Blues And Jazz - Chords, Harmony, Solos and Exercises for Guitar.

1. Blues and Jazz - Introduction: Hi everyone. My name is Gabe are Felix and today I wanted to talk about my new blues and jazz guitar corpse. Great course to develop your skills in both styles and being able to triply chord progressions, read them in provides your own ourselves. You will find objective lessons about just techniques, blues exercise for beginners. How to connect scales, the phonic in minor scale and pentatonic scales. Chords in jazz and blues such as set of scores, ninth chords and now tere's base boards, morning few refer intermediation musicians to have Blue Spark concept. Several exercises to improve your sense of freedom and timing. And several, our thoughts about jazz and blues, all the lessons with Ford box that Latour guitar shapes. Your graphics to help your learning scores is not for beginners. Have to have base can knowledge in fury, in BFS emotional eater player. Thank you so much and see you in lesson number one. Bye-bye. It's maybe I'm drinking. 2. How to find & memorize the notes on the guitar fretboard: Learning the notes on the fretboard is one of the most important things you can do when learn the guitar burst steps about tuning. During number one is the string front is, I will first note is if I play Fred number want, my new node is the next one, f. Let's check another example. String number two is a B string. If I play Street, you will sun-like be. However, if a plays string number two for one minute note is C to D sharp or at 3D and so on. It's time to memorize fretboard, so don't worry about that. Just keep practicing. 3. Music Intervals: Music intervals are very important for music. Even more important is understanding and being able to apply braze. I need to explain this table to you. Note that we have several numbers. These numbers are the formulas. Let's take an example. Major second is from number one to number two, major turn pro number one to number 3. Terrible off fourth PRO number one and number four. And so one, very easy right? Now, the minor intervals with this, you will find a flat minor second from one to two. But following the formula, let's set a flat, though we have from one to the second flat. Let's check another example. Monitored. Run one in number 3 flat, diminished fifth, from number one to flat five, and so on. Always following this logic. 4. Why are there both sharps and flats: Now it's time to, to understand the difference between sharps and flats, okay? Sometimes we write a as a music chord and a node with a flat end. Sometimes we write with a sharp Berta, how can we understand when we are going to use a flat or a sharp? The first thing here is think about your scale. For example, we are playing music. Your tongue is in G major scale. We don't have, we have all the different nodes, k. But what do you mean with different nodes? I don't want to stand. Check this out. If I write down as C, a G minor scale, and I need you fall on the formula. The formula is first one. The second one is a whole step, okay? The first one should the second word, tree is a half-step, so it's going to be a sharp, okay? The next one is going to be a whole step. We're going to have a C major chord. The next one, D, a whole step again. The next one, whole step. Half step, sorry, half-step. So D sharp in the last one, the whole step, F. Okay. As you can see, I have my, my note repeated two times right here. According to the rules in harmony and Fury, we cannot have the same node right here. Okay? So the idea here is like changed this last note to some Note that a is the same thing. However, we flats according to our 12 nodes. The node a is right here. And if you want to A-sharp, we're going to a sharp. However, if you want of slat, we're going to come back to the last note, so G sharp, okay? In this case, I went to a sharp right here. So it's going to be what? B flags going to be the same thing. Okay, So B flat, okay, so now my case is write G, a, B, and C. I don't repeat notes. However, we have another problem is about d in D sharp. If you are in D, Let me see. Oh, sorry, I forgot to put one right here. Okay. You are indeed, if you want a sharp, they're going to D-sharp. However, if you want a flat, you are going to C sharp or D flat. That is the same thing. However, we need a D-sharp in. So let's inhere any E. If we add a sharp right here, you're going to F. But if you add a flat here, we are going to come back to this D sharp. So this is idea. Insurer is this and write down E flat, so I don't have repeated note. So G, a, B, C, D, E, and F. Okay? This is the idea. If you see a music in the key of G minor with a sharp or D sharp, It's completely wrong. Okay, be careful. Let's choose another example in this case in the major key example. So if you