Jazz for the Curious Guitarist

1. Preview: Hi, welcome to the course. I'm Dan Dresne. I'm your guitar teacher. I've been teaching guitar lessons for over 30 years. I've written a number of guitar method books and I've created well over a dozen online guitar courses. I am the perfect person to take you on your jazz guitar journey. In this course, we have around 14 hours of streaming guitar lesson videos. We also have PDFs that go with almost every lesson. You want to be sure to download all of the PDF, download them, save them. Those are for you to look at while we're going through the lessons. I'm going to assume that you are starting from scratch because I don't really know what level you're at. We're going to quickly start from scratch and get you up to speed with everything that you need to know to go through all of these lessons. But we're going to in a very short time, get to an intermediate level and then into an advanced level for jazz guitar. We're going to get you to the point where at the end of this course, you'll be playing jazz guitar at an advanced level. You'll be able to play jazz standards. You'll be able to play with other musicians. You'll be able to play solo, and you're going to understand how to go forward on your own. This is going to be a really huge step for your music development and your guitar development. I'm really glad you're here. Thanks for watching this video, and I'll see you in the course. 2. Welcome to the Course: Hi, welcome once again to the course. I'm Dan Dresni. I'm your guitar teacher. I wanted to take a few minutes and go through what you can expect while you go through this course with me. Like where we're going to start out and then where we're going to be in the middle of the course and where we're going to wind up at the end. This course is it's around 14 hours, and that's a pretty condensed amount of time considering how much we're going to cover. I'm starting you out from a beginner level. I don't really know what your level is, and I am aware of the fact that some of you are advanced players, and some of you are intermediate players. Some of you have been playing guitar, 20 years, five years. I get it. Also, some of you have been playing guitar for one year or less. I'm going to start from scratch and just cover off on all of the basics and do a quick refresher. One of the interesting things about the refresher is that I have met a lot of guitar players that are really good that I've been playing for a long time. But they may have skipped a couple of the fundamentals and like finding all the nodes, some fret board, that kind of thing, or some of the basic rhythm things. There may be some things in the fundamentals, the basics, that if you did skip them, then this is the time for you to learn that stuff and wrap it up and a lot of guitar players are insecure about the fret board and finding the notes. I a lot of good players will do this thing where they look for the note by ear. And you shouldn't need to do that. You should be able to just go right to the note that you're looking for. Any of the fundamentals, this is a great time to wrap them up. But if you're starting from scratch, it's great. We're going to cover off on all that stuff. The lessons are cumulative, so they're all going to build on each other. I had mentioned before, by the time you get to the end of the course, you're going to be playing jazz guitar at an advanced level. What that means is that you're going to have the ability to learn jazz standards on your own, you're going to have the ability to play jazz guitar, by yourself, you'll be able to just go through it, play the chords, solo, play the leads. It's going to sound great, playing by yourself. You'll be able to play with other musicians. You'll be able to get together with another guitar player or a bass player or a piano player, or saxophone player or play with a band. You'll be able to go through a lot of this stuff because you're going to understand how to learn it on your own. You'll have the ability to learn a new jazz song. And to figure out how to solo through it, play the chord changes, play the chords in different positions, and just have fun with it improvise, which is the point of jazz, we're meant to be improvising with jazz. I have also mentioned that there are PDFs that go with almost every lesson in this course. Be sure to get the PDFs. There are additional resources, additional attachments that you can get. Download them, save them. What I would do is I would save them to my device, and then I would print them out and put them in a folder or three ring binder. I thousands of three ring binders. I like to have this will be my jazz, thing binder. This will be my blues, thing binder, this is my whatever. I have different three ring binders for different styles and genres or it could be just different years of my playing life. I like to sit down with my binder and just work on my music, me and my guitar and my binder. But in any case, just download them, make sure you have them. And we're going to be going through all kinds of great stuff in this course. When we're going through all of the theory, what you can expect is that we're going through about these five or 5.5 aspects of guitar study, five pillars. The main things that you need to work on. When you start getting to an intermediate level of your playing, a lot of times it can be overwhelming how much stuff there is. We all have lives. We all have school or jobs, or families, or friends or things that we have going on. We don't always have 7 hours a day to devote to practicing and playing the guitar. It's hard sometimes to figure out what are we supposed to work on to keep the trend going in the right direction. That's what the five pillars are for. These five topics, the practice habits. Really, what they are is it's rhythm. Rhythm is your strumming, your picking, your spacing of the notes, our ability to count and tap and read rhythms, rhythm is just everything. I think it's the most important aspect of music and guitar. Rhythm is a huge piece of it. Rhythm chords. Everything chords is the second pillar. Chords could be like open chords, but from jazz, it's your bar chords, your extended chords, your altered chords, your multiple chord positions like redundant chord positions, chord partials, hybrid chords, anything chords or harmony. Diads, triads. There's a lot in the chords category. I just want to make a point that When I was younger, if you were a guitar player, you were either you liked rhythm guitar or you liked lead guitar. Bands when I was younger would have a rhythm guitarist and they would have a lead guitarist. The lead guitarist was usually like the better guitar player because he played all the solos. The rhythm guitar player played the chords. But the truth is that when you get into some really advanced styles of music like jazz, then rhythm guitar is pretty complex and it's very fun and very rewarding, especially when you see jazz masters who have the ability to take rhythm guitar and combine it with lead guitar. It all really becomes one, is the same thing. There is no rhythm guitar versus lead guitar. It's all just guitar. So that's kind of anything about that. So courts, there's a lot to learn in the courts category. The third category is arpeggios. A lot of musicians don't even really know what an arpeggio is or they may have done a couple of practice exercises when they were learning their instrument. Arpegios are so important, especially in jazz, jazz and blues. Arpeggios are crucial. You have to be really good at them, and Arpegios are a soloing tool. We'll get into them a lot, but pego are a soloing tool. Rpgios bridge the gap between the chords category and the fourth category, which is scales, scales and modes. Our pegos and scales categories are our soloing. 01 note at a time, melody, soloing. The fifth category is your repertoire. This is your song list. All the songs that you can play on the guitar. Hey, I heard that you're learning how to play jazz guitar. Can you play me something? You want to be to play a song or at least some chord progressions that are jazzy. This is a big piece of it. A lot of jazz guitar masters will say that knowing a lot of songs is one of the great ways to get good at jazz guitar. You can learn theory and learn soloing and theory all over the fret board, which is good and it's really going to help out with your songs. If you can't play songs, then it's like, what are we doing here? You need to know songs. Repertoire is a fifth category of crucial. Really want to make sure you work on that. If we work on these five things, then you're going to be well rounded as a guitar player. That's what you want to be thinking of in your brain. That's how I put the lessons together. By the way, I might have mentioned there's like 5.5. It's like five main pillars, but there's 5.5 things. The half thing is a couple of extra things like it could be techniques, learning techniques, learning about harmonics, learning some ear training, learning, how to read, standard notation, those kinds of things, like extra things. You can think of them as extracurricular things for jazz guitar. If we work on all of these things, but think of it as the five main pillars, you're going to be well rounded. What we try to do is we try to figure out how we can get you about an hour a day of practice, we're always working on all of these things. Ultimately, we're going to hopefully get to this level where we can play a song. We're going to be working on all of these other four things in this song. That's where we're heading with the whole thing. What we want you to do is we're going to start on the beginner level and start working on these five things right away from beginner level. Then we just are going to keep on pushing the needle and we're going to keep on leveling up every time, getting a little bit more advanced on each of those topics. When we get towards the end of the course, there is a section of backing track videos where you're going to be able to play along with some sample jazz or progressions to practice your slowing. I'm going to give you I'm going to tell you the scales and the keys that you can use for that. Then there are these extra lessons. I'm just continuing education stuff because there's so much fun stuff to learn. I want to make sure that you've been exposed to a lot of these topics. Jazz is so much fun. I love it. I have always been fascinated with Jazz, and I still am. Still is fascinating to me, and I think it's fascinating to you, too. I think that's why you're here. I'm really excited. You're going to go on this journey with me. Can't wait to get started. Thanks for watching this video. Be sure to get all the PDFs, and I'll see you in the next lesson. 3. Guitar Fundamentals (page 5-11): 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 third. So I'm gonna come up here. So that's going to be my major third. That is my perfect fourth. Augmented fourth or diminished fifth. Perfect fifth is my minor six. And I ran out of fingers again, it's a minor six, I said. And that is called a D sharp. D sharp is my minor six, so I need to go to my next string. D-sharp. We said it was minor 6, so moved to the next one. Major six, minor seven. Major seven and my octave. So it makes sense how I did that. I have to kind of what I've run out of fingers and I need to go to the next string and need to kinda keep track on the one I just left off on and then find it again on the next string. And then keep on counting up. That's how we do it from a closed position. And that's how we do it when we're going through a scale and we're trying to decipher all of the intervals of the scale. I will tell you here is a fun fact. The major scale, I mentioned this earlier. All of the intervals of the major scale, either major or perfect. That is why it's called the major scale. It's because all of the intervals are major or perfect. So if we're playing the C major scale is unison or root tonic, key. Major seconds, major thirds, perfect fourth, perfect fifth, major sixth, major seventh. Octave. This eight V down here is octave. That is how you write octave. You'll see this on the sheet music, sometimes eight V0, eight with a V next to it, means Octave. Just where you get your rootNode again, higher or lower. Okay? So all of the intervals of the major skill are either perfect or major. And this hopefully will shed a lot of light on some of the concepts we've talked about so far regarding the seventh chords. When we talk about the major seventh. So the major seventh has a major seventh interval. It's one frets behinds the octave. And that's where the major seventh interval, okay? As opposed to a minor seventh chord, which is to France, the seventh note is two friends behind the octave. We also talked about the triad a lot. 135135 is how you construct a major or minor chord. Okay? So the one which is the unison, the three and the five. But what three and what fiber we talking about? We're always talking about the perfect fifth when it comes to your major or minor chord, we're always talking about the perfect fifth, but the three is special. We've got two kinds of threes. There's a minor three and a major three. The third interval of all of these guys, the third interval is the only interval that tells us if something is major or minor. I'm talking about a chords, arpeggios, scales, and songs. The third note is the only thing that tells us if something is major or minor. As in it's in the major key or the minor key, the chord is major reminder the arpeggios major or minor, the scale is major or minor is the third. So if it's a minor third, then it's a minor chord, arpeggio or scale. If it's got a major third, that it is a major. Chord, arpeggio or scale. The third is the only thing that makes a difference. So we could have a CTF. We've got the major seven courts. What we talked about this, the major seven is not talking about the chord being major, talking about the seventh being major. If the court doesn't have a lowercase m next to it, then it's just major. It's defaulted that has major. It's got to have that lowercase m in the coordinate to tell us that it's going to be a minor chord. And when it has that lowercase m, it's telling us it's got a minor third in it. If we don't see the lowercase m, then it's got a major third. When we see the major seven chord, it's not telling us that it's a major. It's got a major third of you. It's already got a major third is telling us that the seventh is major. Great example and I think this may clear it up for you, is the dominant seventh chord. If we just said G7 chord, plain old G dominant seventh. It is a major chord. So it's got a major third because it's a major chord, G7, but it's got a minor seventh interval. And that's what makes it dominant and special. So it's got a major third, making it a major chord. But it's also got that minor seventh interval. Okay? So hopefully this is starting to shed some light on the value of the intervals and all the stuff that we've been talking about so far. So make sure you get the PDF, read it. Watch this video as many times as you need to. I could keep going on, but I think I've pretty much covered it all. One more points. Definitely don't want to forget is that when we are constructing a scale, like a mode, we're scale. We're only going to have one of each. So we've got one through seven and there's one kind of each thing. Like there's two or three or four or 567 where he can only have one of each. We can mix these up. Well, we can only have one kind of a two. We have to pick either a major or minor. We can't have both. You can have a major and a minor two cannot do that. We have to pick one. We have to pick a third. We can have a major and a minor third. We have to pick one. We have to pick a fourth, either a perfect fourth or an augmented fourth. We have to pick a fifth, either perfect fifth or diminishment. We can't have two kinds of fifths. We cannot have two kinds of sixes. We have to pick one. We have two kinds of sevens, we can't do two sevens, we have to pick 17. And so I'm not telling you you have to pick them. I'm saying that when we look at all of the scales and all of the modes, they will have one of each. They're going to have some kind of hits here and they may mix it up summer majors, some of minors, some majors and minors. But they're going to have one of each of these intervals, some kind of a two, kind of a threesome kind of a force and kind of a 567. And that's how all the modes and skills are constructed. That's why the shapes are all different, is because they are mixing up the major and minor intervals to make them sounds slightly different each time. Okay. And I think that covers it because of the rule that I just mentioned about how you can only have one of each kind. That's what there are two names for the augmented fourth and diminished fifth. It's the same interval, but it's got two names. And the reason is because it works, because have, we cannot have like a perfect fourth and an augmented fourth. You can't do that. So you're either going to have a perfect fourth and a perfect fifth, or you're going to have a perfect fourth and a diminished fifth. Or you're going to have an automatic fourth and a perfect fifth. It's going to be some combination of those. So it make sense. Good. Okay, Now I think that a really covers it. And if we were dealing with something like an arpeggio where there's only a couple of notes or a pentatonic scale where there's only five nodes. Something where we didn't have all seven, that's fine. We don't have to have all seven. Just that with the modes and the skills, we do have one of each of these seven groups. But if you just had an arpeggio with three nodes or four nodes, five nodes in an extended arpeggio, we just grab the intervals that we need to talk about it so we can understand what we're dealing with. Alright, I think that about covers it. I feel like if I continue talking, I'm just going to confuse you. So I hope that this helps and I hope you understand the intervals. We will be going over them again as we go forward. 