Jazz for the Curious Guitarist | Dan Dresnok | Skillshare

Jazz for the Curious Guitarist

Dan Dresnok, Guitar Teacher

Jazz for the Curious Guitarist

Dan Dresnok, Guitar Teacher

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52 Lessons (13h 56m)
    • 1. Preview

      4:26
    • 2. Welcome to the Class (page 5 - 7)

      11:24
    • 3. Guitar Fundamentals (page 8-11)

      19:03
    • 4. Open Chords (page 12-13)

      14:42
    • 5. Barre Chords - Basic (page 14-17)

      18:44
    • 6. Arpeggios - Basic (page 18-21)

      22:57
    • 7. Rhythm Study (page 22-28)

      28:32
    • 8. Major Scale in C (page 29)

      17:56
    • 9. Techniques (page 30-32)

      18:38
    • 10. Types of 7th Chords (page 33-34)

      29:48
    • 11. Relative Chords (page 35-37)

      18:15
    • 12. Relative Modes (page 38-45)

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

      20:36
    • 14. Arpeggios - 7ths (page 47-48)

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

      24:02
    • 16. Types of 6 & 9 Chords (Page 50)

      19:02
    • 17. Relative Chords to the 9th Extension (page 51)

      15:56
    • 18. Arpeggios - 6s and 9s (page 52)

      16:55
    • 19. Various Types of Chords (page 53)

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

      17:16
    • 21. The ii V I Change (page 55)

      14:44
    • 22. Intervals (page 56-57)

      22:27
    • 23. Relative Chords to the 13th Extension (page 58-59)

      26:35
    • 24. Arpeggios 6/9, 11, 13 (page 60-64)

      17:02
    • 25. Chord Tones & Dyads (page 65-66)

      19:53
    • 26. Reading Music (page 67-72)

      28:52
    • 27. Cycling 4ths (page 73)

      11:08
    • 28. Altered Chords (page 74-77)

      20:03
    • 29. Altered Arpeggios (page 78)

      17:14
    • 30. Whole Tone Scale (page 79)

      9:25
    • 31. Super Locrian Mode (page 80)

      13:12
    • 32. Diminished Scale (page 81)

      14:34
    • 33. Passing Dim7 Chords (page 82)

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

      19:27
    • 35. Tritone Substitution & Secondary Dominants (page 84-85)

      17:26
    • 36. Advanced Pentatonics (page 86-87)

      19:31
    • 37. Bebop Scales (page 88)

      10:03
    • 38. Jazz Progression 1 (page 89)

      8:21
    • 39. Jazz Progression 2 (page 90)

      12:26
    • 40. Honorable Mention (page 91-92)

      9:18
    • 41. Dominant in Music

      13:22
    • 42. Phrygian Dominant Scale

      8:40
    • 43. Lydian Dominant Scale

      6:31
    • 44. Altered Chords

      12:49
    • 45. CmM7

      15:24
    • 46. Dim7 Chords

      16:55
    • 47. Straight 8th vs Swinging 8ths

      10:55
    • 48. Backing Track - C 116 bpm

      10:12
    • 49. Backing Track - Cm 72 bpm

      10:06
    • 50. Backing Track - Eb 88 bpm

      10:11
    • 51. Backing Track - C 100 bpm

      9:59
    • 52. Backing Track - Bb 140 bpm

      10:03
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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.

Meet Your Teacher

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Dan Dresnok

Guitar Teacher

Teacher

Hi, I'm Dan Dresnok - I’m your guitar teacher. I've been teaching guitar lessons for over 28 years and I've taught over 35,000 students both online & in-person. I want you to know everything that I know about guitar & music. 

I’ve worked as a session guitarist for recording studios, performed countless times, & moderated over 100 group guitar clinics. I’ve written several guitar method books & created over a dozen online guitar courses.

I specialize in jazz, bluegrass, blues, rock, music & guitar theory.