write down F major scale, we are going to use the same formula we learned before. So f, one whole step, G, One more whole step, a half step, a sharp, a whole step. And again, that's going to be c. Holds the apple again, D and warmer whole step E. Okay? We have another problem right here. Let me see. Here is okay, but we have the same nodes. Again, the same a, a, again, we need to find another nodes that, that sounds like a sharp and put here with a flag. Okay? So let's think B. If add sharpening be, I'm going to play C. However, if I'm being again and I had a flat, so it's going to sound like a sharp. Okay? So we're going to erase here B flat, okay? If you see a music, you're playing music in the tones F major. Somebody tells you that is a sharp cord is wrong, completely rerun. My exercise for you guys is take a piece of paper and start to write every single scale, major, air minor, okay? And if you see any kind of situation like this, you need to erase the last note, okay, in this case, this one, and try to find a flat nodes. That is sounds the same. 5. 7th Chords Theory: The most common station of the base kit tree nodes trial. A seventh chord is built by adding an extra notes to try and each is an interval of seventh above the root node. If you build a triad on c, you will use notes C, E, and G. If you add another node, a seventh above C, then you have c, E, G, B. You have just created base seventh chord. This one is C major seventh chord. There are five types of seventh chord. The first one is a major seventh chord. The second one, major core with minor seven. So major core, T, T and minor 7. You need to use minor scale, so B flat. The next one is a minor car with a minor salmon, so it's 135 nm minor seven of my minor scale. So C, E flat, G, B flat. The next one is half-diminished chord is a minor seventh chord. So C, E flat, and G, n, of course, a, B flat, but I have flat five, so five is G. So put a flat in g, So g flag. And the last one, you can write like this. This is better. Is it diminish a full diminished chord? So it's the same thing as the court. So E, C, E flat, G flat, B flat, but you need to put another flat in B, so two flats, okay? It's not so common to find scoring music jazz, a few examples of jazz and bossa nova. 7. 9th chords: Manage car person you should do it ran down a meter scale, trace. It was example, a meter scale, as you know, typically a medial cord, you need to play one tree, M5. So leisure or 1, 3, and 5 minus ct is 1357. And number 9. He's frequently using styles like fun. Jess. 8. What is a Diminished and Half Diminished: The difference between a diminished chord that is the same as a fully diminished chord in a half-diminished core lies in the seventh note. Both are based on a diminished triad. One, flat, three, flat five intervals. The half-diminished chord has a minor seventh. Eat some minor seven chord with a flat five. The diminished chord has a diminished seventh. The minor seventh is again decrease it by a semitone in hands is equivalent to 60. All of the typical approaches different. Now it's time to learn a few guitar shapes. 9. Altered Chords: Chords of this type are called alterative Bayes courts. By adding a known coordinate in this space, you would create a different court with a difference or more structure slash courts are using a line Jess and other contemporary music and also seem sophisticated popular music and SH2 domains that you pronounce these chord is D, is less than F sharp. Or D, We feel at sharpen the base that ATR to the left of the slash is the name of the chord. So this is a D chord. That lateral you see to the right of this flesh is the bass note, or lowest sound note of the chord. Normally in a D chord, the lowest sound notice D, but indeed slash F sharp corner, the lowest sound note is F sharp. Did Chu most altered based courts are first inversion and second inversion. For example, in C major chord, the first versions written C slash E. You take notes number of tree off to our tried an act as a base load to your card. Another example, a C major chord in second inversion is written C slash G. You'll take note number 5 of your tried and add as a base load, your core. 10. Pentatonic m7 scale: Minor seven pentatonic scale is a scale with five nodes. Gabriel, you wrote to a minor scale, there are seven notes. That's why you need to get two notes, number Chu and six. Instead of minor scale, a pentatonic minor seven escape him. 12. 