23. Relative Chords to the 13th Extension (page 58-59): Let's go through the rest of our relative extended chords. We're going to take these all the way up to the 13th extension. And this is going to cover the remaining extended course that we've got. So in music, we do not go past the 13th extension. That's the highest that we're going to go. So we only have a couple left. If you guys have made it this far, you have done so good. And we've only got a handful that we're going to cover off on. And then we will have covered off on all the main extended chords. And same is true for the altered core to read a little bit later on, we're going to take a look at the altar courts. But they do not go pass the 13th. They don't even go as high as the 13th, typically, so we don't have to worry about, uh, we are at the very top right now of the voicings for records. Okay? And so the three kinds of chords that we're, we're looking at here are a 69 cord. It's six slash 09, and it's called a 69 chord. And we're looking at an 11 chord and a 13 court. And we've got two kinds of 13. We've got dominant 13 and we've got a minor 13. Okay? And I'm showing you where they fit into the relative chord sequence. So we've seen this a number of times at this point. Up top, we've got the roman numerals that are showing us what scale degree we're on. And then down below we've got the notes of the C-Major Scale still in the key of C, C, D, E, F, G, a, B. Okay, let's take a look at that 69 chord. We've got is showing up on the one, the four ends the five. Okay, let's take a look at the shape. So we're going to route this one on the D string. Okay? This one is actually running on the D string. So if I'm gonna make my C 69, then going up to my C note on the D string, which is the 10th fret. And I plug in m, so it's 1009 time, time. And cut. Let's see what it sounds like. Nice. Good, good, good, good. It's kinda, kinda floaty sound to it. Let's take a look at the construction of it. The intervals in it are 13 as a major three, major six and our nine, which is the same as our major second interval. So one major, three, major 69. Okay? Good. See 69 now is do the F6 nine. So it's going to take the shape sled down here to the F on a D-string, F on the D string, and I plug in my shape. Good. Sounds, good. And then we have it also in G on the fifth degree. Okay? So this lending to G. Nice. Okay? And I want to point something out about the 69 over the G. We've seen this before with the six chord. We can play a six chord, a G6. And so that falls into the dominant column. Even though the six chord is not really dominant, is there's nothing that makes a dominant because what makes a chord dominant? It's two things. Major. So it's got a major third, and it's got a minor seventh. Those are the two qualities of dominant. And a sixth chord is major, but it doesn't have any kind of seventh in it. So that's why I say that the sixth chord wasn't dominant even though it goes into the fifth dominant column. Which it does. I just want to make that tiny little nuance of a point to you. So it, of course, it would says substitutions sixth chord is a substitution for the fifth degree. The dominance, anything of the G in this case, it just technically is going to dominate itself. The 69 is the same thing because the spelling is 1, 3, 6, 9. So there is major, we have a major third, but we don't have a seventh. So we need that minor seventh interval for it's being dominant. We don't have that. So the 69 is not really dominant chord. And wherever it fits just fine over our fifth degree column. Okay? So let's just go back and forth between the C, F, and G, the 14569 fourths. Nice. Now this is going to be a substitution for everything that we've gods in each column. So for example, we've already seen a number of courts over the one. We've got the major seven, we've got the six, the major 9. And now we are going to also have the 69 cord, okay? Over the four, same thing. We've got a major seven, we've got a six, and we've got a major 9. And now we can also do a 69. So for example, if I am vamping in the key of F, right? So I've got my F major seven. I've got the F6. I've got the F major 9. And now I can do my f 69. So that is another option that I've got for vamping around the F chord. Okay? And 69 is going to fall into the vamp possibilities for all the dominant stuff also. Okay, Let's move along. Let's look at the 11 chord. Okay? The 11 chord is dominant. You're going to know you may have already figured this out, but a court is dominant. If you'd usually, if you don't see a major or minor in the naming of it as a major seven minor seven or seven. So if you don't have a major or minor symbol next to it, is just seven or nine, or 11 or 13. That's a clue that it's going to be dominant. The six is the exception to that rule. So in 11 court is dominant and so is a 13 court. They're dominant. There's no major or minor symbols next to them. So that's how we know that they are dominant. They fall into the fifth column. All right, G, 11. This one is a super easy chords. Easy to remember anyway, we're rooted on the a string. Alright? And I wanted to point out here, when we get into 11th corps and 13th cords, there are many fingerings. The larger the extension of the court is that you're looking to play, the more possibilities there are for shapes and fingerings. And the reason is because there are so many notes, guitar players make that decision. What notes they want to put in and what order they want to put them in. So we can decide to put nodes and we'll leave them out is our discretion. Okay? So I'm gonna show you how I play and 11 chord. And I don't do this. It's an easy shape to memorize, even though it is extremely easy. I do it because I feel that these nodes need to be in there for to be 11 chord root on the a string. Here we are in ten from a G note. And I'm just going to bar down on all five of these strings starting from the a string. That's as G11. So that is an easy one to memorize. You just find the root node on the a string and then bar down on all five of the high strings. And that is an 11 chord, dominant 11. So I have seen other guitar players that will do different voicings of it were they are grabbing different notes and leaving out different notes. What we've got in this 11 chord shape is we've got a one or root. We've got our four, which is actually our 11th. So here's our root, here's our 11th, here's our seventh, here is our ninth, and then here is our fifth. So we've got 111795. Okay. I'm going to just explain for thirty-seconds to concept of horn building, which is called tertiary stacking. Okay? Tertiary stacking, tertiary means in threes. So when we're doing tertiary stacking, we're stacking the notes in threes. And that's where the idea of the triad comes from, is 1, 3, and 5. That's how you make a major chord or a minor chord. 135, the first note of the scale, the third note of the scale, and the fifth note of the scale. So think of it like this. 1, 2, 3, okay, that's how we go from one to 3345. So every time we're going three, a distance of three, you get to the next node, 123345. Now watch this tertiary stacking 5673 to get to the sediment. 7, 8, 9, to get to the 9, 9, 10, 11 to get to the 11, 11, 12, 13, to get to the 13. So each time we just keep on stacking on three where we're going up, we're basically jumping a note to get to the third note. That's called tertiary stacking. And that is how most of the chords that we listened to in our everyday life, That's how they're all formed. Starts with the basic triad, one, 35. And then from there you can get up to the seven. And then from 70 or to deny that 11 and 11 to 13. And it's just a matter of how much stacking do you want to do in your court? It's called tertiary stacking. There is an alternative to tertiary stacking. It is not very popular. It's called Quartal CTL stacking. It's where we're stacking fourths. And you start CTL stacking is where you've got a lot of 11th, lot of fourth and 11th. The reason that it is not very popular is because the concept of the fourth or the 11th, same thing forth in the 11th is that they have a huge amount of suspension. And that's we have a sus chord, sus4 chord, and it is a suspended fourth. It is a suspension sound. And the word suspension in music is the opposite of the word resolve. So when something is suspended, we are waiting for it to be resolved because it doesn't sound like it's where it should be summing suspended. It is a sense of unease. And so we're waiting for the co-ordinate be resolved. We don't have that suspension when we're dealing in threes. The three is all work nicely together to human ears. When we stack in fourths, we create a suspension. If you want to create a tense feeling, then you want to do a lot of fourth stacking. And when I say fourth stacking, quartile would be stacking in fourth intervals. So for example, if we are in QC, we would start with our C note, okay? And then c, d, e, f. So we can do an F, C, F, and then F, G, a, B. So we stick and Vn, okay? Okay, B, C, D, E, and we're going to stick and Ian okay. All right. So far as what the court sounds like, it'll stack and now we need to explore every possibility with the notes. And so sometimes these kinds of chords have a place in music. Absolutely. And in your planning, it's just that is not the norm. Okay? So tertiary stacking is the norm, stacking in threes. Alright? 0. And so the, the, getting back to you, the G 11 chord we're studying and threes. And so the spelling of the GLM and chord is 111795. We've got everything in there except for a third. Okay. So we've got 1, 5, 7, 9, and 11. So we're just picking everything up in thirds, tertiary stacking. That's so that is the reason there's a long answer to get to. The reason that I like this shape is because it makes sure that we have everything stacked up. It's not in order, but it's all in there. Okay. Good. Now, let's take a look at our 13 court. 13 chords are a lot more common in jazz because the 13 is the same six. So we said the 11 is the same as the four. The four has a suspense feeling. The 13 though, is the same as the six. And the six doesn't have that suspense film. He's got a nice, easy kind of sound to it is a supporting kind of sound. So here is how we are going to finger the G 13. I'm going to start it out like I'm doing G7 chord, okay? Routing on the E string, which is my full six string, court. As my pinky is going here on the fifth fret on the B string, which is actually the, is. The 13 is the same as the six, but it's 13 because I'm keeping it in my high register. Okay? So what we've done here, when we're playing this shape of 13 9. What we've done is we have got the triad, so we've got the 1, 3, 5, and 7. So we've done the triad and we've And the seven. And then we skip the nine, skipped 11 and went right to the 13. And the reason for that is because we said that sometimes we run out of notes. We run out of notes and we want to just go right from the seven to the highest extension. So that is a pretty common occurrence. You, once you create your chord a to the seventh, and then he can jump all the way to the highest extension. So if you were playing in love with chord, you could make a seventh chord and then jump right from the seventh to the 11th interval. Or if you're playing with 13, you create a seventh chord and then you jump all the way to the 13. See you. 9 and 11. In between happens all the time. So it's totally fine. However, you could create a, there are tons of fingerings of 13 chords. You could create a 13 cord where you try to get the 9s, 11s in there. That make sense. Okay? But this gets the ball over the net. If we're playing for playing sports and we have to get the ball over the net, then we're playing sports, the game is going on. And so we just want to get the ball over the net. And that's what we're trying to do. And so going from the seven all the way to the 13, that doesn't okay. Good. So the 13 is, let me make another observation here. The 13 as opposed to the sixth chord. The sixth chord we talked about, has the fifth note is raised up. So a sixth chord has no fifth. It is raised up to the 6. Sixth chord is 136. That's the spelling. 13 chord. It's got that six, which is the 13. But we're keeping the fifth in it. So that's the real main difference between a 13 and a six, is that the 13, we're keeping that fifth note in the chord. So the sixth chord has no fifth. 