See full profile

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Transcripts

1. Preview: Hi, and welcome to jazz for the curious guitarist. I'm Dan Resnick. 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've published over a 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 jabs. 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 the style, that it would spill over into everything else you play it, and it would make you a really accomplished musician. Well, that sounded great and that's what I wanted. But it was a really hard style to get into. And so 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 how to play in 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 in advanced guitar player or you may be starting from scratch. I am going to assume that you're starting from scratch. So I'm going to quickly get us up to speed all of the guitar basics like how to read tab, get the guitar strings are basic chords. All of these things that we need to know quickly to get us up to speed. Then we are going to get into the Jazz lessons. And we're going to start doing things like learning how to stack or seventh chords. We're going to start learning all of the ways to use the mods to connect to the seventh chords and the other extended courts. And the ways that the melody and harmony are interacting with each other is a huge piece of how JAVS works. And so that is a lot of the stuff that we're going to learn in this course. And, 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. 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 nine sharp five chord, or how to play a C 13 chord. And what the scales are or arpeggios are that are good idea for you to use, to solo over those courts when they come up. And so that's what we're going to work on. That is 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. The PDF that's yours. Please make sure that you get is the text lesson of the music or the texts of the guitar lesson to give you another visual to 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 I'm 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 to jazz for the curious guitarist. I'm dandruff, Nick. I'm your guitar teacher. I wanted to take a few minutes and explain to you what you can expect going forward. This is a pretty long course. The last time I checked, I think it was moreover 11 hours. And the course is still growing. So there's a lot of stuff to work on. What is a good way to go through it. Well, and 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. Watched the first video, then 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. Now, I understand that many of you are not beginners. Some of you will be an immediate players or advanced players. So you may, you may say, I've been playing guitar for five years or ten years or 30 years. You've been playing for 30 years and you it blank for 30 years. And I know some basic skills and I know my chords and I could play, I know some basic rhythm. 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 streams and have every tab and you're open courts, you don't need to watch those videos. Skip past them. 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. A lot of guitar players can play guitar. And what that means really is that you can play guitar, then you have a pretty good sense of rhythm. You can keep a beat, you can keep the pulse. You know, your basic chords. Chords, he doesn't bark words. You can move around. You might know a scale, but really what it means is that you've got a sense of pulse. You can keep the rhythm, okay? So a guitar player that is able to play guitar to me is someone that can keep a rhythm. And that's great. And a lot of people in that situation though they just haven't really studied a whole lot of guitar theory or music theory. And so we're going to do both of those things in this course is we're going to make sure that you've got all of the music theory that you eat. But also we're going to make sure that you've got the application. 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, how to read count your rhythms, which is directly applied to strumming and picking. We're also going to work on the main fundamentals of guitar theory, which is going to be Rhythm, chords, arpeggios, skills and modes. And then we've got this maybe fifth category of techniques which you should always be using. Techniques. Techniques being things like hammer ons and pull offs and bends and slides and trills and vibrant honors and things like that. So these are your techniques. And, but really understanding how to use chords, scales and. These are the three things that are the melody and harmony and how they work together. Arpeggios, chords and scales and modes. So these things all really kinda work together was interesting about those three categories. Arpeggios, chords, skills, most scales and modes are the same category was interesting is that they all have the, kinda the same theory. What I mean by that is if you understand the, some of the basic or more advanced theory of how the courts work, the harmony. Then that is going to also directly apply the same exact theory to skills and modes and arpeggios. If you learn a little bit about how skills and modes work, that theory that you learned about skills 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 a different perspective, but it's basically all the same theory. So to learn the theory of one means 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 set you up for success on the guitar, set 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, the rhythm, I really just want to hit that 0.1 more time. If you become a guitar and music theory genius, That's great. I really do hope you do. But if you do, that still doesn't mean that you can play. Because remember we said, somebody that can really play guitar has a good sense of rhythm. So that's why the rhythm thing is important. Okay? So it means that you're able to actually play to keep time, to keep the pulse, to do the changes on the beat. So the rhythm is a huge piece of playing guitar that you need to get. So music and guitar theory, arpeggios, cord 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 and it's very kind of academic and exciting. But don't, When it comes to actually playing, that's where the rhythm is. So we need to take the rhythm and plugged the rhythm into all of this stuff. Now we might be playing some jazz, okay, now this is starting to get interesting. So we are just going to build on a lot of the different ideas in each section. So when we're talking about how this is a cumulative order that all of these lessons are going in and all of these sections are going in. And the sections are going to, unlike guitar basics and then beginner and intermediate or novice, advanced. And on like that. That's how the sections are going to go. Just follow them in order. And unless you are the best guitarist who's just jumping directly into, I want to go directly into how to play the relative sevenths or relative sevenths to the ninth degree, whatever. So jump directly to what it is are needed. Jumped directly. I'm I need to start off with months. If that's worrying me to start off, That's great. Jump directly to it. So from there, just follow it. Okay. Because I am trying to say. I do a lesson. I'm trying to say I haven't taught them this. Yes, I need to make sure I teach them this before I move on. Alright. So I'm trying to pay attention to your development as well. It's really important for me that I don't forget anything in that I'll miss anything so that you get to learn all of the important stuff that you need to know. And so, and what are the things about jazz that makes jazz tricky is that there's all these kind of special things that you wouldn't get them out. You wouldn't learn these things out of a classical music theory book. Trust me, because I've read several music theory books, textbooks. And still, there's a lot of missing pieces of the puzzle for me. And when I was able to learn some of these tricks, it really tied it 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 going to have it all by the ounce. And, but some of these things are some really advanced music theory concepts that are really just exciting and cool and new and just things that you would not expect it to be there. But we are going to, after we learn all of the modes, we're going to break out of the modes and start learning some other exotic skills that we're going to need for some of these situations. So the modes and unlocking the front board is a great start. And it's something that I feel is essential for you. Okay. Then we are 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 videos going to include a downloadable PDF. Again, PDFs. You are trying to say, what was the shape of the diminished scale again? Well, you should have it in the PDF because they give you a PDF of that or what was the how do you play the D Dorian mode? It's on the PDF. The PDF for how do you play a C9 chord. Get the PDF. The PDF has all this stuff. So in the lesson videos, there's a PDF download, the PDF printed, whatever. Get the PDFs. The PDFs. I spent a ton of time putting these PDFs together for you to make things easier. So please be sure to get them right. They are a big part of what this course is, the PDF. You should actually get the PDF before you start watching the video. And then the first 10 seconds della the PDF right away. Don't wait. If there's a PDF with the video, get it right away. Don't wait. Give PDF printed out too or open it on another screen. I have the PDF had ETL really help for that lesson and make a lot more sense because you'll have another visual while you're watching me talk about it. So get BFS. And as we get towards the end, there is a, a couple of general on videos that have got some kind of man up jazz progressions that we can practice along with. And it really does get to some pretty expert levels towards the end of the course. But like I said, it, the course is growing and I do have plans to continue to add, to, always be continuing to add to this course. So it's just, this course is so much fun and there's so much information here that we want to keep it going. We want to keep on learning as much as we can and get more resources. 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're advanced, 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 of we are going to start off by using tablature, also called tab, tab, tablature. 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 tab's going to get us up and running. Okay? So it's simple, very simple. Tab is six lines. Okay? The 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 friends. So if I have maybe like a three, then that will tell me the third fret on the high string. If I have a 0, it would 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 string name so we can communicate with each other on what the string names are. 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 highest strain and which is the lowest string. I can't remember which is which. This happens to people all the time. It's really simple. You got your guitar. You lay your guitar on your lap like this. Just laid down. So you're on your knees, are you lay down on your lap? And now you're looking at your strings exactly like you'd be looking at the tab piece of paper. Exactly the same. So the top blind is your high string and the bottom line is your low string. And I say Hi, I mean high pitch and low is low pitch. So the top line is the high string, the high pitch strength. And the bottom line on the tab is the low pitch string. Makes sense. 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 at your strings exactly like you're looking at the tab, right? So the string names going from low to high, low pitch to high pitch. E, a, D, G, V E, Okay? Um, some pneumonics that people use to memorize this are Eddie and Dean. Go buy eggs are laid more popular one is Eddie a dynamite good by a, any Ate Dynamite good by Eddie. Eddie Dynamite. Good by any, any gain, die a good. Okay. So play me the a string, okay? If we're playing these open, meaning we're not pressing anywhere. When we play it open, which is represented as a When you play open, we're not pressing anywhere. Okay? So playing into a string, okay, So a and the D string open. A and D, or a, dynamite. Good. Play me the B string. Okay? Eddy, a dynamite, Good bye, bye, bye, bye. Okay. Clay me. The high E string is in the high pitch, eStream in a dynamite. Good bye. Okay, bye me. The low pitch E string. Good, that's a string names. I need a, D and E. We have two ys drinks. The outside strings are both 0s, e, okay? Those are a couple octaves apart. So when you have the same note name, but they're different pitches, higher and lower. They can be different octaves. Octave, okay, so the E strings are a few octaves apart. We'll talk more about that later. Okay. Now let's, Let's take a look at, let's actually take a look at the chromatic scale first, we'll come back to the tab in just a minute. I want to take a quick look at the chromatic scale. The chromatic scale is the musical alphabet, okay? This is what every musician of every instrument uses to talk about the notes we will use the same notice, it doesn't matter if you'd like piano were trumpet or saxophone or guitar, or sing, or even if you're a drummer, we all use the exact same notes in music. And when we talk about the musical alphabet, we're talking about the chromatic scale. So this is it, this is the chromatic scale. And I'm going to break it down for you so it's makes sense and it's easy for you to use, okay? And when we say it's a scale, it's not really a skill that you play. Like you're going to take a solo on a scale. That's not this. This is more like a music theory thing for us to talk about. How to find this node or that note. Play with this note. You use it to help understand your instrument better. The chromatic scale, okay? The way it goes as a, B, C, D, E, F G. After G goes back to a again, a, B, C D E F G, a B, C D E, F G. Back to a, just goes, keeps on going around and around in a circle. Okay. In-between ABCDEFG, we have sharps and flats. The number sign or the pound sign or hashtag. It looks like a hashtag right next to the area here. That's a sharp sign. And it just means one higher than, like one fret, higher than, just a little bit higher than one fret. So a sharp is just one fret higher than in a note. Okay? So for example, if I have a number, here's my a string, and I just go up one fret higher on the first fret. Kindness a sharp, because it's on the first fret, one fret higher. That's a sharp. Now, sharps and flats are the same. Note. What I mean by that is as sharp as just one fret higher than, at a flat, is just one fret lower than the flat. It's got a little bee next to it. I know the first one we have is a B flat, so it's a B with a little b next to it, lowercase b. Here's a, D flat to D, with a lowercase b next to it, E-flat, It's an e with a lowercase b next to it. G flat, a flat, D flat is a lowercase v. Ok, and then it's flat, one fret lower than. When I said that the sharps and flats are the same. Note what I mean is in between an a and a B, there's only one fret. So just take my word for it. That this number here, the fifth friend isn't a note. This Fred, the seven friend note is a B note. Here's a note. Here's a note. If you're taking my word for it right now, there's only one fret in-between the sixth fret. It's in a shark because it's one higher than my a note. So the sixth fret is a sharp because it's one higher than a. But the sixth fret is also be flat because it's one fret lower than my b note. B, B flat, a, a sharp. So a sharp and B flat are the exact same note. C sharp and D flat are the exact same note. D sharp and E flat are the exact same note. F-sharp and G-flat are the same note, and G-sharp and A-Flat are the same note. We call them by their flat name or their sharp named depending on the key we're 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 play a lot of corn keys. So we'll be playing in a lot of flax will be using flats a lot. One of the rules of music is that you, you do not combine terms and flats. In one song. We're going to either deal with the sharps or we're going to deal with flats. We're going to call them by one or the other. We're not going to deal with both sharps and flats in the same song. That's just something you don't do when music. So for the most part, we'll be dealing with the flats because we're playing jazz. But we may just call them by their Sharpe name just to keep it simple. Sharps or flats. Same thing. Okay? So you could just practice the chromatic scale by saying a, a sharp, B, C, C sharp, D, D sharp, E, F, F sharp, G, G sharp. And then back to a again. You could also practice the chromatic scale by saying a, B flat, B, C, D E flat, D, E-flat, E, F, G flat, G, a flat, a. Both of those are the same thing. They're both the 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 VNC, okay? There are no sharps and flats between V and C, and there are no sharps and flats between E and F. Okay? So there's no B-sharp, know C-flat, they don't, those notes don't exist. And there's no E sharp and there's no F flat, those notes don't exist, right? Just go right from E to F, right from B to C. Okay? So what a good way to practice the chromatic scale? Like I said, we can start off by just calling the sharp amps just to keep it simple. Abcdefg, ABCDEFG, everything has a sharp between it except nothing between BMC, nothing between E and F. So for me the Eastern. Okay. Eddie and more a name. Okay. Any analyst go up one thread at a time and call up the note name. Okay? So the a string, so it's in a note. First fret, second fret. That's a vena for our scene. To scene, a. Fourth fret and C sharp. And C sharp, of course, is the same as a D flat. Same thing. Fifth fret. Sixth fret. D-sharp, which is the same as E-flat, same note, seventh, eighth fret, f, because we go right from E to F. Ninth fret, F sharp, which is the same as G flat. Seventh fret, G, 11th fret, G sharp, which is the flat 12th fret. We just go back to a again after the G-sharp. And I'm on the 12th fret, which is my double dot. When we get to the 12th fret, it will be the same as the open string name. So when you're practicing this, when he gets your 12th fret, which on most guitars has a double dot fret marker. That's how you know you have gone all the way around the octave. The 12th fresh, you should think it's the same name as the open string. Okay? And if you do, that's how you know you counted correctly. But you could keep going if you want to know on the 12th fret, which is a, because it's the same as mine. Open a string. I could keep going with a sharp, C sharp. Pretty sure. He just keeps going, OK. Now, if I want to do this from any of my strings, I just count the chromatic scale, but I have to keep in mind what string in my starting on. So let's start on the, let's start on the E string, the high E string, high pitch, He's string, okay? So it's E, So it's an E note. Okay? So I've start counting from E, so that's E. So my first fret, F, that's an F because I had to start counting from my eStream this time because it's an Eastern E, F-sharp, same as G flat. G. Third fret, fourth fret, G-sharp. Fifth fret, a sharp, C sharp, D, D sharp, E. And I got to E again on my 12th fret, my double dot. What I recommend you do is practice this on all of the strings, starting with the open string name. Then what you can do to make it 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 going to the string name and you count up until you get to that note. Let's just do one real quick. Okay, so I'm going to look for C sharp. C sharp, so I'm on the E string. So I'm counting up until I get F, F sharp, G, G sharp, a sharp, B, C, C sharp. And I'm going to count on a string, a sharp, B, C, C sharp. Now on the D string, open, D, D sharp, E, F, F sharp, G, G sharp, a sharp, B, C, C sharp. The note should sound a little bit the same every time I'm on the G string now, G, G sharp, a sharp, B, C. Okay, Now among the B string, big open, C, C sharp. Now I'm on the high E string, E, F, F sharp, G, G sharp, a sharp, B, C, C sharp. Good. Okay? And so we randomly pick a note from the chromatic scale and we count up until we get it an empty string. By the way, don't try to memorize where all the C-sharp SAR or whatever no, you pick. Don't try to memorize where they are. That's not what the exercises and that's not going to even help you. So don't do it. Don't try to memorize where those notes are. Get really fast accounting the chromatic scale and get really fast at identifying your string names. Eddie a dynamite, goodbye Eddie. And then the chromatic scale get really super fast. And both of those, and don't worry about memorizing anything else. Okay. You can count up to the notes, superfast. You don't have to have them memorized. Okay. Lastly, I wanted to take a look at the tab one more time. When we have no, okay, so the numbers are telling us the Fred and the 0 is telling us to play open. So let's just play it 0. And then next we have second fret of the low E string. So there's 12. Okay? Now when we're reading tab, we're going to want a two things going on. We're going to have either a melody which will be a couple of notes by themselves, or we're going to have a CT and we'll notice a court because the numbers are going to be stacked up on top of each other, vertical. So like right here I can see I've got some kind of a cord. Okay. 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 a two, okay? And then next chain is at three, okay? Then next string is a 2D. And okay, and that stream is a three though. 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 of strings because there's nothing on there. If I was supposed to hit them open, they would have zeros on them. Good. So I'm just strumming and it's a cord, so I'm meant to strum it all in one shot. Okay? It actually ends up being a B minor seven flat five chord. All right, Very cool jazz chord. Okay, moving on. Got a melody, A320 on the high E string, and a 30 on the B string. Let's do it one more time was but the whole thing together. So 0, 2. Then I've got my chord, three 200. And that's how you read tab. You literally just do what it says. Put your finger on the frets, then it tells you to on what string. If they're stacked up together, then it's accord and you have to strum 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. It's fast as you can. 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. Our courts have none. Were pressing on every string, every note when we're playing a bar chord. But there are huge advantages to bar chords. And it is, the premise of jazz guitar is lots and lots and lots of our chords. So I'm playing on an acoustic guitar because I love the acoustic guitar. That makes me a little bit unusual with jazz. Although there are plenty of acoustic jazz guitar players. But most jazz guitar players play an electric guitar. They will play and whole body, or a whole body or a semi whole body electric guitar most of the time. It, you know what? You can play jazz on any kind of guitar you've got. You can play jazz on a classical nylon string if you wanted to worry, flamenco, Spanish style guitar. So if it's got six strings, you could play jazz on it. Typically, guitar players will play the whole body. Electric guitars. Sometimes you'll see people playing on an acoustic like I am. Okay, So let's jump in. We've got two sets over here, okay? So I've got these two backwards here, the G and the G minor. I've got these two here, the C and the C minor. Okay, these are very similar shapes. And what is really important about bar chords is learning redundancy. Okay, this is going to come up a lot. Redundancy. We're going to learn about redundancy. And redundancy in 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 to have redundancy, it means we have options. We have 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, it is the G and the G minor bar chord. And down here we can see we are reading on the E string, okay? So the cores are G and G minor because my lowest note, or my root note is a G note. So in guitar, when you say your root node, that means that you can say the name of this thing is whenever, because this is the root node and the node is in this key. So if my root node is this key or this note name, and 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 chord, the whole scale, the whole arpeggio, whatever or the song you than the root node can tell you that this whole thing is going to be in the key of whatever it is, because there's rootNode is in the key. Okay, so what I mean by that is when we're playing these shapes here, my starting node is on the third fret to do a G, where G minor. So I'm on the eastern. What note is that? Third friend? Low E string, E, F, F sharp. I counted up on the chromatic scale. So the third fret on the E string is a G note. That's why, Why do these shapes is G, because my root node is G. Okay, here's how we figure these. We've got 355433. I'm gonna take my index finger and I'm going to press on all of the third fret and strings on the third fret. Okay. And I'm trying to keep my fingers straight. I'm not letting my knuckles, Ben, I don't want that. I'm going to keep it straight. Okay. If I let my knuckles bends and this may happen to you a little bit in the beginning. You're going to make up, you're going to 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 it pressure on the strengths. Because if you do this, there's no pressure in the string won't sound. So keep your fingers straight. Almost extremes. Use your thumb to help you. So really grip between your index finger and your thumb. As you're doing this, you're gripping this. Okay. Lot of pressure. These are not comfortable all the time in the beginning. So I'm sorry about that. Good. So we have all the threes though. That's good. We have all the three is 33 and the three down here. Now we're going to be our other fingers for the 55 and the four. So we've got all the third fret, and then I go 55 and the fourth fret with my middle finger. See how I'm doing that? I've got my rain on the a string, my pinky on the D string. My middle finger is on the G string. All right. So this is a G chord. It's a G bar chord, okay? And its major, if it's G chord, then is a G major chord. And as G, because lowest node right here on the low E string is a G note. Now, okay, I take the same chord 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. It comes off and now my index finger is going to be holding it down on the third fret, okay. It turns it into a G minor courting. When I take off my middle finger, I just turned it into a minor. So it's G minor now. Because I have the exact same route, I'm still on the third fret, which is G. So middle finger off makes it G minor. Middle finger down. Exit G-Major or G? Can you hear the difference? Good. Okay. So that is the difference between a major middle finger pressing or minor middle finger off. Okay? And now what's really cool about the barcode is like I said before, is that some people call bar chords movable chords, movable coordinates because we can move anywhere we want them, and always knows where our root node is. And then we have the key of the new court and it's always going to be and share. So like this is a G chord. G chord. And if I move the whole thing up one fret, just slide the whole thing up one fret here of one fret. So I went from G to G sharp, okay? Which is the same as a flat. So this would be a G-sharp chord, which is the same as an A-flat chord. G sharp or a lab. Same thing. And if I do middle finger off, okay. Now playing G-sharp minor or a flat minor. Good. Okay. If I go up another friend. Okay. Middle finger back down. Now I'm on EKG because my root node fifth fret is an a note. Since an a chord, a sharp or B flat chord. Chord, a B chord. Here's a C chord. Here is a C minor and stick off my middle finger. We haven't been able to play a C minor Up until now. So that's how you do it. You just climb up so you get to a C on your luis string and middle finger comes off. And you got a C minor chord. Okay? So bar chords are also movable courts. By the way, bar as a bar chord is spelled be a R E B a r, r e bar. Okay? So barcodes. So we've got our major and minor position routing on the E string. Now let's take a look at a major and minor position where we were on the a string. Okay? So the first one, I've got a C. So it's just the middle four strings. Both of these middle four strings, we're not strumming the strings high or low E strings at all. Okay? 35 by five. Third fret, fifth, right? Fifth fret, third fret, the fifth frets. I'm actually going to use my ring finger to do fifth threats. Okay. All three of them. And I just kind of mash my knuckle down. You see how I do that? Again, when you're, when you're pressing on more than one string, you don't want your knuckles bent because if you have a hole for the knuckles bent, then there's no pressure. So I have to keep it fingers straight. So I'm just, I'm actually kind of mashing in from that novel. So when I go for the fives, I'm just mashing in that novel. So 3555. That's a C chord. It's a C chord because my root note is the third fret on the a string. Because for this shape, That's what we call it a root note. So every note is the third fret on the a string. And it's a C note. Is the a string and a sharp, the z. So this is a C chord. Now, if I get all my fingers into the mix and we'll leave the three word is going to go 55 for now. So to turn into a minor, if you get all my fingers in the next 3554. This turns into a C minor. Can hear the difference. So major minor, major, C minor. Now my seam line or shape. You may get a little confused in the beginning of the shape, the C minor shape, it looks very similar to buy G shaped where I am reading on the E string. Even though it's a completely different route note, and it's, starts a string away. Okay? Because the C minor starts on the ice cream and the Gs, the E string. So even though we are starting a string away, for example, here's my G chord. But if I move the whole thing down a string and turn it into a C minor. So even though they look the same, they are different. We've got G major, and I've got C minor. Now when we talked about the movable chord part, Let's take a look at how that works. C major, because my root node on the a string. So if I go up a fret to C sharp, this is a C-Sharp chord, or a D flat, and same thing, C sharp or D flat chord. Here's a dean. Or Sunday. If I come down like this, I can turn it into a D minor and just add in these other fingers and the B string goes back water. I take my d minor shapes when I go up a fret. Now my D-sharp minor or E-flat minor. Okay, Let's go for another fret. E minor. Now let's turn this into a major. It's just the two fingers. It's just an E chord. Okay, Let's go open up the fret. Now. Here's another way to play an F chord, okay? All right, so we now are figuring out so that we can start playing bar chords in multiple positions. There are a lot of different options here. 