12 blues bar: The primary morning structure of the blues is the 145 progression. It's derived from church music of the South. Like most tonal music, it's used dominant seventh chord, 135, and flat seven, functional harmony. The blues used into wet color, most commonly near 12, But form, it's important that you follow disorder and be careful not to get lost. To play on their tones. Simply modify the nodes. We've a reference to the tony what? That may read them, yes. Try to play your blues with this rhythm. When you learned this rhythm, you can provide stew. In. The final bars of the 12 bar form constitute the turnaround. Leave it as such because it sends you back to the beginning of the form for another Carlos. No, it's time to play a little bit, check this out and follow me. 13. Blues Exercise For Beginners Level 1 Walking Bass: Okay. 16. How to play Cream Sunshine for your love: The first part of his music, we just had two parts, is the main riff. So check this out. Pentatonic uterus. So the first note is in fret number 12, string number four. You're going to play two times. The next note is the same string. However, in threat number can come back to the French wealth. Simple. The second part is a chromatic guitar lick. You are going to play in this string and number five, fret number channels 11. And pretty simple. Let's play both parts together. Nonetheless. Part string number six, fret number eight. Stringy number five, fret number eight. A kind of band right here, He's a half step down. The last node is friends Dan, into string number six. So I'm going to play atrophy, check this out. Agile practices, which meet gonna be fair as lonely. Going to play this guitar riff during the intro and the verse have to do spark and you're going to play exactly the same thing. One, strength down, juice two times, and come back to the beginning. Listen to music and try to find part. The neonate that he changed and goes, Shu wants drink down will be very important to develop your ears. And the courts part is you have a power chord. Finger number one, string number six, fret five, finger number tree, Fred number seven, string number five. Your pinky finger number four, fret number seven, string and number four. You're going to play three types. One is going to play three times. Three times over again. However, I don't play any kind of coordinate his part. It's just probably booty. One 23, One 23. Okay. The last part is C bar chord, so it's exactly the same thing however, in a fret number, 82 times G Paula court, the same core shape in the fret number tree. Let's play everything together. 16 times 123456781234567, and come back to the beginning. The court the court as part you're going to play three times. And after this three times, 16 times the eighth power core. Now it's time to Brex and have fun. 17. How to Play Surf Music Blues: It's time to learn how to play search Mule Skinner Blues. As you can see, this surf music is in a song, follows the blues pattern. So we have a one guitar riff. In this guitar riff repeating tree tones. So let's take a close look at the first part. Finger number tree, threat number five. On a string number six. Number one, track number tree on a string, number five, fret four. We've mentioned the number two in threat number five, with my finger number tree, everything on a string. Number five. Disease. For Spark. You need to pick two times fret number five on his drinking number five. Okay, So on to the last part is my finger number two for ethanol or forests during the number five, my finger number one, threat number three. And number five. Okay, so I create this pattern. All right, you're going to play this several times into the same thing. Once string down when you go to d, Okay, so you can come back and one string up. Now Sam, to go to court. So II car, you are going to play the same pattern. However, you need to start the threatened number seven. String number five. In play. The same thing. On a fret number 5 million goes to D. All right. The last parties. And you come back and play the same thing. Pay attention. You just have one single guitar riff. Alright? You need to learn these guitarist step-by-step and play in the other tones out of fingers. Drag memorize the 12-bar blues concept is gonna be very important in Turnus Stan, when it goes to a and even 9, 9% of the blues is this type of pattern. You need jaundiced Stan, this concept. But a score. Score. Score once and again. Safe core. Fourth core. For a score. In courtrooms five, once and again. I hope you enjoyed this class and let me know if you have any kind of doubts. Thank you so much. 18. Jazz techniques part 1: Now it's time to teach up. Very nice and he's core progression in jazz music gesture practice a little bit, right? Check this out. Very nice, isn't it? It's very easy. You want to play the major seventh, right ear, right, as the major seventh year. Number two, all right. This corn is froude number five on a string. Number five with sharpe, index finger, ring finger, Fred number seven on a string. For our middle finger, frat number six on a string number tree and you're pink finger, rat number seven is training them