minor seventh interval. So that's the seventh is going to be two frets back over the dominant. Okay, because what makes it special, actually, is that it is a major core is it has a major third. Well, I just got a line herself. So that's what makes it different from these major seventh chords. So, to friends back, just like with court. So here's 1 to 2 friends back. Okay, What? You're going through your shapes and we've got these old charted out on the pdf. But when you're going through your shapes, um, if you feel like you, maybe some of the shapes you haven't got them completely memorized. But you do know the basic arpeggio. You can always just add end the appropriate seventh. Um, it's either going to be one from behind the root of its major. And if it's modern, seventh or dominant seventh, it's going to friends behind the route or the octave. Okay, so that's how those three types work. I wanted to go ahead and chart out the minor, seven, flat five and the diminished seventh arpeggios because they are clearly shapes and they don't relate to the major reminder edges that we've already learned. Okay, Sue the B minor seven flat five reading here on the Low E String eight and then 7 10 Now we are just going again with their pinky on the B string on the front. Okay, let's do that again. What's unusual about this shape? Is that what I'm going from the G String? Seven. I have to go again with Piquionne next drink way down. Also, it's a double tap with that is the arpeggio our five court. So when the B minor seven flat five course being played, that arpeggio is going to be something that we can jump into, try to bang out a little bit of melody were little riff and we're gonna be in the safe zone full time because we're just going to be playing notes from our B minor. Seven flat five chord. Okay, The diminished seven or Piaggio is a, um it's its own. It's his own kind of pattern. So we talked about how the diminished seventh chord is a symmetric ord. The arpeggio is very symmetric and you'll see what I'm talking about in just a minute. Um So Okay, if we just started on the same route of B room looks were be diminished self savory about seven. Front on and we're going to go 7 10 And what I'm gonna do is I'm just gonna go die ago, OK, so you go down a string and up a fret stringing up a front again, Okay. And I could just keep going like that until I get to the beast, drink you down a string and fret so down, stringing up front when we get to be string, we have to go up two frets to jump to press Then it just goes back to its normal power and off one fret from last year Way we're jumping between the G and the B strings doing the diminished arpeggio. Remember to do to fret. Jump to fret Jump! Okay, that's how the whole thing works. Um, so I kind of went up a little bit here, but then I started back here on the Beano on the A string, which is second from second front on the A string bean. So it just it goes, the exact same power is just a pattern where we're going to haggle off the string and upper front stringing up front now one of the B strings up Jump up two frets on I go back into the same Strangio backwards. I have to go back to France and I could just keep on going. His four is I've got strings and really was going on. Is this the same thing as it is with the court is that we're going three frets three friends in any direction. Eso if I land, you're on the tough, Fred. They could go three fronts. I could go three fronts again. I could just keep on going up three frets because that is what Europe NGOs doing. So when we've got a diminished seven arpeggio A lot doing is I'm just kind of going up a few when I go back A few more That's just a trip. And you can mix it up any way you want, Teoh. So if I go three strings, go back One string Indio back one string and dio you Strangio So there's something that we could do And you can grab this from any route? No, as long as you remember due to front Jump to fret Jump between the B string and the G string Whether you're going up, we're going back Make sure you jumped two frets OK, jump up Two frets on the B string where if you're coming back jump back to frets on the G string That makes us so I could grab a B for from anywhere I've gotta be no right here So jump seafront Grab my high Be right And I can take it back on anywhere that I can find a B note I could do this Sanford Jazzy. Okay, so I think that about covers it for your seventh arpeggios. The new ones that are definitely what have been your shapes are the minor, seven, flat five and the diminished seventh. The diminished seventh is actually pretty easy once you get the hang of it pretty easy and pretty cool, Pretty fun. And play around with the major seven, minor seven and dominant seven. You should be able to do these. It just may require a little bit of thinking in the gang just to get the hang off. Where to place your sevenths. But look at your PDS just to make sure that you are doing shaves the right way. So go through all of yourself their pensions, because you're gonna be using these all the time when you're soloing and I will see you in the next video. 15. Jam - Relative C Chords (page 49): let's go through a jam and practice some of the stuff that we've gone through so far. Okay, so this is what we're gonna dio and is a pretty basic jam, but is going to give us an opportunity to practice all the stuff that we have learned so far. Um, and what we're doing is we're going through the relative cords in order. I've got two bars of each of two measures of each and we are treating each court, as is, um, its seventh extension, the seven extension that's supposed to be. Okay, so and remember, the triangle means major seven. Sometimes you'll see it, uh, listed as Beijing seven. Emmy J seven or sometimes it will be just injured where you'll have a triangle. And that's how you'll know that it is a major seventh. So two bars of C major 72 bars of D minor, 72 bars and e minor 72 bars of F major 72 bars of G dominant 72 bars of a minor 71 bar of B minor, seven flat, five and one bar of be diminished seventh. And so what I'm gonna do is I've got my guitar plugged in to my looper pedal. So I'm going to record playing the courts, ends that we're going to solo over and kind of talk about what we're doing on. And I'm going to play with the rhythm like, uh, like, one to end and four and 12 ends and for end to something basic like that. Okay, so let's jump in and see if we could get this to work. - Okay , good. So let's start out by going through, um, just a basic arpeggios, the major and minor arpeggios that should take us through away until we get here to be minor. Seven, flat five. So let's try that out and just see how it sounds. So I'm going to be doing the C major organ Geo over the C major Seventh courts do a D minor arpeggio. Just the plain minor Bijou over the minor. Seven. Deep understanding e minor arpeggio over the counter seven and like that way came up to be minor. Seven. Flat life eso. Now let's jump into the or pages where we are using the seventh day seventh of the Jews. All right. And this time I'm going to go for the plate on the B minor. Seven, flat five and be diminished seventh. And we'll go around just a couple times and see how that sounds. - So the seven arpeggios, they sound great. And we can really get a point across because I am just doing a live version of what was happening with the courts. All right, Now, um, let's jump into, uh, the modes. I want to try opening up all the moods. What I'm going to do with the modes is over the C major chord. I'm going to play see I own or the D minor court. I'm going to play the d Dorian, if urgent, over mine or seven. The F Lydian over the F major seven, the G makes a Lydian over G dominant seven a Aeolian or the a minor Someone and the BU located over both of this last course. BMR simplify B b legrier As I'm going through this, um, I'm going to do a couple of different things. The the first thing that I'm going to do is I'm going to focus, really running on the the route does for each court and going through each shape, so be pretty obvious to you what I'm doing. Let's do that first good. Were you able to catch when I was down Every time the court changed, I was just going to the reduction. And it's kind of launching into the shape. Uh, and when I was doing that, So I was trying to make it obvious to you every time was changing. Sometimes I would be changing in the middle of the strings to try and keep the notes in. Sam register is what I was doing a second ago. So when you're changing, you don't always want to be going to these starting low note. You want you just move on whatever string you are on. Okay, so that is one approach for going through this. Another approach would be if I had a little bit more laid back viewpoint. So I know what the cords are. And I know that old modes have the exact same notes, so I should be able to represent any court from any of my mood positions. So, for example, if I just stayed in the C major shape the sea Ionian scale C major scale, even when it changes to the D minor quarter. You mind 1/4 of the F court? I should be able to stay my C major position because it has all the same notes is the other modes. Um okay, let's just do a passing. Let's try that out to stay put just around the C major position around the eighth. Fret. Okay, mostly sounds good. I could have done better. Buddy completely works and you can hear how completely works. Every time the court changed, I was staying in the C major position, but I was thinking about court change. So when it changed, so what? I was on the sea court. I was kind of focusing on starting and ending on my C note. When it changed to the D minor chord, I was grabbing it, focusing on my denotes denotes. When I went to the E Meyer seven chord, I was focusing on where my nose still playing the C major scale old time focusing on where my way I think. And then where is my b coming back to see? So essentially, that's what I was doing. Now we can do this from all seven of the most chips since they all have the exact same notes were just different shapes, but I could do the exact same thing for many of the different notes. So, for example, I could take the d Dorian shape and do the exact same thing through the entire progression . Let's do that one time. So I'm gonna stay around the tough threat D Dorian shape. Um but I'm going to reflect all of the courts as they change. So right off the bat, if I hit this diva, it's gonna be over the sea court. So I don't wanna do that. I want to look for my scene right Right out of the gate. OK, so I keep doing that five more times because all the shapes work this way. Let's just go one more time. I'm gonna pick. Let's do it over the, um Let's do it over the A number six boat. Okay, Now let's going for let's go to the G Mex illion. So student over the G number five. Okay, just to really get down here on the front board on, I have to start. I can't start on the G, I could, but it's the sequel, so I want to start on the sea Court, even though I'm in my G shape, So looking for my notes sometimes frantically but looking for my notes. Okay, good, good. Now, um, and that's one thing that you may want to do is you may want to just settle into one mode position and practice finding all of your hitting those route knows, as the cords were changing. You always want to be thinking about the courts when you're soloing. Now, let's start, actually be entering around the fretboard, going from shape to shape for motion to mood shape. And one of the things that we want to do is we want Teoh, combine the arpeggios into our modes. They're already in there. We just want to bring them out. So we can sometimes emphasize of the court. We do a fast run of notes that are next to each other, and then we can do, um we could do some fast, uh, fast runs and then arpeggios to show. Oh, yeah, by the way, it's this court. All right, so let's go through the different mode shapes. - Okay ? Does that make sense? So, um, what I want you to work on is you may not have a looper pedal. That's fine. You don't need one. What I want you to do is I want you to go through this court progression on dure. Going to try to find a different court shapes a lot over the fretboard. So there's a lot of different ways. Just figure this progression using the courts. All right, So that's one thing when you work on, then I want you to work on, uh, playing through the major and minor arpeggios and then this seventh or pitches. So when you're playing through this, you should be able to show the court changes just with your Agios way, - and you can hear the court changes in what I was playing because I was just doing your veg is the seventh arpeggios. When we launched into the modes, it gets a little trickier, Andi. That's why the technique of focusing on the root notes can keep that together. So that still sounds. You make sense if I just launched in Teoh playing through the scales, even if I did the changes, right? If I don't kind of focus on those route notes, it may not come across, so if I just go you kind of here in a little bit, but I want to focus a little bit more of the route notes. So let's try that again, - and you could hear it a whole lot better that time. So when you're going through the moves, if you're by yourself, you know, Looper pedal, then focus on those route knows every time the court changes. And while I'm soloing, I'm thinking about the courts. Think about the courts as they change. I'm counting my beats trying to stay on top of it. And when I say I'm kind of my beads, I'm not necessarily saying 1234 Although I am focusing on the pulses and I know you know course both change. So I didn't judge. And when it changes, I want to go right for my route notes. Um, And when the, um if you're playing the modes at the motor phone because we could do some fast runs and was a lot of notes and it's pretty exciting, um, so the most. We're a whole lot of fun. If they start sounding out of control and you want to bring it back in to you arpeggios, so start sounding. You can hear the song again. You can hear the core progression. Okay. I think that is a good stopping place for us right now. So you're doing right. Keep working on this stuff. And, um, we're running, so work on this and place your heart's content. 16. Types of 6 & 9 Chords (Page 50): Let's talk about six chords and nine cords. Don't add some new courts to our arsenal, so these are more extended courts and we are adding the six extension in the ninth extension. Okay, so six chords. Let's talk about them first. When we play six scored is special because it changes the fundamental role of the court. What I mean is that we talked about how the basic major or minor court is built on the Triad, which is the 13 and five the 1st 3rd and fifth from the scale when were playing a six chord . What we're doing is we are taking the fifth and moving it up to the six. So there is no fifth in the six Chord. There's no fifth, so our 1st 1 c six. So let's just take a look at it, OK, it's the fourth medal strings. 12 to 3. You could All right, So what we did is we have moved our Gino to a note. So the intervals in the six scored or 136 Normally it would be 135 and then when we have 1/7 chord, it would be 1357 Um, what? We have 1/9 court, which will talk about a minute. It would be 13579 So usually we just keep on stacking and adding new extension six scored is special because we are moving the fifth. We're actually moving the fifth up to six. So there is no fifth. 136 That's the spelling of a see scored. And so here is our C six away. Alright. My room is right here on the a string, so my lowest note is my seat. Thinking of this one is rooting with Pinky, right? So if I was gonna play this one and maybe like f one to f six, So I find it f with Vicky. Go shape. Uh, write about a G six school to G with Vicky. Six is a nice court. It's a nice alternative, Teoh. The the major quarter with Major seven. We'll explore that a little bit more later on. So that is the six. Now, when we're dealing with the mire six, the under six works the exact same way. We're taking the fifth note and we're just keeping it up to six. But the minor stuff stays the same. So the spelling of the minor court is 136 but the threes and minor third. So the and we talked about how the third determines whether a court is going to be a major reminder. We'll talk about that and more death. So let's take a look at our D minor. Six are lowest note stills. The rude up 3534353 53 for three. Good. Actually going to figure this using my ring finger, and I'm going Teoh mash down on these threes here. I'm just gonna kind of mash down on this three threes. Do a little singer in the middle fourth fret. 53436 So what if I wanted to play? Um, let's say I want to play a minor six. Okay, So a right here, national on these guys, my middle finger goes under six. There isn't you minor six cause among you right here. We're gonna take a deeper look into what chords or what? Scale degrees. We can play the six in the minor six over, but I just want to show you where you can move it around you, rabbit limits. And then we just mashed down these three strings. Middle finger goes on. So that's it. Six is pretty simple. We just won't remember that there's no 5th 5th gets moved up to six. So it's 136 That's the spelling of ah, Major six court and a minor. Six Ford. Okay, let's take a look at our nights. Nice follow Mawr of a typical court accession procedure. And the way that works is we are stacking on top of the seventh. So it's all based on we already have some kind of 1/7 court. They were just going to add in the ninth. What is the ninth? Okay, so when we were counting, our skill agrees from the major scale. We know that there are seven different notes. Okay, so for a c major, 123456 and eight is the octave inductive is the same one. So a lot of times, we've been counting to seven and then we go back to one. All right, Um, right now we're going count this as eight guy. So the active, which is the same as one. We're gonna call it eight. Eso eight is the same one, So that means that nine is the same as to okay, Nine is the sames too. So that means that 10 would be the same as three and 11 would be the same is four. 12 would be the Sam's 5 13 would be the same as six. And of course, 14 would be the same seven. But when we are in music, we don't talk about, um, eight cords, eighth courts. There is no eighth court because the aid is the octave. And of course, you're gonna have opted in court. Um, and we don't talk about 10 courts because the 10 is the same as the three. And of course, of course, is gonna have a three somewhere. That's just a basic rule to try at the basic 135 So we don't have an eight course because it's just the route. We don't have a 10 chord because his third on a court has that their forces court has 30 so we don't have a 10 court. We don't have a 12 court because 12 5 and of course, of course, is gonna fit in somewhere 35 That's the basic triad. So we don't have a 12 for either on don't have a 14 cord because the seventh is such a common extension that you just call the seventh. We don't need to go for 14 but the reason that we call it a nine or 11 or 13 instead of calling it a two or four or six because two and nine are the same thing, basically. And four and 11 are the same thing, basically. And six and 13 of the same thing, basically. But the real difference between them is that the nine is in a higher register, is in the next octave up. So and that's the whole reason for it is that these chords were all originally created based on the piano keyboard, so the left hands would play one through seven or one through eight, and the right hand, which is going even higher. He's going to play the nine and then all the way through to the next active so the nine, which is the same as the two, but it's the higher active off it, and so the 11 is going to be the same as before, but it's a higher octave and 13 is the same six down here, but it's a higher active. And so that's the reason that we've got 9 11 and 13 9 isn't too, at 11 is a four and a 13 6 but we call them that because they're meant to be in the higher register as you're going to find out on the guitar. We have issues with trading at the same way a piano player untreated because we don't have 10 fingers to make 10 notes. We could make a maximum of six, and a lot of times that's pushing it to try and get six different notes into Accord. Six different notes to court. It's easy for us to play a chord where we've got we're doubling up on the same note to get six different notes. That's really hard to do. Eso we make concessions and we're gonna talk about how that works. Um, so getting back to what we're talking about with the Ninth Courts um, we are starting with the basic triads. Um, what, 35 on? We've got seventh degree, and then we're going to add the ninth in on top of that, and the ninth is going to be the regular to. It's just a normal to like from the major scale. Okay, so it's just like to front self note, two friends out from the root. So before that you see two for itself is a denote. So to hit a nine, Um, somewhere off of the C chord, it's going to be adding Dina into it. And we want that nine. Where the dino to be the highest note. The court, if possible, doesn't have to be. That's one of the concessions that we will definitely be making a lot off. But if it's possible, we want to try to get it its highest note. But it's OK, it's not. We just wanted somewhere tucked inside the court. Okay, so let's take a look at our C major 90 k C. Major nine and its major None. So we can see that there's three different kinds of nine cords here. We've got a major nine minor nine and a dominant nine just plain all night. Okay, Eso the major nine would be built on top of would be the major seven courts, sometimes thes major nine courts. You would see it as like triangle nine because the tribal means major, as in major seven. So you will sometimes see Major M A. J nine or uppercase M nine or triangle nine. That means the same thing it means is it's based on a major seventh chord playing. It has a knife. Okay, so let's jump in and play. We've got three starting on the a string and that's our root note. Um, for the Sea Court 3 to 43 right? So that's the C major nine. And on this one, we've got one. The roots third major seventh and a knife. So what we did was we just got rid of fifth, and that is usually going to be. The first thing that you're going to do on the guitar is we will usually get rid of the fifth. Not always, but usually because, like I said, it starts getting really difficult to add in all these notes because we only have so many no, so we could hit. We configure. So a lot of times we have to have a root. Usually we usually have to have 1/3 so we know if we're playing a major or minor chord on Ben, we can skip the fifth and jump right to the seventh. And then after the seventh, we could start adding the other extensions like night. So this is a pretty common shape on the guitar. The major 913 major. Seven and nine. We Oh, I want to play. This kid s so f major. Just read over here. Great. Sounds really great. Okay, let's take a look at our minor nine. All right? So the minor nine is going to be built upon minor seventh court. All right? Same concept build were stacking on top of these courts. So here, up with this one, kid. D said D minor nine, we've got 5355 This one's a little bit stretching because we've got these three fingers all the same. Fret our index has to be back to frets. So depending on where you are on the front board, de spelling on this one is one my or three seven minor, seventh and night. So 137 night. One minor, three minor, seventh and ninth. So we did the exact same thing. We got rid of our fifth so we could make room for a night. 