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'm going to find this note on every string. Do something like that with the bar courts, where we're going to pick a note from the chromatic scale. Any note. Okay, Let's do C-sharp because that's the one that we did before when we were finding nose. So C-sharp. And let's find we have to find at least two of them, and they have to be bark words, they have to be bar chords. So we're going to find two C-sharp ports, okay? One's going to be routed on the Eastern, and one's going to be routed on the a string. And we said C-sharp major, okay? When you're playing this game with yourself, is that the coordinate you're looking for, major or minor, you have to choose. It doesn't matter, just choose one. So let's do C sharp major. Okay? So C-sharp major route on the E string. I find my C sharp node, and I plug in the shape for the E string there. Good, C-sharp and then C-sharp Ruby on the a string. So I'm going to do the shape because its major C and I find it on the a string, C Sharp. Okay, good. Okay. So what that means is that now I can play, if I have to play C sharp cord, that two options, I can either come up here to this one rated on the E string. Work and come down here to this one Read on the a string. Okay? Also, let's do, let's do another one. Let's do. And an F sharp minor. F-sharp minor. So this time it's minor. All right, so I'm gonna do the minor shape on the E string. We for F sharp, okay? Is E F, F sharp and no middle figure on this one. Good. Now, doing F sharp of a string and I'm going to plug in the lighter shape, okay, where I'm using all four fingers looking forward. F-sharp. Okay. Good. So I've got two options for my F-sharp minor, okay, I can play the E string or printed on the a string. It's my choice. I could do either one on one or both. It's my choice because I've got two I can pick from. And when we're getting into more complex chords, these, what we're doing right now 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 chord. So I need you to really understand how to do the major and minor chords that we're doing right here. And we did go through the open chords a little bit. If you pick a, if you pick a note or core that you're looking for, that 10 be played also as an open court. I would like you to play it in three positions. For example, if you said, I'm going to do a D minor chord, D minor, D minor. You're coming up doing it routed on the E string, plugging in your minor shape. Here's D minor. Okay, Then you're gonna do read on the a string, plugging in your D minor. And then you also know it as an open chord, okay, D minor. So that's three positions that you can play. The D minor in. Anything that you could please open court. And G, C, E, a minor, E minor, and anything you can play as an open court. You should be able to open and then two bars shapes. So that's a total of three different shapes for anything you can do also is open. If you can't play it open, you should be able to do minimum of two or more shapes. One routing on the E string, one routing on the a string. So I think that about covers it. Like I said, these guys were going to build on them for some more complex shapes. But go practice your major and minor bar chords in it least two different positions on the eStream and routing on the a string. 6. Arpeggios - Basic (page 18-21): Let's talk about arpeggios. Arpeggios are one of the main foundations of playing jazz guitar. And arpeggio is if we take a chord, 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 an arpeggio. So you can think of an arpeggio as a little mini scale that only has the notes of the court or a chord that we're playing, the arpeggio love. So unlike a scale that has a lot of different nodes in it, you can make a lot of chords out of one scale. But with an arpeggio, you're just focusing on one chord. And this is a huge, huge advantage to us more 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. The arpeggio gets us through it. All we have to do is learn how to create arpeggio on the fly quickly while we're playing. And we can solo through any chord 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 chords 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 thing, the new chord, the new arpeggio. So that's what we're going to look at. Okay? So here what we're looking at is I'm giving you lots of 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 can make an arpeggio, have any court any core that exists can be arpeggiated. Okay. So in all three, or sorry, all six of these examples, 123456 and all six of these examples, our root node is going to be the lowest note of the shape. So here for the first three, see examples. This eight right here is our root 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. And then way up here on 15 on the a string, that's a C note. So our root node is C every time. So that makes it really easy for us to find the arpeggio quickly. Same thing is going on here with a D minors, okay? There were no, that is the lowest note every time it's going to be a D. So ten on the low E string, that's a denote. And then in five on the a string. Denote, and it's five again in the second or the third shape. It's deep. Every time it's deeds or root node 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 we're playing jazz, though, there is so much arpeggio happening that we need to be able to access and arpeggio for any chord without having to move too far down the fret board. So these three positions, three positions, a major, and three positions and minor, what they do is they span an entire octave. They will cover all the way up to through 12 frets. And so what that means is that no matter where we are, we're going to be able to construct an arpeggio in the position that we're in over whatever fret, pretty much over whatever forever. And we're going to be able to construct an arpeggio. Okay, so what I'm gonna do is I'm going to go through the shapes just so you can kind of watch my fingering. Okay. So we'll go through the first shape, the C shape, where I'm routing here on the, on the tough fresh herbs, sorry, on the eighth fret. Eighth fret. Starting it with my middle finger. And duty. Are the things you may have noticed is that when I came down here on the B string, I just kind of slip up with my index finger so that as I continue on, I can hit my high note with the pinky. Okay, and going backwards. Okay, good. As we said, those are only notes of the C chord, just to C major chord. That said no different notes. Okay, let's look at the next shape. So this time we're reading on the third fret on the a string. This C right here, okay? Starting this position with my index finger. Stretch you to get to the seven. And then a big jump again with the pinky to get to that high eights going from the three to the high eight. When you're trying to memorize this and easy way to think about it is that I kind of stay put for most of it. So up until you get to the high string. And then when I go, it's jumps at a high note. The high note is a C again. So that's a C at eight. So when you're looking for your high note. The same as your root note. Okay? So that is c arpeggio. And then we've got this shape over here, which I started of high because I didn't want to mess with any open strings and want to give you this all in a closed bar position. So starting way appear in the 15 credit. I'm starting this position with my pinky. Do that again. Starting on 15 with my pinky. And back to C major arpeggio. What's interesting is that if I connect these three, we can see the lowest one that I had. And that's the easiest way to think of it as worst, the lowest friend, where's the highest fred of all three shapes that you've got? So the lowest Fred is here, the third fret. The highest is 15, and the middle would be eight. So if I kinda go through this shape, the three, and then I'll do my mental shape here on the eight. And then I'll do my HA shape on the 15th. Let's take a look at that. Three in did you notice when I went through these fives here, I was just kind of dancing my finger and my ring finger over each one. Okay. Takes me up to the eight. Now I'm going to do my first position. Okay, now I'm gonna do my last position from 1515. An easy trick to use on the guitar is to find an octave, is to either add or subtract the number 12. So, and that's how you figure out where the octave is higher or lower. So 15, let's go minus 1215, minus 12 is three. So that is where we started, was three, right there. So what's 3 plus 12 is 15. And that's where we ended up at the octave. So we span one octave. So we could just keep on going and connecting these shapes. Because we've got the three shapes that span an entire octave. That's perfect. That's exactly what we need. So no matter where I am inside of this octave, I've got three different shapes where I can start accessing the C major arpeggio. And by using my root notes, I can move them around to start doing any other key that I want. We'll look at that in a minute. Let, let me stay on the majors for just a second. I want to go through, I'm gonna do the same thing I did, but this time I'm going to ascend if the starting number three, and then I'm going to descend. This is middle position here are on the eight. And then I will reassess it over here on the 15 so we can make it sound a little bit more melodic. Instead of starting at a low note every time we're going to alternate. Okay? So starting low and a setting, now descending the middle one. And then a sending my higher. That makes sense. The beauty of okay, So that is a good way to practice going through all three positions in one key, that was just C. So what that means is that if someone's playing a C chord, loop bark word also 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 C chord. When I'm playing arpeggio. That's just notes from my C code every single time. Okay, Let's take a look at the miners. All right. You don't get to just stick with it. So if we get through these three minor shapes, we're going to be are really looking good. Okay? D-minor, starting with the reading on the E string. Okay, ten, Fred, I'm reading this with my index finger. All right. Let me do that again and backwards. The way that I would recommend you pick these when you're practicing them is to alternate picking, down, up, down, up, down for each different notes is alternate picking. You just did a down tick, then the next note should be an up. And, and then the next note should be a down. Just keep on alternating like that. And if some of them you do a couple downs in a row, that's okay. That's not the end of the world. There is a technique called economy picking, where if we're going in one direction, we'll pick in the same direction. Whereas if we're going backwards, will pick them up backwards for, for all the nodes going forward. That's called an economy picking meeting that we're trying to stay economical with our energy. So that's okay. 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 your arpeggios in a predictable way. I want you to be improvising with them. So I don't leave 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 alternating. So you're playing a little forward, a little bag will forward a little bag. And so I don't want you to feel like you have to always be going all the way through the shape. And if you are alternate picking that sets you up to be able to go in any direction that you ever want to go on. So you can start making is pretty good melodies. So alternate picking is what I recommend. But if you deviate from that a little bit, two, okay. So we got the D minor, the first one. Let's take a look at the second one. Starting on the a string. All right, So the friend also starting with index finger. Okay. This position is just like this position here where my high note is, the last type of 10 is going to be the same as my root node, okay? So the tenor hair is a denote is the same as my starting node 5 to Dino. So when you're looking for it, when you jump, because when we start changing keys, then we jumped to look for that high note. It's the same note as our root node are starting node. Okay? Just do it again and back. Good. Okay, Let's look at our third shape or final shape. This one also starts on the five, but we're going to start this one with her pinky five D, right? And this is sort of backwards looking shape. All right, Now our exercise was to go from the lowest fret all the way up to the highest Fred. Okay? So our lowest Fred is looking like here. And then our middle front, it looks like it's about here. And then our highest is of course going to be around the 10th fret. This is going to be different depending on what Kieran. Um, so whatever the key of the arpeggios in it just, it'll be, the shapes will be at different places on the fretboard. So we're really just looking for these were notes, root note for note, rootNode, root note, root note for note. When we look at the two majors, the three on a string and the 15 on the a string. We pointed out those are these sam node. They're just an octave apart. They're on the same string of their bosses, they're just an octave apart. So if we looked at this in a different key, it would look pretty much like gum. You're starting. We would be doing a forward version and backwards version from the exact same rootNode. Again, the reason we're doing this one on the 15, it's because I didn't want to access any open strings. So I want to make sure it was a closed, closed system because if we started backwards on the third fret, you know, it started looking like it was part of the scores and we started having to use some of the open strings that make sense. Okay? So we're gonna go from here to here to here. On the D minors. Good. And our highest knew that we hit was 13 writer this 13-year here. In our lowest other we hit was one. This one right here. What is one? Plus 1212 is the magic number. We're always adding or subtracting. 12 was one plus 12 is 13. So between one and 13, That's our octave. So we span an octave. And that's exactly what we want. If we can span an octave and get everything we need in one octave, 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 octave. Okay, Let's go again, and this time let's alternate our registers. So we're gonna go from low to high, high, low, low to high. Okay, just to keep it more melodic instead of starting from the low note every time. Okay? I'm going to go backwards from the second one. And fours through these during of the tongue. Exempts. Good. Excellent, excellent, excellent. Okay. So this is a great thing to practice, to get comfortable with all three shapes of the major arpeggio and then 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 and trying to get arpeggios for all these different kinds of courts. And I don't mean changing keys. You're going to be working on changing keys with these. But when we try to do like a 7 chord or a minor seventh quarter or nine quarter 13 chord. And we're 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. It will just change. Add or subtract a couple notes. But you're building on the ships. So these shapes you want to know very well, guy. So 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 do a different key. Just move it and say I'm going to, we didn't see C major all the way through. And so I'm going to want to do maybe egg. I'm gonna do key of a major all the way through. So I do the a major. Maybe I'll want to do G minor. G minor all the way through. Okay. Good. Pick a couple of different keys and just are bouncing through all three shapes. And again, you want to mix up major, minor. Sometimes you're going to practice a major is sometimes you're going to practice in minor. And this is going to really set you up for soloing over jazz. Because unfortunately, you can't just say that we're going to play it this jazz song. And it's in the key of C major. So just play all the notes from C major and your solo. And it's going to 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 in the arpeggios are going to be the answer. So work on the shapes. And I will 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. 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. Timber. Rhythm is the thing that separates music from sound. So sound is chaotic and there is very little consistency, is not stunted, grouped in any kind of way that human brain can understand. So that's why rhythm is something where you can just have a drumbeat and people can dance to it, okay? People can feel it and connect with it. Even if there is no melody and no harmony, present. Melody would be single notes, like a solo, and harmony would be cords. But even without that stuff, you can just have a drumbeat and people can connect with it. So it is really crucial that you spend a little time studying your rhythm. So we are going to do a crash course right now and try to do beat. 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 at some point we're going to have to take a quick look at reading music. Actually reading music and reading rhythm is about 50 percent of reading music. So half of reading music is learning where the notes are on the staff and how to play on your guitar. And the other half of it is what is the duration was the rhythm of each of those notes. So right now we're going to focus on that. And this is all as it relates to actually playing our guitars in picking. And how do we do it, how fast, how slow? And what is the timing of playing all the stuff that we're going to play. Okay. So and you got your PDFs. This is a time where you absolutely want to get your PDFs in the additional resources, print them, download them, open them up, get them out and start looking at them. Because this is something that I want you to practice. Okay? And I don't want you to practice it in a sense of you go through it once and you say, Oh, I got it. I went through it one 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. I'm always be working on your rhythm of I, I had worn great piece of advice from one of my mentors years ago. And we used to go to a musical jam together. And I had actually, I was young and I had complained to him at 1 that sometimes the jam gets a little boring, sometimes it gets a little boring for me to go there and play with. People. And he told me that I should be working on my timing. And yeah, it totally changed the way I think about playing music and playing music with other people is that it's not always about how interesting and how fast and how complex the chords and notes are. You can just take something super simple, like they'll beat and try to get better at being more accurate with the beat and with your timing. So rhythm, rhythm is everything. Okay? And I'll talk, let's jump into it. So I'm going to just go through some of the things that you're, and look at it under PDFs. I'm going to try to cover off on some of the main pieces that I feel like you need to know. Okay? Rhythm is broken up into beats and arrests, so beets and rests. And a B does, obviously we're playing or strumming or picking a note. And how long it lasts. And arrest is silence is the same thing as how long it lasts, but it's silence for that amount of time. So a combination of beats and rests. And now inside of each measure, okay, we've got measures. And the measure is basically how we break up the amount of beats and rests. So down here at the bottom, I just did a quick little sample rhythm for us. I'm going to use it to the point 0 and things. These big 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 as a measure, all the stuff inside here as a measure, all this stuff. And so 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. When we add up all the beats and risks together. That's where we have one complete measure. And the measures all have the exact amount, exact same amount of time. Okay. What the amount of time is is faced on what our time signature tells us. Okay. So right here we are in a 44 time, okay? The top number tells us how many beats, quarter notes, how many coordinates. And the bottom number is telling us for, so we're dealing with coordinates. So there's four coordinates. The top number tells us how many. The bottom number tells us what kind of beat is. So there's only going to be two kinds of bottom numbers that you're ever going to deal with. It's either going to be a four, where it's going to be an eight. Okay? So if you're dealing with a four, which you'll usually deal with a four. It's telling you coordinates. So there'll be four quarter notes in every single measure or some kind of combination of beads and rests, they equal four coordinates. You could have another common time signature is a 34. So you'd have three quarter notes. Instead of every measure. You gotta have a two for two coordinates. You have a five for five quarter notes in every measure. So that's the time signature. And if eight was the bottom number, then it would be eighth notes. Have any eighth notes, maybe there would be 68. 6 eighth notes in every measure, a combination of beats and arrests, they equal 6 eighth notes. So that's what the time signature tells us. You're going to 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 a c, which means common time, because it's so common that sometimes they'll just be a C. That means common time for four is the most common time. We deal with 44 frequently, okay, usually it's four beats. So let's take a look at the beats and rests. All right, so the first thing that we've got is a circle that's hello. Okay, as a whole beat, hollow circles, a hobby and it gets four beats, is held out for four beats. 123412341234. It's a whole beat. Now it's equivalent Rest. We've every bead has an equivalent rest. And so this is what the whole rest looks like. It looks like a top habits upside down. Okay. So there'll be four beats of silence. If you saw one of those guys for V sub Cyrus, the upside-down Top Hat. Okay. Next, and we've got a whole circle with a stem on it, that's a half beat. It gets two beats. 1234. Did you notice how the first two were 12, and then the next half node was 3 and 4, because he gets two beats. 12341234. Okay? So we've got a total of four beats in a measure. We have to fill them up. You have to fill them up somehow. Beats and rests. 12341234. Awesome. Now we've got a filled-in dot with a stem on it. See the stem? The stem attached to the filled-in dot. This is a quarter note. The quarter note is the V8. When people talk about the boot, when we talk about the VT, we're talking about quarter notes. And it's a quarter note to dot with a stem on it. To quarter note is to beat. When we're saying four quarter notes were saying four of these guys. Okay, the quarter 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 note. It's the beat. And when we talk about tempos were talking how many quarter notes in each minute? How fast is the tempo? How many quarter mips is all based on coordinates, okay? So the quarter note just gets a beat, one beat each. So if we've got four beats in a measure, it's gonna go 1234, a V8 on every tap, on every single beat, okay, 1234. And we will be doing all this stuff on the guitar. Just stick with me. Quarter notes 1234, all right. And I think I skipped past the the half rest. So the half rest looks like the top hat that's on your head. The whole rest is the upside-down top hat and a half rest is the hat on your head. That's two beats of silence. The quarter rest looks like a jaggedy three, or maybe a lightning bolt as the quarter rest. So one view of silence, four beats of silence, two beats of silence. One beat of silence. Okay, moving on. Here we've got an eighth note. It's a dot with a stem and a little flag. It's got one flag, one flag hanging off of the stem. That's an eighth note. I know it's an eighth note because it's only got one flag. So one flag means it's an eighth note. If I have eighth notes next to other eighth notes, I can connect the flag. So instead of the flagging down, you see how for these guys right here, I just connected it. So that's a beam and turn the flag and to a beam. So one beam or one flag means I'm dealing with eighth notes. And eighth note is half of a quarter note. So it takes 2 eighth notes to equal one quarter note. So if I have a beat one, I can stick to eighth notes in there, and I count as an ant one end. So it actually goes twice as fast. All of these are going twice as fast as the previous one. Okay. There's refitted twice the amount of time. So if I've got quarter notes going 1234, and I wanted to turn it into eighth notes, mistaken. And in-between each one. Okay. 1234 band. Okay. Everything gets an ad including the 44123412341234 cans just keeps on rolling. Okay. No pause. Just keep going. The rest for the eighth note is a slash. It has got one flag on it. So it's a slash with one flag. If I see one flag, I know I'm dealing with an eighth note, one flag, we're one beam. I know I'm dealing with an eighth note. Okay? If I see two flags or two beams, then I'm dealing with 16th notes. 16th notes. So I can fit four 16th notes inside of one quarter note. We keep going half the size of the previous thing. So 16th notes are half the size of eighth notes. So if I can fit 2 eighth notes inside of a quarter, and I can fit 46, notice inside of a quarter. Okay. And the way we counted is we add an e and an a in between. So quarter notes go like 1, 2, 3, 4. Then I'm going to count 16th notes like one, D and C. The and is still on there. I'm adding the e and the 0123. For P and on paper when you're looking at your PDF, one e, it's an E and the end is a plus sign. And that just looks like an a. You don't say a colon, a 1D and 2D and 3D and 41234. Okay. And if I was going from quarter notes into 16th notes, so I just want you to know we're going, we're really going a lot faster, okay? If we're going 1234, I need to fit four beats inside of each one, each quarter note. Do you make sixteenths? 1, 2, 3, 4, 1D data to IQ and the 3D data for Scandal 1, 2, 3, 4, one added to the data, 3D data for heat NDA. If I go from quarters to eighths, sixteenths all the one measure of each, 123412341. And the three IEP ends up 40 lambda. Okay? Now the rest for the 16th note is a slash, has got two flags on it. Okay? And just like with eighth notes, if I connect 16th notes with each other that are right next to each other, then I just make beans instead. But there'll be two beams. Two flags becomes two beams. So PRC2 beams, you know, you're dealing with 16th notes. Two flags were two beams, Yemen sixteenths, one flag or one beam. You're dealing with an eighth. And the rest will look like slashes and it has one flag. Flags. That's how you know if you're dealing with an eighth note or a 16th note. And so far all the stuff that we've talked about is what would be considered to be in duple time. So duple 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. If I was playing, playing a chord like a G bar chord, and I was just doing quarter notes. I would go down strum on whole note, downstream on the half-note, down strum on the coordinates. So any of those, I would strum down every time. Every time. When I slip into eighth notes, I would strung up on the ads. Every time, every hand would be an upstroke. So whole note would be like 34234. Okay. How do half notes also downs? Four to four quarter notes still down, okay. Now when I go into eighth notes, I'm going to go up on the ends. Every single end is going to be an up. And what I'm doing, if I want to stick arrests in, they're going to keep swinging my hand. Okay. And that way I want to make sure that I always do the 1234. Is it down? And I want to make sure that I'm always going to be ends. So if I stick a rest and they're like, What if I rests on just the very first beat, that one. Okay. So one. See I do a silent strung. I don't make contact when I'm moving my hand anyway because I want to make sure I hit that and on the upstroke, 1, 1, 1. So that's how I want you to treat the eighth notes. Okay? You're constantly going to be swinging your hand. And if you have to rest, just don't make contact on that beat. 16th notes are going to be the exact same concept. We're down, up, down, up, down. Okay. But this time we're going down on the ones in the AMS and we're going up on the ease and the others was breaking it up. So it's like 132. And what is the exact same concept? If I need to stick arrest in there or hold a beat out and it keeps swinging my hand. I'm just not going to make contact. Okay. So if I'm going to like what? Chapter 14 cans of money and to see how I am just moving my hands but not making contact on some of those beats I don't want to hit. That's how we're going to treat it. Sixteenths, okay? Alright, moving on. So when we have duple time, everything is divisible by 2. Sometimes we are going to play in triple time, okay? And triple times where we can break the quarter note 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, or sometimes a six. If you're dealing with 16th note triplets, that could be a nine or 12 is something that's divisible by three, okay? And there's always going to be a bracket and a number like 3, 6, 9, 12, something as divisible by three. And so what's really common? In triple time as the eighth note triplet, okay? And you count it like one trip. Let one triplet, triplet, triplet for triplet. Okay, and we can start getting kind of a bluesy and 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, got one beam, one beam. And the rest is God. And it's just a slash was one flight your looks exactly like the eighth rest. It just has that bracket with three on it to tell us we're dealing with the eighth note, triplet rest. Okay? So one triplet to triplet three triplet, triplet, triplet, triplet three triplet, triplet, triplet, triplet three triplet. Fortunate. Said, it's pretty simple. So we can connect the eighth note triplets to anything that's duple to getting more complex rhythm sounds, right? And I can rest on any one of these triple B's. So I was one trip blood, let's say I wanted to rest on the trip. Okay. One trip lead to triplet, triplet four trip to give us a swing feel. All right. What if I want to rest on the let one triplet, triplet, triplet, triplet. He started to hear sounds pretty cool. Let's rest on the 11234. One trip to triplet. Triplet, triplet. Okay. Whatever strumming, eighth note triplets, I would recommend strumming them all down, all down. Okay. 