are true. So I'm going to explain the raid on par after I explain the course. The first core, the second one is E-flat diminished chord. So it's the same theme before. Just want single detail. We are going to change these two fingers right here. So edX finger's going to string number tree, Fred number five. And your middle finger fret number six on a string number five. In the call number tree is a major core with a mirror cell. So G major seventh, alright? And I'm going to play finger number one, breath number tree on a string. Number six, finger number tree. And for your ring finger mean anything finger on a string. And number 43 in the frat number four. So your middle finger, breath number three on a string number to get a sound. In the last two courses. In seventh, APA, seventh 37, lanterns. Finger number one, threat number five on his training. Number six, singer number chew your middle finger. Breath number five on his stringed on the floor. Your ring finger frat number six on a string number of tree, your pinky finger, breath number seven, There's stringing them are true. This is a 713 to play seven flat 13 is just change your pinky finger. So stereotype threat number seven is frat number six, simple like that. Let's remember records. D major seventh flat, diminished chord, G-major Sabbath, a 7137 flat dirt's simple like that. The rhythm part is very important. Before we begin the random part, I need you to give you a very nice shortcut. Usually ingest you have your base note. So you play with your thumb, finger and your core part that you play with this three or four fingers. In today's example, we're going to use just three fingers. Base, corn, base, base, core for core. One more time. When I say core, core and the last part is court and corn. I blame all denotes to get an artist drinks should gather around, let's say very slowly. It's hard. Core. Corn. Corn and corn. Time. Little bit fast. Base score based card. Be scored cord and core. One more time. When you learn how to play this type of engineers loan, you can gain more speed. So as you can see, this good groove is very nice and very chess as well. Brexit is carefully because jazz is not an easy style for beginners. Very difficult style for beginners. Jazz was another classical music is type of styles are very difficult. If you just bought your lateral Yorkers guitar a few weeks ago. Alright, so you need to practice. 19. Jazz techniques part 2: Now it's time to teach a very nice chord progression. Jazz style, of course, wherever it and does except they're gonna use B minor. So as you can see, sounds very nice. You have a walking bass, Sabbath courts, and very, very nice jazz approaching, right? So let's take a closer up. The first chord is B minor seventh chord. Number one, number two on a string. Number five, ring finger frat number four on a string and a for of course, it's a very cord. So play with your finger number one, frack number, chew on a string, number tree as well. With your middle finger. Rat number tree on a string number two. Alright, so I'm gonna teach you to the courts and FAT charter chords are gonna explain the radar. Gonna play C-sharp note. She has a very nice approach to my D major seventh chord. D major seventh chord, severe fast. And you're going to play with your finger number one, number five on a string or five, your ring finger fret number seven on a string number for middle finger frat number six on a string number of tree and you're pink finger, in-breath number 700, a string number two. After this coordinate is going to play E, E-flat diminished chord. So just change these two fingers right here. Number one is going to frat number five on a stream number tree. And your middle finger, Fred number six on a string or five. Gonna sound like this. Let's play this the beginning slowly. Next party is bleaches, nodes on a string number five. Sorry, play a note in a frat number five on a string, number six, meters f of four. Core right here, are going to play with her finger number one fret number tree on a string number six, ring finger fret number four on a string number four, think finger frat number four on a string number tree. And your middle finger fret number tree on a stream number two. Let's play one more time since the beginning, 34. After Genie her seventh, you play sharp, shares the base and play a minor seven in his court right here. We're not going to use the Common Core shaped it. Does corn. They're going to play just a number chew, or at number five on a string, number six. Your ring finger fret number five on his drink. Number two, okay. It's up to you, but if you want, you can play open string number tree as well. Sounds very nice. Let's play everything very slowly. Tree for sounds, very chassis, right? Let's talk about reading. You have base