13 has a fifth. Make sense. Okay, good. And this would be something that we can add into our rotation of all of our dominant substitutions. So over the fifth column, we can play six core and the seven chord, a 69 chord, a nine chord, and 11 chord, and a 13 cord. Well, that's a lot of stuff going through the extensions. So if I am just vamping around in the key of G, I've got my G6, G7, a G9, my G11, my G 69, and I've got my G 13. That is a lot of different options just to stay in one court. And when we're vamping, what may be going on is we may have like a four beats, a whole measure. Of, it just maybe says G7 cut, where G dominant, G7, G9. And it's just as long as I know that it is some kind of a G dominant, then I've got the four beats. And so if it said G7, I can just strung G7 for four beats. Or I can try to bounce around some of the different extensions throughout those four V's. Does that make sense? So it is up to me to figure out what I wanted to do with that court. And that's why we're learning all these options is to give his options. For when we see a core that is hanging for a number of beats. We can either strum it for that amount of time or we can start vamping through our extensions that we know are good and okay. All right. One more to go. We've got the minor 13. Minor 13 only occurs over the second degree, over the Dorian. So the Maya 13 only over the Dorian, and it's in the key of D. So here's how we play. It is kind of like we're making a D minor seven chord. And her pinky is going to go here. D minor seven coordinated on the E string. Hey, 10th fret, D minor 700 on the E string. And then I'm putting my pinky and the B string on the 12th fret. What's going on with this chord is that it's essentially a minor seven chord. And I am adding in my six, which is my pinky note. So it's minor seven chord. And I'm adding in my six, which is depicted over here on the 12th fret. The reason that the, the reason that the minor six and the minor 13 only goes over the Dorian, over the second degree. You may have noticed we don't have them going over the third-degree or the sixth degree. The other minors. We don't have the six is where the 13s popping up in those keys. And the reason is because if we take a look at the Phrygian mode or the Aeolian mode. And we counted the six. The six is a minor six interval, meaning on one front up from our perfect fifth. So if we took a look at our e Phrygian 12345, perfect five or 61 fret up. We need to have a major 66 is a major six. When we're talking about a six for six chord is a major six interval. If the phrygian has a minor six interval. So we can't use six over the Phrygian L. Okay? Same is true for the Aeolian mode, the key event, okay? 1234. Perfect five. Minor six is a minor sixth interval. We need a major six, so we cannot use six over the Aeolian mode on the sixth degree, but you just cannot put six chords in there. However, the Dorian, let's take a look at the D Dorian. 1, 2, 3, 4, perfect five, major six. So we've got a major six interval in the Dorian. That's why the Dorling is the minor sixth chord and a minor 13. Okay, So real quick, the difference between the minor sixths and the minor 13, It's the same as what we talked about just a minute ago. It's about the fifth. D minor six court has no fifth because six cores made a major six or minor six courts. They don't have a fifth. So D minor six, no fifth. D minor 13. Yes. Fifth has a fifth and a so that's the difference. Okay, and yeah, her Dorians got a lot of different options for soloing. So this would conclude the extended relative courts going all the way up to the 13th. So you got a lot of options now for vamping around throughout the scale quarter Rose. So familiarize yourself with all of the shapes. And of course, you want to really pay attention to things like the minor sixth chord only goes over the Dorian or the second degree. The NIH 7, 9, 11, 13, and that stuff all goes over the fifth, the dominant, the major stuff like the major seven, major 9. Those go over the one and the four. The three doesn't have a whole lot of options. It's got the, it's got the minor chord and the minor seventh. So we don't have a whole lot of options going on with the third-degree. The sixth, we've got the minor seven, then we've got the minor nine, the seventh degree. We've, that's the one that's it, its own category. We've got a minor seven flat five, and we've got all those diminished chords, which we can move symmetrically three frets in every direction. So you want to know that these your options and as we start changing keys, you're going to be comfortable looking at the new key and saying, Okay, there's one core, there's the two chord, the three chord, the four chord 567. And knowing what kind of extensions we can do to substitute records. So go work on that. And you Doing great. You didn't wonderful. So keep it up and I'll see you in the next video. 24. Arpeggios 6/9, 11, 13 (page 60-64): Let's go through our arpeggios using the new chords that we just learned. The 69, the 11 and the 13, and the minor 13 chord. So we've also gone through our intervals. So I'm going to take a little bit of a different approach to showing you these are NGOs. And it may seem a little bit like we're going fast because you may not know your animal shapes as quickly, just yet. But I need to get you up to speed. So this is, I believe, going to help you out. Just getting some quick visuals with how our intervals look. And we're going to be reading on the low E string to give you a quick launching pad for finding me intervals. Okay? So let's start out with the key of C for the 69 cord. Okay? And what I've done is I've written the intervals in their proper interval name. So the spelling of the 69 is the one which is the root, the major third, major six and the nine. That nine is the exact same as the major second. Okay? So nine is the exact same as major too. All right, so we've got one in the key of C, which is our first or root. Note. It Fred. Okay, Then we've got our major third, right? This is how you get to a major third starting on the eastern route. Major third. All right. Then we're going to jump down again to our major six. Okay? So an easy way to find a six from the roots. Here's my roots and just jumped down to strings with my index finger. And that takes me right to the major 6. So major third, major six. And then I'm going to jump down one more time to get to my nine, which is the same as a measure to okay. Now what's interesting is that when going from the sixth to the nine, there's an eight, which is the octave. It's the same as one. So it's going to be my choice whether or not I want to hit the octave in-between when I'm jumping to the next register, 6, 7, 8. So it should be hitting that an octave. Before I get to the nine. I could be hitting the nine over here where the two would be. But if we want to keep it a little bit more of a nine, I want to save it up for when I get a little bit higher up in the register, in the octave, 136936. Route. And then I can go nine again, right here. So the nine is the same as the two. So let's take another look. 136, I can hit my route again, right here for 12. Here's a nine. Here's my third. I went from the nine to the third. The nine is the two says I going to three. 93 to three is the same thing. 3, 6 root. So over these 69 chord, that'll be a good way to purge doing that. So if we're playing, That makes sense. Okay? And of course, you've got your, I don't need you to figure all these new towns just by washing me. You've got your PDF so you can look at the shapes and you can memorize those shapes. That would be a good idea. I just want you to be able to figure this stuff out on your own. Because my hope for you is that you will be sitting down with some jazz music, some sheet music. And you'll be going through some songs. And at some point there's going to be a 6 9 chord. And I want you to remember how to construct it. Um, because if you can't remember right off hand how to play the 69 arpeggio. Want you to build, put it together as you're sitting there looking at your song, your music, without having to go back in and get the lesson PDF. Okay, good. Let's take a look at the 11 coordinate. And this is a dominant. But, you know, we've got the interval stones, so we don't have to worry about that as much. Now with the dominant, you're, if you look at the next three arpeggios here, I've got some intervals crossed out. What's going on there is I didn't want this to get too convoluted. So if Many interval options, we wind up just playing a scale. Okay? And so what I mean by that is like if we look at the 13 here, let's just jump to the 134 minute. Okay. I've got a one, I've got a third, and I've got a fifth, seventh, ninth crossed out, 11, cross down, and 13. So the nine is the same as the two. So that's kinda like going 123. Okay? The 11 is the same as the four. So it's kinda going 12345. The 13 is the same as the 6. So it's like going once you 3, 4, 5, 6, 7. Well that's the scale. That's every note of the scale. There'll be every node in the Mixolydian. So what the point is, what's the difference between playing a 13 arpeggio and the Mixolydian mode, there is a difference. And the difference is that we want to emphasize the 13 chord. We're not trying to play every single note from the scale. So even though all of these notes are options that are put together in a tertiary stacking way so that we can start seeing how we're approaching the 13. The 13th interval. My advice to you when you're going through your arpeggios is two, not use. A lot of these arpeggios used the most important ones, and the most important ones will be the notes of the triad, 135, the seven. We want to keep the seven in there and then jump to the highest interval whenever the highest interval of that chord or NGO is. So in the case of the 13 court, we would go 1, 3, 5, 7, 13, 1, 3 5, or 1, 3, 7, 13. Because we can also drop the fifth. That's something that we do with chords. It's trumped the fifth. And we want to just get the basic pea stems so that we can see, Oh, that's going to be the 13 arpeggio, the 11 chord. Okay? So when we're doing the 11 chord, let's try going 137. And really I want to get rid of that nine. Now let's just go right to the 11, 1, 3, 7, 11. Okay? So let's do this one in the key of G. And remember how did it get to a major third on three? Okay? Now this one has the minor seventh interval. The minor seventh interval is the same. Fred is a root node. It's just down to strings, since on the D string, here's our root. That's our minor seventh. It's like two friends back from our octave. So 137. And we're going to jump right to the 11. The 11 is the same as the four. So that's going to be this number right here. 374. Okay. And then after the four were the 11, we could just jump directly back to the 7 and give x to the one. Ok? And that would be over the G 11 chord. That makes sense. Okay, let's try it over the 13. We're going to do the same thing except this time we are going to go one, 37, 13, 13, 713, so on. Just like grabbing. This little seven chord, C7. And then we're going to jump brights. You are 13. Okay? Actually, let's grab our third, again, the third row here. And then it was good. See you the 13, which is here. Okay, 13 is going to be the same as 6. So 13, 16 are the same. For the liner 13, we're going to do the same kind of thing, one, except it's going to be a minor three this time. Still have a minor seven. And we're going right to the 1313 is going to look the same. Let's do this one in the key of D, since it's going to have an over Dorian. So we've got one minor three. Okay? To make this one flow that I actually am going to hit that five. Minor three, perfect fifth, minor seven. And then let's just jump right to the fifth right here. And then a minor third ends get these 13 are here. And the root. That makes sense. So when we have to figure this stuff out in the moment on the fly, it helps if you know all of your interval options. And when we're dealing with a large coordinate like a 13, were 11, then we have too many options and we have to start crossing some of them out. And so in order to get the point across of the court, we want the nodes of the seven chord. And then we want to jump right to the highest interval. So there's 13, go 1, 3, 5, 7, 13. And if it's 11 chord, you may just go like 1, 3, 7, 11. So if you don't want to have any notes, you can drop the fifth. And you can always drop the ninth, 11th if you're going all the way up to the 13. And it's also your preference what Octave, you want to put the extensions in because I've been putting them in the higher octave, the higher register than waiting until he gets the higher octave to hit that 13s and the 11th. But I could put them in the lower register for 12. So for example, if we go back to G for a minute and we look at the G 11, we have 1, 3, 7. But the 11 is the same as four. So I can go 1347. See what that looks like. Okay, 147. So that also gets the point across of the g 11. I could do with the 13, where I just go for the six right away. So we could go on the G 13 court. I could go 1, 3, 6, 7. Let's try that. 1367. So 367. Okay. 367. Handle it on there. Okay, so I think that gets the point across. Then we can keep in the lower register or we can save it up for the higher register. It's your call. And the reason that he may want to go ahead and hit the interval right away without saving enough for the high register, you may not have that many beats. You may only have two weeks to do a few notes. And so you may want to just get it in as quickly as you possibly can. And the fewer beats that you have on the cord, you want to get rid of as many of these nodes as you can and just go directly For most important and the most important notes that show the court as clearly as it can be. Okay? So work on these arpeggios and these will finish off the extended arpeggios. So we've pretty much gone over all of the extended arpeggios at this point. Congratulations, it's great. It's really great. So work on these. And sorry that the intervals, we're going very quickly right now with the intervals that I know that you're still getting used to the shapes of this is what a what a perfect fourth looks like and what a major third live psych and what a perfect fifth looks like. So when a major second looks like what a minor seventh looks like, my octave. That's what a major sixth looks like. I know you're still getting used to all of those shapes. But the sooner that we start working on and trying to decipher the chords and arpeggios, the faster it's going to come to you. So you're really doing wonderful. This is pretty advanced stuff. This is pretty hard stuff. So keep at it. You're doing great. And I will see you in the next video. 