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 PDFs and start tapping these out and then also grabbing your guitar and trying to strum them out. So it's a process. But you, the more you do this, the stronger your rhythms going to get. And you can do a lot of this without your guitar just to kinda get used to counting. Rhythm is the weakness of a lot of guitar players. Logging guitar players have not spent much time on rhythm. So if you want to become a little more special than the average guitarist, develop your rhythm. Okay, so let's just tap and go through what we wrote here. The example, the bottom got a whole beat and a half B, and quarters, and quarters and eighths. Eighth rests and eighth notes. 16th notes here, eighth note triplet here. I have a quarter rest here, and I have a dotted half-note there. Okay. Let's look first at the beginning. The whole via 1234123. 4123412 pen and a four triplet, 1, 2, 3, 4. Okay. So your first question is probably what the heck is worth is dotted half note, okay? There is a device in rhythm called a dot. Then what we do is we can put a dot next to a beat or arrest, and it adds half of the original value to it. So it adds half of the original value. So, how many beats does a half-note get? How many like quarter notes does a half-note get? Half-note gets to quarter notes just two beats, right? So we're going to add half of two beats. So half of two beats as one beat, so we're just going to make a three beats. A half-note gets two beats. So we're adding half of that value to itself. So it's going to become three V's large. So to make a dotted half note, we're saying this halftone, it's going to get held up for three beats instead of two beats. It's a dot there. And to make any rhythm possible with our system of music. And dots are one of the things that you will see from time to time. So I've a quarter rest here. So it's one or one end of rest. And then 234, this gets held out for beats 234234. So it makes us, okay, Let's go through one more time. And I think this measure right here, let's just take a look at this measure right here. Okay? Rest on what? One band. So I rest on long but at the end and then I rest on to and then hit the head 123. And up. About that so far, 1234 trip got eighth note triplets on beat 44 triplet, okay, 3D and of four triplet. 1 and 2 ends three of four triplet. Okay? 1234. So that makes sense. All right, let's do the whole thing again. Let's go faster, okay? 1234123412341234, triplet 1, 2, 3, 4. So it makes sense. All right. If I were you, I would be saying that how would you play them on the guitar? So let's, let's play on the guitar and they do it with this. See, you can do with the D minor chord, the minor of our quarter. 2, 3, 4, 3, 4. For one more time. Okay, Let's do it again. This time. Let's kick it up to an F sharp minor chord, 234344. Got it. Look, I, I think that we got you in pretty good shape for them was. So we will be referencing rhythm throughout the course. Please take a good long look at this stuff. And like I was told many years ago, you can always be working on your 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 insect perfect amount of time. The 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 modes that we're going to 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 launching pad for us to start using the other modes and other scales to figure out what is the appropriate thing for us to solo over. At the time when we're, when we're soloing. The major scale is the most popular scale in the world. So every country throughout the world, it is the most popular scale. 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 your dissecting and understanding it. The key of C is unique in that. When we talked about the chromatic scale, we talked about how there's ABCDEFG. Then he goes back to a again. All of those notes are called naturals. Abcdefg. Those are natural notes, meaning they're not sharp and they're not flat. So you've got the natural notes, a, B, C, D, E, F, G. And then you have all the sharps and flats. And when we combine it, then you have the chromatic scale. In most keys will in every key except for one. We're going to have at least one or sometimes several sharps and flats mixed in with the natural notes. This is something that is determined viral key and our key signature. But there is one key that has sharps and no flats. And as the key of C major, C major is only got natural notes. So the notes of the C-Major Scale starts and see, because we're, gives me C, D, E, F, G, a, B. Those are the nodes 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 and then breaking out into the modes also. So I want to go QC, and the notes of the C-Major scale, C, D, E, F, G, a, B. That's it. Okay? So here we are going to be starting on the eighth fret. And here's the really good news also is that this is the first mode. There are seven modes that we're going to go through in a little bit later on. And so this is one of the seven modes that we're going to be going through later on. So we're going to just go ahead and knock out one of them right now. Okay. We're starting this one with our middle finger. Okay. And sometimes we have to do a little shift with their hands, not in this one on this shape. We don't have to move at all or hand can kind of stay put. So our middle finger is starting it out. And we are going to stay finger to a fret, meaning that each finger is going to be assigned its own fret. So the middle finger gets all the eight. Fred knows the pointer finger is going to get all the seven friend notes. The ring finger is going to get all the night friend notes in the pinky is going to get all the 10th fret notes. That's called finger to a fret. Okay, so we're staying fingers you a fret on the C major scale. All right, so let's just run through it. Eight, 10. And the next string is 7, 8, 10, next drink 79, 10. Next drink 79, 10 again. Next string is a 10. And a high string is 7810. Okay, Let's go through, yeah. Let's do it backwards. Each time starting from the pinky, no. Good. And as a playing there, some alternate picking, go down, Down, up each note. I'm just alternate picking down, up, down, up, down, up. This is going to make me fast what I wanted nice and fast runs doing the alternate picking. Okay? Now let's just talk about a couple of things. My root node is my history 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 is the C, F sharp, G, G sharp, a sharp, B, C, eight, friends my C note. So that's why this is the, the major scale. That 10th fret, that high note. This very less nerdy here. It kinda wants to go a little bit. You keep going past the scale. May sound like a little bit. What the, the C note and on the eighth fret on the other Eastern, obviously. But since we use scales for soloing, I want to make sure that we've got all of the notes within our reach that we can get. So I wanted to get that extra Fred in there because it's something that we may want to do in a solo. We may need that note. Okay, so the first thing that well, and I've jotted down over here, the Ionian because it's also known as the Ionian mode and told you it's the first node. And don't worry about that. We will discuss the modes little bit later on. But it's, the major scale is also called the Ionian mode. Ionian mode, it's a Greek word. So the C major scale, or the Ionian mode, it's the exact same thing. It's the exact same thing. C major, C Ionian. Exact same thing. The first thing that pops out to me is this is a movable shape, just like the var cores and 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 reading 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 key of a major scale, so here's C, So here's a, here's B flat, Here's a. So if I just take the exact same shape and just plug it in right here on the fifth fret. That's the a major scale. If I say here was a in the fifth fret. So here's a flags, here's g. So I pull you in and on the third fret of the G major scale, okay? If I go back one more Fred, among F sharp, I can do the F sharp or the G flat major scale. I can come up here to the 10th fret and I can do a D major scale. I can come to the 12th friend do the E major scale. So I can play this on all 12 keys. I'm just playing the exact same shape every single time. I'm just starting on whatever root node of the key that I want to play it in. So that is one thing. If we get this one shape and we can play the major scale in all 12 keys. Okay, that's huge. That is really huge. Okay, so now let's talk about the scale degrees. The major scale. All of the modes and the major scale have only seven individual notes, okay? There's only seven different notes. The eighth note is considered the octave. So the eighth note is the octave. That's actually where the word comes from. Octa means eight. So the eighth note is the octave. The audit is exactly same as the first note. It's just higher or lower. But it's the same as the first node. So eight, same as one. And we'll talk about that more later on too. Because if eight is the same as one, then that means that nine be the same as hmm. Okay, We'll talk about that more later. What I wanna do is I want to identify the seven different scale degrees. And we're gonna do it very simply. We're just going to count up to seven and then after several, we go back to one. So what I mean is we're going to play through the skull shape. And C Major, just like I wrote it down on the white board. We're going to play through that, but we're going to count up to seven for each note. So 1234567. Now my next note, I'm going to say one because I'm just. And go back to one again. Because it's the same as my first note. It's not active. So my next year it's going to be a 234567 that S go to warning and one. That's a two. Let's do that again. 1234567567. One to one. Every time I hit a one, it was going to be that C note, the first note. Every time I hit a one, there was one there. And there was a one on the D string. And there was the high one on the high E string. Those are all see notes. Every time I hit a two. Okay? You're whereas refers to it's a DIY note. And then I had another two right here. To denote again when there was another two here. D note, every time I had a three. Here is a three. It's an E notes. There was not a three here. Every time I hit the same interval, even though it's different octaves, I say the same interval number. It's going to be the exact same note. It'll be a different octave. That'll be the same note, note name. That's what we're trying to do. We're trying to identify the note names, the intervals, okay? When we go into the scale degrees like this, we are trying to say, for example, I know the key of C that all the 2's are going to be D notes, and all the threes are going to be e notes. Trying to figure that kinda stuff out and make it simple. Okay? So three times six, and then back to one. 1, 2, 3, 4, 5, 6, 7, 1, 2, 1. Yeah, What I go backwards. I'm going to count backwards. That's the key to doing it backwards. So here's a one on my senior. So I'm going to go backwards. So I go to 765437654212. Okay? Now I'm identifying all of my scale degrees. And this way I can start saying, Okay, I just want to grab the fives or I want to get the fives. Or I want to really go for the three's. 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 modal perspective. And what I mean by that is, when you're playing jazz, you want to be always thinking about the chord as being played. Okay? So we're, we're treating the music as every time there's a new cord, there is a new opportunity going off for us to solo. There's 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 be showing it in our solo. And we need to be using and tools like the arpeggios and the modes and the scale degrees to support that courts so that when we're soloing, it's evident what the court is that is being played. Okay. So when you're going through the major scale, you want to be able to identify all your skill agrees. And I want you going and playing this thing and all the different keys get used to playing it up high and download. You may notice in the beginning that playing it down low where all the friends are spaced out, feels completely different from playing it up high, where everything is kind of squished together and the fronts are smaller. That'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 to want to start playing it a little faster. And so to do this fast bursts, we want to do the alternate picking so the down, up, down, up. And be conscious of the scale degrees. What is the scale degree? So if I asked you what is the fifth of C, It's as simple as that. What is the fifth of C? You would say? I don't know. Let me look. 1235. That's the fifth. And I would say, good, What's denote where we call it? You say, well, what's 10th fret on the a string? Counting up, counting up, counting up, counting up, and it's a G note, okay? And G is the fifth of C. That's it. That's the answer. Was the fifth of C. It's a G. What's the third of C? Okay. I don't know, 1, 2, 3. Okay, Now what's that note? Counting, counting, counting, and it's an E. So E is the third of C. Good, and it is the third of C. And so at this particular moment in time, you may not see how that information is important or relevant. It is very important, very relevant. So we're going to be using this stuff a lot. Right now. I want you to get comfortable with the major scale shape. And also, we're 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 licks using the major scale. Um, so first thing I need you to do is to be confident with the shape and to also understand the scale degrees. And we can talk about some different ways to use it. Okay? 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 and what makes your playing unique, and what makes you sound like you. So when people talk about a guitar players style, lot of times they're talking about their techniques. Obviously there are things like no choices, rhythms, the tones and electronics and equipment that they have. But a lot of it really is going to be the tactics. 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 of the basic techniques that you can use all the time, okay? And I want you to surprise and using techniques all the time. And of course be sure to check out your PDFs where we've got some more in-depth look into this stuff. I'm 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 in. 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 at this moment in time. There, of course, are things like outside notes, on notes outside of the scale or outside of the arpeggio, then we can sometimes access. 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, don't just randomly grab notes. Use notes from a scale. Okay? Use notes from the scale that you're supposed to be in. If we are just getting started with skills than I would want you to take the major scale. And you're going to 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 work on techniques in the major scale in the key of C. And you can only use those notes. You can only go from a node in the key major skilled to know the C major scale. No other notes, no outside notes. Only those notes. For example, if we're just doing a 10, 7, 8, 10, 7, 9 times 7, 9, 10, a 10, 7, 8, 10. Then you can only use those notes to practice techniques for right now. Eventually we're going to be like opening that up and using outside notes. But for right now, stick with the notes in the scale, from a note in the scale to a note of the scale. Got it. Okay. So here are some of the basic techniques, okay? We've got them listed as HP, S, a, T, or a B. So what we're working with our hammer ons. Pull offs, slides, trills, or vibratos and bends. These are all very cool techniques. Okay? So, and I just wrote one line because there can be done anywhere on any string at any point. Except of course, you're just going to use them over the C major scale. Okay, So what I wrote down, a hammer off, alright, so here's how it works. I've got 2 and 3, okay, the second fret of the third fret, and I've got an h over it. And the little connector to let me know that there's a technique going on. And it's 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 a hammer on works. I'm sorry, for the second fret. Third fret. Will kinda breaking with our keep it in the skilled rule. Just want to show you how it works. We could be using any of our fingers to execute and technique. Okay? Usually you want to use your strong fingers because we want that technique to really come out. So where we used to use finger to a friend and we still do, we want to use it for speed and to help us memorize the shapes and to get the muscle memory. The times where I think to stop using Figure 2 of Fred is when you're doing a technique, because it's more important that the technique comes out well. It comes out clearly. Then you want to use your strong fingers to do it. So to execute the technique and really have it come out, use your strongest fingers. Grep, gone from two to three with a hammer. We hit the second fret. We're pressing on. And we're going to hammer with our middle finger or our next finger. So hammering on to the third fret, and I'm hammering is called a hammer on. So I'll really smack in it. I don't want to go down softly. Softly, just going to mute it. I don't want to mute it. I wanted to ring out, so really smack it. And wall OM spec in it. I'm continuing to hold down the second fret with right here as a hammer on. So this can be done anywhere on any string. I'm just holding down the back note. And then I smack down the fret above. It could be any of the frontal bone at that I can reach there and go into the fourth spread. Here I've gone to the fifth fret, did it with my pinky. Those are all hammer ons. Good. So to keep it in the C major scale, hemorrhoids. Okay, poll offs are sort of the opposite of this. Alright. So I've got a 32 and I've got a P above to let me know that I'm supposed to do a pull off. What I'm gonna do this time is I'm going to have to press on both at the same time. Pressing on the third fret, pressing on the second fret, go both pressed. Same time. I'm going to hit the three PICOT. Now I'm going to swing off Twain off the three. And we're still holding on the second fret. What I mean, No, I said turning it off by 20 off with my left hand where I'm pressing and kinda wanna weighing it. So it rains a little bit. So hit it one, pressing it off. So comes down to this note that it's a pull off. And do that with any of the fresh that I can reach. I just have to make sure I'm pressing on both of them. I hit the higher ones. So maybe you had fun with my ring finger on 24. Then I twist it off to the lunar mega with my pinky here and the five pressing on both. And I twang it off. Whatever figure that's coming off, I have to really pull on the string little bit. Rigs, really nice. O ofs, if I do it in C major scale. Good. So pull offs are nice day You definitely can rip up your fingers a little bit because you're 20 and so much. But they come out nice and clear because it's you could control how much vibration getting by how much twain you get it to pull offs or greater. Okay. And before when I was saying is kinda self-evident, which which kind of technique you're supposed to do. It goes up, it goes from a low to a high note. The pull of goes down, it goes from Ohio to a logo. 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 going to be a hammer on. If you're going from high to low, it's going to be a pull off. Hmm. Okay, now let's take a look at a slide. A lot of times slides, they don't have the connector. They're going to have this little, it's more of like a little slash in-between. It's kind of like your dad tells you, you're going from this guy to that guy. So here I'm going for the two to the five, okay? And so what I do is I hit the to say Fred, going to keep pressing and slide my finger all the way up to the fifth fret. And as I'm going up, I have to keep pressing down all the way. I cannot let up on my finger. Okay. I have to continue pressing the entire way. Right? And I can slide up and I can slide back. So I go from five to two. I can just reverse what I did. I'm going to go from five to do. If I was sliding within the C major scale. And we can do big, big slides. The thing that I recommend you do when you're doing a big slide is don't look to watch your finger as you're going, as you're sliding. Fix your eyes on your destination for it. Where you want to 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 watch your finger as it's going. We'll get where you're going and just go directly to that fret. So that's the slide. The trill, okay, where we have a node has got this kind of wavy, wavy water looking thing about it. It'll sometimes say TR, like a trill, or may say vibrato or VIV. And what's going on with that? So here I'm just going to take this fifth fret. I'm going to go on the B string. And I like to do this with my middle finger because it's strong finger. And I'm basically just going to shake slightly shake up and down the note after he hit it, hit. She'd get up and down. That's a vibrato, sometimes called a trill. And I don't want to go, I don't want to bend it too much. I don't want to go. I'm not trying to do that. I don't want to do in these big jumps in the pitch. I just want us feel a little bit like a rubber band sounds. What happens is I'm getting some sustain out of it is going to run a little bit longer and I can get a little bit more volume out of it. So I can accentuate a note by giving it a little bit of a trill or vibrato. Okay, good. And of course I'm have to press on it the whole time and I'm keeping it rides behind the fret. That is, the sweet spot is directly by on the middle. It's the best place to press. Okay. It's the point of least resistance directly behind the metal, not on it, directly behind it. Bending. Bending is where we are trying to Ben's to a higher note. So in the case of where I wrote down were four thread, it's telling us to go the fourth fret, I'm gonna do this. Okay, We can do this anywhere. You want on the B string on the fourth fret. And so it's telling me to bend here, this note and bend it up. So I'm going to hit it. And I'm going to then keep pushing and I'm going to actually push up on the string to try to get the pitch up to the node on the next Fred, which would be this number here, the fifth fret note. So I want this node to this node, so forth. Fred trying to get this, don't go for that. Go for that. But see how getting the story here. Okay, That's a forward bend. Now if I was playing an electric, I have seen electric players that will do to node. They can bend up two frets. They can bend up sometimes three friends. There are some luxury players that have some real skills inventing and they can bend very accurately. 23 friends, which is amazing when you see a person who is playing. And they can just execute these really accurate bends where they're going to entry for its high. That's really great. And the fact that they don't break their strings always impresses me. So that's a forward bend. We've also got a reverse bent. Okay. And reverse bad would be basically if I took this right here, the bending of fourth fret. So I'm going to do the whole process, egg or the fourth fret and press. And I'm going to embed it. I'm just not going to pick it yet. Okay, so now I push. Now I'm going to pick it after I bent it and I'm going to release it and bring it back down. I have to keep pushing the whole time. So push up, hit it, let it down. That's a reverse bent. Okay. So when we do the reverse bent, we are, It's going bringing the note down, okay? So going from that node to this node. And that's reverse event. So forward bend, reverse bent. Like I said, if we want to, for the most part, keep our techniques going from a node in the scale to a note in the scale. So we don't want to have too much outside those going on. Ben's, you benzene 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 node happens to be in the scale somewhere that you're supposed to be, as long as your destination is there, then you are going to be just fine. It's going to sound good. So that is something I would work on, start working on this as you're working on the major scale and as you're going through remotes, start working on adding in some of these techniques. And you can use them as often as you want. I point out one other thing when you're going through your rhythms, it is at 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 or a slow hammer like maybe eighth notes or quarter notes. So it could be any technique and the question is pull offs. The 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 or I want to do a short technique, or these nodes to be spread partner, I want them close together. So that's another nuance that you can bring to add to your style will your, while you're playing. If you are not working on scales, maybe you're doing arpeggios, the trill or vibrato, so that you can always do anytime you've got won notes. You can give it a little bit extra. You can always give it a little bit of vibrato. Just work on getting little bit given us some more sustained and a little bit more life. Okay, so go work on your techniques. 10. Types of 7th Chords (page 33-34): Let's talk about the different types of seventh chords. In jazz. The most basic kind of chord that you should be playing should be a seventh chord. It's very uncommon in a jazz song for you to be playing a major or minor chord, it's just a plain major or playing minor. Typically, the most basic chord in jazz is going to be some type of a seventh chord. So what a lot of guitar players don't know is that there are a lot of different types of seventh chords. So you can't just say, oh, play that seventh chord. Unless you're talking to a musician who really knows their stuff and they can figure out what kind of seventh chord it's supposed to be. So we're going to talk about that and we're going to try to be hue, that kinda musician. So we are going to deal with five different types of seventh chords right now. When we say a seventh chord, the proper terminology, we're referring to a dominant seventh chord. So if you just say a seventh chord, it means like say for example a C7 or a G7. Okay, just a plain seventh chord, kind of like when you first started learning guitar and he learns maybe a couple of seventh chords and your open shapes like a D7 or an E7 or an A7. Some of your first open chords that he 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 a plain old seventh. So those are called dominant seventh courts. And they're just written as just with a playful seven. Sometimes you will see the word DOM or dominant because that starts referring to the possible extensions. Okay, so the plain old seven is a dominant seventh chord. Next we've got a and that would be this guy. And I'm going through a couple of different shapes on all of these chords here. So that's just a plain old G7 or a G dominant seven. Okay? All of these shapes are here. Over here we've got a minor seventh. And so you've got the lowercase, obviously is showing us that it's going to be a G minor seven. G minor 7. So we've got a couple of different shapes going on here. Then we've got what's called a major seventh. Okay? This is an interesting chord. It's got a triangle symbol. Sometimes you'll just see it looks like g triangle. The triangle is telling you that it's a major seventh, okay? Sometimes you may see they age seven or major seven. Sometimes it may just say major, major. And so since the core like a G chord, of course that's. There's no lowercase m. So sometimes when you just see the, the word major, it's implying that it's a major seventh. The major seventh is a really interesting chord because we, it starts showing us some things about the spelling of the notes in the chord. For example, we know that the chord is major because there's no lowercase m. 