1379 Okay. Do you mind? Time sounds great. Let's play in the queue. E wasn't sound like kiddies. And security on the A string. Get these guys position. Are indexes back to France Schools? Do the cute day. Come away if you're a Okay, the scores were start to get a lot of body Teoh. You start to get a lot more complex and rich. Um, so started soundly. Jazz. All right, let's take a look at our G nine. We've got just a plain old nine chord. And when you hear me say stuff like plain old Celtic, I'm talking about the dominant. So we've got the nine court, and since it's got no upper case and lower case and triangle or anything like that, it's just a nine by itself. This guy goes in the dominant category. Okay, so this is built upon a dominant seventh chord. So, um, let's take a look. 10 9 10 10 A root note again is our lowest note on the A string 10 nine times. Okay, Jeanine sounds great. And so this would be something that we would substitute over 1/7 court. So instead of playing 1/7 court we would play a dying court. They're both dominant. Okay, sometimes you are given the option of playing any kind of dominant chord. You want losses in the right key. So if someone said you play a G dominant I m. G dominant Well, you could play G seven or G nine because they're both down. Both are in san category spelling of this nine chord, by the way. 1379 So it's the same as we've been seeing before. The only thing that makes this one unique is its gonna root. It's got a major third this time. Liar, seventh in a nine. So the nine is the same kind of nine that we've always has, but it's got a major third, making it a major court, but minor seventh interval. So that's what makes it dominant. Major third minor seventh Interval. That's what makes it down. That's what makes the dominant seven dominant. So it makes the dominant nine dominant major, third minor self. So all right, so I want you to familiarize yourself with the sixes and nines and, um, get used to the shapes and we're going to start plugging them and here shortly, so I will see you in the next video 17. Relative Chords to the 9th Extension (page 51): Let's talk about our relative courts using all the extensions that we've covered so far, the 70 sixes and the nines. So we are getting a whole lot of different options happening right now. All right, here is our relative cord grid. You've seen this before. It looks a little bit bigger now than it did last time. So what we're going to talk about is which cords go in? Which call? Okay, eso above. I've got the, uh, the Roman new rules to scale degrees, um, down below it, we've got the notes of the C major scale CD F G A B. Okay. And then down below. You can think of these as columns and is showing us what kind of chords we can make for each one. Okay, so let's, um instead of looking at it and thinking up, it's, you know, it's too much stuff going on there. Let's take a look at Theo. The similarities that we see the like courts. So the one of the four are the first thing that popped out at me. One of the four have the exact same chords, so we could play a major seventh, the six or the major nine. Major, 76 and measure nine of the one of the four. You see, that's the sea and the F court. So let's check that out for a second. Um, over the C chord, we've got a C major seventh way. Have a C six way. Have a seen major. All right? It's a lot of stuff we could do just in C Good. You see, six major. Okay, so we could do the exact same chords in Cuba. So let's come on up to F and U F major. Seventh way. Six way. Yeah, we've got F major six. Okay, there is ah ah concept called vamping, vamping when we van like a vampire. But it's not like a vampire when revamping music. What we're doing is we are playing around with the extensions. Usually just run, want one or two chords. And so if we were vamping in Kiev, see, then what we would do is we would bang arounds these different courts, just kind of whatever we wanted. Teoh. So if we're vamping and see, we might be doing something like C 60 major seven c nine, your seven c six. Major said Whatever we wanted to bounce back and forth between them. And that's just me staying and see the whole time just over a C court and I'm vamping around it, using the extensions of 60 major seven in the major night. So let me vamp around in the F do the exact same thing, Sam. Courts just gonna vamp around these for a minute. It's cool, and it's a great way of practice. Doing your court shapes changing your court shapes is just by saying one court, inventing through all the possible extensions on DSO. This is one of the very cool things about jazz is that if you know a little bit of your theory, which is what we're learning right now, then you will have lots of options when you're playing a song written down on paper. Um, and you know, you look at the court, you'll have an idea on a different course that you can play in addition to or instead of that main court that's written down. And that is a very normal, typical thing. It's a common way to play jazz. That's what jazz musicians do. That's what makes it interesting and creative. Is that There's always lots of different options for us. Okay, so the one of the four have the exact same courts. Um, let's take a look at the miners for a second. Let's just jump into the D cause the d has everything so far. Um, the D minor chord has under seven under six and minor nine. So we could go, do you mutter? Seven Deem under six de modernize. Let's vam arounds that for just a minute. And this will take place over the Dorian. Okay, so the Dorian is kind of a special one because it gets a lot of stuff. Some of the scale degrees will have war court options and others. And the door in the second degree has a lot of court options for minor. So 76 way. Okay, so there's a lot of cool stuff where you do a d minor right there. Now, let's take a look at the, um the I was actually jumped to the A. OK, these six degree, we don't have the minor six, and actually, that's pretty important point is that the minor six only shows up in one place. It only shows up on the second degree. Okay, I'm calling it the second degree. It's d this case, but we're gonna wind up changing keys at some point, trying to keep giving this stuff to you the key of C major for right now so that we get familiar with how the relative stuff works. But when we start changing keys, you need to start getting used to it being in a different key. So the second degree or the Dorian could be a couple of different key, But it's the second degree. The second thing that happens. The second note in the scale, and it's the only one that gets the minor. Six scored. Okay, Um, so the a six degree six degree gets a minor seven and a minor nine. So we're in the key of a we've got by your seven and lighter night, a seven and a way. We've only got two options there, and sometimes what you could do to give yourself an extra options. You can play around with the basic court, which would be just a minor court so we could go a minor under seven way. Want as many options as we convulse we get so we can throw in the basic court. Theo, 30 third degree, is not got a lot of options. So far, we've got a minor seven, that's it. So, like I said, we're going to bounce around between the E minor and you, Miner said, Through the six doesn't work on it, and the nine doesn't work on it because of the displacement in the scale. And what I mean by that is that it's one friend away from the F The f would be its ninth, but it's only one right away, and we need our knives to be two friends away. So that doesn't work for the, um and, ah, the, uh, else is the problem with that six was a problem. 123456 So the six usually is going to be a major six. Interval on. No, we haven't covered intervals yet, but this is the sea once of being a liar. Six. Which is again, friend is in the wrong place. The notice the place. So that's why we can't use the six or the knives over the e. There's gonna be around between the way. That's it. That's all we could do over the third degree right now. Just wait. Okay. Um, the signal. Look at the G. The fifth degree great Dominic. Dominant is always gonna have lots of options. Eso we've got the dominant seven. The dominant nine and the six. The six is not really dominant. It is something we could play in the dominant column, but it's the exact same six that we were doing over the 14 It's the same exact six, so we could do G six, even though it's not really dominant. But it happens to completely jive with everything we're doing over the fifth degree, so we want to have as many options as we can. So we're going to. Even though the G six is not a dominant chord, it's something that we should totally do over the G works in it. Um weight, G seven, way G dominant nine or Jeanine G six. A lot of cool vamping we could do over the fifth degree dominant. Um and then lastly, we've got the seventh degree, which nothing has changed there. So we've got the B minor seven flat, five on be diminished. But the diminished seventh gives us a lot of options with our ability to move it around. Okay, so now you have a lot of cool stuff to work on. This is where playing jazz starts to get a lot of fun because you've got options. You're not stuck on one chord. You've got a lot of things you could dio. So what I want you to do is to take the same exercise that we've done. Um, we're just going up the relative scale cords, but I want you to start vamping this time. Okay, So you're going to start banging around all of your different options. So we're going through the C. We've got C major six. Way, way, way, way. Okay, so that's a lot of cool stuff for your work on. And, um, work on all of the extensions all the way through to the ninth extension. 18. Arpeggios 6s and 9s (page 52): Let's go through some arpeggios in the sixties and the nights. So how to our pitchy eight p six chords and the nine courts? Um so we are starting to get pretty extended in our courts, which is making your Chedjou's, um, a little bit trickier to figure out on the fly. But I've got a method that I think is gonna help you. Um, so you got your PDS, So I've charted out all of these shapes so you can learn them and memorize them. But to understand the theory means that you're going to be able to figure this stuff out in real time when you're looking at, um, Cord and you have to solo over it, there's so much music that you can't memorize everything, right? Sometimes there's just too much stuff to memorize, But that's okay. You don't have to. You don't have to memorize everything. There have been plenty of times for me where I've been playing and I've had to do something that I've never done before. But I was able to figure it out, and that's a lot of what jazz playing is is doing stuff they've never done before. But you you know you're kind of doing the right thing on dure trying to play smart. Um, and you're using your music theory that he learned. So if you know a little bit of music theory, you can use it and you could do things that you've never done before. You don't need to sit at home and practice analysts hours practicing this stuff, you know, we're toe do it playing with somebody or performing or playing friends. You can do stuff for the first time. Never done before because you know the theory. Okay, So what we are looking at here is I have charted out the scale degrees of the arpeggios. Eso This is one quick approach to getting arpeggio for these shapes. When we went through the C major scale, we talked about scale degrees one through 71234567 We counted them out. So in C major one. Theo, What I don't think I mentioned to you was that this exact same process works over every mode, all seven modes. So if we the shapes are different, but it's still just goes to seven and then back to one again. And that's how You know what scale degree you were on. So if we go to the d Dorian mode, Okay, we're gonna do the same thing. 123456 We do this over the thief, Regina. Okay. 123456123 So this works over all of the votes. You just count up to seven. And that's how you know what skilled agree on. Okay, so we're going to use this as a quick fighter for our six and nine arpeggios. Okay, so how to find a six arpeggio on the fly? All right, some of these you're going to go through the shapes and tried to familiarize yourself with shape and get used to it so that, you know, because you're going to use some of these pretty frequently. So you want to be able to, you know, you will have practiced up, but in case you haven't, I want you to have this tool. All right, So six is built off of the 13 and six intervals from the C major scale. Great. 13 and six. So run the C major scale one. Skip my to get my three. Let's get my four us, get my five. Get my six. Skip my seven. And I want I want to get one escape to get three. Four, Skip 567 Get one. Okay, well, I just put together a C six arpeggio. One, three, six, 13 six, one. I've just isolating the ones threes and sixes off. My skill agrees. That makes sense. You okay? And so that's how I put together the C six. So And I'm saying off the c major. So when you're doing this in a different key, just imagine that it's the major scale guy. So if you have to do, this is a different key. So if I have to say, put together a G six, I'm just going to imagine on in the G major scale. So it's always gonna be based on a major scale, Okay, because we need each those intervals to be exactly like it's from the major scale. So I'm pretending I'm in g major scale. I just ones threes and sixes. So if the court was g 60 0 I've got a little arpeggio that I can use to solo over it. All right. So that's how it works. Um, moving on the under six. It's also 13 and six. But this time we're going to get the 136 from the de Doria. Okay, so the deed or it could be during event and key, but we've been doing the during and Q d. So we're gonna do the D door. 13 and six one. Skip to get three. Skip before skip the five. Get six, Skip the seven. Get 123456 seven And we can get three. Good. 13 We've got a big jump on this one because we're skipping the A string completely. Six one, 3613 So over a d minor six. I got a little or pleasure that I can use. Do you play over? And they are the perfect notes. They are always going to sounds flawless because I'm only playing the notes of my d minor. Six course. Okay, um, nines. Okay, so the nines are way larger. We've got way more options going on in the nine courts because we've got basic triad. All right. 135 Um, seven. And then we've got the nine. So that is a lot of notes, and a lot of times players will do. The exact same thing with garbage is that they do with courts where you will sometimes drop the fifth or you will sometimes give the octave and just go, you know, just bypassed the octave go right to the next extension. But we're going to look at these with over options, okay? And so here the on all of these I've written the to to the same is nine. It's just that I want you to make sure it's the two. So every time you get to to the same is the night. I want you to make sure it's one of the options that we've got. All right, So the major nine is based on the C major scale or the major steel. Any major skill? So 12357 services take it from C major scale. 123 one, one, 123 Good. So that's a lot of notes that I can play. This would be over the C major nine way so I could play any of those and they're all fine. We're all gonna be good flying notes if I wanted to be a little more specific. Well, playing it then I may skip past my five, and I may skip pass of my octaves. So let's see what that sounds like. Okay, I also may save up my to until I get to higher octave. So I might not hit the to write off the bath. So 13 skip to that five eso skip the active. Hit this nine to Okay, 23 Uh, and I'm gonna go right up to the three skivvy active again so I could do stuff like that. I could go from 7 to 9, so I'm kind of messing around and I'm trying to take turns bypassing the fives and ones. Theo, You hear that? How? It works perfectly with court, OK, of the major knight. Okay, great. Great. Great. Um, so all of these were going to have the same intervals. They're just being They're being picked out over different modes. Okay, So the minor 912357 We're taking it from Dorian this time. Okay. 12357 Dorian of any key will do in Q D. So 123 lives up. 12357 All right, so let me try that with, um by passing some of the five objects one three free thing. You because sounds also And this is exactly what we talked about early on when we started with the moods, The moods are wonderful and their solar swollen and exciting. Sometimes we can get lost in our own souls, though too many options. And so, if the court being played is the D mine or nine, we can start really isolating some of the better notes that we could hit. Good makes us all right. Lastly, we got the nine court dominant one c 357 This one is going over the big. So Lydian makes Olivia. So this one will do it. G two, okay. Sandals before we want to take turns jumping past are fives and our operatives on depends on how the military is coming together. Sometimes we want to hit them. Sometimes we don't. So it's your your call. You want to just have good taste when you're playing and execute what you're trying Teoh. - Okay , so I think I think you understand it. This is a great way to think about finding these are issues on the fly is Really all you have to do is just familiarize yourself with this stuff right here the sixes or build off of the 136 6/4 from the major scale and minor sixes from Doria. And then we've got 12357 for the nines. Andi, the major nine. Just think of it. I was like, What gets that court? The major nine goes over the major scale or the first degree. So it will be 12357 from that scale and the minor nine years over the Dorian. So it's 12357 over the Dorian because the Dorian gets a minor nine chord and the dominant is the pixel Indian. So 12357 always would be over the basically, because the facility is the only one that is dominant. All right, so work on these and I'll see you in the next video 19. Various Types of Chords (page 53): let's talk about various kinds of chords. So in this course, we are going to cover almost every single kind of chord. It would be a shame for you not to know some of these more basic courts. These courts will sometimes pop up in jazz music. Not too too frequently, but they will pop up every now and then. And, um, yeah, it would be a shame for you not to know how to play them since you're going to know how to play on every other kind of court. Okay, Um, and like we've talked about before, you don't need to memorize every single variation of these courts. You just need to know how to construct them. Okay. And if you got to construct them, then you'll see the cord, and you can figure out how to do it in the moment. Okay. Suss to and suss. Four chords suspended. The suspect is suspended, so suss to use has four suspended, second suspended fourth. Um, what's happening in a cess court is the third is being moved either up to the four down to two. So Suss scored has no third kind of like how we talked about the six court has no fifth. Okay, we move the five to go to six. That's how the Celts court worse. We're moving the third. The third note is either going to the rest of the third. I mean, the third interval. If the court is made of 13 and five, the third interval is moving either down to two or up to the four. And so I'm just going to give you some very basic ways to look at that, Uh, OK D says to So let's just do a D bar chord right here. There's my de bark word. So what I'm doing is I'm looking for my third, um, for my d major skill. 