25. Chord Tones & Dyads (page 65-66): Let's talk about chord tones and dyads. I'm going to show you an amazing tool to help you solo over any core change. This is going to help you. When you cannot remember the arpeggio shape. You can't remember your modes. Basically your brain is just freezing on you and you can think of anything to do for your solo. I'm going to show you exactly what to do. And it's wonderful tool. It's called playing chord tones. Okay? And this is a really simple concept, but it's something that jazz guitar players use all the time. Jazz musicians, every kind of jazz musician uses this. The reason I haven't talked about this earlier is because this, this soloing trick works so well that I didn't want you to rely on it exclusively. You could easily just use chord tones when you're soloing. However, you will be missing out on a lot of the embellishment notes that you can get from your modes and your arpeggios. So that's why I wanted you to have the foundation of the modes and the arpeggios when you're soloing. And ultimately what you're going to do is you'll be using chord tones because you're going to see how wonderful it is and how great it works. And then you're going to embellish it a little bit with your modes in your arpeggios. And so you're going to have a lot of different tricks going on to have a well-rounded solo. So that's what we want. Okay, So what I've got is I wrote a chord progression down. This is just a random chord progression relative and to the key of C, relative to C major. D minor 7 flat 5. It's just 11 bar of each court, one measure of each chord. The minor seven flat five, F major 9 and G9, see 69, D minor seven, G 13, C major, which will be major 7 or major 9. It's your choice. And then I have to be so that B diminished 72 beats of a C6. Okay, Let's play the course and just kind of see how it sounds, right? It sounds cool. It's just some stuff I wrote down. It's random courts going throughout the C scale courts and putting in various extensions. And this is the kinda thing that you should be. 26. Reading Music (page 67-72): Let's talk about reading music. It's time for you to finally learn how to read music. It's easy. It's not hard at all. However, for, I guess, laziness or fear reasons, most of my guitar students usually do not want to read music. It is not something that they feel like they can do quickly. A lot of people think they can't learn how to read music is too hard. Only. Only music students, professionals read music. That's not true. Everyone reads music as something that I want all my guitar student is to learn how to do. It's very easy to learn how to read music. There are so many advantages to reading music. You, as a jazz musician, you especially should have at least minimal music reading skills. You don't have to be great at it, but you need to be able to look at a piece of music and pick out the notes. You already know how to read the courts. And in jazz world, when you look at a piece of sheet music for a song, you're going to see two things. And see the courts, the coordinate names of above the staff. And you already know how to play. Probably almost all of those. We've covered most of the courts. So you should be good to go on the coordinates. And then you've got the actual staff itself, which will have the melody notes on it. The good news is that in jazz, the melodies are usually very sparse. So you don't have any kind of very complex melodies, lots of notes. It's not like that, there's only a few notes. The melodies are very simple. There may be a lot of accidentals. The notes, maybe in a lot of bizarre places, but there won't be that many notes. Jazz just doesn't have that many nodes and the melodies. So that makes it pretty easy to do if you have a minimal ability to read music than reading jazz scores will be easy for you. Okay? And also, you may be thinking, yeah, but when I listened to jazz music, the guitar is playing super fast and lots of nodes or the saxophone players playing tons of notes. That's true in their solos. In their solos, they're playing tons of notes, but they are riffing off of the original melody. And the original melody does. It's only got a few notes. And that's true for most jazz songs. And we don't learn how to play the solos note for note, that's not something I jazz musicians do. So you're not going to look at a piece if John Coltrane or Miles Davis or Louis Armstrong has a song that they wrote and you want to learn how to play it. You're not going to, they're not going to write down the solo. They're not going to write down John Coltrane solo or Miles Davis's solo. You're not going to have to play all that stuff. A jazz musician wouldn't do that in the first place. Jazz musician would learn the very basic melody one time. And so Louis Armstrong or Miles Davis is going to write a very simple melody. And you're going to learn it. And then you're going to solo around that melody. And the courts, it's intentionally designed to be simple. The melody is intentionally written to be simple so that it's easy to solo around. There are big spaces in between the notes so that there's a lot of room for soloing. And you are not ever going to learn another jazz musicians solo note for note. Here we're going to listen to them and try to pick up their tricks where their technique or their style of going from note to note, you're going to be doing that by ear, but you're not going to be doing it on paper. So reading music for jazz shouldn't be that difficult for you. Okay? So you've got your PDF in the additional resources tab which please get, please download it, open it up, print it out. And it is pretty self-explanatory. I've got a great short chapter on how to read music for the guitar. The guitar is a little unique from other instruments in reading music, I'll explain that in just a minute. What makes it unique? But you should go from not being able to read music at all to reading music and just around six pages. I think it's somewhere around six pages. And it's an easy six pages. And by the end, you're going to be reading music. You'll be up and running, okay? And this is not something you have to practice all the time, not hours and hours on end. You should just do maybe ten minutes a day, have one song, and just try to read it for 10 minutes a day. You don't have to get all the way through it. Just do a little bit of music reading. Every day. That'll be great. And you'll get to the point to where you can look at a piece of music you've never seen before. And you can grab your guitar and start playing it. If you open a book and just started reading it aloud. Okay? And it'll give you unlimited song choices. You'll be able to play any saw you want, you can learn any cell you want. Because a lot of jazz is not tabbed out. The classical music forums like classical, Baroque, classical romantic jazz, bluegrass, a lot of Latin, flamenco. These are styles that have not been tapped out or they've mostly not been tapped out. So you can find some tabs for some classical and some jazz, bluegrass. But if you really want to get into the style, you have to read music because it's already written down. It's already on standard notation. So learn how to read music, please. Okay, Let's jump into, I'm just going to give you some of the bullet points. You're going to do a lot of the work yourself going through the PDF. It's pretty self-explanatory, but I want to cover off on some of the things that you're going to see. Alright, so first off, we've got five lives. The traditional music stuff is a five-line staff. With tab, we've got six lines because it's the six strings. But with the music staff, we have five lines, okay? And as a matter of fact, we've got five lines and four spaces. Four spaces in between the lines. And that's how you think of it. You've got five lines and four spaces, okay? And the notes going from low to high. And there's a saying for almost everything you learned in music, a little mnemonics to help you memorize it. So E, G, B, D, F. Every good boy does fine. So the nodes going from low to high, These are the notes, not strings. These are the nodes going from low to high. Every good boy does fine. Or the nodes going from low to high, and the space is going from low to high. F-a-c-e. spells the word face. Okay? Um, and so on the PDF that you've got, I am showing you below the staff how to play these notes on the guitar, where these specific notes are. And that's important is that you play these specific notes. You cannot just say that's an E will I know we're a couple e's are on the guitar. Great. But you have to play that specific E, okay? Because see how there's an E here. And then there's an E here. I have an EMI bottom line, but I also have an EM on top space. Those are going to be on different places on your guitar. That's where you're trying to clue into, that's what you're trying to learn right now. What I see this E, I know that it is going to be on the D string. Second fret. That's where the E for every good boy does fine is going to be. And the E on spate of the face, the top space is going to be my open string, my highly. So they are an octave apart. And then of course I've got this e way down here at the ends, which is going to be low E string open. And so we've got three 0s right there that we just saw. And we need to know which one we're playing, So we'll know that we're in the right register. That's a big piece of learning how to read music on the guitar. Okay, let's back up just a minute. When we look at the stuff, we see three things before we even look at the notes. First of all, we've got this big symbol right here. See this big symbol, okay, this is the clef. It's our cleft. This is our treble clef. Guitar players play on a treble clef. Certain instruments will play on different clefs. So they're, the two main clefs are the treble clef and the bass clef. Don't want to bore you with too many extra details, but the piano plays on this thing called the grand staff, because piano players have two hands that they can play with. And they play with the treble clef. And then below it they have a bass clef. It's a whole different clef. And the nodes are all in different places for them on the bass clef. And what they do is their right hand is playing all the stuff on the treble clef. This guy and their loved one is playing all the stuff on the bass clef underneath it. It's pretty, pretty crazy. It's pretty impressive. Would keyboard players can do the way that their mind is able to just look at two clubs simultaneously and play it. It has always impressed me because I know I did a lot of work trying to get faster at reading the just the treble clef. So, okay, so we already in the treble clef and violin. Violin players read the treble clef and trumpet and saxophone. So most instruments that are solo instruments are going to play the treble clef. And it kinda looks like a big G has got this fishhook that goes right through it. So it's kinda like a big G and it's got a fish hook that goes through it is what it looks like. Okay. So we see our cleft, so we know that we're in the treble clef. Then we're going to see our time signature. And we talked about this when we did our rhythm study. So 44, okay, so that's going to tell us that we have four quarter notes in the measure. And the time signature could say a number of things. It could be 343 quarter notes in a measure, can be 54, could be 686 eighth notes in the measure, 787 eighth notes in the measure, 989 eighth notes. So it could be a variation of different things. So we want, and so that way we'll know how many beats in each measure. So when we're counting, will know how to count it. And by the way, if you had some time signature like a 9 8, it would say nine over 898. You would count it like 123456789123456789123456789. So each one of those eighth notes would be B 123456789. If you're in a 78 time, you just count to 7123456712345671234567. So it makes us okay. If we were in a three for three quarter notes in the measure, 1, 2, 3, 1, 2, 3. Okay, good. And then lastly, we've got over here, we've got our key signature, okay? Or key signature. So our key signature is telling us that for the entire song, we have to make sure that we sharp or flat whatever notes we see in the key signature because they're not going to continue writing it for each node. So what I mean by that is, when we look at this, eat every good boy does fine. We've faced with all denotes all the notes. All these notes are naturals, okay? There's no sharps and there's no flats here. They're all natural notes. So sometimes if we're going to have a note that is meant to be a sharp or flat. We'll write it right beside the note, will write the most sharp sign or the flat sign right beside of that node. Those are called accidentals. Usually. They're usually called accidentals, meaning that they are just a special note that gets a sharp or flat. So we can write all, any of the 12 notes that we need. And we'll just write the natural node m and then write a sharp next to it, were flat next to it. If you wanted to be a sharp or flat, whatever you need. But if you are in a scale, then we know that, for example, this key signature is in the key of G major. And so if I was writing a song in the key of G major, I, G major has an F sharp. There is no f note in G major, it's got an F sharp. So it has all the naturals except F is, F sharp, is no F-Natural is F sharp. So I need every f to be an F sharp. So I write F sharp in my key signature at the very beginning of the song, right next to my clave. And so every good boy does fine. So I've got my F line at the top. I read a sharp on it. And what that's telling me is that now every time I see an f from here on for the rest of the song, I have to remember to make it a sharp. As my key signature told me to. That F sharp extends to every death, not just the F on the top line. Because it means that this effort here on the top line, it means that this f right here in my first space. It means that that F down there, any FDI could find up there NEF anywhere has to be sharp because the key signature told me to grep. And sometimes we'll have a couple of different notes, sharps, few different sharps on different notes. Or it could be flats. And if it's flat, then it's telling you every time you see this note, you have to make it a flat node because we're not going to keep writing in front of the note. You just have to remember because the key signature told you to. So that's an important thing about key signatures. The key signature saying, we're telling you one time, right now, every time you see this node, you have to sharp it or flatted because we're not going to keep writing in front of that note. And you have to remember. Okay. You'll start getting the hang of it though, because it'll usually be in a certain key. So like when you see, for example, this just the F sharp right here. I know that that's telling us we're in the key of G major. So I kind of playing the song and a kind of nowhere in G major, and I'm anticipating that F sharp because I know we're in G major. We've talked about this a number of times. There's only one key that has no sharps and no flats, and that's the key of C major. Okay? So when you're in the key of C major, you will not see a key signature. It'll just be blank. There won't be any sharps or flats here. And that's telling you that you're in the key of C major because that's the only key of all the 12 keys. That's the only one that has no sharps and no flats. Everything else has sharps or flats of them. Okay, so that's how key signature works. Also one more thing, a fourth thing that he may see, as you may see the tempo, okay? So you may have a little tempo marker here. And that's usually described as BPM beats per minute. So it could be beats per minute or it could tell you that we're going to fast, slow, medium could give you the classical Italian terminology for the speed. The wave beats per minute works is if you are going 120 beats per minute, okay? So the second hand on my clock is going to take 60 times in a minute, right? So if I have 60 beats per minute, that would be one beat per second. So every second would be one-quarter note. That's how fast it would be. That's, that's extremely slow. By the way, 60 beats per minute is really slow, one beat per second. It's really slow tempo. And medium tempo would be anywhere between a 100. I would say between a hundred and two hundred and twenty. So if you imagine going for a pretty good walk, you're going at a pretty decent speed, but you're walking one foot for the other. That's about 110 to 120 beats per minute. You're doing about two steps per second. Okay? So you can think of it like that, going a 140 beats per minute. That's pretty fast. Okay. You're, you're you're not running but you're almost running. Okay. So you could have your tempo marker also. Moving on. We have ledger lines. These lines here that go below and above the staff are called ledger lines. So the staff, it's got five lines and four spaces. But it really goes to infinity in both directions. Goes to infinity above and below. The only goes as far though really as our instrument can go. So it goes as high as the highest fret on our high string in it only goes as low as the lowest note that like our open Eastern lower. But the ledger lines can go as far as we need them to higher or lower. And all we do is we just will write a little line. And then that creates a new space and Alina's space and a line. Okay. So as we're going higher and we're just running ledger lines above the staff and ledger lines below the staff. Okay. Now let's think of an easy way to consider the staff. Of course, we have every good boy does fine and we have face. But let's look at it like this. Okay, the bottom line starts on E. But we're really just following the, the alphabet. We're going line space, line space, line space, line space. That's how the staff works. E F G a B, C, D E F G, a, B, C is going to line space, line space. Every time it's going from the lines whose space, and it