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 major. We don't have to change it or 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 we're adding into the court, That's what's major as opposed to what we have going on on these cores, the G7, the dominant seven, and the minor seven, the seventh interval. And those are going to be what's called a minor seventh interval. I don't want to confuse you. We're going to cover this all in the intervals section. But the G major seventh is an interesting one and it confuses a lot of people. But it is one of the prettiest chords and one of the most common ones that we see in jazz. Okay, down here we've got a minor and seven flat five. I put this one in the key of B, both of these shapes, B minor seven flat five. So essentially what's going on here is it's a minor seventh chord. Just like this guy, it's a minor seven. This was in the key of B though, but it's kinda flat five interval, fluff fifth. So that's kind of an interesting one. And it's, this is a very common chord in jazz. All of these chords are extremely common in jazz. Okay? And then we've got lastly, a diminished seventh. Diminished seventh chord pops up and the time all the time in jazz. And it is what is known as a passing chord or a walking court. So when you hear guitar players that are playing lots of chords really quickly, a lot of times what's going on is the cores that they're using to walk from one chord to the next will be diminished seventh. And I'm gonna show you how 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 corner going to play in jazz, seventh chord. And that's a 100 percent true. The interesting thing about jazz theory is that when we learn more about it, we can learn how to minimize the cord name. So for example, if you had a really complex chord, we can minimize it and strip away some of the, some of the unnecessary notes and bring it down to its fundamental foundation, which would be the seventh chord. And so a lot of large. Towards courts with big names, we can strip them down to what their appropriate seventh chord would be. So lot of times if you see a chord and he just quickly can't figure out the shape or where to do it. You can strip it down to its basic respective seventh chord, whichever one of these guys it's supposed to be in play that instead. So with these five shapes right here, these different shapes, but types, these five types of seventh chords. You can play almost any JSR, you can get through almost any jazz song, a score sound pretty good. It's going to sound like the song. Because the seventh chord is, even though it's the most basic version playing jazz song, it gets the point across the most clearly. So you want to be a master of your seventh chords. Because once you get pretty good at your seventh chords, all your different types of seventh chords and how to use them and in which one gets what type. Then. After that, playing jazz gets a whole lot more fun because everything after that becomes a lot more ornamental. It starts to be light, just extra, little extra stuff that we can 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 a seventh chord. What kind of seventh chord is it? Okay? Is it a dominant seven is an a minor seven. Is it a major seven? Is it a minor seven flat five, or is it a diminished seventh chord? Okay, so let's go through a couple of these shapes. I'm just going to show you where some of the root notes are on some of them and how on fingering them. And of course, a lot of these shapes. This is just something to get you started. So there are definitely, definitely more shapes to play than these. And this is something that, and guitar players will spend a lifetime looking for new ways to play these chords, new shapes, new ways to figure them. And that's part of the fun is when he started learning more. And you get a couple of these under your belt to start accumulating some more shape toward developing shapes on Iran and figuring red shapes out. That's where playing jazz can be a lot of fun. It just keeps going and 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 adjust socks. So this is really exciting because we're getting into an owl. Okay, so the G7 ones that got, it looks like I got about five different shapes up here for you. The dominant seven, and I put these guys in the key of G. Okay? So the first one we are here, it's based on our major bar chord routing on E. So I've got my G, e and all I do is I take my pinky off, picky comes off. So I open up the D string. So the D string is now here on the third fret as the first 1, second 1. This guy is running on. The lowest note, again is the root node G, 7, 10, 12, 10, 12. And this one is kind of based on our major bark or shape from the a string. The key of G would be 10, 12, 12, 12. So here we're just opening up that G string, but it's going to be held down by the index finger this time. So I'm going to have to borrow with my index finger a little bit to get the 10th fret. Strings. And 12, 10, 12. And this one has a great sounds. It's just got the bare minimum that we need to really get the, the sound of the seventh, the dominant seventh across. Okay, good. Now we've got this shape right here, starting on the D string 12121213. Okay, I'm going to borrow those tools with my index finger like that and get the 13 like this. The root node 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 my g, Bart. And I just go with one more and the high string with my middle finger. Okay? These are all G dominant seventh. Now I've got this guy right here, okay? Seven, 67, and the high strings. This guy looks like my first D7 chord that I ever learned, right? And I know that when I play D7 was playing D, This is the difference between a D and a D7. So these strings back two frets. So when I play it like a D7 chord, if I just played these three strings, there would actually be no denote in it. There's no denote in this. So how do I know where my root node is? Well, I know that if I went up, went on to Fred's on the B string, that would be my root node right there and D are here. So I'm going to have to kinda figure out when I use the shape, which I used the shape all the time because it sounds great. So to do 767, I know it's G because if I went up two frets on my b string node via my genome on the B string. You can think of it as to the root node on the B string. Here's the GI, GU back to frets and then plug in your load v legged your D7 shape. It's a G dominant seven. And then lastly we've got 32 three. And this is a basic seven chord triad. The triad in three-note chord. The triad is the foundation for any courts. Triad just means a three note chord. And it's your building block for any kind of chord. So it is a basic dominant 7th triad. Okay? I read note rare. So just going through my dominant seventh in the key of G, We've got one and that one, and we've got that one and we've got and then we've got that one. So that is a lot of different possibilities for dominant seventh chord, okay? You may already know a couple of these if you've been playing some blues. So let's take a look now at our minor seventh courts. What I'm gonna do is I'm going to go to my a minor bar chord region on the E string. Okay? Vicky comes off. But I'm going to put the piggy back down on the B string, the sixth fret. That now the picky know here is an extra to. We are repeating a note when we do it. We don't have to use the picky on the B string reached. Leave it off. I like it. The pinky down. Good. Adds a little extra. That's a G minor seven. Okay? That's one shape. And then another shape of a minor seven, key of G got 10th fret of the a string. Okay? And this is like if I do my minor bar chord shape on the a string, so I'm going to G minor. And then I take the pinky off and leave it off. Okay, this is G minor seven. All right, so we've got four, we've got, so there's a two easy shapes for minor seventh chord. We're routing on either the eStream or the a string. Real simple on that. Okay, Now let's take a look at our major seventh chord. This one is such a nice seven chord. So the first one we've got the way that I like to play it in. Everyone's got their own kind of finger preferences when they're doing jazz. The way that I like to play is three x 44. This is one shape. This is how I do it. So the x means we're going to mute that string. So I go third fret, x. And the x just means I'm going to kind of lead the skin under my finger touches. It's going to be a little bit just dead, dead and will be muted. So I've got the three, kind of muting the string underneath it. And then I'm gonna get 44. G major seven. That is one option for the major 7. Here is another one. This is a great one. It's a diagonal shape starting on the High Street, 2345. Okay. 2345. Just a complete diagonal shape. And we're only strumming what we're pressing on. You can think of the root node on this one as being the pinkie toe. Or it's like one Fred behind or one fret above where you're starting from. We're starting on the second fret. So when Fred above, That's my g. So I'm just starting my friend behind my G. Or I can think of the pinky known as being earned because my pickiness Zhe. Okay. Really pretty chord. All right, We've also got over here on the a string, okay, 10th fret, 10, 12, 11, 12. This one is also based on the bar chord, a stream or a chord. And I'm just taking the G string note and it's cutting back or fret. So I wind up with 10, 12, 11, 12. That's the sound of the G major seven. Okay, moving along, we've got starting on the D string, 5777. Okay, so I'm going to my fifth fret. This is a genome. Again, it's the root of g. And I'm going to borrow these 7's with my ring finger. Goes 777 on the bar mall with my ring finger. Kind of like we did with our bar chord before when we were reading on a mashed down my knuckle. So 5777. Really pretty sound. All right, so just recapping the major seven sounds we've got. Okay, that is really pretty cord. So in jazz, when you are meant to just play a major chord, it'll be a major seventh chord because we don't play geost major chords in jazz, we play major sevenths. So if you wanted to. Just take some basic chords and turn them into jazzy sounding. A very basic way of doing it is any major courts would be probably a major seventh. Minor chords would probably be a minor seventh. Okay. Yeah, let's move on to the a minor seven flat five. And that sounds like a whole lot. Minor 7 flat 5, it's B minor 7 flat 5. Okay? So for both of these shapes here are root node is on the lowest, the lowest string that we're playing. So, and you baby, I don't really need to worry about that one. We're going to play this a lot. Minor 7 flat 5 is a very common coordinate Jazz. We're going to play it a lot. It's not just common in jazz, is common in the classical music theory with how we construct the scale and how we get the chords from the scale. This is one of the basic courts split or not. So starting on the a string, 23, 23, okay? And are starting notes of B, so B minor seven flat five to three to three. Some people like to use all four fingers in the beginning. When they first learn this quarter, they like to use all four fingers, which is fine. I would recommend you get used to using three fingers. Actually for as many of these courses, you can try to use three fingers, tried to free up your pinkie so you don't use your pinky. And once you have to try to not use it that often because we want to keep her picky free. It'll give us more opportunities to play around with the course later on if we don't have the pinky. Also, we can get to the chord in a hurry when we're using less fingers. So I'm just kind of mashing down on the second fret here. So I can go to three. And I've already got the 23. I'm struggling with for middle strings here. 23, 23. That's what E minor 7 flat 5. Now I can also play a reading on the low E string. Okay, I've got all my sevenths, so viel my sevenths, my index finger. Okay. And then I have eight. Yep. And then I just need to get the 10th fret with my pinky on the B string, 10th fret. Okay, That's it and has trouble. All six. That is also B minor seven flat five. So I can go between either one of these. Go. Okay? And lastly, we've got diminished seventh, the C diminished seventh chord in the key of C. To try to make it easy, I put all of these. The keys that they're in to try to make it easier for you. Okay, So root notes and root note, the lowest note is every node, both of these, 3, 4, 2, 4, 3, 4 to 4. It kinda looks like a your fingers calibrated pretzel, but you'll kind of get used to the shape 344. And my lowest note when I see is my root node. Okay, good. And I can also play It's were routed on the D string 10, 111011. Okay? So I'm going to mashed element tends just so I don't have to use as many fingers and 1111. Okay. So that is C diminished seven. And I could go ahead and share with you one of the tricks with the diminished seventh chord. I'm going to show you how to put all these together. I want you to first get comfortable with shapes. But I'll share with you the diminished seventh trick. Write out one of the tricks that we can use ion. It is a symmetric cord. And what that means is that week the way that we can use it, one of the ways we can use it is moving it in any direction, three frets. Okay? So for example, if I take the first shape right here, 3424, okay, 344, got, alright. Now I can move this exact same shape, three frets in any direction indefinitely. And it's going to have the exact same notes. They're going to be in a different order, but it'll have the exact same notes. So I'm on three, so I'm just going to slide up 456. Okay, Let's play this. This has the exact same notes as the one. Now I'm going to move up another three frets. 1, 2, 3, elbow on the ninth fret. Starts to sound a little familiar to you. You've heard this before. Okay. I'm gonna go up another three frets because it goes indefinitely. Three Fred's definitely in any direction. 123. Okay. Every time I do this, I'm playing the exact same four notes. There's four. Notice I'm pressing of four strings, a play for different notes. Do the exact same four nodes every time. They're just in a different order. That's why it sounds a little different, but it's the exact same four notes. The diminished seventh. And I can do it using the second shape also any kind of diminished seventh. I can use this trick on. So it's always the exact same chord. And so if I needed to play a C diminished seventh, you learned here I'm 10111011, but I can come down and play it on the seventh fret, where I can play here on the fourth fret. Or I can play here on the first frame. And all of those are called the exact same thing. They're all called C diminished seventh because they have these XA notes. And we'll 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 the stuff under your belt, you are going to be able 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 and play with you, if you can knock out your seventh chords, then you're going to be able to at least play jazz rhythm guitar, which is a big deal because Jazz rhythm guitar players are really good. So work on your various types of seventh chords and we're going to start talking precision about how they work together and what the proper order would be. 11. Relative Chords (page 35-37): It's time for us to talk about our relative courts. Are relative chords are based on the notes of the major scale, the scale degrees. And so what we are looking at here is here I have the notes of the C major scale. C, D, E, F, G, a, B. These are just notes from the C major scale. And we 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, the C major scale, one to 71, and it just repeats itself, keeps on repeating itself. But there's only seven different notes. That is an important things for you 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 of the notes, one is a C, the second note is a D. The third note is E. Fourth note is an F. Fifth note as a GI. The sixth note is a, seventh 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, and this is a big part of music theory here, is where harmony and Melody intersect. They come together. So melody is the scales are playing the notes one at a time. And a harmony or the courts are where we have. The notes are stacked up and we're playing course. It's harmony. So harmony and melody of their work together. They are really one and the same. They're just different ways of looking at the nodes. We can look at them individually or we can look at them together. But the theory that we use is the same when we're talking about harmony and Melanie, it's all the same theory. Okay, so what we can do is we can take each note from the major scale and we can extrapolate a chord that would be associated with that node if there was going to be one core that would be associated with each scale degree of the major scale. And that's what we're looking at down below, is the core of that associated with each note. Another thing that we are looking at here is these Roman numerals. So and this is what is known as the some, some people call these Nashville charts or the national numbering system. And this is what studio musicians work 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, okay, let's play the QC. So whenever the one Roman numeral is, he's going to be the C. And then from there, you know what all the other Roman numerals are. Where you can say, let's play this in the key of D. So then the one Roman numerals going to be in the key of D, then all the other amino rules will shift depending on whatever the one is. This makefile one Roman numeral, the key of F, Okay, so then everything will now be in whatever's relative to the key of F. We'll talk about this more, we'll continue on. So with the Roman numerals and music, it goes up to seven, okay? And you have uppercase Case, uppercase Roman numerals mean it's a major chord. And a lowercase Roman numerals mean it's a minor chord. Alright, so that's pretty simple. So here you've got uppercase one, meaning it's a major courts of C major. Lowercase two means it's a D minor. And the two is telling us is the second degree, it's the second chord in the sequence. So obviously that's D and Q, C lowercase three. So three is a lowercase. So it's going to be an E minor chord uppercase for. So it's the one with the V next to it, that means four, and it's uppercase. So F major chord, uppercase five just to v by itself, that's a five. And so that's a G chord major lowercase v with a one next to it, That's a six. And so that isn't a monarchs is lowercase, lowercase Roman numeral. And then a lowercase 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 it says seven flat five. And we just saw that chord, a 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 chords and start looking at it from the viewpoint of all the extensions that we can have it where these chord extensions belong, like in what column 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. Now. The seventh degree, the b, it gets that extension. It doesn't want to be just a simple chord. It cannot be just a minor chord. It could go without the seventh and just have a flat five. That is a really tricky core to play on the guitar. Just a minor with a 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 7 flat 5, the b minor seven flat five. Okay? But everything else is either going to be just a play major, work plane minor, just for the time being. Now, this is, there's a Header. There were several patterns going on here. And this is going to be the same in any key that we're going to be in. So as we change keys, what we're going to play in the key of D, D major, or G-Major, or B flat major or E-flat major. Every time we change the key. These Roman numerals will stay exactly the same. The only thing that's going to change or the scale node, so top and the relative roles of course, that go below it. But the Roman numerals will stay the same. The one will always be uppercase. The one core is always going to be major. The two and the three are always going to be miners. The four and the five are always going to be, always going to be major. The six will always be lowercase minor, and the seventh degree will always be lowercase with a seven flat five extension. That's always going to be the case no matter what key we're in. So I mentioned before I want to do in the key of C For a few different lessons that we can just not have to deal with sharps and flats for right now. And we keep all the notes, naturals. Okay? So we can learn a whole lot of stuff just from this right here. The initial stuff that jumps out at me is that the one, the four and the five are the major courts. 145 are the major courts, C, F, and G. Those are the major courts. That's true. In every key. There are 12 keys and every key that we're going to be in, the one, the four and the five are the major ports. That's always true. It's always going to be true. 145 or majors. The 236 are always going to be the minors. 236, minor, minor, minor. The 23 and the six are always going to be minor courts. And that seventh is always going to have that minor 7 flat 5. What's interesting about that seventh degree, the minor seven flat five, is that this is a very standard classical music theory, guitar theory concept. This is hundreds of years old, okay, this has been around for a long, long time. A lot of styles of music will focus on the first six elements. The first six degrees. That minor seven flat five 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 it's embraced, seventh degree is really embraced and we use it a lot. So that's great hump, excited to be using it. And it's special, it's on its own. We can kind of think of this whole thing is being in maybe three categories. We've got the majors, the 145 or all majors as one category. We've got the minors that 236, 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. And this thing also, we'll talk about this later on with this concept of the relative courts grid is going to be extended into when we start 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 chord view, which is what we're doing right now. We're looking at it from a corporate 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. Help you to understand what is going on when you're looking at a song, when you're looking at cords. Because part of your job as a jazz musician is to be able to look at a bunch of cords if figure out what's going on so that you can figure out what you can do, what you can get away with. That's going to make sense and it's going to stay true to the original song. And so this is a big piece of area here. Okay, so let's just go through these chords for a minute and see what they sound like. Okay, now I'm going to go through some of the bar shapes on these guys. So we have C and we're going through the majors and minors. And 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 course, okay? So C major, D minor, E minor, F, G, a minor, B minor seven flat five. This guy was the one of the positions we can do is on the a string, three, starting on the a string 2, 3, 2, 3. This seventh degree has another name. It's also called a leading tone. It's a 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 7 flat 5 wants to resolve to the C chord. You can hear the resolution. So the seventh chord wants to resolve to the one chord. Okay? So let's go through the sequence again. One all the way around the world. D minor, E minor, a minor, B minor seven flat five. And C again. Okay, Those two years ago, stress and different bar position. So C major, D minor. E minor, F, G, a, B minor 7 flat 5. Here is another position. This one is 7877107. Back to see. Do you hear that resolution from the B minor seven flat five? Good. 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 this is a songwriter's tool for one is if we just started like jumping around and started putting this course together in different sequences. That is one of the tools that songwriters use to write, to write songs. This is like I said, hundreds of years old, this system. So some writers have been doing long time. So if we said we're just going to play around with the 145, Let's just hear that for a second. So, yeah, So that sounds like a whole lot of rock songs. It could be Blues, can be bluegrass. Folk. Log of stuff is going on in the 145. Let's check out the two and the three and you know what? Let's go six to three. Let's check that 63, so minor, D minor. E minor sound is colleague minor blues. Pretty cool. We can go maybe from the G to the D minor. That should sound that interesting. Okay, So we'll go. Okay, so there's a lot of different possibilities and we can sit around to go through every permutation and come up with a ton of different sounds. At the moment, it doesn't sound that jazzy is going to, when we start throwing in the extensions. The jazzy thing about this right now is going from a minor seven flat five and resolving into or one-quarter that that sounds like something right there. Okay. So I want you to focus on the relative courts and try to familiarize yourself with the pattern. And keep in mind 145 or majors 2, 3, and 6 are the minors. That seven is the special one, it's the minor seven flat five. It's minor seven flat five. And if we were going to put this in a different key, would love it if you would contemplate what that might look like. So if we were going to do another key, granted is going to have a sharp or flat or multiple sharps and multiple flights in it. So you want to be prepared for that. But we're just going to take the seventh scale degrees and we're going to plug in the respective court every time the one-quarter will be major, and two and the three will always be minor. Before the 50 always be major. There will always be a Meyer and the South will always be that minor seven flat five. And then you're going to have your relative coordinates. And from there we can start looking at the extensions. But I think that this is a great starting point for us. All right, so start playing around with your relative coordinates. 12. Relative Modes (page 38-45): Let's go through our relative modes. I've mentioned modes a few times up until now and alluded to them. And so we're going to 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 all of the notes from the major scale. In this case, we're doing the C major scale, are staying with C major. Hello Naturals. And we are finding positions to play those notes all over the fretboard, ok. There are a few different perspectives to look at how to use the modes. So one of the perspectives I'm using the modes is we learned the C major scale, okay? We learned starting on the eighth fret. What if I want to play the C major scale that everywhere That's what we use the most for. They are seven positions that it will wind up covering all of one octave. And after we get past the one octave, it just continues on. So if I want to play the C major scale everywhere, then I need to learn all of these shapes. And that's one of the things about jazz is there's a lot of different shapes to memorize. But the modes, I, I started studying the modes 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 fret board and all the nodes access to. I didn't understand how that worked until I discovered the modes. 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. And there's a total of seven shapes. And every time you're going to have a different shaped. 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 are spaced out in the right way, they're going to have the exact same notes. And so you can jump from shape to shape and you'll be different shapes, but they have the same. And so as you jump from shape to shape around the fretboard, you're always going to be on the same notes as you were when you're maybe over here in the key of C major on the eighth fret. So that is one approach to playing the modes. Another approach deploying the modes would be we can solo over the specific chord that we want to in the sequence. So we talked about the relative chords and how each skill degree has its own core that gets associated with it. So for example, the C and the C major scale is associated with a C major chord. The D in the C major scale. Associated with a D minor chord. So maybe over the C chord, we're playing in the key of C and a C chord. I would solo using the C Ionian itself, the actual major scale. And over the D minor chord, if there was a D minor chord, maybe I would play this Dorian mode right here. The D Dorian, Dorian mode, the key of 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 notes. As long as I keep them in the correct distance each other. And the distance is going to be the same as the distance from the notes once to the next. So as long as I am keeping all of the modes in the key's relative to the scale. So for example, the Ionian I play in the key of C, or the Ionian is the major scale. It's the same thing. As long as I keep in the key of C, I'm good. The Dorian mode, mode number two. As long as I play in the key of D, then I'm good. I'm going to be a relative to the C major scale, the e, if I play this Phrygian and the key of E, as long as I play the Phrygian in the key of E, I'm going to be relative to the C major scale. I'll be playing the same notes. Play the Lydian in the key of F. I'll be relative to C major. So long as I play mixolydian in the key of G of B relative to C major. As long as I played the Aeolian in the key of a and B relative to C major. So long as I play a low grade in the key of B will be relative to C major. That's what it means. Relative, so long as I keep everything in the right distance and in the right key, then it will have the same notes. So there are a couple different ways to think about it like that. But the way that most guitar players approach the modes is to be able to unlock the fretboard playing in one instance. So for example, I'm playing C Major, I want to do it everywhere. So I will use all seven mode shapes to unlock the fretboard. Or we could have a song that is actually keyed and Dorian. So the whole song could be based in D. Dorian still is relative to all of this other stuff. And maybe there are still some of these other chords in here. But D Dorian, D minor chord. And the D Dorian is the main focus of that song. So I will still have all of the C major, D Dorian, e, Phrygian. I'll still have all of these modes at my disposal. So there are a couple of different ways to think about them. What I wanna do is I want to go through the shapes so you can see how fingering them. Okay. Where do you know CIN routing or with the middle finger. Okay. I'm starting here on the eighth fret. You want to practice these forward and backward. C major. You already know that one. Let's take a look at the D Dorian. So when starts on the 10th fret. And for all of these modes, we're going to route on the low E string for all of them. Okay? So tough fret for the D Dorian. With my index finger for an out of, I did a little shift right there when I get to the D string has shifted back. So shifted back one for it, right? You're up to the B string, a, shifted up again, one for it. The degree of that with my pinky shifted up again. Examples. Okay. Sometimes in these mode shapes we have to do just a slight shift to grab a fret. That is instead of being for Fred's department, we might have five frets apart. And so generally what you do when there's an fread that goes outside of your fingers, you afraid you just shift your whole hand shape into it. And you stay in that until you have to shift up again until the whole thing moves and you just shift your hands, do the one fret shift. Let's just going to be a one frameshift. Okay? One more time on the Dorian shift. Shift. Sterling, the G string with my pinky. Shift up again, my ring finger. Good. Okay. Let's move on to the e Phrygian. Phrygian is a f sound, so pH RY fridge. So you go to the fridge to get some a fridge in the Phrygian here the, this one is completely figured to fret 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. Okay, So F Lydian, first Breton. Do that with my ring finger and my pinky 145. Shifting back, stretch. The stretch. Let's go one more time on the lithium. Great. Okay. G Mixolydian. Okay. Marie, this one with my middle figure. That is the g Mixolydian. And you could see how a shifted up when I go to the B string, shift and shift back with the pinky. Okay, good. Now let's go through the a. Elian, that's a CEO at ABO is press like an e sound. So as E Alia, a eel. All right. In the Aeolian mode, is the exact same as the minor scale, the natural minor scale. So you've got the major scale, which is the Ionian. And you've got the natural minor scale, which is the Aeolian and number 6 mode. Okay? So a eolian or a natural minor. Good. Now the seventh mode is the Locrian. The Locrian mode, this was the key of B. It occupies the same space as the C major scale. So it's going to be an easy one to memorize because it occupies the exact same frets, the same space. We just started with one extra fret on the seventh fret here. So everything else is identical to the C major scale. We just started with index finger on the B. Okay, good. That's all Southern low ships. And we have them spaced out so they are relative to each other. Meeting, everything I just played was just sudden notes. I look like southern notes. I played in seven different shapes. But it was the exact same seven notes. No more, no less. And they were the seven notes of the C-Major scale. So that is what makes it relative. And what I could do is if I was, say for example. Playing in the key of C major. And I said I can start slipping for modes, mode while soloing. So playing in C major, a little 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 the C-Major Scale. Part of what I was trying to do to keep this sounding like it was in the key of C, was I was trying to keep coming back to my C note. So even though it's going in different shapes, looking for my CDO every time. 