123 Okay, Looks like f sharp on 23 So f sharp is my third eso I want to move it down to my two. So one too. So use my seconds. OK, so I'm looking for in f sharp and I need to move it down to, uh e. All right, so d here. Hey, here, d Here. Here's my I'm sure. All right. So this is my third, So I need to move this guy down to e Well, I can see an ear, I hear. So I will just play like this. Dese us too. Oh, good. The two is thes same intervals than nine. But what makes it different is that nine court. It has the third. So this us too. In this case, the two is a pie. So it's kind of like a nine, but we removed the thirds. That's what makes it a Sussex court. Okay, nine court has the third. So that's why it's a different name. All right, so now let's do a suss for Okay, so we know that our f Sharp is our third so d 1234 Okay, so it looks like G is our fourth. All right, so we need to take our f sharp and move it to a G note. Well, there's a gene oat one. Fret higher. So I'm going to go like this from a D chord with Vicky and Ji. Note. It's a d Suss for So that's it. And it's got new third. I moved the third to the fourth, for I move the third to so D. Okay, so that's house escorts work Sometimes. Those chords will also include other extensions, but the rule is always the same that we're just taking the third and we're moving it up to four down to. And you would keep what other extensions you see in the court name. Just keep them in their do with the court tells you to dio, um, if the court is telling you to play a seven sauce four, then just keep all the stuff that you have to have for seven. Um, but take the third and move it up to the fourth access. Okay, Um, ad cords. All right. And courts, sometimes we will see an ad court. And the reason for an ad court is because it will. It doesn't want to follow the traditional rules of the coordinating. So you're we've got the six, and a lot of times at course will have a six of them. And it's because a six court has no fifth. Remember, six scored removed the fifth up to six. So what if we wanted to have a cord? Um, had a six and 1/5. Well, then you just have a normal court, and you add six. So is called an ad court. So see at six. OK, how do we find six? We go to the C scale C major scale, and we can still get to six onto on and it is in a note. Okay, so I need to figure out a way to put a note into a C chord. So we're gonna play sequitur here, right? See? Court and I need to get a note into it. I got a note right here in my fifth front. If I can just press hard enough to get that string down with there is a sea and six, we've got my C chord. And with this extra string, I'm pressing on six CS 6/5 and my six in that court. So that's how ad court works. It's where the original rules of the court name tell you not to have this note of the at court says Leave it all in there and just add this into it. Thus the an accord. Okay, uh, slash chords slash courts, you see or commonly jazz. So all this stuff here we will see slash courts Tham most frequently slash cord is telling us. I've got two examples here. D slash b flat so What that's telling us to do is to play a de cored. The first thing is the main thing. So the D chord comes first, so we're playing a d chord. That's mainly what's happening. And then whatever we see after the SLASH is telling us to put that note in the base. Make that know the lowest basest note of the court. So we have to play D accord. But we have to figure out a way to stick a B flat up in our base on lowest known in the court. Okay, so I'm gonna grab a D chord right here on. I can easily see a B flat right here. I say easily. We'll see if I could get it to come out without any commuting. There's a D slash b flood. Wait here just really drones into right below it. We have d slash so we can have anything in the slash. We just have to make it the lowest note of the court, and sometimes we will have to figure out a position to where we can get the court in the basement at the same time, because sometimes you have to just move your fingers round to a different shape of the court so they can make it work. All right, d slash a So di court again. And I could see a right here on the fifth Fret my lowest note, you know, right here. So I'm just going Teoh. So that is a slash court. I have found in my own experience that a lot of the time at least half the time you can ignore a slash horde and, um, it will be fun. The music will not be lacking any. What I mean by ignore it is if I saw d slash a, I would just play a d chord. I was skipped. The slash ai was I would worry too much about getting the aid of the base. Um, sometimes, you know, if it's d slash b flood, you really be flat is a particular note. It sounds very particular, um, on and so we do want to put it in, But sometimes with d slash A. You know, A is already part of our d chord is just the person who arranged the music is saying I want to hear that a note as the lows note in the voicing of the court, so it could be a little bit, um, controlling on the on the player to dictate the voicing to you like that. Um, sometimes what is trying to happen is the Ranger or the the composer is saying, I want you to bring out the melody in your cords. And so I have arranged all these slash chords so that while you're playing the courts, we can also hear part of the melody. Um and so sometimes I think that's appropriate. Sometimes I don't think this. I think that the rhythm should be separate from ability. So I get that would be a player's preference situation. Sometimes you want to honor the slash court, and sometimes you don't, so you have to figure out how important it is. But most of the time, if you see a slash court and just can't figure it out, just play the first part of it. So d slash b flat just play d chord de slash a just play D court. If you could get the slash in there without too much trouble, do it. Okay. And last week, the power cord, um, I've played tons of power chords. I use power cores all the time. I just don't use them in jazz. I've never seen them show up in just before. Um, that not that I can remember. But it shows up in a lot of kinds of music. If you ever encounter power, Court is the most simple cord. I would hate for you to not know how to play it. It's written like five, so we're gonna do a G five. This is a G power court, and it's just really like G five a five b five F five, just a five court. But it's commonly known as a power board. All it is is our very first bark word that we did this were pressing on. All six strings is just the bottom three strings of that. So for doing a G five, it's just 355 It's just a Jew. We're doing a power chords. 577 I think one of the foundations of rock and heavy metal a lot of la rock, and it's a five court because the only nose in it are the written notes and the fifth, the fifth interval since 15 and an octave Ogden's The Sames once it's one and five, so the five is the only real different note in it. Five. Court. There's no third power board. Eso It's not major, it's not Liner, and we don't know because there is no third. So we're up. We don't know if it's a Major Meyer. That is probably part of the reason that it's used in rock and heavy metal times because it's unclear it could go either way. Could be major. Could be mine. You play a major scale over or a minor scale over it. That's the power court. So if you ever see Accord has just got five next to it, it's just telling you it's a power board. These guys could be route is, you know, usually on the eastern or the A strings the same shape. If we root on the a string rooting on the A string or the Eastern, it's just those three strings. Okay, so anyway, I just wanted to cover off on these thes random cores with you, so that if you ever encounter them, you know what to do. You will see the slash cords. You'll see an ad court every now and then and you'll see this escort every now and then. And if you ever encounter power, course you'll know what to do now. 20. Chord Numbering (page 54): Let's talk about the cord numbering system. We've already seen this when we've been looking at our relative courts, and it is a way to show the, uh, scale cord degrees. It is a way for us to look at these skill core degrees without having to write down the keys. We don't need to necessarily say, um, this is a C Quarter F chord or B flat court. We can easily change the key at will without having to rewrite any of thes stuff because it's all just a bunch of Roman numerals and the way it works, I want to take a little bit of a deeper look into it because you may encounter this in the jazz world because a lot of music theory and guitar theory people will discuss music using the court numbering system. Um, it is generally, uh, used based on the major scale. Um, and the way it works that we've got seven degrees, just like we have from the major scale. You have seven different notes. 1234567 um, ends the 14 and the five are going to be major, which would make them over case and the 23 and six are going to be minor, which are lower case. And then the seventh is also minor. And it's usually going to have the extension of the seven flat five. Um so that is if you just saw those Roman numerals, Um, you would know that it was some kind of a major skill, but you would need one more piece of information, and that is what key was the key. So I see a bunch from numerals. I just need to know the key now. So if someone said QC Okay, so then one is C you ever chased one is a C in the low case to would be a delight, and we know this because we've gone through it and what I wanted to do is kind of explain a little bit deeper how this works and also give you a pdf with some various keys, all the different keys, the skill of court rose with keys so that you can figure out how to start playing these end in different keys because we are going to have to get off of the Q C eventually. So I want you to start familiarizing yourself with some different keys. Scale court rose. Different keys. Okay, eso won 37 Uppercase means it's a major chord. Lower case room new role means it's a minor chord. Then what we'll do is we will put a little extension next to it if the court is meant to have an extension. May not. But if it's meant to have some kind of extension, then we'll put the extension symbol beside the court. So, for example, right here I've got a one court and his upper case was telling me this major and then I got the triangle. So that's telling me is going to be a major. I don't know if that's a major seven or major nine. It didn't specify, so that's gonna be my call. It's probably gonna be a major seven, but it could be a major night. I get to choose which one I want to play. I just has to be or the one court has be major SP, some kind of a major seven. So I need one more piece of information. And so if somebody said OK, let's do you think you see great? You see guys on one chord and it's going to be a major seven, right? So and my dashes in this case will indicate my measures so that every time there's a dash, it will be another measure. So four beats in each one Okay, so four beats of a C major seventh for God's The three Court. So in the QC 3/4 is E. It's lower case, but I know is even liner because the three court is always didn t minor. But just in case I didn't remember, it is lower case. So e minor and E minor said Okay, so three beats of you minor sub thing. Then I have a four chord and it's got a triangle and nine Okay, so is telling me to make a, uh, a major non court in the four Chord QC is f so f major? None. Okay, four chord. It is a six course o f six 5 47 So that's going to be held in seven key of C, where the Q C 5/4 a. G s, a G seven and I have a to court, which is a six. It's of minor six since lower case, too. So minor six. So that's dealerships, because do use the two Q C d minor 67 chord, and it is diminished. Seventh, it's lower. Case those Meyer, What is diminished? Seventh. Um, so that's to be And then it would just take me back around Teoh. Okay, so I put all this together. You see, Major? - Okay , that sounds pretty cool. Now, suppose I was ah, studio musician. I was hired on to play guitar in a studio or I was hired on play guitar in a band where I was sitting in with some musicians just play for fun. And they said, You know what? Good job that sounded great, but I just I don't like it in Q c. So let's do this in the key of de. Okay, so we're gonna do the kid d. So now everything has shifted up. We don't have to rewrite any of this. It's all fine. Just going out to shift everything to the kid D. So now the one court is d and the two court will be e minor. Okay, The three chord is f sharp. Minor should do keys now, so everything has just shifted up. Okay, so if we shift it up that way, way, e way way does that make sense? Okay, so I can shift this into any key. We want all 12 keys on and whatever key we picked, the one court is going to become the key. Que will be starting off on the one court than everything will have to get shifted appropriately. So if someone said we're gonna do this in Q b flat. Okay, So B flat is now the one courts in B flat. Major said three court is going t minor. 73 forecourt is going to be e flat flat. Six e flat is the fourth of B flat, one flat. And so that's the reason that I am giving you the chart with all of the keys of the toward the scale cornrows because I want you to be able to jump around the keys. Onda have this all makes sense. All the theory works exactly the same as it does in the key of C. If you know one key, you can figure it out. All the keys. It's just a matter of shifting around, using your brain a little bit to count up. Um But if you you really study the one Keith Que C Major and you understand the basic stuff like the 1/4 major in the four, the five quarts of major 23 and six or Myers seven court is the minor seven flat five with the diminished seventh and then the extensions. What can get what extension? That stuff is going to help you tremendously when you start switching keys. One more thing I want to cover off on regarding the cores numbering system, this is also referred to. Is the Nashville number existent? I don't know if I mentioned that is because Nashville see is some people call it Music City because so much music gets written and recorded in Nashville music. It's written and recorded a little, but I think there was a period of time for many years where a lot of the popular music, um, the Western Rules coming out of Nashville, Tennessee, And so the studio musicians there started using this system to go in the studio, start churning out songs and love time. Singers will prefer this style because they'll say I went right. You love these courts. I want to try the QC. So the whole fan plays through that you see. And then the singer will say, You know what? It's not good for my vocal range. Let's try a little lower. Let's do the Q B flat and they don't have to rewrite anything. They just switch keys. And so it's the same thing. Just drop it down to B Flat, Singer says. Oh, that's great. It's perfect. I love that. I can see that much better. Okay, the last thing I wanted to tell you ago was sometimes the scale will be based on the minor scale. So this right here is all based on the major skill. One chord. It's based on the major scale. Sometimes we can use, uh, court numbers, starting with the minor scale. The minor scale is the sixth load way. The healing mood, a yo the hell you mowed the number six mood. That is the minor scale natural liner scale. And so you have a major scale, which is move number one and then you've got the minor scale, which is moving over six. It's a sometimes weaken right. The court numbers starting from minor scale. If we have a song that is in online or key. Um And so in that case, I just did a little been over here where we have lower case one. So let's say so. Where the studio, Someone says we're gonna play this song, and we're in the key of C. Oh, okay. Well, it's Meyer. So first quarters see in its minor. So C minor. What for? C minus? That's telling you that we're in the c minor scale. Now. We are non C major anymore. Comes way have a lower case five court, which that looks different to usually We have another case. Five court, 5/4 lower case. So that is going to be E. What is that? It's gonna be a, uh G Meyer way. Haven't uppercase seven chord. So that is going Teoh be our It's going to be flat way now. When is a little slower with the minor scale? The reason is because when we're starting on the one and is telling us that with minor scale, um, that means that we're relative to, uh the major scale, which is going to be in this case e flat. So e flat is going to really what's going on here, So all of our intervals will be based on E flat Major. It's just that with any of the minor scale as the what does that make sense? So the six mode is actually going to be the one. And then when we get to what were used to being the threes, actually going to be the major scale. So if you are familiar with the number of system of the major scale and it's uppercase Juan , lower case to lower case three that still is in place, it's just that we've shifted all the numbers so that now six is one excess could be a little confusing. But, um, if you think about that and write it down on a piece of paper, it will make sense. The six is going to just turn into the one. It's like if we has the major scale numbers were down a produce one lower case to lower Case three. Um, by the time we get to the lower case, six, um, we're going to turn the low key six down to a lower case one. So that means that lower case seven that were used to Loki seven um, with the seven flat five. It's going to turn into a lower case, too. 75 And then we're used to being the one comes after that uppercase one, and that's gonna wind up being another cheese three and so on. That makes us okay. This is just something that you may encounter if you start going Teoh into music, guitar and jazz, which looks like you are admitted this far. Um, then this stuff that you need to know so make you confident. Guitar player, confident musician. And you'll be able to talk yourself. And you know what you're talking about. All right? You're doing great. I'll see you in the next video. 21. The ii V I Change (page 55): Let's talk about the 251 change 251 is probably the most common core change in jazz. Um, it sounds great. It's a very smooth progression. And, um, it's used all the time. It's used all the time. Okay, so let's go through what it means. We're doing the seconds scale degree, the fifth scale degree, and we're resolving to the one. This thing happens all the time in the key of C major. That means we're going to play a deed minor seven to a G seven to a C major set, because remember how our respective seventh chord is going to be the basis for every court is going to be the most basic version of every quarter. We place could be some kind of 1/7 chord, one that it's supposed to get. So for the to court, we're going to dio minor seven D minor, 75 Core gets a G seven dominant, and the one court will do a C major seventh. Now, of course, we can blow this up and start doing any of the other extensions over the 251 change. But let's just get comfortable with the's Sevens to start with. So this is used all over the place in jazz on bond bebop. Bebop is one of these styles of jazz. Bobby Bob, Um, we're, um, guys like John Coltrane, Miles Davis, Um, and the loneliest monk. These were definitely bebop jazz, er's. And what that means is that they were playing fast tempo jazz and they were doing lots of 251 changes on bond. These guys love to change so much in the high tempos that they were writing a lot of music with multiple key changes. There would be a lot of key changes. Every couple of metres, the key would change, but it would just be another 251 and then a key change. When I say key change, I mean a key change. You might be in the key of C and due to 51 and then you go to the key of B flat due to 51 based on the flat, and then you go to the key of a flat 2 to 51 based on a flat. Whatever. Whatever the song was doing, they would actually change keys every couple of measures just in order to figure out ways to get more to 51 in the song. And it is a great set up for soloing also because, um, you can focus on you've got a lot of different options sold over 251 You can kind of stay put in one place, or you can try to follow the cords. So to five was very cool. Let's take a quick look at OK, I'm gonna get you two different visuals on how to quickly play to 51 on your core chips. Um, here's the 1st 1 Okay, Andi, you're playing team under seven, g seven and C major seven. So here we've got our d major or D minor. Seven. Here's our d minor seven. Here's RG dominant seven years or C major. So I'm starting to d minor on the A string team under seven, and then I'm going to come down and do my G seven here. It's just like the same shape. I'm just dropping down on a string to France and then same friend directly underneath it is my one court, my c major. So, uh, sure, let's put it in a little bit of a beat So we're gonna do to beats with D minor to these of the G and for beasts of the sea major way. So here's the visual that I'm using for this one. We're going to the one where the QC Here's my C, Right. So I just going up two frets to get to my to go underneath my seeing the same front Life C is right below one is right, Lord. So wherever my route is in this case for C two fronts to grab the to Andi goes same friend as the one chord. But so one thio thio Another way to do it off the neck is messy regular on my low e string . OK, so I'm just gonna go to from there and start my d minor using this ship full six strings and then on the same fret when you come down into my G seven. Bring on the street. Now come back to my C here. USC major, this is where I got the eight x 99 This is one of these shapes that we can use. Okay, so it's a little bit of the same thing to base of the D minor TV's of G and four beats of C major. Ah, see, Major, I can also come down and grab this diagonal shape. The reason I didn't want to start out with that is because I want you to get visual. Your see? Here's my to okay. They're really close to germs. That's what I want you to pay. Exemption Teoh Way. Now