goes backwards the same way. It's just, if we're going backwards, we're counting through the. And the natural notes backwards. So let's pick it up from G, F E D C B a G, F E D C, B a G. So we're just counting backwards. If we're going down and if we're going up, we're counting forwards through the natural notes, a, B, C, D, E, F, G, K. But every time we're going to line space, line space. And so when you're dealing with a ledger line, if you are ever confused on what the note is, you can always count it from something that you know. We know that the bottom line is E. For every good boy does fine, It's ie. So we go into the one space right below the whole staff, that's a d. Now we go to the first line and that's a C. Then we go to the next space below that line, it's a B. And so you're always coming line space, line space. Okay? So that is pretty much the crux of reading music. It's, like I said, it's not that complicated. There's one more point that I do want to make. And we've already covered off on the rhythms. So this is telling us where the notes are and then we were to play the, what fret, play them on. And then will be attaching music, the rhythm. So what kind of a beat is, is it a quarter note? Is that an eighth note? Is that a 16th note? Is it a triplet? So we'll just be attaching the B2, the note so that we know how long to hold the node four. Okay, though one thing that makes reading music on the guitar a little different from other instruments is the guitar has a thing called enharmonic equivalents. In an n harmonic equivalent, E n harmonic and harmonic, okay? And Anna harmonic equivalent means that we are playing the exact same note on the staff. Let's, it could be this first era here. Okay. It's the same exact note on the staff. And we're playing in two different places on our guitar, but it's the same pitch. Let me show you. Okay. So this bottom line right here is E. And I said at the beginning that it was the second fret on the D string. Okay, so that's the e from every good boy does fine. I'm seventh fret on the, a string is also the e from every good boy does fine. And it's the exact same frequencies, the same pitch. It's the exact same frequency. It's the exact same frequency is the same pitch. And it's the same on the staff. That's an enharmonic equivalent. Okay? And so what that means is that when I was learning to read music for the guitar, I was really confused. How do the guitar players when they're playing a pie? You know, how does that work? Without all of the notes being way up on really high LED lights. And it's because enharmonic equivalents. Lot of teachers don't think to explain that. I'm telling you about it now. So in like I said, stringed instruments are the only ones that have to consider the enharmonic equivalent. A keyboard player will only have one place to play all of these notes. For every single note on the staff of Qiao player, There's only one place to play each one. And for a trumpet player and a saxophone player and a flute player, there's like one fingering of the keys that they press to get that note. There's only one place to play that note for most instruments. But the guitar, we've got a few different places to play these notes. We can go here for this E, or we can go here for this E, or we can go here for just a three enharmonic equivalents. Okay? So what that means is that if I had a little melody, let's say my melody went like, I can play it down here on the second fret, or I could come up here in play at play here on the seventh fret. I could come up high in play here on the 12th fret. Now you can hear that the, because of the string gauges, There's a little bit of a difference in the timber. Tim be ARE the timber. So the timbre is slightly different because the gauges of my strings are different. But the frequencies are the same. The pitches are the exact same, and they are the same on the fretboard. So enharmonic equivalents is actually a good thing because it gives us this. We can have player's preference as to what position would we like to play that melody in? So, and I've got a section on maybe the second or third, fourth page. And really can't remember off hand in the PDF that you've got where I am showing you some different enharmonic equivalent examples. And I want you to look at that and really think about it if familiarize yourself with the different places, because you don't have to be stuck down here in the open position when you're playing jazz, you can play the middle of your guitar where you can play on a pie. And you can play the exact same thing as written without, without going up an octave. And that's great, That is really cool. So it gives us a lot of options on where we would like to play, where it's comfortable for me to play it. So enharmonic equivalents are a very cool thing for guitar players. It's just you want to get familiar with the different pitches because I just showed you some low enharmonic equivalents. What if I took this note right here? There is another E note on the D string and the 14th fret, the same as G string ninth fret, which is the same as the string fifth fret, which is the same as my open E string. Those are all enharmonic equivalents. And so if I know, for example, my high E string is the e from face, then if I have a melody that is going to be around this area, I can play it open, or I can play here on the fifth fret. Or I could play here on the ninth fret, where I can play it up here on the 14th fret. It's my choice because they're the same pitches. Enharmonic equivalents. Okay? I think that about covers it. And we have a couple of examples in the in the PDF where I am giving you tab and I am steroid requesting that you memorize where these notes are. And then we're eventually going to get rid of the tab and you're going to have to play in some different keys. Always pay attention to your key signature when you're reading music. And also when we are doing ledger lines. The lowest note in standard tuning that we can hit on our guitar is the space below the third ledger line. The space below, or third ledger line all the way at the end is r e. Okay, so that's as low as we go. Alright? So hope this was helpful. And my hope for you is that you are going to pick up a real book or some kind of a jazz songs book Pretty soon as you're getting closer toward the end of this course. So you can start learning a lot of different songs. And you're going to be able to read them and play them with no problem. Okay, so go practice reading music. 27. Cycling 4ths (page 73): Let's cycle through our fourths. So this is a very cool trick that we can use to go through all of our relative chords and a relative chord extensions without having to go through them in order. I've told you a number of times now to practice your relative chords. And to mix them up, not just the extensions, but to mix up the degrees that you're going from. So for in C, you may be wondering, should I go from C to D minor or C to E minor or C to F, or C to G. And I would encourage you and experiment with all of those options. They're all going to sound different. But you may have found that some of them sound better than others. And then within each of those changes, we're going to play with our extensions and our substitutions of the courts. So fourths, when we're going from fourths, this is a very cool way. A lot of jazz music will cycle in fourths. And it's a cool way for us to go through all of the seven core degrees with these big jumps. And we're going to wind up playing all seven of them. What I mean is, right here, I wrote down the notes of the C-Major scale. So we're staying in c for right now. C, D, E, F, G, a, B. Okay? So my first chord is C, Okay? So write down C. C major. C is the one. So 1, 2, 3, 4, that lands me on an F. You count the court Iran is 1. So that leaves us on f, 1, 2, 3, 4 to f. Okay? So we write down F, F Major, F major seven, okay? Now F becomes R 1, f becomes r one, 1, 2, 3, 4, and takes us to, all right, so we write down B minor 7 flat 5 verse, going to write these all down in their respective sevenths. Okay, so now b becomes an AR, 1, 1, 2, 3, 4 E. So we have E minor seven. E becomes r 11234. Hey, so a minor seven. Now, a becomes r one, 1, 2, 3, 4, D, That's D minor seven. Now d becomes 11, 1, 2, 3, 4, g. Okay? It says G7 because G is dominant and G becomes r 11234 takes us back to C, takes us back around the world to where we started. Okay, so let's try this out and we'll see how it sounds. Strong each chord for four beats. Okay, So 234234. All right, So it sounds cool, right? That's very cool. It's a great way to practice going through all of your scale degrees in a key. So now we'll, we can start playing around with is our extensions. So this is meant to be a way for us to practice going through all of our extensions and soloing. In an interesting way. A more interesting way than just going in order, than just going C, D minor, E minor, G7, a minor. So we could do that just to kind of get started and get used to it. But if we want something that sounds a little bit more like a song, you'll cycle fourths. Alright, so now we want to start throwing in the extensions. When we can throw in the, the nines are the sixes or 13, anything like that. We want to start playing around with those as we're changing in the courts. So let's try it again. Right off the bat and starting with a C Major nine, okay, 234 in that goal. Okay, So we can keep doing that for a while. There's a lot of different chord possibilities there. We want to start mixing and the chords and see how this voicing sounds when I go to that voicing. You know, do I like the sound of a C major 7 to an F major 9? Or do I like going from a C6 to an F major seven? Or do I want to go from sees 69 to an F major 9? Who knows? You know, you want to try all the different possibilities. And they will also have different, they're all going to sound pretty cool, probably. Alright, now, we can go through our arpeggios. We can go through the modes for soloing through these. Let's just go through. Arpeggios and see how that sounds. Okay, 234. Pretty cool. That was just going through the 7th respected seventh or videos. Okay. There may have been a few cartoons in there, but that would have been just notes from the arpeggios. Sounds awesome, right? Okay. Now let's practice going through our modes. And every time the court changes, we're going to change the vote. So on the sea cores and on the C major, C Ionian, on the F chord, on the F Lydian, on the B chord among the b Locrian. So every time the court changes, I'm going to go to that node. Okay. Let's try it. 234. Alright, so that's pretty cool. It's good practice because I'm going through all of my modes and I only have four beats to figure out something to play. Okay? So that is a great exercise for working out all of your chords and your arpeggios and your modes. So work on cycling through your fourths and you got a lot to work on and you can spend hours and hours just doing this in a single key. We haven't even done this in another key. So when you start doing this in another key, this could be a year's worth of practice opportunity for you. So a lot of great stuff and slightly fourths. And if you've got together with a friend and you wanted to have some courts to play. You don't really know what you want to do. You don't have the song. You can say, Hey, let's just cycle through some fourths. Because it's going to sound cool. Sounds like a song. Alright, have fun with it and keep up the good work you're doing. Good. 28. Altered Chords (page 74-77): Let's talk about altered coordinates. So we are now in the advanced section. So congratulations on making it this far. So things are getting a little bit trickier. So far. Up until now, we've mostly been staying relative. So we've only been using the notes from the scale and the chords that are built also from the same scale. So everything is falling in this order and pattern where it all is just making perfect sense and it's following the classical rules of music. So jazz is about breaking rules and pushing boundaries. And that is definitely where altered cords come into play. And the concept of altered extends to arpeggios and scales as well. So we'll take a look at that a little bit later on. Altered cords. There are four different kinds of altered courts, are four different categories and altered courts. We were altering a chord. You'll know it's altered because it's going to be either the fifth or the ninth that's going to be affected. So an altered chord, it's always going to be based on a seventh chord, a dominant seventh chord, a dominant seventh chord. So the foundation of an altered chord is a dominant seventh, and usually it's going to be just the most basic version. One, 37, okay, route major, third, minor seventh. So if we were in the key of C, AI to make just a altered or basic seven chord. 8781371, major 3, and minor 7. So that's my foundation for the altered court. Then what I'm going to do is I am going to either sharp or flat the fifth, or I'm going to sharp or flat than ninth and add it into my seven chord. And that's an altered chord. So it's one is a dominant seven. And then we're going to either sharp the fifth or flat the fifth, or sharp the nine or flood the night. Okay, so these are intervals that we have not been dealing with up until now. We've got a little bit of a flat five because of our B minor 7 flat 5. The b minor seven flat five is not altered because it's a minor chord. So altered courts are technically major because they've got that major third. So the D minor seven flat five, it is not all turned in and it belongs, it is relative and follows perfectly with all of the. All of the scale degrees and all of the notes. Okay, Now, where do you altered cords come into play? The answer is they can happen anywhere. So they don't follow any rules. An altered chord can pop up anywhere. So you could be in the key of C. So I have an example here in the key of C in altered court can pop up anywhere in any of the 12 chromatic routes. So that it really is at the discretion of the person who wrote the song, but also us as musicians and our ability to say and wants and put an altered chord right here. A lot of times an altered chord is going to be something that will just be a transition cord. So we're not going to hang on it for that long. You may though. You definitely may hang on. It could go either way. It's either going to be something that'll be quick on its way as you know the court, or it'll be something that we may hang onto for four beats or longer. Okay, So the basic construction, Let's take a look at the basic construction. And under PDF, I'm going to give you a few different ways to these, but right now I'm just going to show you one of each way so we can get through our basic altered courts. And here's what they're going to look like. Okay. Seven flat five or seven sharp 57 flat nine or seven sharp 9. Now, the deal with altered is that it is based on the dominant. So we take a dominant chord, okay? And then we sharp or flat the fifth or sharp or flat the knife or any combination of that. Okay. For example, I could have a seven flat five, flat nine chord. Seven flat five flat nine. Or the core could be seven sharp five, flat nine. Or the core could be seven sharp five, sharp nine. Or the cord could be. Did we run through all the permutations? Any of those permutations. But then also viewer of the fact that we're just kind of going for a simple altered chord by using a seventh because it's built on a dominant chord. And there are tons of different. So we start with the dominant chord, and it's the most basic version of that we can get. So if it's an old 11 or 13 cord, you really want to try to pare it down to its smallest pieces, 13, and then the 13, 7 and 13 713, and then go for the altered extension. Right. And so we've talked before about the extensions. We've used that word a lot and we've got extensions and we've got alterations. So the extensions are all of the different nodes from the regular scale, the major scale that we add on to gelling our major seven chord on or Major nine chord or a minor 7 or anything like that, that's normally in the scale. Alterations or where we're taking notes not in the scale like sharp five, flat five, sharp nine, and flat 9. So those are alterations. So that's just the terminology. Okay? So let's take a look at, let's do the key of C. Just keep it simple and I'm going to route these right here on the a string third fret. Okay? So let's start off with these seven flat five. Okay? Here is my C7 chord. It's a dominant seven. Starting on the a string, it's 35. 