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 mode. So in our example, we're going to play in D Dorian. The way that you can make it sound like it's in D Dorian is by focusing on those notes. And we know that we've got, we're starting node is a denote and course are other E string note is going to be a denotes. We also have on our D-string here or ring finger. D-string is also another denote. So every time we're going through a mode shape, this will be our three root notes or Octave shapes. Di, di, di, dt note for note. So I could be in the key of C, C, C, C, D, D, D, D, or E, or F, F, every time it's going to look the same. So if I'm in say my door and I want to solo it, but I want to make sure that this keep it sounding like D. I'm going to keep coming back to one of those three redoes, di, di, di. So, so doing this within the shape. And if I was going to extend out to the rest of the fret board, I just want to do the same thing. I want to keep on looking for my Dino even though I'm in a different shape. So let's give that a shot. And so D Dorian, During, because I kept on coming back to my d roots, may not have been the cleanest solo, but I kept it in D During because I kept on bringing it back to you, the Derrida, I was only playing the relative modes, relatives dorian or the C major. And, but I kept it in deep Dorian because of the D knows that I kept coming back to you. So the modes are going to be something that we're going to be talking about frequently. A 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 skill. You've already worked on that. And the seventh mode, the Locrian, occupies the exact same space as the major scale. So that was going to be an easy one for you. So start working on your relative modes. And we will be looking into then for solos little bit later on. But right now, just start getting these under your belt. And there are, there are literally endless soloing possibilities for you. We are using the modes. 13. Relative Chords with 7ths (page 46): Let's talk about our relative chords using all of our sevenths. So this is going to set the stage for us, for all of our extension's going forward. And 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 I've got the nose of the C major scale, C, D, E, F, G, a, and B. Above it, I've got the Roman numerals, the national numbering system, to show us the, the cord intervals, the scale degrees. And below it, we are plugging in the the respective seventh chord that goes with each scale to record each chord in the row. So just real quick, what's going on is, we've got uppercase M is the major seventh, and the lowercase sound as the minor seven. The seven by itself is the dominant seventh. And then of course we've got the minor 7 flat 5. The b is getting both. The minor seven flat five ends the diminished seventh chord. So we'll talk about that in just a minute. What we took away when we first looked at the relative chords was that the 145 or the majors and the 2, 3, and 6 are the miners. So now what we're looking at a little bit more closely is what kind of seventh chord do each of these get it. 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 14 and 5 is just the one in the four, they get the major seventh chord. So C and F would both be a major seven. The G, which is the fifth, it's also major, but it is dominant. So it is just getting the seven chord, the dominant seventh chord. So the fifth is always going to be dominant. It is our primary dominant, R First dominant. It's the main dominant chord. So every time he comes to the fifth, that is the only one in the row that gets the plain old dominant seventh chord. Okay? The 236 are all getting the minor sevens. So that still is consistent with everything we've seen. And the b. Now of course, the B is already defaulted to the minor seven flat five chord. We're also adding in the diminished seventh. Now what we're looking at here is we're starting to get some court extension's going on. So in jazz, when we are dealing with large chords, chords with a lot of numbers and names attached to them. We're either going to be dealing with extended courts were altered courts. So we're going to look at altered 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 chords. We're, we're adding notes into the cord. And the notes are originally from the scale. So there will be notes that would have originally been in the scale. Notes from the C-scale. So an extended chord would be the normal chord plus notes from the C-scale. So for example, when we're playing our C major seventh is all the regular notes of the C chord. Plus we're adding in our seventh degree from C, which is a B note, like a C chord plus a B note. That's what the major seventh is. When we're doing a D minor 7, we're playing all the notes of the D minor chord, but we're adding in the seventh, which would be the seventh of d. So d is one. In the case of D minor, D minor 7, 1, 2, 3, 4, 5, 6, 7. The C would be the seventh in the key of D minor seven. So it's a D minor chord and we're adding a C note into it. That kinda make sense. We are doing an F major seven, 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 1, 2, 3, 4, 5, 6, 7. 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 1, 3, and the 5, which is what the basic triad is. In order to make a regular major or minor chord, we have to have the first, third, fifth intervals. And then, and you have the, it's going to be either a major chord or a minor chord. And the third degree is going to tell us if that chord is major or minor. We'll talk about that more in the interval section. But 1, 3, and 5 equals a regular major or minor chord. The third is going to tell us if it's, if it's going to be major or minor. So the third determines major or minor. And that's always true. But like I said, we'll talk about that more in 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 notes that are not from the scale. Okay? And we use both in jazz. However, the primary, the main thing. And we're going to do it would be extended chords. So mostly in jazz, your Lang extended chords. And you may have a couple of altered courts that get pumped in also. But we can't have too many notes that are outside of the scale. We have to kinda keep the thing under control. So we're mostly going to be dealing with extended courts. The exception right now would be this diminished seventh that's going over a and b. So the diminished seventh would be an extended chord. Lab want to put it in the extended category, even though it does have a note that does not fall into C major scale, it's got one node that doesn't fall into the C major scale. That's okay, It's not a huge problem. The reason I want to use it as, because it's one of the seventh chords that we have been learning, the diminished seventh. And it is a very common substitute chord for the seventh degree. So normally in jazz, the main chord of the seventh degree of the B is going to be our minor 7 flat 5. That's our main court. If we were going to substitute it, we could use a diminished seventh. Really common. Okay, So let's just jump in and let's hear what the sound Lake. Okay. So we've got a few different shapes. I'm just going to use some pretty basic shapes here. Ra, so we've got C major 7 and then really pretty coordinate, d minor seven, E minor seven, F major seven. We have G seven. And we have a minor 7. We have B minor seven flat five. So we also have the diminished seventh, so vii diminished seventh. And as we talked about before, these seven wants to resolve back to one chord. So going from B to C major. Okay? And that completes the whole set. So we are really officially into jazz lens now. So when we're playing seventh chords, all the different types of seventh chords we are up and running. So what we wanna do now is we want to practice going through her different shapes and going through the cord row. And I, like I mentioned before, this is setting the stage for all of the incoming chord extensions that we're going to be playing. So what I mean by that is. That's the big lesson here that you want to learn, is that the 1 and the 4, one and the four are both major sevens. So that means that as we start building on more extensions, they are going to be built upon a major seventh chord. So the major seventh chord is now going to be the foundation for all or most of our 14 quarts. The 236 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. The fifth we touched on that is dominant. Dominant gets its own category. It's special. It's the only one that just guessed that plain old dominant chord. 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 chords. So as we start getting other extensions, those courts will also be called dominant. And the b is always going to have that sort of, we could call half-diminished. It is got the flat five, so it's a minor chord. It's going to have the seventh in, and it's going to have a flat five. Okay? Another way we could approach that diminished seventh by the way, over V is coming up here where we read it on the D string. So I'm up here on the ninth fret, 9, 10, 9, 10. Coming up like that. And resolving to my C major 7. Or I can come up like this. A diminished seven and unresolved to this C major seven. That's a nice what we're seeing. Okay? So what we want to practice is going through all of our 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 of so just going in order, going through the different shapes playing through the courts. And what I was doing. Egn was the diminished seventh trick. Though we talked about where are we take the diminished seventh chord among be here, diminished seventh. And I can move it three frets in any direction. And I can just keep on moving at three friends and it'll be the same court. So this is B diminished seventh, three frets. This is B diminished seventh, three frets. So that's a diminished seventh, three French, so that's B diminished seventh. So the diminished seventh chord. There are music theory books. There are books that are just dedicated to talking about diminished theory. I'm diminished theory goes pretty deep. It's 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 chord. And that's because it's a symmetric cord. So what I mean by that is that this is B diminished seventh here on the second Friday. And I come up three frets. And I said that's also be diminished seventh, true? It's vii diminished seventh and among the d root node, so it's also D diminished seventh. And I come up three fronts again. And that's vii diminished seventh. It's also D diminished seventh. And among the effort node, so it's also F diminished seventh. And I come of three frets. This is G-sharp diminished seventh and is also F diminished seventh, that is also D diminished seventh and its also be diminished seventh. Well, so it is four chords. And then when I go up another three frets, we've gone around the world and I'm back on V again. So it is all of those chords. So there's only a certain number of keys that we can play a diminished chord going on since its shares nodes with multiple keys. Okay? Another way that we can practice going through the 7th relative chords, the extensions, is by jumping around a little bit. So going like between the one and the four is a good thing to practice going between a C major 7. If these shapes are giving you a hard time, you still get to use to the court shapes practice going from like shape to like shape. So C major 7 to F major seven. Or we can go through the minor's. Going from the D minor. We want to bounce around a little bit, so let's go to D minor. C, you that a minor to the E minor. So we'll be okay. Then you want to 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 a minor seven, D minor seven to the G7 chord. There are ways to do easy fingerings. And we've talked about that. There are all kinds of different chord shapes and redundancies that we have. So you can kind of pick the shapes that you prefer. Some are going to be more comfortable and some are going to be more difficult. Sometimes the more difficult ones sound better though that is the reason to do them. Even though they're more difficult for us, they sound better. 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 seven. Actually, figure wise, I can do this movement right here. And it's pretty much the same thing for my hand and just jump down a string for everything. I'm gonna come up here, and d by d minor here in my G7 here. D minor, G7. Good. Okay, and we should practice going between the B minor seven flat five and the C major. And do it in a couple of different positions. Going for the B Diminished to the C major 7. And one of the things that you see me doing a lot when I'm, when I'm playing is I'll be strumming a little bit and they'll pick through the quarter little bit. So this is a nice technique to use. It gives us a little bit of a melodic sound. So thinking through the notes, that's a good thing. Okay, so the big takeaway from this 114 major sevens, five is dominant to 3 and 6 still minor, okay, they just get the minor sevens and the b. We have the minor seven flat five and we are 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 can go for the diminished seventh chord. And it lives, we're going to the one chord. Okay? I think that this is setting us up pretty good to move on to the next video. 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 arpeggio is that we already learned. For the most part, I am not charting out all of these because there are too many to chart out. But we can easily figure out how to get the extensions in there. I'm going to show you some simple tricks to do that. And of course you've got your PDFs where I do have everything sorted out, so I hope you've got the PDFs from the Additional Resources, printed it or open somehow in front of you. Okay, So when we are dealing with the major seventh arpeggios, It's, we are just arpeggiating the major seventh chord. That's what an arpeggio is. We're taking the notes of the chord and we are, and relating them and playing them one at a time in order. So since we talked about with the chords, everything is built on the major 135 basic triad of the course. We still have that in our basic arpeggio with an extension, we are just adding in an extra note. And so the extra node in this case is the seventh. But what kind of seventh is it asks the question. So the major seventh chord is going to have the major seventh interval. And the major seventh is one fret behinds the octave or the root note. So wherever your root node, the arpeggio is going to be one fret behind that. So, for example, if I am playing a C major seven arpeggio, I can start off by jumping into my C major arpeggio. Okay, so I've got, so that's my basic C major arpeggio. Now what I wanna do is I want to add in that seventh degree, and it's going to be one fret below all of my C notes. Okay, That's what major seventh means. Major seventh means that the seventh degree is only one fret. So I'll just start into it and I'll go over the seventh on my, when he gets my first octave, 1, 3, 5. Now my next note is a one again, because we just keep going 135135. So five. Now this is my one again, so I'm going to go one frame behind it and hit that, that's the seventh. Then go for the 135. Now my next node is the one, so I'm going to go one fret behind it. That's the seventh. It's the one and the three. Okay. So let's try that again. 135713. Okay, and that sounds awesome. And when we're going through the arpeggios, people will sometimes make a decision to skip past the root node, specially on third NGO, you may decide to only play certain rid notes and skip other ones because it can add more emphasis on to the seventh degree. So what I mean by that is we could go seven and I want to skip the one and just go right to the three, the next note, seven. And I'm going to skip the one again and just go right to the next high three. Skip the 17. And I'm going hit my last one. Okay, Let's try it in a different position, right? So I'm going to go in this position error. So rude on the a string, C major. C major. When I get to my C note, I want to hit the fret behind it. Okay. 135. So my next notes the one I'm going to go one frame behind it and add the 1, 3, 5. My next notes, the ones I'm going to go one frame behind it. And I could even go one fret behind my starting node if I wanted 0. So 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. 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 to 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 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 rudeness or octaves. And C Major seven. Okay, let's take a look at the minor sevens and the dominant seventh. These guys both operate the same way. So we're starting off with the we're starting off with the regular arpeggio. So the miner center gets the minor arpeggio and the dominant core gets the major arpeggio. Dominant is major, okay? So the fifth degrees major, it just happens to be dominated. It goes into its own dominant category. But dominant is major, so seven chord still venture. So we're just wanting to take the major arpeggio for the seven chord and the minor arpeggio for the minor seven chord. These two core, these two arpeggios both have the same kind of seventh degree though. And it's called a minor seventh. Alright? And we will be doing an in-depth look at intervals shortly. The minor seventh interval is two frets behind the root or the octave. So over here with the major seventh chord, we're playing a major seventh interval, which is one front behind the octave or the root note. And for the next two guys, we're going to do the minor seventh interval, which is two friends behind them, root note, okay? So all you have to do is go through the regular arpeggio. And if you're doing a minor seventh, you're doing a minor. And we're going to hit Add in the node has two friends behind every root node or every octave. Let's take a look at that. So if we have a D minor seven arpeggio, so I start off with D minor arpeggio, regular D-minor. Okay. Every time I get n is 135135135. That's how the arpeggios go. 135. First, third, fifth. Now every time I get to a one, I'm going to go for the fret. Two friends back. I'm going to go to Fred's back from the octave and add that node in 135. This is my next one, so I'm gonna go to friends back. And that's my seventh degree. And then I had the 1135. Okay. And then here's my next one. So I can come to friends back. This guy where I can keep it in the position that you're for this node. And three, so 357571. And that is a minor seven arpeggio. And it kinda looks like a little miniature pentatonic minor scale. If you happen to know that one, it's a little mini pentatonic minor scale minus a note. Okay, and so this is something that we can do over the D minor. The E minor ends the a minor. So it's going to be the same thing. So if we've got desired, let's do even lighter. 1371351. Three, studio with a minor 1357132. Friends back from my lowest starting node is I can always do that anywhere, anywhere on the fretboard where I've got access to it. So if I was doing this, those a so if I took my a minor from a different position, maybe if I do this shape of it like a dream. I've, now this is my next one. So I'm gonna come to France back 713517. Okay, and that's a minor seven. Now, let's take a look at our dominant seventh chord. Okay? We've got this one of the key of G. So if I have, start off with a major arpeggio and GPA, now the dominant, it doesn't have a major seventh interval, is the dominant even though it's a major chord, has a minor seventh interval. So it's, the seventh is going to be two frets back over the dominant. Okay? That's what makes it special actually, is that it's a major chord. Is it? It has a major third, but it's got a minor seventh. So that's what makes it different from these major seventh chords. So two friends, bad, just like with a minor chord. So 1, 3, 5, Here's my one. So I have to go to Fred's back 75 and I have a seventh year, seven. Okay. When 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, 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 in the appropriate seventh. Is either going to be one fret behind the root if it's major, and if it's minor seventh or dominant seventh, it's going to be two friends behind them route where the octave, okay, so that's how those three types work. I wanted to go ahead and short out the minor seven flat five and the diminished seventh arpeggios because they are really new shapes and they don't relate to the major and minor arpeggios that we've already learned. Okay, sue, the B minor 7 flat 5, reading here on the low E string, okay? 7108, 79, and then 7, 10. Now we are. Again with our pinky on the B string on itself, Freddie, and then seven-tenths. Okay, let's do that again. What's unusual about this shape isn't what I'm gone from the G string seven. And I had to go again with the peaky on the next string. Do it on the way down also, it's a double-tap with pinky her. And that is the arpeggio of our E minor seven flat five chord. So when the B minor seven flat five chords being played, that arpeggio is going to be something that we can jump into to try to bang out a little bit of a melody or little writhe. And we're going to be in the safe zone old time, because we're just going to be playing notes from our B minor seven flat five chord. Okay? The diminished seven arpeggio is a, it's its own, its own kind of patterns. So we talked about how the diminished seventh chord is a symmetric cord. The arpeggio is very symmetric and you'll see what I'm talking about in just a minute. So okay. If we just started on the Samaria of them be rude. Notice we're in B diminished seventh Samaria note. So Fred, and we're going to go seven and 10. And what I'm gonna do is I'm just going to go diagonal, okay? So I go down a string and up a fret, down a string and upper Fred again. Okay? And I can just keep going like that until I get to the B string. You down a string and upper friends. So 7, 10, 11, 12, 13 down a string and upper Fred. Okay? When we get to the B string, we have to go up two frets. If the jump two frets. But then it just goes back to its normal pattern and up one fret from last spring. When we're jumping between the G and B strings during the day. And arpeggio, remember to do it to Fred, jump, to Fred jump. Okay. That's how the whole thing works. So I kinda went up a little bit here, but then I started back here on the Bina, on the a string, which is second fret, second fret on the a string. Okay? So it just, it goes the exact same pattern. It's, it's just a pattern where we're going diagonal, okay? 25 of a string and up a fret of the string and up a fret of the B string. So I have to jump up two frets. And then I go back into the same pattern of a string and up afresh. Okay, but I go backwards, I have to go back to frets. And I can just keep on going as far as I've got strings following this pattern. And really what's going on is it's the same thing as it is with the chord is that we're going three frets, three friends in any direction. So if I land here on the tenth fret, I can go up three friends. They could go up three friends again. I can just keep on going up three frets. That is what the arpeggios doing. So when we've got a diminished seven arpeggio. And all I'm doing is I'm just kind of going up a few, then it go back one, I go up a few more. That's just a trick and you can mix it up any way you want to. So if I go up three strings, I'm going to go back one string and do it again. Let me go back one string and do it again. Let me go back a string and do it again. So that's something that we can do and you can grab this from any root note as long as you remember, due to fret jump to fret, jump between the B string and the G string. Whether you're going up or going back, make sure you jump two frets. Jump up two frets on the B string. Or if you're coming back, jump back to fret on the G string. So it makes sense. So I can grab a B for, from anywhere. I've got a bean or a here, so and then I'll just jumps you frauds. Okay, Right, Good. Grab my high B, right? I can take it backwards. So don't you Fred, anywhere that I can find a v-node, I can do this and start to sound pretty jazzy. Okay? So I think that about covers it for yourself. Arpeggios, the new ones that are definitely going to be new shapes, or 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 to play around with the major seven, minor seven, dominant seven. You should be able to do these in just, may require a little bit of thinking in the beginning, just to get the hang of where to place your sevenths. But look at your PDFs just to make sure that you are doing shapes the right way. So go through all yourself arpeggios because you're going to 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 going to do. And it's pretty basic jam, but it's going to give us an opportunity to practice all the stuff that we have learned so far. And what we're doing is we're going through the relative chords in order. I've got two bars of each or two measures of each. And we are treating each chord as it's, it's seventh extension, the seventh extension that it's supposed to be. Okay? So and remember the triangle means that major seven, sometimes you'll see it listed as major seven, MJ seven. Or sometimes it'll be just a danger or you'll have a triangle. And that's how you'll know that it is a major seventh. So two bars of C major 7, two bars of D minor, 72 bars of E minor, 72 bars of F major, 72 bars of G dominant seventh, two bars of a minor, 71 bar of B minor seven flat 51 bar of B 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 chords. And then we're going to solo over and kind of talk about what we're doing. And I'm going to play with a rhythm like like 12412 ends and 4 and something basic like that. Guy. So let's jump in and see if we can get this to work. Okay, 234. Okay, good. So let's start out by going through just the basic arpeggios, the major and minor arpeggios that should take us through all the way until we get here to the B minor seven flat five. So let's try that out and just see how it sounds. Okay? So I'm going to be doing the C major arpeggio over the C major seventh chords. I'm gonna do a D minor arpeggio, just a plain minor arpeggio over the minor seven, D minor seven, E minor arpeggio over the E minor 7, and like that, okay? Okay, and we came up to the D minor seven, flat five. So now let's jump into the arpeggios where we are using the sevenths. Okay, So with arpeggios, all right, In this time, I'm going to go for the complete other B minor seven flat five and the B Diminished seventh. Okay, it'll go around Just a couple times and see how that sounds. 