from a soloing perspective what? There are a lot of great methods for soloing over this one of them could be since is too 251 is we can start off on the Dorian mode and work our way into back to one mode, the Ionian mode. So if we're going to 51 like this, I think I can start off on the Dorian mood and try to resolve it to the major scale. Theo and it almost plays itself. Do you hear that? So what I was playing you can actually hear the court changes. It's just because the cords or put together so nicely. That's why it's so commonly used. Jazz. Um, of course, we could do things like using the arpeggios way, way through, so that all sounds good to so using the arpeggios or going from the Dorian mode and slipping back into the major scale is a great technique to use when soloing to one change. So let's take a quick look at playing this in a different key. Um, let's do it jazz key just to make it a little tricky. Okay, so if we're in the Kiev E flat, you flat e flat is a great jazz key. OK, um, the reason. It's great because foreign players love it. Trumpets and saxophones love e flat. It's a comfortable key for them. So that's why a lot of jazz is in a flat key. By the way, um, guitar players are pretty comfortable and cute. G Q E and Key of C. They're pretty comfortable keys to play open. Um, and but for your players, their version of playing open is in Q B flat E flat. So that's very comfortable for them that ends. They were the most dominant instruments when jazz was very popular. And so that's why what jazz music is written in the flat keys E flat, a flat B flat because they were written by people playing trumpet and saxophone makes sense eso as guitar players who loved jazz. We just have to get used to play a lot of our courts. No problem. We could do that. Um, okay, so let's do give e flat. We're gonna go to 51 All right, So let's story alibi grabbing. Are you flat? I've got it on the a string or here with six spread and ah, nice. G flat, major. Seven. But we're going to five months. I need to start off with my tubes. Go to frets. Okay, Look in the minor soothe. Come down here for my dominant seven. Oh, then finish it with my so f minor seven and B flat E flat, major. So of course I could you mother. A little extensions on the flats of Van. Bought it. - Whoa . Just three little chords to 51 And it sounds like some doesn't. And how would I solo over that? Um, the first thing that comes to mind is that would go to the Dorian mode. So if it's e flat, Major Dorian is just a two frets since f Dorian and I will play on the if Dorian resolve into the e flat Major, see what? It's sensitive, Theo it's in school. He works. Okay, So, um, I would I would say practice the 251 change going through both of these shapes because you're going to be playing to 51 all the time. Okay, Tom's and tons and tons of songs use. It is the staple core change of jazz. Eso get familiar with how you're going to figure this court set up the movements, feel natural to you. And then also I would practice going through the Dorian and slipping into the major skill at the end a little rough Dorian riff and slip into the major scale to finish it off. And that would be a great way to set yourself up so that you know, some solos you could dio every time there's a to 51 change which will be frequently All right, go work out and I'll see you in the next video 22. Intervals (page 56-57): Let's talk about intervals. So I have mentioned intervals a number of times, and it is is definitely the right time for us to talk about them and fully understand what all the intervals are. Intervals are very similar to the, uh, court numbering system. So the court numbering system is where we are giving the Roman numerals of 137 for all courts from the scale. Um, the intervals, as we're looking at them here are a little different because we are going to identify every single notes as if we were going from the chromatic scale. So there are 12 notes in the chromatic scale. There are 12 intervals, but it works the same kind of way where we use intervals where we don't want to name. No, we don't want to call it in half or B flat or C sharp. We want to call it by its interval name. And so Intervals described distance described distance from point A to point B. Okay from here to there. So when we're talking about intervals, there's always two points okay from here to there Onda. A lot of times it will be the distance from the one starting point to wherever we go from this starting point to wherever we go, Good, Andi, you can think of them as, um it could be in any key. So when we're talking about intervals, you still don't know what the key is. At some point, someone's going to have to say to You were in the key of whatever we're in the key of C or in the key of B flat were in Kiev whatever. So when you know what the key is, you can figure out all the intervals. The reason we want to know the intervals. There's a number of reasons. Um, this is a way that musicians communicate with each other is by discussing intervals. We discuss, um, cord dissection, talking about intervals. So when we're talking about a court, we may say, um, you know, the major six scored is made of the tonic, the major third and the major six interval, whereas the minor six court is made of the tonic. The minor third interval ends the major six interval. Mm, It's interesting so we can dissect courts by talking about intervals. Um, and also, when you are looking at a scale or a melody line. Uh, you you would use intervals to describe what is going on in the melody. If it's something, could be in the typical scale or you and outside of the scale, um, and you may use the intervals to use exact detail off. Here are the notes that being played. Also, another huge advantage to thinking of music in terms of intervals instead of just the chromatic scale, is that music is ah, a lot of music is relative so we can hear changes we can hear this no goes to that note of this court goes that court. We We may not know exactly what the court is or the note is because maybe we don't have perfect pitch. We probably don't. Most people don't have perfect pitch. I don't have perfect pitch. Perfect pitch is where you can say, I heard a bird singing and that he was seeing a C note and then a flat note, or there's a car alarm and the car Lauren was in a sharp or my toilet flushes at a flat. That's perfect pitch, so when I can do that has perfect pitch or absolute pitch, and I read that. I think one out of a 1,000,000 people has perfect pitch. Some people believe that it could be learned. I'm not sure. The heavy large. Maybe, Maybe, Maybe not. So that's perfect dish. But there's also relative pitch and relative pitch. Can absolutely. Have you learned I have relative pitch? Relative pitch means that, um if I play you two notes, then you and I told you Okay? No, the first note I played you is gonna be the one. So tell me what the second note is. Then I could tell you what the interval is of the second note just by hearing it, if I heard the notes and I have a reference point. So here, two different nuts and the first note is the one. I have no idea what the actual no name is, but I know it's you telling me it's the one. And so you want to know what the second note is? I can tell you the interval is of the second note because I can hear it. Even though I don't know if it's an ad for E or G. I don't know. But I can tell you what the devil is. And so it kind of doesn't matter as much with the actual chromatic name is because I can hear the distance. And that is something that everyone can markets relative pitch. And so the way that we use your training and learning relative pitch is using intervals. So you use it a lot when you start getting into more complex and advanced music, ready to learn it. Okay, yourself goes, we have 12 things on Beacon. We will be referencing the chromatic scale just to learn it. We have 12 things you can think of each thing as being one of the chromatic notes. Okay. But we could be in any key eso The first thing is going to be our word note. So think of it as our route knows, it's gonna be called unison. But it can also be called the route or the tonic or the key. Okay, All of that stuff means the one the first thing, and it could be any keep, doesn't it? Doesn't make a difference. Matter does not matter with the keys. Okay, then, after that, we have seven different groups. Okay? We have some kind of a to so kind of a three, some kind of four, some kind of a five, some kind of a six, some kind of a seven. And after that, we get the octave. So it's just like where we were counting our scale degrees on the major scale we counted 271234567 Those roll intervals, they just happen to be the intervals off the major scale. So they're all major intervals were perfect. Um, so you have seven different groups and each one of those seven things can be either a major or a minor. It's usually going to be a major or minor. Okay, So, like, there's two kinds of tubes, there's a minor and a major, too. So the lower case and his minor, we know that in the upper case And this major So you have a monitor second and a major second. Did you have a minor third at a major third? Then we have the fourths and the fifths the fourths, and the fifths are called perfect. Perfect thing. That as major perfect kind of means the same things. Major, Um, there is an explanation as to why it's called perfect, but I would rather not bore you with it. It's getting in some esoteric music theory concept about the versions of the Circle of Fifths. Don't worry about that fourth and fifth occult perfect. Think of that as Major Major, so you have a perfect fourth in a perfect fifth. But in between the perfect fourth of the perfect fifth, there's one interval, and it's either augmented fourth, which is one higher than the perfect fourth or is a diminished fifth, which is one lower than the perfect fifth. Okay, you're almost there now. We have a month or six in the major six minor seven and a major seven now. That said, because the active so starting on the unison, which is the root of the tonic or the key, that's the starting note. And then, from there we go to the minor second that in the major second, minor third than the major that you always go. Minor major, minor major. It gets the minor one first, then the major two months major three by her three major four perfect fourth. Then it goes augmented fourth or perfect or diminished fifth, then perfect fifth minor six major, six minor seven, major seven, then obv. Okay, well, all right, Let's take a look at what that looks like on the guitar. Um, let's pretend that we're the key of a Okay, so in Cuba, it's making simple. So my a string open that's gonna be in my unison guy or my route or Mikey or metallic. So, uh, that's it. All right, now let's go to first bread. And we said Intervals are from point A to point B. So it's all about distance. Point A to point B. So from unison, Teoh Fred. OK, that's a minor second, and it's a lighter seconds because I'm going from here to here. In that distance, it's one Fred, but that distance is a minor second. They give him a second friend. Major seconds going from open. Going from open to the third front is a lighter third. Fourth. Fred is a major third. Next is a perfect fourth. It's always for open because that's my reference, boy. Okay, that is a lamented fourth or diminished love as 1/4 or diminished fifth. Perfect letter. Six. Major, six Letter, seventh major, seventh and my active, and I got to my 12 threat my double dot So that makes sense. All right, So that's how we do it in a linear way. Just going up one string, and we can see that it's all about going from this open point from where our starting point is. And each time we're just climbing up a Fred going down the intervals. Um, how do we figure this out when we are not going from open? Um, sometimes you have to use a little bit of your chromatic scale knowledge to figure this out when you're not going from open. Let's say I'm in the key of G. Okay, so I'm here on a G note. Low e string. Okay, so we're in Q G. G is now our new unison G is our new key. Okay, so here's G s going to this short. That's the minor. Second fire seconds. Okay, major seconds. Oh, that's a minor third. OK, now, kind of running out of fingers here, and so I need to go to the next string. So this was a B flat note. I want to be flat. Okay. So I need to kind of look at my next string. Here was my B flat. That was a minor third. I said So come up here. That's gonna be my major 30. That is perfect. 4th 4th or diminished. Perfect eyes, my mind or six. And I ran out of fingers again. So minor, six, I said. And that is, uh, called a d sharp. Good. Do you Sharp is my mind or six. So I need to go to my next string d sharp. We said it was under six. So moved to the next one Major six seven major seven. That makes sense how we did that. I have to kind of when I run out of fingers and I need to go to the next string and you kind of keep track on the one I just left off on and then find it again on the next string and then keep on counting up. That's how we do it from close position. And that's how we do it when work going through a scale and we're trying to decipher all of the intervals of scale I will tell you. Here is a fun fact. The major scale mentioned earlier. All of the intervals of the major scale are either major were perfect. That is why it is called the major scale. It's because all the intervals are major were perfect. So we're playing C major scale in this unison. You were rude tonic. Keep major seconds. 36 738 ve down here is active. That is how you write. You'll see this on sheet music sometimes eight V eight with V. Next to it means active just where you get your route again. Higher or lower. Okay, so all of the intervals of the major skill are either perfect or major. Andi. This hopefully will shed a lot of light on some of the concepts we've talked about so far. Regarding the seventh chords when we talk about the major seventh eso the major seventh has a major seventh interval. It's one fret behind the artist. That's where the major seventh interval Okay, as opposed to a minor seventh chord which is two fronts. The seventh note is to first behind the octave. We also talked about the triad a lot 13 and 513 and five is hey construct a major or minor court. So the one which is unison in the three in the size. But what three and what five are we talking about? We're always talking about the perfect fifth when it comes to a major reminder court. We're always talking about the perfect fit, but the three is special. We've got two kinds of threes. There's a minor three in a major three, the third interval off all of these guys. The third interval is the only interval that tells us if something is major or minor. I'm talking about cords, arpeggios, scales and songs. The third note is the only thing that tells us that something is major or minor, as in, it's in the major Kira monarchy. The court is major, reminding the arpeggios, major or minor. The scale is major minor, the third. So if it's a minor third, then it's a minor court arpeggio or scale. If it's got a major third than it is a major chord, arpeggio or scale, the third is the only thing that makes a difference so we could have a court. We've got the major seven course, but we talked about this. The major seven is not talking about the court being major. Let's talk about the seventh major. If the court doesn't have a lower case m next to it. Then it's just majors defaulted that this major, it's got to have that lower case m in according to tell us that it's going to be a minor court and when it has that lower case M, it's telling us it's got a minor third of it. We don't see the lower case sound, then it's got a major third when we see the major seven chord, it's not telling us that it's a major. It's got a major third, it's already got a major. Third is telling us that the seventh is major great example, and I think this may clear it up for you is the dominant seventh chord. If we just said a G seven poured flannel G dominance, it is a major court, so it's got a major third because it's a major, Corgi said. But it's got a minor seventh interval and that's what makes it dominant special. So it's got a major third, making it a major court. But it's also got that minor seventh interval, okay, so hopefully this is starting to shed some light on the value of the intervals and all the stuff that we've been talking about so far. Um, so make sure you get pdf, read it. Watch this video as many times as you need to. Um, I could keep going on, but I think I pretty much covered it all. Um um, one more points I definitely don't want forget is that when we are constructing a scale, Okay, like a mode or scale, we're only going to have one of each. So we've got 137 There's one kind of each thing like there's a 23456 and seven where you can only have one of each. We could mix these up, but we can only have one kind of to We have to pick either a major or minor. You can't have both Jam, Major and the minor to cannot do that, we have to pick one. We have to pick 1/3. We can't have a major end of minor. Third, we have to pick one. We had Teoh pick 1/4 either a perfect fourth or an augmented fourth. You have to pick 1/5 either. Perfect feather dimension. We can't have two kinds of fifths. We cannot have two kinds of six is we have to pick one. We've got two kinds of sevens. We can't do two cents. We have to pick 17 And so I'm not telling you, you have to pick them. I'm saying that when we look at all of the scales and all of the moves, they will have one of each. They're gonna have some kind of into the mix it up somewhere Major, Some of minors, some major, some miners. But they're gonna have one of each of these intervals, some kind of to some kind of a threesome kind of force. 56 and seven. And that's how Olmo's and scales are constructed. That's why the shapes are all different is because they are mixing up the major and minor intervals to make them sound slightly different each time. Um, okay, and I think that covers it because of the rule that I just mentioned about how you can only have one of each kind. That's what there are two names for the augmented fourth and diminished fifth. It's the same interval, but it's got two names. The reason is because it works because we can't have, um, we cannot have, like a perfect fourth and an augmented fourth. Can't do that. So you're either gonna have a perfect fourth and a perfect fifth where you're gonna have a perfect fourth in a diminished fifth or you're going to have an augmented fourth in a perfect fifth. It's gonna be some combination of those that makes us good. Um, OK, now I think that really covers it. Um, and if we were dealing with something like an arpeggio, there's only a couple of notes or a pentatonic scale where there's a lot of five nose or something where we didn't have all seven. That's fine. We don't have to have old seven. Just that with the modes and scales, we do have one of each of the seven groups, but if you just have arpeggio three nodes or four nose, five nose in extended or video, we just grabbed the intervals that we need to talk about so we can understand what we're dealing with. All right, I think that about covers it. I feel like if I continue talking, I'm just gonna confuse you. So, um, I hope that this helps. And I hope you understand the intervals. We will be going over them again as we go forward. 