35. Okay? So my district node is going to go down to the fourth fret. So now it's going to be 34, 35. Okay, 34, 35. So I've flooded my fifth, I bringing to the fourth fret. That is C seven flat five. Okay. Now let's go back to our C7 again and we are 35, 35, okay, now we're gonna take that DStream note on the fifth friend and we're going to raise it up to the sixth fret. So after kinda ship my pinky, remember anything or down? So now it's starting on the a string, 36, 35, right? That is seeing seven sharp five, C7 sharp five. So we've got the C7 flat five. And the C7 sharp five. And yes, ultra courts are going to sound very different. So there were getting sounds that we're not getting from the regular scale point. Okay, let's check out our seven flat nine right here. I'm going to make a C7 shape like this, starting on the a string, still. 32, 3. So it's just a very basic little c, dominant triad, three T3. And I'm gonna go ahead and just bar down with my index finger so I can also get the second fret on the B string. Okay, that's going to be my flat nine. So nine is the same as two. So a nine is the same, like a major second. So to have a flat nine is the same interval as a minor second. One note, one fret above the root note. So right here, when I'm doing my C seven flat nine, my flat 9 is a C sharp node, which is word or D flat, C sharp or D flowers one Fred above my siloed. See that? Okay, let's take a look at the seven sharp nine. So I still have my C7 triad, 323. Now this time I'm going to get the B string with my pinky. Fred. C7 sharp nine. Okay? C7 sharp nine. And so if a nine is the same as a major to what comes after a major two in the intervals. It's actually a minor third. So a sharp nine is the same interval is a minor third. And that's a strange thing to think about, is especially strange if you think about this chord. We've got a major third and the court, the spelling of my seven triad is one, 37, and the three is a major third. So by getting that sharp nine with my pinky, I'm actually playing a minor third and a major third, all in the same court. So that is a really unusual chord. Because normally in music that is a horrible thing to do and you should never have two-thirds. You can't do it. You need to pick one now, and so they don't really call it a third of the intervals, a sharp nine, you know, you've got a major third and sharp 9. But they definitely still clash quite a bit, and there's two intervals clash quite a bit. What's interesting about this courts in the guitar world is chord, the seven sharp mine has been come to be called the Jimi Hendrix scored by some people. Jimi Hendrix, the guitarist use the seven sharp nine and a lot of his songs. So some people call this the Jimi Hendrix chord. But it's been around for long before him. He just brought it into some popular music back in the 60s. Okay. All right, so there's the seven sharp nine. So that, that basically covers are basic courts. Let's take one more look. So we've got C7 here. So I'm going to draw my fifth down for flat five, C7 flat 5. Now I'm going to raise my fifth seventh sharp five. Scot's C7 flat nine. And C7 sharp nine. Of these chords, the ones that in my experience you see more often, you definitely see a lot of seven flat nine. So nine pops up a lot. And the seven flood five also, sometimes the sharp five, the seven sharp nine, you know. You don't see it as often, but again, altered. Altered playing has a lot to do with a player's preference. So when we have an opportunity to do an altered chord, a lot of times we will be able to decide what kind of altered we want to do. Sometimes in music, when you see an altered chord, it may just say alt, ALT. So you may have cortices D ALT. So it's telling you play some kind of an ultra D chord. So you've got a lot of options there. You can play a D seven flat five, D7 sharp five, D seven flat nine, D7 sharp nine. So got a lot of options there if it just says Alt, and sometimes that's what you'll see. Okay. Getting back to where do you alter courts show up, they can show up anywhere. So they definitely break the rules of staying with the keys. I have a sample progression that I wrote down over here, so we can kind of see how they might work into a chord progression. I circled the altered courts, right? So let's just take a look at what we've got. C major seven. 29. Altered Arpeggios (page 78): Let's talk about playing over altered chords using altered arpeggios. So this is actually going to be simpler than you may think. We are going to use the arpeggio, which is going to guarantee that we're going to play only the perfect notes. We're going to form all of our altered arpeggios with a very basic dominant seven triad, right? So what we've got over here, there's four kinds of Ultron chords. We've got the seven sharp 5, the 7 flat 5, the 7 sharp 97 flat nine. So what we're gonna do is we're going to start out with the seven. And to get our seven, we're going to use these three intervals that we're note, the major third and a minor seventh, okay? So if we're in the key of C, All right, so we're on the eighth fret, on the low string. There's our root node. There is our major third, and there's our minor seventh. Okay? Just like we're doing a tiny little seven chord, a little dominant seventh chord. So root major third, minor seventh. Then what we're gonna do is we're going to add him the one extra note, okay, assuming that there's only one alteration. So it's root major third, minor seventh plus either a flat five, sharp five, a flood IN, or a sharp nine. Okay? So let's say we've got a flat five, we've got a seven flat five chord. We're playing C seven flat five. We need an arpeggio over it. So we've got 1, 3, 7, and we've got the flat five. And it's so R5 would normally be right here. It's before we get to the seven. All right. So we're going to see you go ahead and flatten it, just take it back one fret. So 1, 3, there's my flat 5, because normally it would be 1, 2, 3, 4, 5. So I'll just one fret behind it. So 135. And then 7, 1, 3. Here's where my five would normally be. So I just go back a friend, a minor seventh. And then I renewed again. And so we're going through the entire shape and you're going to practice going up and down through the entire shape. We talked about. A lot of times you're not going you may not have that much time to solo over the cord, so you may have to just get it out quickly, just a few notes. So what we're doing is we're just quickly looking for. 137, and then we're adding in the extra alteration, so flat 5713, flat 571. Let's see what it looks like with a sharp five. Always going to start with the same. A dominant seven triad. We said this is where normal or perfect fifth is going to be 12345. That's my perfect fifth. So now we're going to have to sharpen it, okay, one fret higher. So 1, 3 sharp 5, 7, 1, 3. Here's where my fifth with normal obese, I have to sharpen it. Sharp 571. Okay? That's going over the various C7 sharp five chord. 13, short five, or 713 sharp five minor 71. Now let's take a look at our flat nine. Okay? So the flat, the nine, the normal nine is going to be the same as the major two. So flat 9 is like a minor second interval, which is one fret above the root. So we're always doing our dominant 7th triad. We're going to add in a microsecond interval every time, okay? And I'm just gonna go ahead and add it in right away. There is, it's just one friend above my room. Every time I have a root node, go one fret of lovers. Alright, that's going over the C7 flat nine. Okay? Now let's take a look at going to our seven sharp 9. This one is unusual because we've got the two-thirds that are happening. We always are going to start with our triad, one, major thirds and R7. So we are going to add in the sharp nine. The sharp nine is the same interval as our minor third. Unusual as that is, we've got a minor third and a major third. So one minor third. Major third, minor third, major third. Minor third, or sharp nine. A major third. Sharp 917, major thirds sharp 917 major thirds sharp 9, 1. Now what you may do over the sharp nine, the sharp nine is such an unusual one. We may use the technique where we skip the major third every now and then. So we can emphasize it little bit, because that's really what we're trying to do with arpeggios we're trying to show was happening. And so we don't want it to sound too much scale. We don't want the nodes to be too close to each other. So if we go one major third, 71 sharp 971, major third, 17 sharp nine. Here that Helm alternating every other time I'm changing my third. That's being played over this chord. C7 sharp nine, okay? Alternating in the base of, okay, so that is a quick and dirty way to play your altered arpeggios. Another thing that we can do to go through the arpeggios. Or to get through the altered courts. Like the arpeggios is playing a chord tones. So the chord tones, as we learned, is a fail proof way to, to get through a solo and still show what the court is doing, but have a little bit of the melody behind us. So if we have, for example, C, Let's go see seven flat five. So I'm going to do chord tones through it, okay? And as we know, I'm not going not letting them running into each other. I'm pressing on them one at a time. And I'll try to do a little bursts of rhythm so that it sounds like a solo. Okay, Let's do the C7 sharp five. Okay, so let's do the C7 flat nine. Okay, Let's do the C7 sharp wave. All right, and so using the chord tones, we can always get our point across. And we don't have to do any kind of complex counting or say we're gonna take this arpeggio, do half of it and then add a couple of these extra notes. Although that could open up a lot of possibilities, it really depends on where you are on the fret board and what do you got access to? So when you're playing through the chord progression, sometimes you will find yourself in a situation where I know what to do down here, but I'm over share right now and I don't have time to move. So I need to figure out what I can do right here. So it will either be a quick arpeggio and Ultra or Bengio, or you'll go for the chord tone. And that should be through soloing through an altered chord. And that is the safest way to solo over and older court is using the VEGF or the CTO because it is a it can be a very fragile cord because we have deviated from the notes of the main scale and we're on outside notes now. And so we want to make sure that we are we're showing the cord, but we are not going too far off kilter. We're, we're staying focused on showing that one chord and then moving onto the next thing. With arpeggios, Greg way to do it. The dominant seven triad, one, measure 3, and minor seventh interval. And then you add in whatever the alteration is. By the way, this is probably a good idea to to talk about. If we have an alteration that is a larger alteration. For example, we have a C7 flat five, flat nine. Okay? So that's our chord. C, seven flat five, flat nine. Let's see how would we play them like this? Okay? So the larger alterations can be a really difficult to figure out how to play chord wise. So what you wanna do is you want to go for the piece. If you're playing the chord, you want to go for the peace of the altered chord that you can get to if you can't play the whole thing or if it's going to really slow you down, just go for the peace of the altered cord. They can get too quickly with the arpeggio. You can take the same approach. Go for the intervals that you can quickly go to. But if you wanted to extend your goods you out to get all the notes that we could do that. So we've got the flight five ands the flat 9, flat five, and flat nine and this example. So as always, one major, three minor seven over dominant seven triad. Okay? We're going to grab the flat nine. And the flat 519. Flood 5, flat 5, 9, flat five, flat 9, flat five, flat nine. So it's good idea to spend some time, just give yourself as much time as you to go through it and get comfortable with a couple of links to come up with a few links that you can do. So that when you've only got two or four beats to solo over a chord like that, you've got a couple of quick ideas that you can execute. Okay, Really good job, Really good job. I think that you are in pretty good shape. So now you at least have a wonderful tool for soloing over any altered course that you can come across. So go work on your altered arpeggios. 30. Whole Tone Scale (page 79): Let's talk about the whole tone scale. The whole tone scale is very cool. Scale is also called the augmented scale. It is a symmetric scale. In music. Having perfect symmetry is extremely rare. You don't see symmetric concepts that often. And the whole-tone scale is perfectly symmetric. Actually, two of the tools that we use when we're dealing with altered having to be symmetric. And one is the whole-tone scale, the other is the diminished scale. And the way the whole-tone scale works, it's very simple. In music, we can think of all of our intervals as whole and half. So whole is two frets. It's a whole tone and, or a whole step. And a half is one fret. So a whole is to friends and a half is one fret. And so we use whole and half to create scales and modes. And it talks about the distances. So for example, the major scale, whole, whole half, whole, whole, whole half. Okay? So if I was on my first fret, I want to make an F major scale. Yes, I'm an F. I said it was whole, whole half, whole, whole whole half, whole whole half, whole, whole, whole half. And I just made an F major scale. Thinking about a completely differently. The hole is two frets, a whole step and half-step is one fret. So from the app, they go whole, whole, half, whole, whole, whole half. So that's how we can construct scales and modes. Now the whole-tone scale is all whole tones. The whole thing is whole tones. Every interval moves two frets. That's pretty simple, right? So for example, if I was going to do the F Again as a whole tone scale, the augmented scale. Just gonna keep on moving to France every time. Okay? And sometimes you want to think of it linear, linear as in just moving up and down one string. So you're on the f of pi. Go back to Fred's each time. That's easy. You can just grab an F from anywhere and just move it up and back two frets and you're going to be on the whole timescale. The whole-tone scale in the world of altered, the whole-tone scale can be used to solo over anything where the fifth has been altered. So anything where we've got a flood five or a sharp five or so for both, okay? Because the whole tone scale has a A flat five and a sharp five in it. It doesn't have a perfect fifth. It's either a short fiber flat five, whole-tone scale, whatever any altered with the fifth that's been altered. Don't use it over in altered ninth. So it was a sharp dihydrofolate nine. Do not use the whole-tone scale, only use it, whereas the fifth is the court has been altered. Flat five, sharp five. Okay, so how do we play in a closed position? You've got your PDF, but I'm going to show you real quick on it. It will