16. Types of 6 & 9 Chords (Page 50): Let's talk about six chords and non courts. Diamond add some new courts to our arsenal. So these are more extended courts. And we are adding the 6 extension and the ninth extension. Okay? So six chords, Let's talk about them first. When we play a six chord, it's special because it changes the fundamental role of the court. What I mean is that we talked about how the basic major or minor chord is built on the triad, which is the 1, 3, and 5. The first, third fifth. From the scale. When we're playing a sixth chord, what we're doing is we are taking the fifth and moving it up to the six. So there is no fifth sixth chord, there is no fifth. So our first one is C6. So let's just take a look at it. Okay? It's the forehead strings, 1223. Okay. Alright, so what we did is we have moved our genomes of two and a note. So the intervals in the sixth chord, or 1, 3, 6, normally it would be 1, 3, 5. And then when we have a seventh chord, it would be 1357. Well, we have a ninth chord, which we'll talk about in a minute. It would be 1, 3, 5, 7, 9. So usually we just keep on stacking and adding the new extension. The sixth chord is special because we are removing the fifth. We're actually moving the fifth up to the six. So there is no fifth, one, 36 as the spelling of a sixth quarter. Okay? And so here is our C6. Alright? My root node is right here on the a string, so my lowest note is my C. So kind of thinking of this one is reading with pinky, right? So if I was going to play this one in maybe like F, F6. So I find that f with Nike, we go, okay, Plugging the shape. Okay, great. How about a G6? So let's go to G with the pinky and plug in the shape. G6 has a nice chord and it's a nice alternative to the, the major chord or the major 7. And we'll explore that a little bit more later on. So that is the six. Now when we're dealing with the minor six, the minor six works the exact same way. We're taking the fifth node and we're just keeping it to the six, but the minor stuff stays the same. So the spelling of the minor chord is 1, 36, but the three is a minor third. So the end we talked about how the third determines whether a court is going to be major reminder. And we'll talk about that in more depth. So let's take a look at our D minor six, okay? Our lowest note stills the root node three of 5343, okay? So 535343. Okay. So I'm actually going to figure this using my ring finger. And I'm going to mash down on these threes here. I'm just gonna kinda mashed down on those three threes. And do middle finger in the middle. And the fourth fret. 5, 3, 4, 3, D minor 6. So what if I wanted to play? Let's say I wanted to play a minor six. Okay. So they call it to rehear Nashville. And these guys, my middle finger goes in the middle. Stable under six. There is an E minor six because I'm on E right here. Here's my D minor 6. Again. We're going to take a deeper look into what chords are, what scale degrees we can play the six and the minus 6 over. But I just want to show you where you can move it around. You grab its low notes. And then we just mashed down on these three strings. Middle finger goes in the middle. And you get a reminder six chord. So that said six is pretty simple. We just want to remember that there's no fifth, the fifth up to the six, so it's 1 36. That's the spelling of a major sixth chord and a minor six board. Okay, let's take a look at our knights. Knights follow more of a typical CT extension procedure. And the way that works is we are stacking on top of the seventh. So it's all based on nerdy, have some kind of a seventh chord. And we're just going to add in the ninth. What is the ninth? Okay, So when we were counting or skill degrees from the major scale, we know that there are seven different notes. Okay? So if we're in C major. 12345678 is the octave. An octave is the same as one. So a lot of times we've been carrying 27 and then we go back to one. All right? Right, now we're going to count this as eight. Okay, so the octave which is the same as one, we're going to call it eight. So eight is the same as one. So that means that nine is the same as 2. Okay? So nine is the same as two. So that means that 10 would be the same as three, and 11 would be the same as four. And 12 would be the same as five. And 13 would be the same as six. And of course 14 would be the same as seven. But when we are in music, we don't talk about eight courts, eighth courts. There is no eighth coordinate because the eight is the octave. And of course you're going to have an octave and a court. And we don't talk about 10 courts because the 10 is the same as the 3. And of course a court's going to have a three in it somewhere. That's just a basic rule of the triad, the basic one 35. So we don't have an eight core because it's just the root. We don't have a 10 chord because it's the third. Court has to have a third. Of course a court hasn't third, so we don't have a 10 cord. We don't want a 12 court because of the 12 is the five. And of course a court is going to have a fifth and somewhere, well 35, that's the basic triad. So we don't have a 12 cord either. And we don't have a 14 cord because the seventh is such a common extension that you just call it a 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 29 are the same thing basically. And 4 and 11 are the same thing basically. And six and 13 are 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 hand would play one through seven or one through eight. And then the right hand, which is going even higher, is going to play the nine. And then all the way through to the next octave. So the nine, which is the same as the two, but it's the higher octave of it. And so the 11 is going to be the same as the four, but it's a higher octave. And the 13 is the same as the six down here, but it's a higher octave. And so that's the reason that we've got 9s and 11s and 13's. An ion, has a 211 is a four and a 13s and six. But we call them that because they are meant to be in the higher register. As you're going to find out on the guitar, we have issues with trading in the same way a piano player would treat it because we don't have ten fingers to make ten notes. We can make a maximum of six. And a lot of times that's. It's trying to get six different notes into a chord. Six different notes into 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. So we make concessions and we're going to talk about how that works. So getting back to what we're talking about with the ninth courts, we are starting with the basic triad, 135 and we've got the seventh degree. And then we're going to add the ninth in on top of that. Okay? And the ninth is going to be the regular too. It's just a normal too, like from the major scale. Okay. So it's just like two fronts off note to Fred's out from the root. So if we're in the key of C, two friends up as a denote. So to hit a nine, somewhere off of the C chord, it's going to be adding a dino into it. And we want that nine were the dino to be the highest note in the chord if possible, doesn't have to be. That's one of the concessions that we will definitely be making a lot of. But if it's possible, we want to try to get it. It's the highest note, but it's okay if it's not, we just wanted somewhere tucked inside the court. Okay. So let's take a look at our C major nine. Okay? C Major nine and its major nine. So we can see that there's three different kinds of nine chords here. We've got a major 9 or minor nine and a dominant night and just plain old nine. Okay. So the major nine would be builds on top of would be the major seven courts. Sometimes these major 9 quarts, you would see it as like triangle nine, because the triangle means major as a major seventh. So you will sometimes see major MJ 29, or uppercase, I'm nine or triangle nine. That all means the same thing it means is it's based on a major seventh chord we're 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. For the record, 3243. Okay, let's listen to it. All right, sounds pretty cool. So that's the C Major nine. And this one, we've got one, a root, a third major seventh, ninth. So what we did was we just got rid of the 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 of these notes because we only have so many notes that we can hit and we can finger. So a lot of times we have to have a route. Usually. We usually have to have a third so we know for playing a major or minor chord. And then we can skip the fifth and jump right. The seventh. And then after the seventh we can start adding the other extensions like NIH. So this is a pretty common shape on the guitar, the major 913, major 7, and 9. I want to play this on the key of F. So F major 9. I just read it over here on F, and I plug in my shape. And it sounds great. Sounds really great. Okay, let's take a look at our minor nine. Right? So the minor nine is going to be built upon the minor seventh chord. Alright, same concept we're build, we're stacking on top of these courts. So here I put this one in the key of D, So D minor nine. We've got 5355. This one's a little bit stretchy because we've got these three fingers on the same Fred. And our index has to be back to frets. So depending on where you are in the fretboard, this one can be a little tricky. D minor nine. Now the spelling on this one is one, minor 37, minor 79. So 1, 3, 7, 9, one minor three, minor seventh, and 9. So we did the exact same thing. We got rid of our fifth so we can make room for a night, 1379. Okay. D minor nine. Sounds great. Let's play it in a queue of E was the selling and key of E. So we come up here to E on the a string. You get these guys. Our index is back to France. Okay. That's cool. Let's do the kid. Come all the way up here today. Okay. Great. All right. These courts are starting to get a lot of body to them. You're starting to get a lot more complex and rich. So start to sound like jazz. All right, let's take a look at g nine. We've got just a plain old nine chord. And when you hear me say stuff like plain old, something, I'm talking about the dominant. So we've got the nine chord. And since it's got no uppercase, them are lowercase and we're triangle or anything like that. It's just a nine by itself. This guy goes and the dominant category, okay? So this is built upon a dominant seventh chord. So let's take a look. 109, 10, 10. So our rootNode again is our lowest note on the a string, 1091010. Okay? That is G9. Sounds greater. And so this would be something that we would substitute over a seventh chord. So instead of playing a seventh chord, we would play a nine chord. They're both dominant. And sometimes you are given the option of playing any kind of dominant chord you want as long as it's in the right key. So if someone said to you, play a G dominant, G dominant, well, you can play a G7 or GNI because they're both dominant. The both are in the same category. The 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 it's going to route. It's got a major third this time. Minor seventh nine. So the nine is the same kind of nine that we've always had. But it's got a major third making it a major chord, the minor seventh interval. So that's what makes it dominant. It's got a major third, minor seventh interval. That's what makes it dominant. That's what makes the dominant seventh dominant. So it makes the dominant nine dominant. Major third, minor seventh. Okay? So G9. Alright, so, uh, want you to familiarize yourself with the sixes and nines and get used to the shapes. And we're going to start plugging them in 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 chords using all the extensions that we've covered so far. The seven's, the 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 chords go in which column. Okay? So up above, I've got the, the Roman numerals to scale degrees. Down below it, we've got the notes of the C major scale, C, D, E, F, G, a, B. Okay? And then down below we can think of these as columns. And it's showing us what kind of chords we can make for each one. Okay? So let's, 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 the similarities that we see. The like courts. So the one of the four or the first thing that pops out at me, one of the four have the exact same chords. So we can play the major seventh six, or the major nine, major 7, 6, and measure nine over the one of the four and the key of C, that's the C and the F chord. So let's check that out for a second. Okay, over the C chord, we've got a C major 7. We have a C6, and we have a C Major nine. Alright? It's a lot of stuff we can do just in C, C major seven, C6, and C Major nine. Okay? So we can do the exact same chords in the key of F. So let's come on up to F and F major 7. And we've got F6. And we've got F-major 9. Okay? F major seven. F6, F major 9. There is a concept called vamping. Vamping when we vamp like a vampire. But it's not like a vampire where we vamp in music. What we're doing is we are playing around with the extensions. Usually just run one or one or two courts. And so if we, we're vamping in the key of C, then what we would do is we would bang around these different courts just kind of whenever we wanted to. So if we're vamping and see, we might be doing something like C6, C major seven, C major nine, C major 7, C6, C major 7, whatever we wanted to bounce back and forth between them. And that's just me staying and see the whole time. I'm just over a C chord. And I'm vamping around it using the extension of the six Demeter seven and the major 9. So let me wrap around in the F. Do the exact same thing, same coordinates, just going to dab around these for a minute. And it's cool and it's a great way to practice doing your chord shapes. Chord shapes is just by staying in one court, invent them through all the possible extensions. And so this is one of the very cool things about jazz is that if you know 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. And you look at the chord, you'll have an idea on different cores that you can play in addition to or instead of that main core 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. Creative is that there's always lots of different options for us. Okay? So the one of the four have the exact same courts. Let's take a look at the miners for a second. Let's just jump into the d because the d has everything. So far. The D minor chord has minor 7, minor six, and minor nine. So we can go D minor seven, D minor six, D minor nine. So let's vamp around that Just a minute. And this would all take place over the Dorian. Okay? So the Dorian is kind of a special one because he gets a lot of stuff. Some of the skill degrees will have more Court options than others. And the Dorian, the second degree, has a lot of court options for a minor. Okay. So letter 7969 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 the list actually jumped to the a, okay. The sixth degree. We don't have the minor six. And actually, that's a pretty important point, is that the minor six only shows up in one place, up on the second degree. And I'm calling it the second degree, d In this case. But we're going to wind up changing keys at some point, trying to keep given this stuff to you, the key of C major for right now so that we can 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 keys. So the second degree or the Dorian could be a completely different key, but it's the second degree. The second thing that happens, the second note in the scale, and is the only one that gets the minor sixth chord. Okay? So the a, the sixth degree, six degree gets a minor seven and a minor nine. So we're in the key of a, we've got minor seven and minor nine. A minor seven, and a minor nine. So we've only got two options there. And sometimes what you can do to give yourself an extra option is you can play around with the basic chord, which would be just a minor chord. So we can go a minor, a minor seven, a minor ninth. We want as many options as we can possibly get, so we can throw in the basic chord. Okay, Good. Else take a look at the third degree. Third degree is not got a whole lot of options so far. We've got a minor seven. That's so like I said, we're going to bounce around between the E minor and E minor seven, okay? The six doesn't work on it, and the 9 doesn't work on it because of the placement in the scale. And what I mean by that is that it's one fret away from the F. The F would be its ninth, but it's only one fret away and we need our nice to be two friends away. So that doesn't work for the E and the wells is the problem with that. It was a problem, 123456. So the six usually is going to be a major six interval. And I know we haven't covered intervals yet. But this is, the sea winds up being a minor six, which is again, Fred is in the wrong place, the node is in the wrong place. So that's why we can't use the sixth or the nines over the e. So we're just going to bake around between the E minor chord and the minor seven. And that's it. That's all we can do wherever the third degree here, right now. Just waiting. Okay. The, Let's take a look at the g, the fifth degree, okay? Dominant. Dominant is always going to have lots of options. So we've gods, the dominant seven, the dominant nine, and the six. The six is not really dominant. It is something we can play in the dominant column, but it's the exact same six that we were doing over the 1 and the 4. Okay, it's the same exact six. So we could do G6 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 G6 is not a dominant chord, it's something that we can totally do over the G and works in it. It fits it. Okay? We've got G dominant seven. And we've got G dominant nine, or G9. So G9, G7 in G6. Lot of cool vamping we can do over the fifth degree, the dominant. And then lastly, we've got the seventh degree in which nothing has changed there. So we've got the VI minor seven flat five and the B Diminished seventh. But the diminished seventh gives us 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 the things you can do. So what I want you to do is to take the same exercise that we've done, where we're just going up the relative scale chords. But I want you to start vamping this time, right? 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 7, C6, C Major nine. Then we've got all the stuff we do in D minor, E minor, F, all the stuff we give you enough majors. We've got the dominant stuff. And we've got the a minor seven and a minor ninth. And then we've got the seventh degree, the B minor seven flat five, and a diminished seventh. Okay, so that's a lot of cool stuff for your work on and 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 nines. So how to arpeggiate the sixth chords and the nine courts. So we are starting to get pretty extended in our chords, which is making the arpeggio a little bit trickier to figure out on the fly. But I've got a method that I think is going to help you. So you've got your PDFs. 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 a chord and you have to solo over it. There's so much in the 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 you've never done before, but you know, you're kind of doing the right thing. And you're trying to play smart. 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 can do things that you've never done before. You don't need to sit at home and practice endless hours practicing the stuff in order to do it, playing with somebody or performing or playing with friends. You can do stuff for the first time you've never done before because you know that theory. Okay? So what we are looking at here is I've charted out the scale degrees of the arpeggios. So this is one quick approach to getting an arpeggio for these shapes. When we went through the C major scale, we talked about the scale degrees one through 71234567, and we counted them out. So in C major 1234567 and the vector 1, 1, 2, 3, 4, 5, 6, 7, one. But I don't think I mentioned to you 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're on. So if we go to the D Dorian mode, okay, and we're gonna do the same thing. 123456123456123. You do this over that e Phrygian. Okay. 123456. 71234567123. So this works over all of the modes. You just count up to seven, and that's how you know what scale degree you are on. Okay? So we're going to use this as a quick finder for our 69 arpeggios. Okay, so how to find a six arpeggio on the fly? All right. Some of these you're going to go through the shaves and try to familiarize yourself with the 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, we'll have practice them. But in case you haven't, I want you to have this tool. All right, so six is built off of the 136 intervals from the C major scale, okay? 136. So run the C major scale. One, skip my two. And I get my three, skip my forests, get my five, and I get my six. And then I skip my seven. And I want my one again. Skip the to get the three. Skip the four, skip the five gives us six server and get the one. Okay. Well, I just put together a C6 arpeggio 136361, and not just isolating the 1s, 3s, and sixes of MySQL agrees. That make sense? Yeah. Okay. And so that's how I put together the CSF. So and I'm saying off of the C major. So when you're doing this in a different key, just imagine that as the major scale. Okay, So if you have to do this in a different key, so if I had to say put together a G6, I'm just going to imagine I'm in the G major scale. So it's always going to be based on the major scale, okay? Because we need each of those intervals to be exactly like it's from the major scale. So I'm pretending I'm in the G major scale. And I just want the 1s, 3s and sixes. 13661 can get this high 323. So if the cord was the G6, I've got a little arpeggio that I can use to solo over it. Okay, alright, so that's how it works. Moving on the minor six, it's also 136, but this time we're going to get the 13 and 6 from the D Dorian. Okay? So the D Dorian. Could be dorian of any key, but we've been doing the Dorian in the key of D. So we're going to do the D Dorian 136. Ones give the two. If the three, skip the four, skip the five, get the six. Skip the seven, get the one. Skip the to get the three or four, skip five, get the six, skip the seven and get the one. And we can get the three. Okay, 13. We've got a big jump on this one because we're skipping the stream completely. 13613. So over a D minor sixth chord, I've got a lower pitch. Do that I can use to play over it. 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 cores. Okay, Let me on nines, ok. So the nines are way larger. We've got way more options going on in the nine courts because we've got the basic triad, alright, one, 35 that we've got the 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 our ventures that they do. It's where you will sometimes drop the fifth, or you will sometimes skip the octave and just go, you know, just bypass the octave and go right to the next extension. But we're going to look at these with all of our options. Okay? And so here are the, on all of these I've written the 22 is the same as 9. It's just that I want you to make sure is this the two? So every time you get to a two, it's the same as a nine. I just want you to make sure it's one of the options that we've got. So the major 9 is based on the C major scale or the major scale, any major skill. Um, so once you 357, okay, so let's take it from C major scale. 1, 2 3 5 7, 1 3 5 7, 1, 1 2 3 5 7, 1 2 3 5 7, 1. Good. So that's a lot of notes that I can play. This would be R or the C Major nine. So I can play any of them. All fine. They're all going to be good. Find notes. If I wanted to be a little more specific while I'm playing it, then I may skip past my fives and I may skip past some of my octaves. So let's see what that sounds like. Okay, I also may save up my two until I get to a higher octave. So I might not have the two right off the bat. So 1, 3, so skip the two right off the bat. 57 on a skip the octave. I'm going to hit this nine to three, seven. And I'm gonna go rid of sin 3s, give the octave again. So I can do stuff like that. I can go from seven to nine. So I'm kind of bouncing around and I'm trying to take turns bypassing the 5s and ones. You hear that how it works perfectly with the court. The major nine. Okay. Great, great, great. So all of these are going to have the same intervals. They're just being there, being picked out over different modes. Okay? So the minor nine, 1, 2, 3, 5, 7. We're taking it from Dorian as time, okay? Once you 35, 7 Dorian of any key will do in the key of D. Okay? So 123573757. All right, so let me try that with bypassing some of the 5ths and octaves. 137379. You hear that? And it goes over the D minor nine. Sounds awesome. Okay, and this is exactly what we talked about early on when we started with the modes. The modes are wonderful and they're so much fun and exciting. Sometimes we can get lost in our own solos though, too many options. And so if the coordinate plane is the D minor nine, we can start really isolating some of the better notes that we can hit. Okay? So it makes sense. All right, lastly, we've got the nine chord, the dominant. Once you've 357, this one is going over the Mixolydian. Mixolydian. So this one will do it in G, Okay? Sam deals before we want to take turns, jumping pasts our fives and our octaves arm. And it depends on how the melodies coming together. Sometimes we want to hit them, sometimes we don't. So it's your call. You want to just have good taste when you play and execute what you trying to. And now we'll take place over the genie non-court. Okay. So I think I think you understand it. This is a great way to think about. Finding these arpeggios on the fly is really all you have to do is just familiarize yourself with this stuff right here. The six has are built off of the 13 and the six. The sixth chord is from the major scale and the minor six is from the Dorian. And then we've got once you 357 for the nines and the major 9, it just think of it as like what gets that court. The major 9 goes over the major scale or the first degree. So it'll be 1, 2, 3, 5, 7 from that scale. And a minor nine goes over the Dorian. So it's 1, 2, 3, 5, 7 over the Dorian because the Dorian gets minor nine chord and the dominant is the Mixolydian. So once you 357 always would be or the pixel in because the Mixolydian 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. Nancy knows some of these more basic chords. And these chords will sometimes pop up in jazz music. Not too, too frequently, but they will pop up every now and then. And yeah, it would be a shame for you to know how to play them since you're going to know how to play almost every other kind of court. Okay. And like we've talked about before, you don't need to memorize everything, single variation of these chords. You just need to know how to construct them, okay? And if you know how to construct them, then you'll see the cord and you can figure out how to do it in the moment. Okay. Cis 2 and sus4 chords suspended. The Susman suspended. So the SUS 2 says for suspended seconds suspended forth. What's happening in a sus chord is the third is being moved either up to the four or down to the two. So sus chord, no third. Kind of like how we talked about. The sixth chord has no fifth. Okay? We move the five to go to the six. That's how the sus chord works. We're removing the third. The third node is either going to the MRSA, the third I mean, the third interval. If the court is made of 135, the third interval is moving either down to the two or up to the fore. And so I'm just going to give you some very basic ways to look at that. Okay? D says to, so let's just do a D bar chord right here. Okay? Here's my D VD word. So what I'm doing is I'm looking for my third for my D major skill and 123, okay. Looks like F sharp on to three. So F sharp is my third. Okay? So I want to move it down to my two. So 1, 2, so e is my seconds. Okay? So I'm looking for an F sharp and I need to move it down to an E. Alright, so D here, a here, I have it. Here's my F sharp. Now, right? So this is my third. So I need to move this guy down to an E. Well, I can see an ERA here. So I will just play like this. And that is a di cis to the two is the same intervals, the nine. But what makes it different is that a 9 coordinate? It has the third. So the SUS 2, in this case the two is of high, So it was kind of like a nine. But we removed the third, so that's what makes it a sus chord. Okay? The nine chord has the third, so that's why it's a different name. Alright, so now let's do a sus4, okay? So we know that our F sharp is our third. So D 1234, okay? So looks like G is our fourth. Alright, so we need to take our F sharp and move it to a genome. Well, there's a G note, one fret higher. Okay? So I'm going to go like this from a D chord and I'm going into my pinky in the genome. There we go. It's a DCIS four. So that's it. And it's gotten new third. And I have moved the third. Go up to the fourth, or I moved the third down to the two. So D D two and D so forth. Okay, so that's how Sasquatch work. Sometimes sus chords will also include other extensions, but the rule is always the same that way. And taking the third and we're either moving it up to the 4, down to the two. And you would keep one other extensions you see in the coordinate. Just keep them in there. Just do with the court tells you to do. If the court is telling you to play a C7, sus4, then just keep all the stuff that you have to have for the seven. But take the third and move it up to the 4th exams. Okay? Add chords. All right. Add courts. Sometimes we will see an ad court. And the reason for an ad chord is B cause, um, it will, it, it doesn't want to follow the traditional rules of the coordinating. So here we've got the six and a lot of times ad chords will have a six in them. And it's because a sixth chord has no fifth. Remember, the sixth chord, we move the fifth up to the six. So what if we wanted to have a chord that a 6 fifth? Well then you just have a normal CT and you add the six. So it's called an ad cord. So C add six. Okay? How do we find the six? We go to the C scale and your scale. And we counsel, we get to 6 and 1, 2, 3, 4, 5, 6. And it is in a note. Okay? So I need to figure out a way to put in a note into a scored. So I'm going to play C quarter here, right? C chord, and I need to get an, a note into it. I've got an 80 right here on my fifth fret. If I can just press hard enough to get that string down with it. There it has CS6. I've got my C chord. And with this extra string and I'm pressing on. It gives me the 60. So CS6 because I have my fifth and my six in that court. So that's how an ad chord works. It's where the original rules of the coordinate tell you not to have this note. The ad court says, leave it all in there and just add this into it. So that's the headquarter. Okay? Slash chords, slash chords you seen more commonly in jazz. So of all this stuff here we will see slash courts. Most frequently. The slash chord is telling us event two examples here, d slash, b flat. Okay? So what that's telling us to do is to play a D chord. The first thing is the main thing. So the D chord comes first. So we're playing a D chord as mainly what's happening. And then whenever we see after the slash is telling us to put that note in the bass, make that note the lowest basest note of the chord. So we have to play a D chord, but we have to figure out a way to stick a B-flat node in our vase or lowest note in the chord. Okay? So I'm going to grab a D chord right here. We have a D chord. And I can easily see a B flat rate here. I say easily, Let's see if I can get it to come out with the muting. All right, and that's a d slash b flood. And so, and we can hear how it just really drones into it. All right, then below it we have a d slash a. So we can have anything in the slash. We just have to make it the lowest note of the chord. And sometimes we will have to figure out a position to where we can get the chord and the bass note at the same time. Because sometimes you have to just move your fingers around to a different shape of the court so they can make it work. All right, d slash a. So I've got my D chord again. And I can see in a right here on the fifth fret, It's my lowest note, Note right here. So I'm just going to add a node is my lowest nose. So that is a slash court. I have found in my own experience that a lot of the time, it least half the time, you can ignore a slash chord and 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 the D chord. I would skip the slash. I wouldn't worry too much about getting the a note in the bass. Sometimes, if it's d slash b flood you really that B flat as a particular note. It sounds very particular. And so we do want to put it in. But sometimes for the 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 node as the lowest note in the voicing of the court. Um, so it can be a little bit controlling on the, on the player to dictate the voicing to you like that. Sometimes what is trying to happen is the arranger or the composer is saying, I want you to bring out the melody in your chords. And so I have arranged all these slash chords so that while you're playing the courts, we can also hear a part of the melody. And so sometimes I think that's appropriate and sometimes I don't think it is. I think that the rhythm should be separate from the melody. So again, that would be a player's preference situation. Sometimes you want to honor the slash coordinate, sometimes you don't. So you have to figure out how important it is. But most of the time, if you see a slash chord and just can't figure it out, just play the first part of it. So d slash b flat, just play D chord. D slash a, just play a D chord. If you can get the slash in there without too much trouble, do it. Okay. And lastly, the power cord. 