23. Relative Chords to the 13th Extension (page 58-59): Let's go through the rest of our relatives extended chords. We're gonna take these all the way up to the 13th extension and this is going to cover the remaining extent. Of course, that we've got So music we do not go past the 13th extension. That's the highest that we're gonna go. Um, so we only have a couple let if you guys have made it this far, you have done so good on. We've only got a handful that we're going to cover off. And then we will have covered off on all the main extended courts, uh, and say mystery for the ultra court Rent a little bit later on grants. Take a look at the ultra courts, but they do not go past the 13th. They don't even go size and 13th Um, typically so we don't have to worry about it. We are at the very top right now off the voicings for records. Okay? And so the three kinds of corpse that we're looking at here are of a 69 chord. It's six slash nine. It's called a 69 chord. Andi, we're looking at 11 chord and a 13 chord. We've got two kinds of 13. Dominant 13 and we've got a minor 13 okay? And I'm showing you where they fit into the relative chord sequence. Eso We've seen this a number of times at this point. Top. We've got the road numerals that are showing us what scale degree we're on and then down below. We got the notes of C major scale. Still QFC CEO G A. B. Um, Okay, let's take a look at that. 69 chord. We've got it showing up on one. The four ends the five. Okay, let's take a look at the shape. So we're going to root this one on the D string. Okay, this one is actually reading on the D string. So if I'm gonna make my C 69 then I'm going to my C No. On the D string, which is the time front on deployed him. So 10 9 10 times. Okay, let's see what it sounds like. Uh, nice. Good, good, good. Good. Scott. Kind of floaty sound to it. Let's take a look at the construction of it. The intervals in it are one three is in major three, uh, major six and our nine which is the same as our major second interval. So one major, three major, six and nine. Okay, No good C 69 Now let's do the F six nights. Who's gonna take the shape? Slide it down here to the F on the D String F D String on my ship way Have it also in G on the fifth degree. Teoh. Okay, I want to point something out about the 69 over the G. We've seen this before with the's six cord. We could play a 6/4 G six, Um and, uh so that falls into the dominant column. Even though the six court is not really dominant, this there's nothing that makes it dominant because what makes a court dominant is two things major. So it's got a major third, and it's gonna by herself. Those were the two qualities of dominant and, ah, six Chord. It's major, but it doesn't have any kind of something. So that's why I say that six scored wasn't dominant, even though it goes into the fifth dominant call, which it does. I just want to make that tiny little nuance of a point to you. So of course, you Substitution six scored is a substitution for the fifth degree dominance. Anything over the G, in this case, just technically is not a dominant court itself. Um, the 69 is the same thing because he spelling is 1369 So there is with his major. We have a major third, but we don't have 1/7. So we need that minor seventh interval for its be dominant. We don't have that. So the 69 is not really dominant court. However, if it's just fine over our fifth degree column, Okay, So let's just go back and forth between the C, F and G 1456 Now, this is going to be a substitution for everything we've got in each call. So, for example, we have already seen a number of courts over the one. We've got the major seven. We've got the six. We've got the major nine, and now we are going to also have the 69 chord good over the four. Same thing. We've got a major seven, we've got a six and we've got a major nine Now, we can also do a 69 Um So, for example, if I am vamping in the Q, right? So I got my F major seventh way. Now I do eyes another option that I got for vamping around the court. Okay, Um, and six nights want to fall into the vamp possibilities for old dominant stuff also. Okay, let's move along. Let's look at the 11 chord. Okay, The 11 chord is dominant. You're gonna know you may have already figured this out, but the court is dominant. If you usually if you don't see a major or minor in the naming of it. Azzan major seven. Mine or seven or so. So if you don't have a major or minor symbol next to it is just seven or nine or 11 or 13. That's a clue that it's going to be dominant. Okay, Thesixties is the exception to that rule. So in 11 chord is done it and so is the 13 court, their dominant. There's no major or minor symbols next to them, so that's how we know that they're dominant. They fall into the fifth Cold r G 11. This one is a super easy cord. Easy to remember. Anyway, we're rooted on a string. All right, and once a point out here. Um, when we get into 11th cores and 13th chords, there are many theories. The larger the extension of the court is that you're looking to play the mawr possibilities there are for shapes and finger rings. And the reason is because there are so many notes. Guitar players make that decision What notes they want to put in and what were they want with it. So we could decide to put them send will leave the mountain. It's our discretion. Um okay, so I'm gonna show you how I play in 11 Chord. Andi, don't do this because it's easy shape to memorize, even though it is extremely easy. I do it because I feel that these notes need to be in there for to be in 11 court route On the A string. Here we are in 10 for maji note. I just want to bar down on Well, why these dreams turning from the stream? G 11. So that is a easy one of memories. You just find the root of the A string and the bar down all five of the high strings. And that is an 11 chord. A dominant 11. Um, So I have seen other guitar players that will do different voicings of it where they are grabbing different notes and leaving out different notes. What we've got in this 11 court shape is we've got a one or route. We've got our four, which is actually our 11th. So here's our route. Here's our 11th. Here's our seventh. Here is our ninth, and then here is our fifth. So we've got one 11 son. 95 Okay, um, I'm going to just explain, uh, for 30 seconds to a concept of court building, which is called tertiary stacking. Okay, tertiary stocking. Tertiary means in threes. So when we're doing tertiary stacking were stacking the notes in threes and that's where the idea of the Trans comes from is 13 and five. That's how you make a major court were a minor court. 135 The first none of the scale that they're not on the scale in 15 of the scale. So they were like this. 123 Okay, that's how we got from 123345 So every time we're going three a distance of three, you get to the next out. 123 345 No, What's this tertiary stocking? 567 three to get seven 789 two years of nine 9 10 11 to get to the 11 11 12 13 to get to the 13. So each time we just keep on stacking on three, where we're going up basically jumping a note to get to the third note. That's cool tertiary stacking. And that is how most of the courts that we listen to in our everyday life. That's how they roll for on starts with basic Triad 135 And then from there you can get up to seven and then from 70 or the nine, the 9 11 in the 11 to 13. And it's just a matter of how much stacking do you want to do in your court. Tertiary stacking There is an alternative to tertiary stacking. It is not very popular. It's called quartile quartile stacking. It's where we're stacking fourths and you start quartile. Stacking is where you got a lot of 11th a lot of fourth and 11th. The reason that it is not very popular is because the concept of the fourth were the 11th same thing. Fourth of the 11th is that and they have a huge amount of suspension that we have a Cesc ORT like a suss for court, and it is a suspended fourth. It is a suspension sound, and the worst suspension in music, um, is the opposite of the word results. So when something is suspended, um, we are waiting for the result because it doesn't sound like it's where it should be. So many suspended. It is a sense of unease. And so we're waiting for the court to be resolved. We don't have that suspension when we're dealing in threes. The three is all work nicely together to human ears. When we stack and fourths, we create suspension. So if you want to create intense feeling, then you want to do a lot of fourth stacking. The West fourth sacking portal would be stacking in fourth animals. So, for example, if we're in Q C, we would start the scene up OK and then C d e f. So do F C on and then f g A b. So we stick a beer. Okay, G a B c d e sticking so far. That's what the court sounds like. This is quartile. Now we need to explore every possibility with notes. And so sometimes thes kinds of courts have a place in music. Absolutely. And then you're playing. It's just that is not the norm. Okay, so tertiary stacking is the norm stacking in threes. All right. Um oh, and so the the, um it's getting back. See, the G 11 chord were stacking in threes. And so the spelling of the G 11 chord whose 1 11 795 We've got everything in there except for 1/3. Okay, so we've got 1579 and 11. So we're just stacking everything up in thirds tertiary stacking. That's so that is the reason is a long answer to get to the reason that I like the shape is because it makes sure that we have everything stacked up. It's not in order, but is all in there. Oh, um, good. Now let's take a look at our 13 chord. 13 cords are a lot more common, um, in jazz because the 13 is the same as six. So we said the 11 is the same as the four before has a suspense feeling. The 13 though, is the same as the six in the six. Doesn't have that suspense feelings got a nice, easy kind of sound to it. It's a supporting kind of sound. So here is how we are going to finger the G 13. I'm going to start it out like I'm doing G seven chord, okay, rooting on the Eastern just my full six string court, and my picky is going here in the fifth fret on the B string, which is actually the six note. That's what season it is. The 13 is the same as the six, but it's 13 because I'm keeping it in my high register. So what we've done here, um, when we're playing this shape of 13 Wait, what we've done is we have got triads. We've got 135 in the seven, so we've done triad. We've added the seven, and then we skipped the nine skip the 11 and went right to the 13. And the reason for that is because we said that sometimes we run out of notes, we run out of notes and we want to just go right from the seven to the highest extension, so that is a pretty common occurrence. Um, you want to create record to the seventh, and then you can jump all the way to the highest extension eso. If you were playing in a lot of court, you could make 1/7 court and then jump right from the seventh to the 11th interval. Or if you're playing 13 you create 1/7 chord, and then you jump all the way to the 13. So you actually skipped the 9 11 You betrayed hands old time. So still with him, however, you could create a There are tons of figuring of 13 course, you could create a 13 corn where you try to get the nines and Elevens in there. That makes sense. OK, but this gets the ball over the net. If we're playing, uh, for playing, uh, sports and we have to get the ball over the net, then we're playing sports. The game is going on, and so we just want to get the bowl over the net. And that's what we're trying to dio. And so, going from seven all the way to the 13 that doesn't Okay, good. Eso the 13 is, um, let me make another observation here. The 13 as opposed to six Court Six court we talked about has the fifth note is raised up. So six court has no fifth. It has raised up to the 6 6/4 136 That's the Spelling 13 court. It's got that six, which is 13 but we're keeping the fifth in it. So that's the real main difference between a 13 and a six. Is that the 13? We're keeping that fifth note in the cord. Okay, so the six court has no 5th 13 has 1/5 excess. Okay, good. And this would be something that we can add into our rotation of all of our dumb. So institutions. So over the fifth column, we can play six core seven chord A 69 Chord nine chord, 11 corn and a 13 chord. Whoa! That's a lot of stuff going through the extensions. So if I am just vamping around in the key of G, I've got my G six, my G 11 g 16 g 13. That is a lot of different options just to stay in one court. And when we're vamping, what may be going on is we may have like a four beats whole measure off. Just maybe, says G seven. Good. We're G dominant, she said. N g nine Just as long as I know that is so kind of a G dominant. Then I got four B's. And so if it said she said, I could just strong G seven for four beats or I can try to bounce around some of the different extensions throughout this four beats. Does that make sense? Eso It is up to me to figure out what I want to do with that court, and that's why we're learning. All these options is to give us options for when we see a core that is hanging for a number of beats. We could either strum it for that amount of time, or we can start vamping through our extensions that we know are good. Okay. All right. Um, one word todo we've got the liner 13 minor 13 only occurs over these second degree over the Dorian. So the minus 13 Onley over the Dorian Ondas the kid de So here's how we play. It is kind of like we're making a D minor 74 and our pinky is gonna go. Sure. Do you understand the court rooted on the East Ring? And I tell Fret, Do you remember seven Reared on the e string? And then I'm putting my picky B string of 12 front. What's going on with this court is that is essentially a minor seven chord, and I am adding in my six, which is my pinky note. So it's a minor seven chord, and I'm adding in my six, which is the thank you note right here. 12. Fret the reason that the the reason that the by our six and the minor 13 only goes over the door over the second degree. You may have noticed we don't have them going over the third degree or the six degree the other miners we don't have. The six is where the thirteen's popping up in those keys. And the reason is because if we take a look at the frigid mode or the Aeolian mode we counted, six uh, six is a minor six General meeting us one Fred up for more perfect fifth. So if we took a look at our e fridge Ian, down 2345 Perfect five minor 61 Fred up. We need to have a major 66 is a major six. We're talking about a six for six court in some major six interval. If the fridge Ian has a minor six interval so we can't use six over the fridge. It l Yeah. Um, same is true for the youling booth. Que that 1234 Perfect five. Minor sexism under six answerable. We need a major six, so we cannot use six over the You're doing good. Six degrees. Cannot put six chords in there. However, Adoree still look at the d during 12345 major six. So we've got a major six interval in the door. And that's why the door and gets the minor. Six scored and a minor 13. Okay, so, way quick. The difference between the minor six and the minor 13 it's the same is what we talked about just a minute ago. It's about the fifth, the D minor six court as No. Fifth, because six course made a major six or a minor six scores, they don't have 1/5. So the D minor six no, fifth de miner. 13. Yes. Has a fit that So that's the difference. Um, okay. And you are? Dorian's got a lot of different options for soloing. So, um, this would conclude the extended relative course going all the way up to the 13th. So you got a lot of options now for vamping rounds throughout the scale. Quarter whose? Um so familiarize yourself with all of the shapes. Ends. Of course. Um, I want to really pay attention to things like minor. Six scored only goes over the Dorie it with second degree, um 979 11 13. That stuff all goes over the fifth. The Dhamma. Um, the major stuff, like the major seven major, nine of those go over the one on the floor. Um, the three doesn't have a whole lot of options. Has got the It's got the minor chord in the minor seventh, so we don't have a whole lot of options going on with the third degree. He six degree. We've got the minor seventh, and we've got the minor. Nine theseventies degree we've is test the one that's its own category. We've got a minor seven flat five and we've got all those diminished on courts, which we can move symmetrically. Three frets in every direction. Eso You want to know that these your options. And as we start changing keys, you're going to be comfortable looking at the new key and saying, Okay, there's one core. There's the 2/4 3 quarters for 456 and seven and knowing what kind of extensions weaken due to substitute records. So work on that and you're doing great. Um, that you're doing wonderful. So keep it up and I'll see you in the next video. 24. Arpeggios 6/9, 11, 13 (page 60-64): let's go through our arpeggios using the new courts that we just learned the 69 the 11 and the 13 and the minor Jersey Court. So we've also gone through our intervals. So I'm going to take a little bit of a different approach to showing you these arpeggios. Um and it may seem a little bit like we're going fast because you may not know your animal shapes as quickly just yet, but I need to get you up to speed. So this is, I believe, gonna help you out. Just getting some quick visuals with how our intervals look. And we're going to be rooting on the low e string to give you a quick launching pad for finding the intervals. So, um, let's start out with the key of C for the 69 chord. And what I've done is I've written the intervals in their proper interval name. So the spelling of the 69 is the one which is the root. The major, third major, six in the nine. That nine is the exact same is the major second, So nine is the exact same as major, too. All right, so we've got one on in the key of C, which is our first are written. Note its front. Okay, we've got our major third. All right, This is how you get to a major third, starting on the east drink roots. Then we're going to jump down again to our major six. So an easy way to find the six from the root. My routes just jump down two strings with my next finger. That takes me right to the major six. So Route major, third major six. And then I'm going to jump down. What more time to get to my nine, which is the same as a major too. Okay, now, what's interesting is that when I'm going from the six to the nine, there isn't eight, which is the active. It's the same as one. So it's going to be my choice, whether or not I want to hit the octave in between when I'm jumping to the next register 678 So I should be hitting that octave before I get to the nine. I could be hitting the nine over here where the two would be, but if we want to keep it a little bit more than nine. I want to save it up for when I get a little bit higher up in the register in the octave. 136 nine, three, six Roots. And then I could go nine again right here. So the nine seems to to let's take another look. 136 I cant hit my room again here wanted to Here's a nine. Here's my third from the nine to the third. The nine is the to says they're going to three, 932 drinks the same thing three. Six, Route nine. So over the 69 chord, that would be a good way to approach doing that. So we're playing that makes us okay. And of course you've got your I don't need you to figure all these guns out just by watching me. You got your pdf so you can look at the shapes and you could memorize those shapes. That would be a good idea. I just want you to be able to figure this stuff out on your own, because my hope for you is that you will be sitting down with some jazz music, some sheet music, Um, and you will be going through songs, and at some point there's gonna be a six time court. And I want you to remember how to construct it. Because if you can't remember right off hand how to play the 69 arpeggio I want you to build put it together as you're sitting there looking at your soul, your music without having to go. But I can and get the lesson. Pdf. Okay, good. Let's take a look at the 11 chord. Now, this is a dominant, but you know, we've got the interval stone, so we don't have to worry about them as much Now with the dominant your If you look at the next three arpeggios here, I've got some intervals crossed else. What's going on there is I didn't want this to get too convoluted. So if we have too many interval options, we wanted just playing a scale, okay? And so what I mean by that is like, if we look at the 13 year, let's just jumped in with 13 for a minute. Um, que one got 1/3? Um, and I've got 1/5 7th 9th crossed out 11 cross down 13 eso The nine is the same as the two. So that's kind of like 123 Okay, the 11 is the same as the four, so it's kind of going 12345 The 13 is the same as the six. So it's like going 1234567 Well, that's the scale. That's every note in this game that would be every note in the mix. Lydia. So what? The point is, what's the difference between playing a 13 arpeggio and theme utility in mood? There is a difference, and the difference is that we want to emphasize the 13 court. We're not trying to play every single note from the scale. So even though all of these notes are options, they're put together in a tertiary stacking way so that we can start seeing how we're approaching 13. The 13 Interval. My advice to you when you're going through your arpeggios is too not use. A lot of these arpeggios used the most important ones, and the most important ones will be the notes of the triad. 135 the seven. We won't keep the seven in there and then jumped to the highest interval. Whatever the highest interval off that court or video is. So in the case of 13 Chord, we would go 1357 13 135 or 137 13 because we can also drop the fifth. That's something that we do with courts struck the fifth, and we want to just get the basic piece down so that we can see. Oh, that's going to be the 13 arpeggio or they're showing the 11 court. Okay, so when we're doing the 11 chord, let's try going 137 And really, I want to get rid of that nine. Let's just go right to the 11. 137 11. Okay, so let's do this one in the key of G right one rep ahead it to get your major third on three. Okay, um, now this one has the minor seventh interval. The minor seventh interval is the same. Fret is a root note. Just down. Two strings is on the D string to root for minor seventh. It's like two friends back from our active, and we're gonna jump right to be 11. 11 is the same as the four. So that's going to be snow richer, you know. Okay. And then after the four were the 11 we could just jump directly back to the, um seven. Get back or G 11 chord. That makes us okay. Let's try it over the 13. We're going to do the same thing. Except this time we are going to go 137 13. 137 13. So it's just like grabbing these notes of this little seven chord, and then we're going to jump right to our 13. Okay, Um, actually, let's grab our third again. Thurber here was good. Sooth 13. Just here 13 is going to be the same. A six. So 13. 16. Good for the liner. 13. We're going to do the same kind of thing. One except it's going to be a minor three this time. Um, still have a minor seven, and we're going right to the 13. 