move around kinda from side to side. So I'm starting in the key of C on the eighth fret. And then I'm gonna come up one fret on the next string, just phase two. And then I'm gonna go back a fret, these three. And I'm going to go one fret on the G string. And want to stay on the same Fred when I go to the B string, okay? And then I go back when Fred, for the Eastern Upper, Fred fought for the B string and the G string stay on the same fret. And then like that. So that's playing all of the tones one at a time. Sometimes what I will do for a quick and easy shape is to just grab the tones that are just right next to each other and then jump to the next string in a diagonal way. So I might do like so I'm just doing two, doing a whole tone apart. Just go on a diagonal change every time on the string. And the cool thing about the end, remember from the D-string of the G string, I stay on the same fret. And then back to one friend, move on the E string. And if you're looking at me and you're in, you're wondering, well, which did you go up or back on? Go up a fret or bagger fret on that one. Doesn't matter for the whole-tone scale. Doesn't matter if you go up or back, as long as you either go up or go back on the next string, it doesn't matter. It's going to be a whole step. So watch this. I go up on upper Freda. No, let me do it again. Mcafee or bagger, frankly, the time it doesn't make a difference. So I can go and just keep on going this way where I can keep on going this way. Okay. It's sort of like our diminished arpeggio were, we were just climbing up a friend in a diagonal, in a diagonal way. But with a whole town, we can go in either direction. It doesn't make a difference. As long as we remember, keep the, keep the G string would be string on the same Fred. Alright, so that is the whole town where the augmented scale, and we use that over the seven. So I've got to see seven flat five here. And I can also do it over the C7 sharp five. Okay? So I can use it over either one and I can play it in a linear way on one string, just grab a C note. I go up, two frets are back to France. Or I can do it from a box shape and staying put in one position. Or I could just start and move to the next string in any kind of diagonal that I want. It's got a cool sound to it. And it really does work great over the altered fifths. So start playing around with your whole tone scale. And it's a great thing when you see a sharp five or flat five chord. Seven sharp five or seven flat five. Remember, remember we don't want to be doing this over a minor seven flat five. Minor seven flat five is not altered because it's minor. Okay? This has to be over 7 sharp five or seven flat five, but it works really wonderful over those courts. So if you see one of those chords pop up in a chord chart, you can always just do a quick whole-tone riff off of it. And it's going to sound cool. Okay, So go practice your whole tone scale. 31. Super Locrian Mode (page 80): Let's talk about the Super Locrian mode. The Super Locrian mode is the most versatile scale that we can use over alternative, where we're soloing over altered courts. It works over everything. So it is a wonderful choice to use. So let's take a look at what exactly it is. It is, it is not the Locrian, like we know it from those. It is a mode of a different scale. So let's talk about that for a minute. The melodic minor scale. Okay? There's a scale called the melodic minor. And it's just a little variation of, of our Dorian mode. Okay? So the Dorian mode that we know, if we do the Dorian mode of the key of D, Okay? So you know it, okay, It's the Dorian mode and the key of D. Now, all we're going to do is we are going to raise our seventh degree of one fret. So every time we get to the seventh, we're going to raise it up one fret. So remember how we count 123456. Now after raised my seventh up one fret, and then just continue playing until he gets here. Seven agains played normally. 56 after raise my seventh of a friend. Good. When we're playing a melodic minor scale, I can do my seventh raise right here, where I can come right behind the octave, kinda like I do in the major scale. Okay, So let's try it again. Melodic minor. Melodic minor. Write L, 1, 2, 3, 4, 5, 6, raise the seventh. 123456. 123. Good. Okay, as the melodic minor scale. We haven't talked about it up until now because it hasn't served any purpose. But it does now. The there aren't a lot of different kinds of scales that are different from the major scale. And I'm not saying about the modes. I'm talking about scales that are put together with different intervals. Lots and lots and lots of them, as a matter of fact. So a lot of world music will use different scales that are different from the major scale. Music of the Middle East and Africa, of the Asia. And so there are different combinations of intervals to create all kinds of different scales. And there are ridiculous amount of possibilities and permutations of kinds of skills that we can get by putting the intervals together in different ways. When we do that, when we have a scale that's unlike the major scale or any of its modes. We can create modes from that new scale. Because all the mode is taking each of the notes and starting the same notes of the scale, was starting it on a difference, do scale degree each time. So each time we take a different scale degree from the newly-created skill that we have. And we're just putting it together, starting with each time a different scale degree. So we are creating mods off of our new skill. And as we know, the modes will be different shapes every time. But we'll always be playing the exact same notes. And so we can have create relative modes of any kind of scale that we can imagine. Now, if that was something that you are going to be using on a regular basis, I would have brought it up before now, but it's really not the major scale and its modes. They are going to be your best friend. That's what you're going to use probably 95 percent of the time. So that's what you want to get really good at every now and then there'll be another scale that pops up. And this is one of those times. But this is an easy one because we can relate it to the Dorian mode, which we already know. Always use play the Dorian mode. Just raise the seventh, okay? Now, that takes us to the Super Locrian mode. So the Super Locrian mode is the seventh mode of the melodic minor scale. If we have the melodic minor, which is our Dorian with the raised seventh. And we started on the seventh mode. Okay? So remember each time or taking one of the scale degrees. Trust me, this is going to be easier than you may be thinking at us. So all we have to do the seventh mode. Remember how in our Locrian mode, our normal Bulgarian mode, it occupies the exact same space as the majors. It, they kind of look exactly the same. You just start the Locrian mode, one fret behind the major scale, and then the rest of his identical. This works the exact same way. So the Super Locrian mode is starting on the seventh mode of the melodic minor scale. So for example, if we were going to play something in c-sharp, c-sharp altered court, any altered Chord, C-sharp list. Or seven flat nine. Okay. So I'm going to come up to my C-sharp note here. And I'm just going to pretend I'm one frame back from my melodic minor scale. So my melodic minor scales here in D. So I'm just worn for it back. So I can hit my C sharp. And then I just launch into my logic minor scale. Just have to remember that is the D melodic minor, but I want to start it. I want to include the one fret behind it note. Okay. Because that is the root of my altered court. So if I'm doing a C sharp altered chord, so I go to my C sharp and then just slide up one fret and go and see my melodic minor scale. Okay, So it makes sense. Let's try a different key. See if that makes sense. My altered scale is going to be or my ultra cord is going to be. Let's do E-flat. E-flat seven flat five. Salma, E-flat, doing an E-flat seven flat five. I, to use my Super Locrian mode. Okay? So I come up here by E-flat. E-flat note. I hit the note, is that's part of it. And then I go up one fret and I'm going to go into my E Dorian, but it's the E melodic minor. I just want to include an E-flat node. That makes sense. We do that one more time. So we're playing the E flat. E flat seven flat five, poor could be an E-flat, adds seven flat nine, or E-flat seven, sharp five or E-flat seven. Sharma, any kind of E-flat altered chord. So I come to 9 e-flat node. And I hit that note. Also can go up one thread to my E melodic minor scale. And just wants to think of it as including one Fred's behind, the front above the root. So thumb on E-flat, external mighty flood. And then I go up one fret and I think of that as the melodic minor scale. That makes sense. Okay, so let's do another one. I've got. I've got a V, seven flat nine. Be seven flat nine. So I come to beat it and I go from, I got to my melodic minor, one fret higher than the big. When it come down, I want to include one fret behind. So the big goal and one friend to go and see the melodic minor. And as I finish, to remember to go all the way down to the b, which is my retina, my root node for the quarter. So it make sense. Good. Okay, So the Super Locrian mode is a cool, cool sounding scale that works over every single altered court. Okay, every altered chord can get the Super Locrian mode. So this is one that you definitely want to spend some time getting comfortable with because it's just an all in one. And here's an extra bonus. The Super Locrian mode also happens to work over any minor seven flat five chord. So that's kinda cool. You don't need to use it. You can always use the regular Locrian mode over the minor seven flat five chord. But the Super Locrian happens to work over. And also all of the notes in the minor seven flat five are also in the SQL Locrian mode. So that is pretty cool. So this is something that I want you to work on because you're going to eventually want to get a couple of different options going for the alternates. Um, because you've got your arpeggios, your alternative NGOs and your core tones and your whole tone scale. And so having these super locrian at your disposal is going to help you out a lot. And it's going to make you sound like a pretty intelligent player when people hear it. Because there you are going to be struck by the sounds go very cool sound to it. So Super Locrian mode. So have fun with that. And I'll see you in the next video. 32. Diminished Scale (page 81): Let's talk about the diminished scale. The diminished scale is one of the very popular skills in jazz. You can use it to solo over most alternative chords. And of course, the diminished seventh chord. It is asymmetric scale, just like the diminished chords. The diminished seventh chords are symmetric that they keep moving in three frets in every direction. And the diminished arpeggio also has that symmetric shape to it. So there are, I may have mentioned this before. There are some a lot of advanced, very complex music theory books that have been written about diminished theory. And there's a lot of material on diminished theory. So it can get pretty deep and it is pretty complex stuff. So I'm just going to kind of give you the basics over to get you launched. So you'll know how to use it, how to start playing around with it. It is something that we can use over the three of the altered courts. We can use it over the seven flat five, the seven flat nine, and the seven sharper nine coordinates. We cannot use it over the seven sharp five though. So do not use it over a sudden sharp five. Any other altered chord, but not the sharp five, okay? And the way that the diminished skills put together and symmetric. So it contains, of course, D diminished arpeggio and plus other notes. And the way that it's put together, it's, it can be put together in two ways. We talked about with the whole-tone scale, how you have whole towns and half-tones. And with the diminished scale, it can be put together. Going whole town, halftone, and just keep going like that whole-tone, Houghton, whole-tone, Houghton, whole-tone, have to hold. It just keeps going. Whole-tone, halftone keys alternating. Or you can flip it and start with a half, half tone. Holton and halftime Holton have done Holton. And it goes like that. So depending on which one you use will affect how you can use it. So I'm going to explain that to you. We are going to use the whole half share, okay? So whole-tone have 10. So first let's just take a look at the shape of the whole half diminished scale. All citizens that one more time. Okay. So what's going on here is I start off with my whole tone and then I go to Halftone. And then I kind of launched into the shape after that. So go to the next string. And I'm going to do this shape that's like I think that the halftone and a half, every time I do that extra halftone, have to Slido one fret with my pinky. So I start off whole-tone. Have TO, I go to the next string. Halftone. Slido with my pinky. Okay? Now every time I slide up to the next string, I'm going to do the exact same shape I just did. So I was on the a string I want I'm gonna do the same shape now in the next string, starting on the same fret I'm on right now with my index. Go to the next string, index finger, do the same shape. For the paper for the E string, we always have to go up in extra Fred's. So I'm going to go up one extra front of the B string of doing the same shape. And now I just slipped back into the regular pattern. Okay? It's that kind of makes sense. So even though we are starting it like I'm starting here in G, I'm starting it like that. Kinda looks like a minor scale or Dorian mode or SN2 like that. Even our string like this, I also will have this grab one fret behind it. The reason is because it's symmetric. If I was going to play this on one string, okay, Starting in G. So there's whole, half, whole house ogres and two friends. One friend, friends, one from two frets up. One fret, two friends, one friend. You've read pages cuz I'm going to Fred's one from two frets. So if I grab my G rehear to Fred's one for a lot of right. See you Friday. One fret, two threads. One for it to drugs, warfarin. It just keeps on going like that indefinitely, forward and backward. Okay? So here, one thread, two thread, one thread, two frets or thread to thread, one, thread, two for us. That makes sense. Okay? So what I'm talking about as well as stirred the scale. You've known string like this. I've also got the 14. Okay, Let's go one extra fret on when I transition to the B string. Okay? So this is something that we can use whenever we're playing over the seven flat 57, flat nine, and the seven sharp nine, also the diminished seventh chords. So the diminished scale is a pretty popular one because I believe it's because of the house cerebral. It is an extremely complicated shape, even though symmetric, to try to find it in various places and connected all the way down the fret board can be pretty tricky. A lot of shifting going on and you can easily get lost on the fretboard. It works over three out of the four altered courts. It does work very well over the diminished seventh. So it is a candidate is something that you could start working with the altered chords. I would recommend trying to come up with at least a couple of links that you can do in the diminished scale. And the way that we're going to solo it over a DEM, an altered chord is, we're going to route it one fret higher than the root of the altar cord. Okay? So what I mean by that is, let's say that I have a C altered chord, C seven flat nine, okay? So I'm supposed to solo over the C7 flat nine. I have to go one fret higher than the C, So I go to C-sharp. And from C-sharp, I'm going to launch into the diminished scale. And do that again. Want to see