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 jazz before. That, nothing I can't remember. But it shows up in a lot of kinds of music. If you ever encounter a power cord, it's the most simple chord and I would hate for you to not know how to play it. It's written like five. So we're gonna do a G5, which is a G power chord. And it's just written like G5, A5, B5, F5. It's just a five chord, but it's commonly known as a power cord. And all it is is our very first bar chord that we did like this, where we're pressing on all six strings. It's just the bottom three strings of that. So for doing a G5, Just three, 55, That's just a g are recorded. I'm doing an a power chord, it's 577. This is one of the foundations of rock and heavy metal and a lot of rock, water. Ok. And it's a five chord because the only nodes in it are the root nodes and the fifth, the fifth interval since one of five and an octave. So the octave, one, so it's 15. So the five is the only real different note in it. So it's a five chord. There's no third and a power port. So it's not major and minor. And we don't know because there is no third. So we're not we don't know if it's major or minor. That is probably part of the reason that it's used in rocket Heavy Metal all the time is because it's unclear. It could go either way. It could be major, could be minor. You'd play a major scale over it or minor scale over it. That's the power cord. So if you ever see a chord is just got a five next to it, It's just telling you it's a power cord. And these guys can be routed usually on the E string. A string is, if we read it on the a string, 355, 355, 577. So routing on the a string or the eastern. Just those three strings. Okay? So anyway, I just wanted to cover off on these, these random cores with you so that if you ever encounter them, you'll know what to do. You'll, you'll see the slash chords. You'll see an ad court every now and then, and you'll see assess court every now and then. And if you ever encounter a power chord, you'll know what to do now. 20. Chord Numbering (page 54): Let's talk about the chord numbering system. We've already seen this when we've been looking at are relative courts. And it is a way to show the scale cord degrees. And it's 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, this is a C chord or an F chord or a B flat chord. We can easily change the key at will without having to rewrite any of the stuff because it's all just a bunch of Roman numerals. And the way it works, I wanted 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 coordinate system. It is generally used based on the major scale. And the way it works is that we've got seven degrees, just like we have from the major scale. We have seven different notes, 1234567 and the 14 and the five are going to be major, which would make them uppercase. And the 23 and the six are going to be minor, which are lowercase. And then the seventh is also minor. And it's usually going to have the extension of the seven flat five. So that is if you just saw those Roman numerals, you would know that it was some kind of a major scale, but you would need one more piece of information and that is what key? What's the key? So I see a bunch of Roman numerals. I just need to now. So if someone said key of C, okay, so then the one is C, The uppercase one is a C. And the lowercase too would be a D minor. And we know this because we've gone through it. And what I wanted to do is kind of explain a little bit deeper at how this works and also giving you a PDF with some various keys. All the different keys, the skill of corn rows with the 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 key of C eventually. So I want you to start familiarizing yourself with some different keys and some skill cornrows, different keys. Okay? So one through seven. Uppercase means it's major chord. Lowercase Roman numeral means it's a minor chord. Then what we'll do is we will put a little extension next to it. If the core is meant to have an extension, may not. But if it's meant to have some kind of extension, then it will put the extension symbol beside the court. So for example, right here, I've got a one chord and it's uppercase, so it's telling me it's major. And then I've got the triangle. So that's telling me it's going to be a major. And I don't know if that's a major seven or major nine. It didn't specify. So that's going to be my call. It's probably going to be a major seven, but it could be a major 9. I get to choose which one I want to play. It just has to be or the one-quarter has to be measured and has to be some kind of a major seven. So I need one more piece of information. And so if somebody said, okay, let's do the key of C. Great, he AFC, okay, So the one chord, and it's going to be a major seven. Alright, so and my dashes in this case will indicate my measures. There's a dash, it'll be another measure. So for beads and each one. Okay, so I've got four beats of a C major 7 and 3, 4. And I've got the three chord. So the QC, the three chord is E and it's lowercase. But I know it's E minor because the three chord is always going to be minor. But just in case I didn't remember it, it's lowercase. So E minor and E minor seven. Okay, so three beats of E minor seven. Then I have a four chord and it's got a triangle and a nine. Okay, so it's telling me to make a Major nine chord and the four chord and gives C is F, So F major 9. Okay? So then I have another four chord and it's a six courts. So F6, good, that I have a five coordinate and C7. So that's going to be a dominant seven in the key of C, where the key of C, the five chord is a G. So G7. And I have a two chord, which is a six. It's a minor six because it's lowercase too. So minor six. So that's D minor six because D is the two and the QC. So D minor six. Then I have a seven chord and it's diminished seventh. It's lowercase, so it's minor, but is diminished seventh. So that's the B Diminished seventh. Okay? And then here we're just taking me back around to the C major seven. Okay? So if I put all this together and key of C major, Okay, That sounds pretty cool. Now, suppose I was a studio musician. I was hired on to play guitar in a studio or I was hired on and play guitar in a band. Or I was sitting in with some musicians just playing for fun. And they said, you know what, good job That sounded great. But I just, I don't like it in the key of C. So let's do this in the key of D. Okay, so we're gonna do in the key of D. So now everything has shifted up. We don't have to rewrite any of this. It's all fine. We're just going to have to shift everything to the cube d. So now the one chord is D, and the two chord will be E minor. Okay? The three chord is F-sharp minor because we've shifted keys now. So everything has just shifted up. Okay? So if we shifted up, then we've got D major seven, F sharp minor seven, G major 9. We've got a G6. And we have an a seven. And we have E minor six. And then we have a C sharp diminished seventh. So that makes sense, okay, because I can shift this into any key we want, all 12 keys. And whatever key we pick, the one chord is going to become key. The key will be starting off on the one chord and then everything left to get shifted appropriately. So if someone said we're gonna do this in the key of B-flat, okay, so B-flat is Now the one chord. So b-flat major seven. So the flat major seven. And then the three chord is going to be D minor seven. Zygote 3. 4 chord is going to be E flat major nine. E flat 6. E-flat is the fourth of V flat on the floor. 1, 2, 3, 4, e-flat. And so that's the reason that I am giving you the chart with all of the keys of the court, the skill cord grows. It's because I want you to be able to jump around the keys and have this all makes sense. All the theory works exactly the same as it does in the key of C. If you know any one key, you can figure it out. All the keys. It's just a matter of shifting around and using your brain a little bit to count up. But if you, if you really study the one key, the key of C major. And you understand the basic stuff like that. One-quarter is major and the four and the five chords are major. 236 are minors. Seven chord is the minor seven flat five or the diminished seventh. And then the extensions like what can get what extension? That stuff is going to help you tremendously when you start switching keys. Okay, one more thing I want to cover off on regarding the course numbering system. This is also referred to as the Nashville numbering system. And her know, if I mentioned that, it's because Nashville, Tennessee is, some people call it music because so much music gets written and recorded in Nashville. Music is written and recorded all over. But I think there was a period of time for many years where a lot of the popular music, the Western world was coming out of Nashville, Tennessee. And so the studio musicians there started using the system to go and the studios start churning out songs. And a lot of times singers will prefer this style because they'll say, I want to try these, I love these courts. I want to try the key of C. So the whole band During the QC, and then the singer will say, you know what? It's not good for my vocal range. Let's try to lower this doing the key of B flat, and they don't have to rewrite anything. They just switch keys. And so it's the same thing. They just now drop it down to B flat and the singer says, Oh, that's great, that's perfect. I love that. I can sing that I'm much better. Okay. The last thing I wanted to tell you about was sometimes the scale will be based on the minor scale. So this right here is all based on the major scale, the one chord, it's based on the major scale. Sometimes we can use numbers starting with the minor scale. The minor scale is the sixth mode, by the way, the Aeolian mode, A0, the Aeolian mode, the number 6 mode. That is the minor scale, the natural minor scale. And so you've got the major scale, which is node number 1, and then you've got the minor scale, which is mode number 6. And so sometimes we can write the court numbers starting from the minor scale. If we have a song is in a minor key. And so in that case, I just did a little bit over here where we have lowercase one. So let's say. So we're in the studio and someone says we're going to play this song and we're in the key of C. Okay, well it's minor. So first chord is C and it's minor. So C minor. So the one chord is C minus. That's telling you that we are in the C minor scale now. So we are non C-Major anymore. So C-minor. Okay? Then we have a lowercase five chord, which that looks different to. Usually we have an uppercase five chord. The five chord is lowercase. So that is going to be a What is that? It's going to be a G minor, okay? Then we have an uppercase seven chord. So that is going to be our, that's going to be the flats. Okay? So, and then we've got x to the one chord again. Now when it's a little slower with the minor scale, the reason is because when we're starting on the one, and that's telling us that we're in the minor scale. That means that we are relative to the major scale. And she's going to be, in this case, E-flat. E-flat is going to really be what's going on here. So all of our intervals will be based on E-flat major. It's just that we're thinking of the minor scale has the one. Does that make sense? So the sixth mode is actually going to be the one. And then when we get to what we're used to being, the threes actually going to be the major scale. So if you are familiar with the numbering system of the major scale, and it's uppercase one, lowercase to lowercase three. That's still is in place. It's just that we've shifted all the numbers so that now six is one. So it make sense, can be a little confusing. But if you think about that and you write it down on a piece of paper, it'll make sense. The six is going to just turn into the one. It's like if we had, the major scale, numbers were down uppercase one lowercase to lowercase three. By the time we get to the lowercase six, we're going to turn the lowercase six now once you a lowercase one. So that means that the lowercase seven that were used to lowercase seven. With the seven flat five. It's going to turn into a lowercase to seven flat five. And then we're used to being the one comes after that uppercase one, and that's going to wind up being an uppercase to three. And so on. That make sense. Okay, this is just something that you may encounter if you start going deep into music and guitar and jazz, which looks like you are admitted this far. Then. This is stuff that you need to know. So make you a competent guitar player, competent musician. And you'll be able to talk yourself and know what you're talking about. All right, you didn't. Great. I'll see you in the next video. 21. The ii V I Change (page 55): Let's talk about the two. 51 change. To 51 is probably the most common chord change in jazz. It sounds great. It's very smooth progression and 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 second scale degree, the fifth scale degree. There were resolving to the one. This thing happens all the time In the key of C major. That means we're going to play a D minor seven to a G7 to a C Major seven. Because remember how our respective seventh chord is going to be the basis for every chord is going to be the most basic version of every chord that we play. It's going to be some kind of a seventh chord, the one that it's supposed to get. So for the two chord, we're going to do a minor seven, D minor seven. The five chord gets a G7 dominant. And the one chord we'll do a C major seven. Now of course we can blow this up and start doing any of the other extensions over the 25 one change. But let's just get comfortable with the sevenths, start with. So this is used all over the place in jazz and in bebop. Be Bob is one of these styles of jazz. Bob and bebop were guys like John Coltrane and Miles Davis. And the loneliest monk. These were definitely be evolved Djoser's. And what that means is that they're playing a fast tempo jazz. And they were doing a lots of 25 one changes. Um, and these guys loved the change so much in the high tempos that they were reading a lot of music with multiple key changes. So there'll be a lot of key changes. Every couple of measures. The key would change, but it would just be another to 51 and then a key change. And when I say a key change, I mean a key change. You might be in the key of C and due to 51. And then you would go to the key of B-flat and do a 25 one based on B flat. And then you would go to the key of A-flat and the detour to 51 based on a flat. Whatever, whatever the song was doing, they would actually change keys every couple of measures. I'm just in order to figure out ways to get more to 51 in the song. And it is a great sound for soloing also because you can focus on, you've got a lot of different options soloing over 25. One you can kind of stay put in one place, or you can try to follow the courts. So 25 one's very cool. Let's take a quick look at it. Okay, I'm gonna give you two different visuals on how to quickly play it to 51 on your chord shapes. Here's the first one, okay? And here's what we're playing. D minor seven, G7. The major seven. So here we've got our D-major, or D minor 7. Here's our D minor 7, here's our G dominant seven, and here's our C major. So I'm starting the D minor on the a string using the shape D minor seven. And then I'm going to come down and do my G7 here. It's just like the same shape. I'm just dropping it down, down a string and two threads. And then same fread directly underneath it is my one chord, my C major seven. Okay? Let's listen to you. Okay. Let's put it in a little bit of a beat. So we're gonna go to beats, the D minor to V sub G, and four beats of the C major. Studio. Okay, Also. So here's the visual that I'm using for this one. We're going to the one we're in the key of C. Here's my C. Alright? So I just going up two frets to get to my two. And then I go underneath my C. And the same fret for the five. Z is right below the one is right Lloyd. So wherever my root node is, in this case, for instance, a scope to France to grab the two. And then I go same fret as the one chord but reading below it. And then resolve to one-quarter. So one to 51 to 512, if that makes sense. Okay. Another way to do it of the neck is z right here on my low E string. Okay? So I'm just going to go to from there and start my D-minor using this shape with full six strings. Then on the same fret. And when it come down and z my G7 reading on the a string. And then I'll come back to my C here that the US C major. And this is where I've got the eight, 99. This is one of the shapes that we can use for the C major seven. So let's put a little bit of a VDI. Same thing, two views of the D-minor TV's of the G and for weeds of the C major. Now that's C major. I can also come down and grab this diagonal shape. Okay? The reason I didn't want to start out with that is because I want you to get the visual that you're seeing. So here's my two, There's my five years, my one. Okay. They're really close to each other, so that's what I want you to pay attention to. Or we could also go. Now from a soloing perspective, what there are a lot of great methods for soloing over this. One of them could be, since it's 2251 is we can start off on the Dorian mode and work our way into bacteria than one mode, the Ionian mode. So if we're going to 51 like this, and I can start off on the Dorian mode and try to resolve it to the major scale. And it almost plays itself. Do you hear it up? So in wireless play, you can actually hear the chord changes just because the chords are put together so nicely. And that's why it's so commonly used jazz. Of course, we can do things like using the arpeggios. So that all sounds good too. So using the arpeggios or going from the Dorian mode is slipping back into the major scale is a great technique to use when solving the 25 one change. So let's take a quick look at playing this in a different key. Let's do a jazz key just to make it a little tricky. Okay? So if we're in the key of E-flat, E-flat, E-flat is a great jazz key, okay? The reason it's grades because foreign players love it. Trumpets and saxophones love E-flat. Comfortable key for them. So that's why a lot of jazz in a flat key, by the way, guitar players are pretty comfortable. And Q, G, and the key of E and the key of C, they're pretty comfortable keys to play open. And, but for horn players, their version of playing open is in key of B-flat, E-flat. So that's very comfortable for them then. And they were the most dominant instruments when jazz was very popular. And so that's why a lot of the jazz music is written in the flat keys, E flat, a flat, B flat, um, because they were written by people playing trumpet and saxophone. Make sense? So as guitar players who loved jazz, we just have to get used to playing on a bar courts. Not our problem. We can do that. Okay, so let's do the key of E-flat. We're going to go to 51. Alright, so let's turn out by grabbing our E-flat. I've got it on the a string or here. Here's my E-flat. And there's my nice E-flat major seven. But we're going to 500 ohms. I need to start off for my tubes. I go up two frets, okay? The minor seventh. Let it come down here to my dominant seven. Then finish it with my major 7 flat. So F minor 7, and then B flat, E flat major 7. And of course I can do another little extensions on the E flats example on it. Whoa, just three little cords to 51 ands It sounds like a song, doesn't it? And how would I solo over that? The first thing that comes to mind is I would go to the Dorian mode. So if it's E-flat major, Dorian is just a threats since F Dorian and I will play on the F Dorian and resolve it to the E-flat major. See what it sounds like. It sounds cool, and it works. Okay? So I would, I would say practice the 25 one change, going through both of these shapes because you're going to be playing 25, one all the time. Okay? Tons and tons and tons of songs. Use it. It is the staple chord change of jazz. So get familiar with how you're going to finger those courts so that the movements feel natural to you. And then also, I would practice going through the Dorian and slipping into the major scale at the end, a little riff, your inner IF 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 that you can do every time there's a 25 one change which will be frequently. All right. Go work on it and I'll see you in the next video. 22. Intervals (page 56-57): Let's talk about intervals. So I have mentioned intervals, the number of times. And it is, it 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 Chord numbering system. So the core numbering system is where we are giving the Roman numerals of 137 for all the courts from the scale. The intervals as we're looking at them here, are a little different because we are going to identify every single note 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 the node, we don't want to call it an F or a B-flat or C-Sharp. We want to call advise interval name. So intervals describe distance. They describe distance from point a to point B, OK, from here to there. So when we're talking about intervals, There's always two points, okay, from here to there. And a lot of times it'll be the distance from the lawn, the starting point to wherever we go. From a starting point to wherever we go. Okay? And you can think of them as 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, you were in the key of whatever. We're in the key of C, we're in the key of E flat, we're in the key of 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. This is a way that musicians communicate with each other is by discussing intervals. We discuss cord dissection, talking about intervals. So when we're talking about a chord, we may say, you know, the major sixth chord is made of the tonic, the major third, and the major six interval. Whereas the minor sixth chord is made of the tonic. The minor third interval. And the major six interval is interesting. So we can dissect corns by talking about intervals. And also when you are looking at a scale or a melody line, you, you would use intervals to describe what is going on in the melody. If it's something. You could be in the typical scale or even outside of the scale. And you may use the intervals to use exact detail of. Here are the notes that are being played. Also, another huge advantage to thinking of music in terms of intervals instead of just a chromatic scale, is that music is, a lot of music is relative. So we can hear changes. We can hear this node goes to that note. This court goes to 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 he's singing a C node and then an a flat note. Or there's a car alarm. And the car alarm was an F sharp or my toilet flushes out an a flat. That's perfect pitch. So and I can do that as perfect pitch or absolute pitch. And I read that. I think one out of a million people has perfect pitch. Some people believe that it can be learned. I'm not sure if the caveolae orange, maybe, maybe, maybe not. So that's perfect pitch. But there's also relative pitch. And relative pitch can absolutely be learned. I have relative pitch. Relative pitch means that if I play you two notes, then you and I told you, okay, note the first note I played you is going to be the one. So and tell me what the second node is. Then I can 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 I hear two different notes and the first node is the one. I have no idea what the actual note name is, but I know it's you tell me it's the one. And so you want to know that the second note, as 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 interval 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 learn. It's relative pitch. And so the way that we use your training and learning roads and venture is so you use it a lot when you start getting into more complex and advanced music, ready to learn it, okay, here's how it goes. We have 12 things and you can, 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. So the first thing is going to be our word note. So think of it as our root node. It's going to be called unison, but it can also be called the root, or the tonic, or the key, okay? All of that stuff means the one. The first thing. And it could be any key, doesn't mean it doesn't make a difference. Men does not matter what the keys, okay. Then after that, we have seven different groups. Okay. We have some kind of a to some kind of a three, some kind of for some kind of a five, some kind of a six, some kind of a seven. And after that we guessed the octave. So it's just like where we were counting our skill degrees on the major scale and we count into seven, 1, 2, 3, 4, 5, 6, 7. Those rural intervals. They just happened to be the intervals of 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 there's two kinds of twos. There's a minor and a major two. So the lowercase m is minor, we know that, and the uppercase M is major. So you have a minor second and a major second. Then you have a minor third and a major third. Then we have the fourths and fifths. The fourths and fifths are called perfect. Perfect. Think of it as major. Perfect kinda means the same thing as major. There is an explanation as to why it's called perfect, but I would rather not bore you with it. It's getting into some esoteric music theory concept about the inversions of the circle of fifths. Don't worry about that. Fourth, fifth circle, perfect. Think of that as major, their major. So if a perfect fourth and a perfect fifth, but in-between the perfect fourth and the perfect fifth, There's one interval, and it's either an augmented fourth, which is one higher than the perfect fourth, or it's a diminished fifth, which is one lower than the perfect fifth. Okay, You're almost there. Now we have a minor sixth and the major six, and minor 7 and a major seven. And now that said there because the octave, so starting on the unison, which is the root or the tonic or the key, that's the starting node. And then from there we go to the microsecond, then the major second, minor third than the major. There you always go minor, major, minor, major and it gets the minor 1 first, then the major and minor to major three, minor, three major for perfect fourth. Then it goes augmented fourth or perfect, or, or diminished fifth. Then perfect fifth, minor six major six minor 77, and then octave. Okay? Well, all right, let's take a look at what that looks like on the guitar. Let's pretend that we're in the key of a, okay? So we're in the key of a mega symbol. So my a string open, that's going to be my unison, or my room, or my key or mitotic. So it's, that's it. All right. Now let's go to the first spread. And we said intervals are from point a to point B. So it's all about distance from point a to point B. So from unison to first prep, that's a minor second. That's a lighter second because I'm going from here to here. And that distance, It's one Fred, but that distance is a minor second. If I go to my second fret, it's a major second. Going from woven, going from open to the third fret is a minor third. To the fourth friend is a major third is a perfect fourth. It's always from open because that's my reference point. Okay? That is an augmented fourth or diminished fifth. Augmented fourth or diminished fifth. Perfect fifth, or sixth. Major six, minor seventh, major seventh. And my octave. And I got to my 12th fret, my double dot. So that makes sense. Alright. 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 fret and going down the intervals. How do we figure this out when we are not going from open? 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 in the key of G, Okay, so I'm here on a genome by low E string. All right? So we're in the key of G. So G is now our new unison. G is our new key. Okay? So here's g. So going to this G-sharp, that's the minor second. Minor second. As major seconds. That's a minor third. Okay. Now, I'm kind of running out of fingers here. And so I need to go to the next string. So this was a B-flat note, one of the flat. Okay, so I need to kinda look at my next string here was my V flag. That was a minor th