13 is gonna look the same. Let's do this morning. The kid D since it's gonna happen over Dorian. So we've got one. Found minor three. Okay. To make this one flow that I actually gonna hit that 5113 What are seven andan? Let's just jump right to the through here in the third thes 13. Theo Theo does that make sense? So when we have to figure this stuff out in the moment on the fly, it helps if you know all of your interval options and what we're doing with a large court name, like 13 we're 11 then we have too many options, and we have to start crossing some of them out. And so, in order to get the point across up the cord, we want the notes of the seven chord, and then we want to jump right to the highest interval. So his 13 go 1357 13. If it's 11 court, you may just go like 137 11. So if you don't want to have that many notes, you could drop the fifth, and you can always drop the ninth on the 11th if you're going all the way up to the 13 Um, and it's also your preference. What, um, opt if you want to put the extensions in because I've been putting them in the higher octave. The Higher register been waiting until it gets the higher octave to hit the thirteen's in the 11th but I could put them in the lower register for wanting to. So, for example, if we go back to G for a minute and we look at the G 11 off, we have 137 Um, but the 11 is the same, This four, so I could go one, 347 See what that was like for So that also gets the point across a G 11. I could do with the 13 where I just go for the six right away so we could go on the G 13 court. I could go, um, one, three, um, 67 Let's try that. 1367 So 36 36 So Okay , so I think that gets the point across that we can keep in the little register or we could save it up for the higher register. It's your call. And the reason that you may want to go ahead and hit the interval right away without saving it up for the high register, you may not have that many beats. You may only have two seats to do a few notes, and so you may want to just get it in as quickly as you possibly can, and the fewer beats that you have on the chord. You want to get rid of as many of these notes as you can and just go directly for most important, the most important notes that show the court as clearly as it could be. Okay, so work on these arpeggios and these will finish off the extended arpeggios. So we've pretty much gone over all the extent or veggies at this point. Congratulations. It's great. It's really great. So work on these. And I'm sorry that the intervals we're going very quickly right now with the intervals. And I know that you're still getting used to the shapes of this is what 1/4 looks like. Third, thats what a perfect fifth looks like. Major second Looks like my seventh Looks like six. Looks like I know you're still getting used to all of the shapes, but the sooner that we start working on it trying to decipher the chords and arpeggios, the faster is going to come to you. So you're really doing wonderful. This is pretty event stuff. This is pretty hard stuff. So keep at it doing great, and I will see you in the next video 25. Chord Tones & Dyads (page 65-66): Let's talk about court tones and dad's. I'm going to show you an amazing tool to help you solo over any court change. This is going to help you when you cannot remember the arpeggio shape, you can't remember your boats. Basically, your brain is just freezing on you, and you can't think of anything to do for your solo going to show you exactly what to do. And it's a wonderful tool is called Playing Court tones. Okay, and this is a really simple concept, but it's something that jazz guitar players used all the time. Jazz musicians. Every kind of jazz musician uses this. The reason I haven't talked about this earlier is because of this. This solo en trick works so well that I didn't want you to rely on it exclusively. You could easily just use quarter tones. When you're soloing, however, you will be missing out on a lot of the embellishment notes that you could get from your boats and your arpeggios. So that's why I wanted You have the foundation of the modes and the arpeggios when you're soloing, and ultimately what you're going to do is you'll be using four tones because you're going to see how wonderful it is, how great it works. And then you're going to embellish it a little bit with your moves in Europe edges. And so you're gonna have a lot of different tricks going on to have a well run and solar. So that's what we want. Okay, so what I've got is I wrote a chord progression down. This is just a random core progression relative to Q C Relative to see Major um, B Minor seven flat five. It's just 11 bar of each court. One measure of each court B minor. Seven flat five major nine g nine c 69 d minor. Seven G 13 c major, which would be major seven or major. Nine. It's your choice, and then I have to be. So be diminished. 72 Beasts of the sea. Six. Uh, let's play the course. It just kind of see how it sounds. All right, Sounds cool. It's just some stuff I wrote down its random courts going throughout the, um, see scale courts and putting in various extensions on this is the kind of thing that you should be doing is just mixing up, bouncing around your scale courts and then trying to plug in different extensions. So this is spent 10 seconds putting this together. Okay, That's the kind of thing that you should be working on. Now, let's talk about quarter tones first. Okay, so I'm a solo over this entire progression, and I'm not going to use any modes or a arpeggios, okay? Just going to use quarter tones, and all I'm going to do is I'm going to pick out notes from my court, actually, my court shape. Okay, so my first court is a B minor. Seven flat five. The rial way to make quarter tones work is with your rhythm. So it's a lot of your right hand and how you will pick out these notes to make it sound a little bit melodic. So trying to pick them out melodic way on, and we want to play them a little bit more staccato so that we want to hear rests in between the notes. We don't want the notes bleeding into each other, so we don't want to be going like, uh, you could do that, but I really would recommend you don't. I want you to dance your fingers for Teoh, you're the difference. Okay, so we want to try to dance our fingers a little bit to make it sound like a solo. We don't want to be obvious that we're just taking your court shape and the have not's way you go. So let's go through. Got B minor seven flat five. Major. Jeanine G 13 way. See Major be diminished. C major. Good. Sounds pretty good, doesn't it? And all I was doing was speaking at the new It's from the courts. Okay, let's try to get, um and I don't have this memorized because, like I said, I just spent 10 seconds reading it down. So let's go through it again. Just using quartets. All right? It's just, uh okay, So if we have to play court owns over any of these. So let's take a look at the G 13. For example, Got G 13 chord here it is. So so theme. One of the things that I'm doing a lot of time going back and forth between my strings. I'm not just going all the way in one direction, so I'm not just going, maybe sometimes, but I'm trying to bounce it back and forth a little bit. So it seems like I'm doing something. We're likability, Theo. Going through G 13. Let's go through the D minor. Seven for a second here in D minor. Seventh chords. Let's try the C major. Seven years, my C major seventh. Thank you. Uh, be diminished. Seven years be diminished. TC six. Okay, um f major. Nine strong F major night, Ugo. Good. Jeanine. Jeanine. Okay, sometimes when I'm doing, I'm bouncing around strings. And sometimes I'm skipping, jumping, jumping across a note. So skip going for a big job. So if we could do some big jumps, that's a good thing, Jeanine. I see 69 So here's my C 69 good and thes air quarter tones. And so I am able to solo through this progression, I console through any core progression using chord tones. As long as I can play the cord, then I can use quarter tones to solo over it. So the main thing that you want to get in the habit of doing when you're playing court owns is not to press on the whole court just to see the shape. Okay. So get used to looking at a court shape. One note at the time. So we're playing a C major seven. We don't wanna have to press on the whole thing, Um, unless we mean for the notes to bleed into each other. So if we mean for that that happened, then we're pressing. But if we want it to sound a little bit more like a solo, that will play all right or the C major seven. I could do it up here. Where do you see Major seven over here. Sorry. So those Air Corps tons and like I said, anywhere, any court progression If you could play the court, you can solo using quarter tones, and it will get you through literally any Jessel, any song at all. In any genre of music, playing quartets is something that a lot of jazz players rely on. And the reason that you want to be able to do core tones is because a lot of times jazz courts will move very rapidly. We won't have a lot of time to solo over record, and so we just need to grab a few notes in order to show it in our solo. We don't really have time to get into a skill or even much of an arpeggio. We just don't have time. Maybe the tempos, fast and really have one or two beats to show accord. That's not very much time. And so you just want to knock out a couple notes from the court. Just do a few things like that. Good. Let's take a look at that is leading us into the next day. Let's take a look at diets, diets do I. A. D s diet is a to note court. We've got a name for it because Theo, the definition of the court is that it has to have three different notes as the textbook definition of a court has to have at least three different notes. Eso a little to no cord is called a diet thieve. Violin actually calls it a double stop. So when the violin player for the cello player hits two notes with the bow or two strings with both at the same time, they call that a double stop. So it's a dull stop or a diet. We could just call it a diet. Too little to note corn and a lot of times, the diag will be a little miniature. Harmony forces the harmonies two notes at the same time, but it could be a harmonic representation off the court that you were trying to show, and that is where we could start really playing around with our improvisation. So one of the things that we want to always be doing when we're soloing is we want to make sure that the court is apparent. It's evident that this corn is being played because you could hear it in our solo Are Solo is supporting that court, even if the court isn't being played. Even if you're sitting around soloing by yourself, your solo should be showing these courts. I was listening to you sit around and play your guitar. You're soloing. I should be able to figure out what cores I can jump in and start playing to back you up because I should be. You'll hear the courts more or less in your solo. Now when we're doing diets. Playing Diane's is a soloing technique, so something that we're going to do to solo. But we will use it to show the court. Um, you can take a mode. Okay, What if we just took the major scale and we can create a diet from any two notes in the major scale. An easy way to jump into this is to take two strings right next to each other each other to adjacent strings and just start experimenting with the notes in the scale right next to each other. So I'm in the C major scale. Oh, that's a dia. Okay, Theo Theo Way , Theo. So just staying in the major scale now we could go through all of the seven mode shapes and start looking for all of our diets. I would recommend you do right money. Spent a little bit of time just going through every combination within the scale shape to get two adjacent strings right next to each other and just do all the combinations of the two years together. It's very cool soloing technique. When we start getting in a little bit mawr specific with the diets, we can start using them to show the corpse because diet is really interesting thing, because it can show multiple courts since we need three notes to make accord to just have two notes, sometimes to nose can show a couple of different courts. Okay, so two notes can be a few different courts, and that is pretty interesting. So when we're going through maybe something like this, I can use quarter tones and Diame's together so I can just go through and grab some of the shapes together way just using court tones. But I was doing diets through the core temp's, so I was going through my shape. I was playing two strings to those same time going through it. OK, so that is a very cool technique that we can use. Um, so go through, go through the court progression that I wrote down on the white board. Go through the relative courts. You may want to go through more simply because I know we're passing around a little bit. This progression, you may want to just go one time. See major D minor e minor F major G seven g dominant. A minor seven B minor, seven flat. Five going through each one. Getting used to playing the court tones through the extensions on. But while you're doing that, you may play the court terms, and then you made you the court tones with diets. Then what you're going to do is you're going to go through the major scale or or any of the loads, and you're going to start looking for your diets. You can start connecting good roll over the place. And when we start figuring out how to construct a cord 131 in major three, one of major three in a perfect fifth. Now you've got a major court one in minor, three one in minor three and perfect fifth. You got my record. We're going to add in the seventh. What kind of seventh do we want to do? Minor. Seventh makes a minor course. If it's got a minor third, it's got a major third, we do a minor seventh. That's a dominant court. It's got a major third in a major seventh. It's a major court. Then we could start going to the to the nines and beyond. And so these little diets are great way for us to start studying and learning a lot about the courts. If you spend time learning about your core construction, you will buy the full. Also be learning about your arpeggios, which will help you to understand your most better if you spend time learning your videos, it will help you understand your corns better, which will help you learn your loads. They're all connected. So spending time on any one of these things the courts modes or Agios spend time on any one of these three is going to be the same as spending time on the other. Can be worse because they're all connected. To learn about cords is the same. Is learning about arpeggios and modes because they used the same theory. Makes sense. Okay, this is pretty exciting Quarter tones. You should never be in a situation where you say I have no idea what to play over this court. That should never have you ever get bang out the quarter tones. If you could play that court, you could solo over. Okay, good job. And I'll see you in the next video. 26. Reading Music (page 67-72): Let's talk about reading music. It's time for you to finally learn how to read music. It's easy. It's not hard at all. Um, however, for I guess, laziness or fear reasons. Most of my guitar students, um, usually do not want to read music. It is not something that they I feel like they could do quickly. A lot of people think that can't learn how to read music. It's too hard on Lee. Only music students and professionals read music. That's not true. Everyone reads. Music is something that I want all of my guitar students to learn how to do. It's very easy to learn how to read music. There are so many advantages to reading music you as a jazz musician, you especially should have least minimal music reading skills. You don't have to be great at it, but you need to be able to look at a piece of music and pick out the notes. You already know. Have you read the courts? And in jazz world, when you look at a piece of sheet music for a song, you're going to see two things. You're going to see the courts. The court names up above the staff and you already know how to play. Probably almost all of this. We've covered most of the courts, so you should be good to go on the courts. And then you got the actual staff itself, which will have the melody notes on it. The good news is that in jazz, the melodies air usually very sparse. So you don't have any kind of very complex melodies, lots of notes. It's not like that. There's only a few notes. Melodies were very simple. There may be a lot of accidents. ALS off the notes may be in a lot of bizarre places, but it won't be that many nuts. Jazz just doesn't have that many notes in the melodies, so that makes it pretty easy to do if you have a minimal ability to read music that rating jazz scores will be easy for you, Okay, and, um, also, you may be thinking, Yeah, but when I listen to jazz music, the Taurus playing super fast and lots of notes from a saxophone players playing tons of notes, that's true in their solos. In their solos, they're playing tons of notes, but they are riffing off of the original melody in the original melody does. It's only got a few notes, and that's true for most jazz songs, and we don't learn how to play the solos. Note for note. That's not something that jazz musicians do, so you're not going to look at a piece it John Coltrane, Miles Davis, where Louis Armstrong has a song that they wrote. You want to learn how to play it, you're not going to. They're not going to write down the solo. They're not going right down Jungle France. Hello, Miles Davis's solo. You're not gonna have to play all that stuff, and a jazz musician wouldn't do that in the first place. Jazz musician would learn the very basic melody one time, and so Louis Armstrong or Miles Davis is going to write a very simple melody, and you're going to learn it and then you're going to solo around that Milady and the Cords . It's intentionally designed to be simple melodies, intentionally written to be simple, so that is easy to solo around. There are big spaces in between the notes so that there's a lot of room for soloing and you are not ever going to learn another jazz musician Solo note for note. You're gonna listen to them and try to pick up tricks or their technique where their style of going from there to note. You're gonna be doing that by here, but you're not going to be doing on paper. So reading music for jazz shouldn't be that difficult for you. Okay, so you got your pdf in the additional resource is tab, which, um, please get puts downloaded, open it up, printed out, and it is pretty self explanatory. I've got a great short chapter on how to read music for the guitar. The guitar is a little unique from other instruments in reading music. I'll explain that in just a minute. What makes it unique. Uh, but you should go from not being unreasonable to reading music in just around six pages. I think it's somewhere around six pages, and it's easy six pages on. By the end, you're gonna be reading music, open running, and this is not something you have to practice all the time. Not, you know, hours and hours on end. You should just do, you know, maybe 10 minutes a day have one song and just try to read it for 10 minutes a day. You don't have to get all the way through it. Just do a little bit of music reading every day. It will be great. You'll get to the point to where you can look at a piece of music you've never seen before . And you can grab your guitar and start playing it as if you open the book and just started reading it aloud. Okay, um, and it will give you unlimited song choices. You'll build a play and he saw You want you learn any So you want. Because a lot of jazz is not tabbed out through the classical music forms like classical broke. Classical romantic, jazz, bluegrass, um, love Latin Flamengo Thes are styles that have not been tapped out where they mostly not been tapped out, so you can find some taps. Foursome classical on some jazz and bluegrass. But if you really want to get into the style, you have to read music because it's already written down. It's already on standard notation, so learn how to read music, Please. Okay, let's jump into. I'm just going to give you some of the bullet points you're going to do a lot of the work yourself going through the PdF. It's pretty self explanatory, but I want to cover off some of the things that you're going to see. All right, so first off, we've got five lives. The traditional music staff is a five line staff with Tab. We've got six lines because it's the six strings. But with music staff, we have five lines. OK, and as a matter of fact, we've got five lines and four spaces, four spaces in between the lines and that's how you think of it. Got five lines, four spaces okay and the notes going from low to high. And there's a saying for almost everything you learn music a little new Monix to help you memorize it. I'm so e g b d f. Every good boy does fine. So the notes going from a little high these air, the notes not strings these air the notes going from low to high. Every good boy does fine Are the notes going from low to high and the space is going from low to high f a ce spell the word face. Okay, um and so on the pdf that you got I am showing you below the staff how to play these notes on the guitar. Where these specific notes are That's important is that you play these specific notes. You cannot just say, Oh, that's a e Well, I know where a couple of these are the guitar great, but you have to play that specific e Okay, because see, Heather's an e here. And then there's a e here having e m. I a lot of wine, but I also haven't am on top space. Those are gonna be on different places on your guitar, and that's what you're trying to clue into. That's what you're trying to learn right now. When I see this e. I know that it is going to be on the D string. Second fret. That's where the for every good board is fine is going to be. And the e on spate of the face of the top space is going to be I open string my Heidi So they are active apart. And then, of course, I've got this e way down here the ends, which is going to be a low e string open, and so we've got three e's right there that we just saw. And we need to know which one we're playing so well know that we're in the right register. That's a big piece of learning how to read music on the guitar. Okay, let's back up. Just a minute. When we look at the staff, we see three things. Okay, before we even look at the notes. First of all, we've got this big symbol right here. See this big symbol? Okay, this is the clef. It's our cliff. This is our treble clef. Guitar players play on a treble cliff. Um, certain instruments will play on different cliffs. So they're the two main clefts are trouble clef and the bass clef. Um, I don't want to bore you with too many extra details, but the piano plays on this thing called the Grand Staff because piano players have two hands that they could play with, and they play with trouble club and then below it. They have a bass clef. It's a whole different clef. And the notes are all in different places for them on the bass clef. And what they do is the right hand is playing all the stuff on trouble. Cliff this guy and their left hands playing on the stuff on the base cloth underneath it. It's pretty, pretty crazy. It's pretty impressive with keyboard. Players could do the way that their mind is able to just look at two class simultaneously. Play it. It has always impressed me. Um, because I know I did a lot of work trying to get fast at reading the just the trouble. Clough. So? Okay, so we already the trouble club and violent, violent players read the trouble. Clough and trumpet and saxophone. So most instruments that air solo instruments are going to play trouble. Clough. It kind of looks like a big G, and it's got this fishhook that goes right through it. So it's going big G. It's got a fishhook that goes through it. That's what it looks like. Okay, so we see her Clough. So we know that we're in trouble cloth. Um then we're going to see our time signature. And we talked about this when we did our rhythm study. Eso 44 Okay, so that's gonna tell us that we have 4/4 notes in the measure. The time signature could say a number of things it could be 34 3/4 notes and measure. Could be 54 could be 68 6/8 notes in the measure. 