and corn approach is very common chess. We are going to play the bass with sharp dump finger, thumb, finger. In court we figure number 12 entry. One more time. Okay. Once and again. As you can see, appli atrophy with Tom and Tom in court. So base in my tree fingers. But it's important to keep this approach to their records as well. So let's play on more time. Base corn, corn, maize, corn, they scored base, base, corn, base corn, base, base corn. They score cape. As you can see, edge play the walking bass. I play bass and base tries. As you can see, my thumb finger is going to play two. Weiss went to have the walking bass. This type of jazz progression is not easy, especially for beginners. So it's important to Brex. Let's play one more time. 34. 20. Connecting Scale Shapes and Playing Up The Neck Part 1: Now it's time to learning how to connect all the shapes of minor pentatonic, pentatonic, blues, Greek modes, Ireland, Dara. You can use this type of technique, this approach into, I'm going to explain every single scale. This Jay-Z shortcut that I use to connect all the vector shapes. The first shortcut is repeat pattern between strings. So check this out. If you are in a key of a minor, they're going to play the first pattern right here. Minor pentatonic scale. Second pattern is gonna be right here. Pattern number five right here. You should play a leak in the pattern or five. Complex After the same thing on pattern number one. Pattern number two. The unit difference is the octave. As you can see, I'm going to repeat the same group of notes in two strings. For example, we should play here, this lake is G and C can repeat the same group of notes, the same pattern as same shape right here. In pattern number one. However, I'm going to play on a string number for entry. Of course I can repeat the same thing here in a pattern number two. All right, however, gonna repeat on a string number 21. As you can see, you can repeat the same pattern on the other strings. So if I play a leak right here, strings and mature in 12, I can repeat the same leaky. The other group of notes in the other group off of strings. Same thing right here. I create a very nice leak just to illustrate this shortcut number one, this kind of technique that I like to apply when I'm providing. So the link is gonna sound like this tree for Walmart time 34. As you can see, I'm going to play a leak in pentatonic pattern number Chu, patch and a bit one and pattern of five, the same total AIG legs gonna sound like this. H Dan, I slide on a street number truth pleat on a string number one, come back to Thomas string number two. And I repeat this pattern right here. So five sludge 7500, a string number tree, come back to 75 on a string number four. The last pattern is treat is large five on a string number six, tree on a string number Five, Five tree, and five on a string number six. It can repeat this pattern in every single group of strings. From this, I can create several types of combinations when I'm providing something. For example, 34. From this, I can create several types of guitar licks. Very nice guitar licks. Improvising, applying all the shapes of our scales. Alright, so take this technique for you. 21. Connecting Scale Shapes and Playing Up The Neck Part 2: The second approach, you can use scales and Yara, single guitar shaped at the tonic Greek mode or whatever is the octave. For example, I simply a leak like this. Something like this. Ray here in frat number. Applying the shape number one off pentatonic minor scale, we are in the key of a minor. I can play the semitone lake right here in a different octave. All right, so the idea is, take the, divide this leak in two parts. The first part in one octave and another part, another octave. Alright, self check this out. Gonna sound very nice. All right, the same thing if you apply the opposite part. So it's going to sound In fairness as well. All right, so let me teach it this guitar lick. I take five, just seven on a string. Number four, F5, I'm a street number tree. After seven has a poor is a hanger-on. I play five and I have a ragtag band in a frat number 19. But instead of goes up and down, please, Simon in 1979. And so you notice string number four. All right. You can create any kind of combinations. All right, it's just use your creativity and of course apply this, this approach on electronics. Okay, So if you have a very nice guitar lake right here, you can play the same thing right here. Mix between here and here two octaves. Just use your creativity. 