7878 minutes of the measure. 98 9/8 nose in the measure. So it could be a variation of different things. So we want. And so that way we'll know how many beats in each measure. So when we're counting, will know how to count. And by the way, if you had some time signature like a 98 it would say nine. Over 89 eight, you would count it like 123456789123456789123456789 So each one of those agents would be 12345678 time. If you were in a 78 time, you just kept some 12345671234567123456 That makes us okay If we were in a 34 3/4 notes to measure 123123 Okay, good. Um and then lastly, we've got over here. We've got our key signature key signature. So are key. Signature is telling us that for the entire song, we have to make sure that we sharp or flat whatever notes we see in the key signature because they're not going to continue writing it for each note. What I mean by that is when we look at this eat every good boy is fine. We face, we've all the known until the notes all these notes are natural. Okay, there is no sharp. So there's no flats here. They're all natural news. So sometimes if we're going to have a note that is meant to be a sharp or flat will write it right beside the note, it will write the little sharp sign or the flat sign right beside the note. Those air called accidental. Usually they're usually called accidental, meaning that they are just a special note that gets a sharp or flat so we can write all any of the 12 knows that we need just write the natural note in and then write a sharp next to it were flat next to it. you want to be a sharp or flat whatever you need. But if you are in a scale, then we know that for example, this key second Juries in Kiev G major on dso If I was writing a song in key of G major, I g major has enough sharp. There is no f note in G Major is kind of sharp. So has all the natural is except half his f sharp is no f natural is that sharp? So I need every f to be enough sharp. So I write f sharp in my key signature at the very beginning of the song right next to my Clough. And so every good boy does fine. So I've got my F line at the top. I read a sharp on it with us Telling me is that now every time I see an f from here on for the rest of the song, I have to remember to make it a sharp because my key signature told me to that f sure extends to every death, not just the F on the top line, because it means that this effort here on the top line means that this effort here in my first space. It means that that f dept there any F cycle find up there any of anywhere has to be sharp because the key signature told me to. And sometimes we'll have a couple of different notes sharp a few different sharps on different notes or could be flats. And if it's blast, that's telling you every time you see this note, you have to make it a flat now because we're not gonna keep writing in front of note. You just have to remember because the key signature told me to. So that's an important thing about key signatures. The key signature saying, We're telling you one time right now every time you see this, no, you have to sharpen or flat it because we're not gonna keep writing in front of that note and you have to remember. But you'll start getting the hang of it, though, because it will usually be in a certain key. So, like when you see, for example, this just the F sharp right here. I know that that's telling us from Kiev, G. Major. So I kind of as I'm playing the song and kind of nowhere in G. Major. I'm anticipating that have sharp because I know we're in G major. We've talked about this a number of times. There's only one key has no sharps and flats. And that's the key of C major. Okay, so when you're in the key of C major, you will not see a key signature heels you'd like. There won't be any shorter flats here, and that's telling you that you're in the Q C major because that's the only key of all. The 12 keys is the only one that has no sharps and no flats. Everything else has served with Placido. Okay, so that's how kissing Joerres also one more thing of four thing that you may see A Z. You may see the tempo. Okay, so you may have a little tempo worker here on that's usually described as BPM beats per minute eso it could be bees prevented or could tell you there were vast slow medium could give you the classical Italian terminology for the speed. The way beats per minute works is if you are going 120 beats per minute. Okay, so the second hand on my clock is going to take 60 times in a minute, right? So if I had 60 beats per minute, that would be one beat per second. So every second would be 1/4 note. That's how fast would be this, and that's extremely slow. By the way, 60 beats per minute is really slow. One beat per second. It's really slow. Tempo in medium tempo would be anywhere between 100. I was a between 100 to 120. So if you imagine going for a pretty good walk, you're going at a pretty decent speed. But you're walking one foot from the other. That's about 1 10 to 1 20 beats per minute. You're doing about two steps per second. Okay, so you can think of it like that going 140 beats per minute. That's pretty fast. You're you're you're not running, but you're almost running eso you could have your tempo marker also right moving on. We have, um, ledger lines, thes lines here that go below and above the staff or called ledger lines. So the staff it's got five lines of in four spaces, but it really goes to infinity in both directions, goes to infinity above and below. The only goes as far, though, really as our instrument can go. So it goes as high as the highest friend on our high string, and it only goes as low is the lowest note that we can hit. Like are open Eastern. But the ledger lines can go as far as we need them to higher or lower. You know, what we do is we just will write a little line and then that creates a new space in a line of space in a line. Okay, so as we're going higher, we're just writing ledger lines above the staff ledger lines below the staff. Now, let's think of an easy way to consider the staff. Of course we have. Every good boy is fine. We have face, but let's look at it like this. Okay, bottom line starts on E, but we're really just following the the alphabet. We're going live space line space line space like space. That's how staff works. E F G A, B, C D E f G a B C. It's going online space line space every times going from a line to a space and it goes backwards the same way. It's just if we're going backwards. We're counting through the, um, the natural notes backwards. So, um, figure from G f E d c B A g f e d c b a g So we're just kind of backwards If we're going down, if we're going up, will County forwards through the natural nous a B C D E f g A Every time we're going online space line space. And so when you're dealing with the ledger line, if you are ever confused on what the note is, you can always count it from something that you know. I know that the bloodline is eat for every good boy does. Finest e. So we go into the one space right below the hole staff as a D. Then we go to the 1st 1 That's a see when we go to the next space below that line to be, and so euros counting last baseline space. Okay, um, so that is pretty much the crux of reading Music's. Like I said, it's not that complicated. There's one more point that I do want to make, and we've already covered off on the rhythms, so this is telling us where the notes are. And then we were to play the what? Fret Play them on. And then we'll be attaching in music. The rhythm. So what kind of abuses and 1/4 Is it an eighth note? Is that 1/16? Is it a triple it? So we'll just be attaching the V to the note so that we know how long to hold the note for . Okay, The one thing that makes reading music on the guitar a little different from other instruments is the guitar has a thing called an harmonic equivalents. And and harmonic equivalent E n harmonic and harmonic. Okay, in an ever Monica equivalent means that we are playing the exact same No, on the staff. Um, let's it could be this first the right here. Okay. It's the same exact note on the staff, and we're playing in two different places on our guitar. What is the same pitch? Let me show you. Okay, so this bottom line right here is eating. I said beginning that it was the second front on the D string. So that's the IV from every good board is fine. Um, seventh front on the a string is also that e from Every good boy is fine and it's the exact scene frequencies, the same pitch. It's the exact same frequency. It's the exact same frequency is the same pitch and it's the same on staff. That's an end harmonic equivalent. Okay, And so what that means is that when I was learning to read music for the guitar, I was really confused. How do the guitar players where they're playing a pie, you know, how does that work without all of the notes being way of on really high legend lives on bits Because and harmonic equivalents? A lot of teachers don't think to explain that. I'm telling you, Got it now. Um, so And like I said, stringed instruments are the only ones that have to consider the harmonic equivalent a keyboard player. Well, I have one place to play all of these notes. For every single note on the staff of Piano Player, there's only one place to play each one, and for a trumpet player and a saxophone player and flute player, just like one figuring of the keys that they press to get that note, there's only one place to play that note for most instruments but the guitar. We've got a few different places to play these notes. We could go here for the sea where we could go here for this peak where we could be Oh, here, for instance, three and harmonic equivalents. So what that means is that if I had a little melody, we'll see my multi went life. They could play it down here with second friend, where I could come up here in play. Play here in the middle on the Southern front, could come up high and play here in the booth. Now you can hear that the because of the string gauges, there's a little bit of a difference in the tambor T i M v r E Tambor. So the Tambor is slightly different because the gauges of my strings or different but the frequencies of the same the pictures are the exact same, and they're the same on the fretboard. So and harmonic equivalence is actually a good thing because it gives us this. We can have players preference as to what position would we like to play that melody it so And I've got a section on maybe the 2nd 3rd 4th page and really can't remember offhand in the pdf that you've got where I am showing you some different and harmonic equivalent examples, and I want you to look at that and really think about it. If familiarize yourself with different places because you don't have to be stuck down here . Yeah, the open position. When you're playing jazz, you can play in the middle of your guitar where you can play in a pie and you can play the exact same thing that's written that without going up inactive. And that's great. That is really cool. So it gives us a lot of options of where we would like to play, where it's comfortable for me to play it so. And harmonic equivalents are a very cool thing for guitar players. It's just Do you want to get familiar with different pitches because I just showed you low and harmonic equivalents? What if I took this note right here? There's another you know of the D String on the 14th front, just the same G string ninth fret, which is the same as the string fifth fret, which is the same as my been e string. Those are all harmonic equivalents. And so if I know, for example, by high E string is the e from face Then if I have a melody that is going to be around this area, I can play it open where I can play here on fifth friend where I could play here on the ninth French where I can play up here on the 14th. Fret It's my choice because they're the same pitches and harmonic equivalents. Okay, um, I think that about covers it, um, ends. We have a couple of examples in the, um, pdf where I am giving you tab and I am strongly requesting that you memorize where these notes are. And then, um, we are eventually want to get rid of the tab, and you're going to have to play in some different keys. Always pay attention to your key signature when you're reading music. Um, and also, when we are doing ledger lines, the lowest note in standard tuning that we could hit on our guitar is the space below the third ledger line. Space below or third ledger line along with the end is R e. Okay, so you get that SA's low as we go All right, so I hope this was helpful and my ankle for use that you are going to pick up a real look or some kind of a jazz songs book pretty soon as you're getting closer toward the course so you can start learning a lot of different songs, and you're going to be able to read them and play them with no problem. Okay, so go practice reading music. 27. Cycling 4ths (page 73): let's cycle through our fourths. So this is a very cool trick that we can use to go through all of our relative cores and a relative court extensions without having to go through them in order. Told you number of times. Now to practice your relative cords, Andi makes them all not just the extensions, but to mix up the degrees that you're going from. Eso for it. See, um, you you may be wondering, you know, should I go from C to D Minor or C T. E. Meyer CEO? Ever see the gene? Um, and I would encourage you to experiment with all of those options. They're all going to some different, but you may have found that some of them sound better than others. Um, and then within each of those changes we're going to play with our extensions are substitution of the courts. So fourths, when we're going from fourths, this is a very cool way. A lot of jazz music will cycle in fourths, and it's a cool way for us to go through all of the seven core degrees with these big jumps , and we're gonna wind up playing all seven of them What I mean is right here. I wrote down the notes of the C major scale were staying and see for right now. C d e f g a b. Okay, so my first quarters see? Okay, So write down C C major See is the one. So 1234 that leads beyond, and f you count The core of your own is one. So that lies on 1234 f So we write down F major major sub. Okay, now F becomes one. F becomes are one 1234 takes is to be all right. So we write down b minor seven, flat five. We're going to write these old down in their respective sevenths. I said now be becomes one 1234 e So we hav e minor sub now he becomes or 11234 Hey, so a wonder seven you know a becomes are one 1234 de d minor seven d becomes in one 1234 g g seven because G is dominant and G becomes their one 1234 Takes us back to see Takes his back around the world to where we started. Okay, so let's try this album. Let's see how it sounds. Um, I'm a strong each scored about for four beats. Okay, so 234 34 All right, so it sounds cool, right? It's very cool to great weight in practice, going through all of your scale degrees in key. So now well, we could start playing around with is are extensions. So this is meant to be a way for us to practice, go through all of our extensions and soloing in an interesting way of war. Interesting way just going in order than just going to see d minor d minor, f g seven a minor So we could do that just to kind of get started and get used to it. But if we want something that's has a little bit more like a song, we will cycle fourths, All right, so now we want to start throwing in the extensions when we can throw in the 96 days or 13 anything like that, we want to start playing around with those as we're changing courts. So let's try it again. Right off of that, I'm starting with a C major. 9234 way , Michael. Okay, so we could keep doing that for a while. There's a lot of different court possibilities there. We want to start mixing up the cords and see how this voicing sounds when I go to that voicing, you know, do I like the sound of a C major seven two f major and I or do I like going from a C 62 f major sub? Where do I want to go from C 69 Teoh in F um, Major Knight. Who knows? You know, you want to try all the different possibilities and they will sell different. There are some pretty cool, probably. All right, now we can go through our videos. We can go through the moments for soloing through these. Um, let's just go through some basic or pages and see how that sounds. Okay, Teoh. - A three goal. That was just going through the seventh, the respective seventh arpeggios. Okay, there may have been a few court tones in there, but that would have been just notes from the videos. Sounds also right. Okay, Now let's practice going through our modes on and every time the court changes, We're going to change the boat. So see, court on the C major, see Ionia on the S court on the F Lydian on the B chord among the be low creates. So every time the court changes, I'm going to go to that mode. OK, 233 Theo, Theo! - All right, that's pretty cool. It's good practice because of going through all of my modes. And I only have four beats to figure out something to play. Okay, so that is a great exercise for working out all of records and Europe edges and you're modes. So work on cycling through your fourths and you've got a lot of work on. You can spend hours and hours just doing this in a single key. We haven't even done this. Another key. So when you start doing this in another key, this could be a year's worth of practice opportunity for you. So a lot of great stuff in cycling fourths. Oh, and if you got together with friends and you wanted Teoh have some courts to play, you don't really know what you want to do. You don't have a song. You could say Hey, let's just cycle threesome fourths because it's gonna sound cool. Sounds like a song. All right, Have fun with it. And, um, keep up the good work, your young good. 28. Altered Chords (page 74-77): Let's talk about altered cords. So we are now in the advanced section. So congratulations on making it this far. Um, so things were getting a little bit trickier. So far up until now, we mostly been staying relative. So we've only been using the notes from the scale and the courts that are built also from the same scale. So everything is following in this order and pattern where, UM, it'll is just making perfect sense. And it's following the classical rules of music. So jazz is about breaking rules and pushing boundaries, and that is definitely where ultra cords come to play. And the concept of altered, uh, extends to arpeggios and scales as well. So we'll take a look at that a little bit later on, um, alter cords. There are four different kinds of ultra cords are four different categories and old records . Um, we were ultra Accord. You'll know it's altered because it's going to be either the fifth or the ninth that's going to be affected. So Ultra court. It's always going to be based on 1/7 quarter dominant seventh chord, a dominant seventh court. So the foundation of ultra court is a dominant self and usually is going to be just the most basic version. 