22. Fly Me To The Moon How to write a Jazz arrangement: Let me see what's there. Let me see. For all time should talk about flying to the moon. And talk about how did I compose this arrangement, this song, I changed the key to E minor because the voice of the senior, alright, so that's why I play in mind. I could have played his song very easily, just wish it accords. But this is not the sound that I want to begin. E minor seven, a minor key. I play the melody. This is one of the most important techniques in a regimen. Sometimes you can play the chord mixed with the melody, the same melody that the singer is singing. So this is the first shortcut for you guys, played a core mix with the malady. The next part I just keep playing the original version of courts. After this part, I play a walking bass. This is another technique that I usually from Josh putting my arrangements between beats seven flat nine. And it sounds very nice because I In beat. So they play E, F sharp, G, G sharp, a, a minor chord. This is the dean, the walking bass. You play several half-step notes onto your target. This bar right here, I create a malady technique. Number three, you can provide some guitar lakes during your gut arrangement. Okay, you doing our courts. I played a core of the sun, so Shi Mi or seven. And I play guitar lick, simple like that. After two years I had my second walking bass. Instead of pagers, the single course, I paid his walking bass like this. My target is seven, so I start right here in a pending state of play the same octave, I beginning their higher octave. Almost, almost everything half-step or a G-sharp, D-sharp, F-sharp. Right here, I have a deep array, so it's not a half step. Half step once and again, C-Sharp, C, A-flat, G-sharp energy. So this part, I add, another thing. I add this chord right here, to be honest, is not a car music interval. Okay? So he's, he's a major, major tour. When you play the bass, the function changes a little bit. You can see as I, E minor chord or not, or a minor chord. D major 79, C major. The last chord after this far, just come back to the beginning. As you can see, a play one more time. F sharp half diminish, and B7 flat nine and come back to the May. My first score. This is another technique that I wanted to talk about, is a 251 to five or one is when you play the second core, the core number five in the corner, I'm going to come back. If you write down E minor scale, F-sharp half diminish his car number to be seven flat nine is the core number. Five in E minor, seven is core number of one to five, and that's why I come back. The second part is exactly the same thing, however, cheating a little bit, the ending part. So instead of playing major seven and play B minor, B minor seven, alright, bye, create this last part right here. So the last part, I copied the melody. Yes. You can copy some steps, sir. I just kept them melody should my last two notes, F sharp and G. Okay, simple like that. As you can see, my arrangement has several type of techniques. Walking bass, true 51, between one chord or not. Or you can put a guitar lick. Sounds very nice. Caught the melody, copying the beginning. During this. And it's a little bit of creativity in a few techniques. 23. How to improvise a jazz solo: Now it's time to give a few shortcuts about how to improvise guitar solos in jazz style. I have a few approach and I'm going to explain auf den and the end of the lesson are going to improvise on guitar solo. Just to see how to apply all these approaches. Improvise Jess solos is Jerry def co a jazz, not a style. Told you about that. Before you watch this class, I am going to ask you too, thanks. Few, number one, watch our lessons about scales. Are phasors, common tones, courts like that. Thing number two is, watch this lesson to tree or four times if necessary. So it's important to watch is less than n. If you have any doubts, just send me a message from the plot of pharma check. Alright, let's go at the first approach is arpeggios or common tones. Why do we mean with that Gabriel, our pages is the same thing as courts. However, instead of plate like this, going to play this melody. Usually in chess, 9, 9% of the case, you don't have a diatonic song. I do mean with that, your song does not have a single tone. For example, if you're going to play on the bridge by red house and Pampers, a pop rock band. You have a just one single tone, just want Sing of scale measured. It's gonna be easy to improvise anything if you are just thinking about one single scare you. But usually Jess, you have more than one scale, ever single bar, you can change the scale or every single 4-measure as well for bars, and can change the tone of the song. So it's really hard to play from this. Instead of think about one or two or trees chaos during the entire song, you think about art pages. So for example, if you have a 251, let's think about 251. E minor damage. A7, D major seventh chord. You can play your pages. So E minor seven for facial meter 7th, our patient in this case is just a measure. D, D major seventh, our