137 Okay, Route major, third, minor seventh. So if we were in he of see I to make just a basic altered our basic seven chord, Um 878 That's 1371 major three minor. Seven. So that's my foundation for the Ultra court. Then what I'm going to do is I am going to, um, either sharp or flat the fifth, or I'm going to sharp or flat the knife and add it into my seven chord. And that's ultra cord. So its foundation is a dominant seven. And then we're going Teoh either sharp the fifth or flat, the fifth or shark the nine or flat the night. Okay, so these air intervals that we have not been dealing with open till now. We've got a little bit of a flat five because of R B minor seven flat five. The B minor seven flat five is not altered because it's a minor court. Eso Ultra courts are technically major because they've got that major third s O B minor seven flat five. It is not alternate, and it belongs it is relative follows perfectly with all of the all of the scale degrees and all the notes. Um, okay, now, where do ultra courts come into play? The answer is they can happen anywhere, so they don't follow any rules. An ultra court can pop up anywhere, so you could be in the qc. So I have an example here in Kiev. See, an ultra court can pop up anywhere in any of the 12 chromatic roots. So that really is is at the discretion of the person who wrote the song, but also us as musicians and our ability to say I want to put annulled record right here. Ah, a lot of times and ultra court is going to be something that will just be a transition court. So we're not going to hang on it for that long. You may them you definitely may hang on it, um, to go. Either way, it's either going to be something that will be quick on its way to go to court, or it will be something that we may hang onto for four beats were longer. Okay, so the basic construction, let's take a look at the basic construction on Dunder Pdf. I'm gonna give you a few different ways to play these, but right now I'm just going to show you one of each way so we can get through our basic altered cords. And here's what they're going to look like. Okay, seven flat five or seven sharp 57 flat. Nine or seven short night. Now the deal with Altered is that it is based on the dominant. So we take a dominant chord, okay? And then we sharp or flat the fifth or sharp or flat the knife or any combination of that. Okay. For example, I could have a seven flat five flat nine chord seven flat five flat nine Where the court could be seven sharp five flat nine Where the court could be seven sharp five sharp nine. Where the court could be Do we went through all the permutations, any of those permutations. But then also the aware of the fact that we're just kind of going for a simple ultra accord by using 1/7 because it's built on dominant chord. A dominant seventh is a dominant chord. But Dominic or could be a number of things could be a seven Could be a nine. Could be in 11 could be a 13. So they construct any pretty crazy. So we can have a nine flat five. And if you see a nine flat five or nine short five, um, or a nine? Um Well, yeah, it probably will be a nine Slaton line, but, um, because of the concept of the night, But we definitely have a nine sharp five, which is because the deal with ultra is that it's gonna be any combination of the flat five sharp blood flat nine or short. So we could have in 11 flat five sharp five or 11 flight 9 11 Sharp mind were 13 flat 5 13 sharp. 5 13 flat. 9 13 short night. All of those could be old records. And then we can start throwing mawr extensions on them of altered 13. Um, flat five short mine because we combine any of the stuff that we could do with lives in the knives, you know, usually one of each. One kind of 51 kind of nine. Um, 13 flat. Nine sharp. 5 13 flat. Nine flat. Five. Um, 11 sharp. Five flat. 9 11 sharp five short time, there are tons of different. So we start with the dominant court and the most basic version of that we that we could get . So if it's 11 or 13 chord, you really want to try a parent down to smallest pieces 13 on, then the 137137 13 and then go for the Ultra extension. And so we talked before about the extensions. We've used that word a lot with extensions and alterations. So the extensions are all of the different notes from the regular scale major scale that we add on to get, like our major seven chord, um, were major nine chord or minor. Seven. Anything like that that's normally in the scale are alterations are where we're taking notes, not in the scale and sharp. Five flat, five sharp, nine in flat. So those air alterations it's just the terminology. OK, soo, let's take a look at, um, let's do the key of C was just keep it simple and I'm going to Ruthie's right here on the A string. Third fret. Okay, so let's start off with these seven flat five. Here is my C seven chord It's a dominant son. Starting on the A string, it's 3535 Okay, so my D string note is going to go to us the fourth fret. So now it's gonna be 3435 Okay, 3435 So I flatted my fifth, bringing to the forefront that is C seven, flat five. Okay, now let's go back to our C seven again. Here we are. 3535 Ok, now we're gonna take that d stream note on the fifth front, and we're going to raise it up to the sixth. Fret so that kind of shit my pinky refigure down. So no, it's starting on the A string. 36 35 si, seven short, five si, seven short flies. So we've got the C seven flat five. Yes, old records were going to sound very different. So there were getting sounds that we're not getting from the regular scale. That's the point. OK, let's check out our seven flat nine right here. I'm going to make a C seven shape like this starting on a string. Still 323 It's just very basic. We'll see. Dominant triad 3 to 3 I'm gonna go ahead, just bar down with my index finger, so I could also get the second fret on the B string. Okay, that's gonna be my flat nine. So nine is the same as two. So nine is the same as a like a major second. So they have a flat nine is the same. Interval is a minor second. It's one note one fret above the root note. Okay, so right here when I'm doing my C seven flat nine, I flat nine is a c sharp note, which is deflects. He sharp when you fly. Was one fret about my C note. Okay, let's take a look at the seven short night. So I still have my C seven Triad 3 to 3. Now. This time I'm going toe get the B string with my pinky for threat. Si seven seven short on dough. So if a nine is thes same as a major too. What comes after a major to the rebels, actually a minor third. So short nine is the same intervals of minor third. That's a strange thing to think about. It's especially strange if you think about this court. We've got a major third in the court. This spelling of my seven Tran is 1373 is a major third. So by getting that short nine my pinky, I'm actually playing a minor third and a major third all in the same court. Uh, that is a really unusual court, because normally in music that is a horrible thing to do. You should never have 2/3. You can't do it, you pick one, and so they don't really call it 1/3. The intervals a sharp nine. You know, I got to meet your third and sharp nine, but they definitely still clash quite a bit. These two intervals slash what's interesting about this court's, um in the Guitar World's Court. The seven sharp mine has been come to them to be called the Jimi Hendrix, scored by some people. Jimi Hendrix, the guitarist used the Seven Sharp nine Love his songs. Um, so So if you go this, the Jimmy Hendrix scored, but it's been around for long before him. He just brought it into some popular music back in the sixties. The oh, so there's seven short, um, so that that basically covers our basic course. Let's take one more looks. We've got C seven here, so I'm gonna drop 55 si seven flat five raised my fifth schools. See seven flat nine on C seven sharp of these courts. The ones that in my experience, you see more often You definitely see a lot of seven flat 97 flat nine pops up blood and through the seven flat five Also sometimes the sharp love theseventies sharp nine. You know, uh, you don't see it is often but again altered. Um, ultra playing has a lot to do with a player's preference. So when we have an opportunity to do unaltered court a lot of times we will be able to decide what kind of altered we want to do. Sometimes in music, when you see an altered court, it may just say cult a lt So you may have a court insist De Ault. So it's telling you play some kind of an ultra D chord. So you got a lot of options there. You could play d seven flat. Five D seven sharp. Five d seven flat nine d seven. Sharp line. So I got a lot of options there. If it just says salt. And sometimes that's what you'll see. Okay, um, getting back to where you ultra courts show up, they could show anywhere. So the death let break the rules of staying with the keys. I have a sample progression that I wrote down over here so we could kind of see how they might work into court progression. I circled the ultra courts so less. Just take a look at what we got. C major, seven way. Have. See short seven sharp five C sharp making seven short flagship to be going to see sharp seven flat five g nine. Okay, let's listen to it again. Right to 34 Good . So, um, this progression is just random stuff that I wrote down. I tried Teoh wired to B and C mostly in C major, but I wanted to throw some ultra courts in there for transition. Okay, One of the devices that we will see a lot is the We're going from the minor. Seven flat five Teoh, the, um, the seven flat nine court. So we see that going on over here, and then we see it going on right here also. And that is going to be 1/4 apart. Okay, so going from the minor. Seven flat, five to the seven. Flat nine. And then I have been over here. Also, see sharp C sharp, Marcin flip five to the F sharp seven flat nine on. And so that's just a little device that you happen to see. A lot is going from our sinful five and the fourth away from that will be the seventh flat nine. Court just shows up a lot of user. It's a good transition cycle. Okay, so this is getting you up and running with your ultra cords. Um, and we're going to take a look a little bit later on at how to solo over the ultra courts. I bet you can guess some ways that we might do that, Um, but get familiar with ease. And don't be alarmed when you see an ultra cord. A lot of times when you see an ultra cord, you could actually play any Ultrak or do you want, um, and they want you to play a specific ultra court to show a melody note. But a lot of times since it's a passing court, you can interchange it with any ultra cord his license in the same key. So I'm meant to be playing the E seven flat nine, for example over sure. Oh, I could substitute it with a seven sharp nine. Or I could substitute it with a seven flat five k picking it up from the minors. Or it could substitute with the E seven sharp five picking up from the B minor. So they all kind of work. We can kind of see how they all will sort of transition into the upcoming court. Um, so even though it's tell me seven flat nine, I have a little bit of discretion that I could choose, um, to use a different ultra cord. Um, And when we start learning about how to solo over altered, we're going to see that a lot of times it's there. There's a lot of tools, words, One thing work over anything altered, so we'll take a look at that little bit later on. But good job and work on. You were ultra cords 29. Altered Arpeggios (page 78): let's talk about playing over ultra cords using altered arpeggios. So this is actually going to be simpler than you may think. We are going to, um, use the organs, you, which is going to guarantee that we're going to play with the perfect notes. We're going to form all of our altered arpeggios with a very basic dominant seven. Try it. Okay, so what we've got over here, there's four kinds of, um, ultra courts. We've got the, uh seven sharp 57 flat. 57 sharp. 97 flat. So what we're gonna do is we're gonna start out with seven, and to get our seven, we're going to use these three intervals. The root note major third in the minor seventh. So if we're in the key of C All right, so we're on the eighth fret low string. There's our root note. There is our major third. There's a reminder seven, just like we're doing a tiny little 7/4 little dominant seventh chord. So Route major third. Then what we're going to do is we're going to add in the one extra note. Okay? Assuming that there's, like, one alteration, so it's root major third letter seven plus either a flat five, a sharp love, a flood nine or a sharp knife. So let's say we got a flood. Five. We've got a seven flat five chord. Um, so playing sees when you bend you over. So we've got someone 37 Um and we got the flat five minutes. So are five would normally be right here before we get to these. All right, we're going to go ahead and flatten it. Just take it back, Fred. So, 13 there's my flat five normally so just one friend behind it. So 135 and then So 13 Here's where my final would normally be. So I just go back a friend. Five minor seventh and never again. And so we're going through the entire shape and you're out of practice going up and down through the entire shape. We talked about a lot of times. You're not going may not have that much time to solo over the course, so you may have to just get it out quickly. Just a few notes. So what we're doing is we're just quickly looking for 137 They were adding in the extra alteration. So, Theo, uh, let's see what it looks like with a sharp five. Always gonna start with same dominance. Seven. Try it. Way said, this is where a normal are perfect fit is gonna be 12345 That's perfect. Fifth. So now we're going to have to sharpen it. Guy want Fred higher. So one freak short flies 13 years were my fifth would normally be, So I have to sharpen it. Short. 57 one. Okay, that's going over the C 757 one every sure five or seven way, Theo. Now, let's take a look at our flat nine. So the flat, the nine, the normal nine is going to be the same as the major to so flat nines. Like a minor second interval, which is one fret above the route. Okay, so we're always doing our dominance of trying way. We're gonna add in a minor second interval every time. Okay? I'm just gonna go ahead at it in right away. So there is just one friend above my room every time I have a really good one, Fred above it. - That's going over the Oh, now let's take a look at, um, going to our seven Sharp nine. This one is unusual because we've got the 2/3 that happening. We always we're going to start with our try 1/3. So, um, we are going to add in the sharp nine with sharp nine is the same interval as our minor third. It's unusual is that is we've got a minor third in a major third. So one wire 30 37 1 1/3 major, 37 go blender. Third or short line and major. Third. Sure. 17 Sure One. Now what you may do over the sharp nine shirt nine is session unusual One. We may used the technique where we skip, um, the major third every now and that so we can emphasize it a little bit because that's really what we're trying to do with arpeggios we're trying to show was happening, and so we don't want to sound too much like a scale. We don't want the nose to be too close to each other. So if we go one one, major third, 179 You hear that? How alternating every other time I'm changing my third good, Theo. Um OK, so that is a quick and dirty way to play your altered arpeggios. Another thing that we can do to go through the arpeggios. Um, we're to get through the elder cords. Uh, like the Earth is uses player quarter tones. So the court tones, as we learned, is a fail proof way to to get through a solo and still show what the court is doing, but have a little bit of the melody behind us. So if we have, for example, C c flat five So you quarter tones true. Okay? And as we know, not going, not letting them bring into each other, pressing on the one at a time, trying to do a little bursts of rhythm so that it sounds like a solo three c seven Sharp way. Let's do the C seven flat nine. Okay, let's do the C seven sharp. All right, so using the court owns, we can always get our point across, and we don't have to do any kind of complex counting or um saying we're gonna take this arpeggio, do you half of it and then add a couple of these extra notes, although that could open up a lot of possibilities. It really depends on where you are on the fretboard and what you've got access to. So when you're planning through the court progression, sometimes you will find yourself in a situation where I know what to do down here. But I'm over sure right now, and I don't have time to move. So I need to figure out what I could do right here. So you will either be a quick NGO ultra arpeggio or you'll go for the court tone, and that should get you through soloing through any ultra court. And that is the safest way to solo over annals. Record is using the video or the quarto because it is and you could be a very fragile court because we have deviated from the notes of the main scale and we're on outside notes now. And so we want to make sure that we are. We're showing the cord, but we are not going too far off kilter. We're staying focused on showing that one chord and then moving on to the next day. So arpeggios Great way to do it. The dominant seven, Triad one major three and minor seventh Interval and then you add in whatever the alteration is, by the way, this is probably a good idea to to talk about. If we have an alteration, that is a larger alteration. For example, we have a C seven, um flat five flat nine. Good. So that's our court Si seven flat five flat nine. Um, and see, how would we play that like this? Theo Theo? The larger alterations could get really difficult to figure out how to play court wise. So what you want to do is you want to go for the peace. If you're playing the court, you want to go for the peace of the ultra cord that you could get Teoh if you can't play the whole thing or if it's going really slow, you down, just go for the peace of the Ultra record, they can get to quickly with the arpeggio. You could take the same approach, go for the intervals that you could quickly go to. But if you wanted to extend your bid, you out to get all the notes that we could do that. So we've got the flat five and the flats 95 and flat nine. This example. So Aziz, always one major, three minor, seventh over dominance of Trans way. We're going to grab the flat nine five . Theo. So, um, it's good idea to spend some time. Just give yourself a much times. You need to go through it and get comfortable with a couple licks to come up with a few licks that you could do so that when you've only got two or four beats to solo over a court like that, you've got a couple of quick ideas that you can execute. Okay, really good job willing. A job. I think that you are pretty good shape. So now you at least have a wonderful tool for soloing over any ultra course that you can come across. So go work on your altered or videos. 30. Whole Tone Scale (page 79): Let's talk about the whole tone scale. The whole tone scale is very cool. Scale is also called the augmented scale. It is a symmetric scale in music. Um, having perfect symmetry is extremely rare. You don't see symmetric concepts that often, Um, and the old town scale is perfectly symmetric. Um, actually, two of the tools that we use when we're dealing with altered happened to be symmetric. What is the whole time scale? The other is the diminished scale and the way the whole time scale works is very simple. Um, in music, we can think of all of our intervals as whole and half. So whole is two frets the whole tone. And, um, we're a whole step in the half is one fret. So whole is two friends and 1/2 is one fret And so we use whole and half to create scales and boats and talk about the distances Eso, for example. The major scale is whole whole half whole half. Okay, So if I was on my first friend making f major skill, I said it was whole whole half whole whole whole half, so Oh, I just made enough major scale thinking about it completely differently. Um, whole is two friends. Whole step and 1/2 step is one for it. So from the F, they go whole, whole, whole, whole whole. So that's how we can construct scales and modes. Now the whole time. Skill is all whole toads. The whole thing is whole tones. Every interval moves to threats. That's pretty simple, right? So, for example, if I was going to the F again as a whole tone scale, the all invented skill just gonna keep on moving to friends every time, okay? And sometimes you want to think of it linear, linear, as in just moving up and down one string. So you're on the f up. I go back to Frenzy Shine. You could just grab from anywhere and just move it up and back to frets, and you're going to be on the whole time scale. Good of the whole tone scale in the world of altered. The whole town scale can be used to solo over anything where the fifth has been altered. So anything where we've got a flat five or a sharp five works over both. Okay, Because the whole time scale has a flat. Five. Any short five. And it doesn't have a perfect fifth to them sharp. Five or flat. Five. Whole time scale works over Annie. Altered with the fifth that's been altered. Don't use it over and ultra knife. So it's a sharp matter. Flat nine. Do not use the old of the whole time scale. Only use it. Where is thief? Fifth is the court has been altered. Flat fiver sharp. Five. Okay, so how we played in the closed position. You got your pdf, but I'm gonna show you real quick. It will move around kind of from side to side. So, uh, I'm starting. Q C on eighth froth. Come up. One fret with next string just back. I'm gonna go one fret on the G string. Stay in the same frame when I go to the B string. And then I go back with Fred for the Eastern thing. Theo, Theo from the b strain of the G string, staying on the same froth like that. So that's playing all of the tones awarding the time. Sometimes what I will do for a quick and easy shape is to just grab the tones that are just right next to each other and then jump to the next string in a diagonal way. So I might do like, just doing too. Do you hold him to report? And I'm just going diagonal change every time on the street way. Cool thing about that. And remember, for the B string at the G string, I stay on the same froth back to one friend, move on the eastern. If you're looking at me and you're and you're wondering Well, which did you go over back on? Did you go over Fred or back? A friend on that one? Doesn't matter for the whole time scale doesn't matter if you go up or back. As long as you either go up or go back on the next trip doesn't matter. It's gonna be a whole tip. So watch this. We owe you again. Doesn't make it out. So I could go. Just keep on going this way where I could keep going this way. Okay. It's sort of like our diminished arpeggio where we were just climbing up a friend in a diagonal in a dying away. But with the whole town, we could go in either direction. It doesn't make a difference so long as we remember. Keep the keep the G string the string on the same way, Theo eyes the whole time Where the augmented scale Use that over the seven. So I'm gonna see seven flat five here. No way. So I can use it over either one. And I've been playing in a linear way out once strangers Gravas enough gold to France or back to France, or I can do it from a box shape and staying put in position. Or I could just start and move to the next string in any kind of diagonal that I want. It's got a cool sound to it, and