patient. Okay, so it's gonna work perfectly. But if you prefer to think about common notes, it's almost the same thing. We are going to think exactly the same notes. But instead of thinking in arpeggios like this box are pages that we are learning our course. We're going to think more about the nodes. For example, 251. I can take my note number 135 or seven of my courts in place. For example, E minor seventh chord. I can, I could play genome. It's going to perfectly, I guess. The third monitor of our court, the seventh chord. You could play. Each note is going to sound like a fifth perfect fish off my court, the last four histamine receptors. So I could play F-sharp. All right, I mean these example, I could Blake just treat notes during this improvisation. Gonna sound perfectly as well because it's the same notes as I'm playing with the courts. This approach in this truth produce that at least to me, I use audit approach to remain proposition but this type of thing, common tones. A second approach I use when the song is very fast or fare hard to play. Approach number three, he is check the majority often denotes when you are going to play a Jess, you have, usually you have the melody on your score, right? I have a very nice shortcut about that at Treasury, automated before improvised. See what type of notes you have most of the songs. For example, if you have a song, we've melodies in G, a, C. Indeed, probably most of the song you can provide in C major scale or minor scale. But Gabriel, if my song has, most of the song has just one F sharp. How can I do that? The Unix k, We've just want sharp, these G-Major, R, E minor scale. You can provide most of the song, and GS is choose case. It's just a shortcut. However, it's very important to understand this concept is very important to understand a lot about scales. Learn how the scales before applied is approaching. But probably you are thinking, we have a problem. If the majority of nodes is in any major, a minor scale, sorry, I have a few flats. Here are a dad or a few sharps here, that's not a pronoun. It's not a problem arrow, this type of thing is gonna, gonna add a little bit of spice on your song. It's going to sound a little bit outside. It's not a pronoun because jazz sound outside. That's why it's not too popular nowadays. I mean, if you have, for example, a minor seventh quarter, not a problem at all, it's simply a flat five. But be careful, don't stop your melody. Flat fights going to sound a little bit weird. A little bit weird. But you can't. Blade is not if you are fast, for example. Once again, as you can see, works very well. Does this approach number treat usually ran I need tree provides a song, a JSON very fast. I really hard and melons and see the majority of your notes. And off course sometimes I had a few sharps or flats and I create AT EBRI scale, we have a minor scale. Usually I think him pentatonic scale, ionian mode. Alright. Try to add a few notes for exemplify. I see F sharp. I know that I've sharps a major sixth, so I can't play down any problem at Dorian. Alright? So it's important to understand a lot about scales to apply this approach. Nonetheless, approach is to analyze all the song before improvise. For example, you can divide the songs in sections. If the session number one is in, for example, C major scale, you can provide everything is C-Major Scale. Sas churn number chooses, I don't know, maybe B minor scale. You can't improvise everything in B minor scale. So it's gonna be easier if you are beginning to do this type of fee, okay, there you can think almost like diatonic songs, can think in just one single scale. From this. For example, if I have a song, adjust song in the first part using C, I'm gonna think about C major scale. The second part, the b part, museun, maybe E minor, E minor scale. And part number. Part number three, sorry, using a major, I think juicing game Asia. But it's type of thing and it's practice. A lot of Brex, okay, I explained a few approaches. Now, it's time to practice a lot. 24. Final note - bye bye: The last lesson of our course, and I have three things to talk. The first one is, please evaluate my course. This is very important to my work. This type of feedback is going to help me to improve my lessons. And of course, the visibility here in this platform. So this reveal pour this feedback part is very important guys. Second thing, you can watch the course over again, kings, Not a problem at all. We have any kind of doubt. Just come back and see the lesson over again. This is important, very important. Because with this you are going to absorb a 100% of the knowledge Hanover tree is visit my profile have several types of courses in this Florida form froms going to help in the future, right? So think is so much and see you later. Bye-bye.