seven flat nine. So I go 1 for a higher C sharp. And j is we're soloing over any kind of an ulcer. I can't start on a I have to start at one for a 100 or so on, a sharp, okay? Okay, That makes sense. So when you're soloing over an altered chord, makes sure that you start the diminished scale one fret higher. It's a little tricky and there's a couple of things that we just have to remember to do when we want to use the diminished scale. But it's got a lot of interesting sounds. So if you ever feel like you're getting bored with everything else that we've worked on. If any Vesta star sounding predictable to you, you've always got the diminished scale to rely on that we'll never disappointed. It's just gotten a lot of bizarre sounds coming out of it. What I think makes the most sense. Diminished skill is to use it over the diminished seventh chord. Because that is really what it was designed to do. It can do a lot of things. But the most basic purpose of the diminished scale is to solo over the diminished seventh chord. We don't have to shift around either. And we've got the option of starting with whole half or half hole when we're doing it over a diminished seventh chord. So for example, I've got a B diminished seventh chord. Any of those in relative to B. So I can just come here to my B diminished scale and launch into with the whole half. And use that. And I can start it with the whole half or the half hole. It is up to me. So it's pretty cool thing. And it is going to, the reason for that is because we're still going to have the arpeggio in either way. Whether we started with the whole half or half hole. And the, we've talked about this before with the courts, the diminished seventh chords. Since we have, there's a total of that, since they're moving in three for x in each direction. We've got multiple keys that we can use. And so there are really only three keys of diminished. And the same is going to be true with the arpeggio and with the diminished scale. There are really only three keys, since each he's sharing with four other or with four keys total. So every key of the diminished is actually four keys that make sense. So like for example, we have big is the same key is D, which is the same key as F, which is the same key as a flat. Those are all the same key in diminished. Okay? So that would also be true for the scale. So if we were playing in B, so we've got, we can do B or we can do d, or we can do with EDF. Or we can do what comes after F, a flats. So all of those are the exact same key. That's how diminished works. So you've got a lot of stuff that you can work on in diminished. But what makes the most sense to me? And like I said, you can use it over the three altars. Not the, not the sharp five Bacon uses over these altered courts. It will work perfectly over those. It will work really well over the diminished seventh. That's kind of what it was designed to do. So if you don't want to use chord tones, if you don't want to just use the basic arpeggio, then you can launch into the diminished scale, wording directly on the key of the diminished chord. Right? And so I think that about covers it. Makes sure that if you do use it over any of the alternatives, that you weren't at one fret higher, okay? So we're playing a C altered chord. I have to play the diminished scale starting in C-Sharp. Got it. All right, good. This does get pretty heavy. Again, pretty complex, but you're hanging in there. You're doing good. All right, so go work on your diminished scale. 33. Passing Dim7 Chords (page 82): Let's work on our passing diminished seventh courts. This is a very cool trick that we can use to embellish any of our chord progressions. So passing chord is just a quick corps that happens on the way to another chord. And a diminished seventh is a great one to use for that. I'm going to show you actually 22 tricks. One is for ascending into cord, and another is for descending into the court. Let's start out by using the DOM, the seventh, to ascend into our courts. So what I've got here is the relative scale chords in the key of C. We're going to just make sure we turn all these into our sevenths, okay? So C major seven, D minor seven, E minor seven, F major seven, G dominant seven, a minor seven, and E minor 7 flat 5. Okay? So the rule is simple. When we are ascending, we're walking up into a chord. We are going to play a diminished seventh chord. One fret behind our destination court. What fret behind our destination cord? So I'm going to play my first course, C major seven. Now my next chord is D minor seven, so one fret behind it. I'm going to play my diminished seventh chord. So C sharp diminished seven into my D minor. Next chord is E minor, E minor seven. So I'm going to go to my D-sharp diminished. It's one frame behind. Now into my E-minor. Now my next chord is E minor 7 and x ct is Major. But the rule is I have to play the diminished 71 Fred behind the destination cord. So even though I'm on E minor 7, I'm going to play an E diminished. Now I go to my F. Next chord is G. So many go to F sharp diminished. Then my G7, G-sharp diminished, then to my a minor, a sharp diminished. Then I go to my minor seven flat five. And I'm going to keep going with it. I'm going to go vii diminished seventh into my C-major. Okay. Sounds pretty cool, doesn't it? And we're doing a chromatic walk when we do that. So in between every chord, we are getting all of the chromatic bass notes. Let's do that one more time and let's go a little bit faster this time. Okay, So in-between each chord, one fret behind the destination, we're playing diminished seventh. Very cool, Very cool. Let's take that one step further. Something that we can do with diminished seventh chords. We can move them three frets in any direction, and it'll be the same court, right? Okay, So C major seven, my first chord, going to a D minor. So C sharp diminished. Who The next one fret below my destination. But instead of play C sharp, I'm going to come up three frets. And then to the D minor, going to go three frets. And I'm going to kind of anticipate, okay, So instead of D-sharp this time going up three frets to the F sharp, diminished, then to the E minor. So you can start to see how well we start moving the diminished around. We can place the order grammatically where we can jump above to get to it. It sounds very cool. And this is something that we can use on our way to any chord. So even if we're not going in order and we're just bouncing around quartz. The rule is one fret behind the destination cord. You can always throw in a diminished seventh. And I got before, it's a great place to do it. Beat four. Right before we get to it. 1, 2, 3, or 4 going up above it. That makes sense. Okay? So diminished seventh chords, ascending, we're either going to view one Fred, if you think of it as one Fred behind the destination. And then you just remember you're diminished theory, which we can move it through friends and definitely then you'll have a lot of options. And we can move it pretty far to really bounce around the fret board if we wanted to, since it goes through Fred's in every direction. One time. Okay? So C major seven. Going to D minor, so C sharp diminished. Or three friends here, with three friends here. Okay, let's try that move one more time. C Major, go into D minor, so C sharp diminished, or here, or here, or here. So I can get any of those diminished seventh chords. Obviously it makes sense to kinda keep it a little closer, I think, to the destination port. So before moving in a hurry, we can easily get to it. Alright, let's talk about doing this on the descent. Okay? So when we're descending, you could use a diminished seventh chord the exact same way to descend. And it sounds all right, It sounds are a, a chord that I think sounds a little better even then the diminished seventh for descending is a 9 flat five chord. 9 flat five. So in a good position of a nine flat 5, here is a C9 chord, just a dominant chord. And this is an altered, this is an altered chord. Instead of a seven flat five, it is a 9 flat five. Okay, so here's my nine chord. And I'm going to bar all the way down with my index. So I can get this frederick here, which would want to be my flat five. Okay? It's kind of a tricky one to get because we a lot of pressure on that one. So it's a nine chord and we're extending our finger all the way down so we can give that flood five note. And so we are going to approach this the same way on the descendents going to be one fret before the destination port. Okay, so let's just try from C, going backwards. So C major. Now let's go see nine flat five. To be minor seven flat five. Okay. Next is going to be a 9 flat five. And that's taking us to a minor seven. And then we're going to go a flat 9 flat five to G7. G flat 9 flat five. F major 9 flat 5. I'm going to stay on that F chord. And now as an E minor, because the rule is one frame before that. Nation. So sometimes we have to stay in the key and change to our passing chord. So from F major 7 and then F9 flat five, the E minor to the E flat, 9 flat five. D minor to D flat 9 flat five. And back home to C major. Doesn't that sound cool? Alright, so this is a great way to practice that technique. Just going through the skill chords in order. But you can use this in most songs. Anytime you're going to any chord, you can walk into it, walk up into it using the diminished seventh. And you can walk down into cord using the 9 flat five. And most of the time this is going to work and sound great. It's, these are just cool. And towards that embellish your courting. And from a soloing perspective, this is also a great opportunity for you to start working on your you are diminished scale and I'll also your Super Locrian mode, whichever one you prefer to use. So over the extreme amount of diminished seventh chords, we can easily access some diminished scale patterns. So if I'm on a C major 7, and then I'm going to the C-sharp diminished. So I'll just start my C sharp diminished patterns from here to my D minor. And I'm just doing arpeggios over these chords. D-sharp, diminished scale to the E minor, to E diminished, F-major, F sharp to G7 to G-sharp diminished, and a minor. And so you can kind of see how there's a lot of diminished soloing opportunities for me. On the way down when we're going through our altered. We can do the same thing. We just want to keep in mind that when we are doing the diminished scale, we want to root of one fret higher than our altered chord. We're just going to be the nine flat five. So for example, if I am Sam, taking it backwards from the E minor. So then I'm going to be flat's 9 flat five. So I actually want to use E diminished over that one. Then to the D minor, then the C sharp, 9 flat five. And I can use the diminished scale over that 11 fret higher. Coming back to my C. That makes sense. All right, there's a lot of cool opportunities for us here. So how fun with this, and I will see you in the next video. 34. Passing Dominant Chords (page 83): Let's do some passing dominant seventh chords. We talked about using the diminished seventh chord for passing courts when we're going in between courts. And we've also used the nine flat five to go between courts. The diminished seventh when we're ascending, and the 9 flat 5 when we're descending, one front apart. So that is a great trick that we can use. Another great trick that allows us to be even more creative is to use dominant chords, dominant seventh chords. Um, and we can start with the idea of dominance sevenths, but we can actually use any kind of dominant chord or altered chord as a passing chord. And so the passing chord is when we are going from one chord to the next. And we want to put something in between it. We wanna do an extra cord in-between. And the way that you do it is the exact same way we did it with the diminished seventh and the ninth flat 5. We're going to do one fret before the destination court, and we can be using these either ascending or descending. So this is really going to free will help a lot. Okay? And we are in the jazz Experts section. So that's really exciting. Congratulations for making it here. It's really wonderful. So we are going to move away from the key of C major. We have explored that as fully as we could possibly explore it. So you should be fairly intimate with the key of C major. At this point. You need to start going out into some other keys. If you haven't done that already, you need to start trying all of these techniques and concepts in different keys. Because we want to be careful that we don't associate all these concepts with a certain key. And what I mean is, you don't want to always be thinking when you're dealing with a dominant. You don't always want to be thinking that dominant is g. You learned it in G. Maybe you learned that the G was dominant, but the dominant is the fifth. And so we need to do in different keys. We can get used to doing dominant stuff wherever. Or you may be thinking that the Dorian is, indeed the drain is in D if you're in the key of C major. But when we're changing keys, the Dorian could be whatever. It's just a second degree. So you need to start breaking your own associations, getting used to playing in various keys. Okay, so we are going to practice some of our dominant passing chords in the key of E flat. E flat is a great jazz key. We talked before. It is a horn key. Trumpet, saxophone. They love playing in the key of E-flat. E-flat is not just a gray horn key and a great jazz key. It has a very mellow and soothing quality to it. So. Long time ago I studied the psychological effects of the various keys. This is one of those things that you can start studying when you get bored with all the other stuff that you've learned about music. And there have been a number of different studies on the psychological effects of the different keys. What is the key of G-Major make you feel? What is the key of C-Major make you feel? And there have been these studies that have been done around the world, different groups. And a lot of them have gone similar findings, which is interesting. Anyway, one of those similar findings is the key of E flat, was found to be the most soothing key. Most people agree across the world that the key of E flat is the most soothing key. Okay? I don't know if that's true. You can think about it and make up your own mind. All right, so we're in the key of E flat, E-flat major. So what I've done here is the top row. The top line is actually going to be our main chord progression, okay? That E-flat major seven. And I want you to get used to. Sometimes you're going to see the major seven chord isn't uppercase M. Seven. Hey Sam, seven meeting major seven. So we need to get used to looking at the major seven chords like that. Sometimes not always going to be a triangle. Sometimes it'll be uppercase M with a seven, or it'll say mage MJ seven. Okay? E-flat major seven, F minor seven, G minor seven, and a flat major seven. So we're just going 1234 through the scale courts in order. Okay. Let's just take a look. Now that sounds so we've got a nice, It's nice. It's simple, basic and nice. Um, and we also talked before when we were learning how to read music. I mentioned that a lot of jazz melodies are written very sparsely to leave spaces open for improvisation, for soloing. The same is true a lot of times 4 chord progressions. When I was starting to learn jazz, I had a jazz mentor and I had a jazz song book. Who's a jazz songs, chords, and melodies. And this particular song book. So there was a guy in my city and he was a professional guitar player and he played a lot of jazz and he would play out at restaurants and clubs and stuff like that. And so I was I was having coffee with him and I was asking him, you know, would you give me some pointers because I'm trying to learn about jazz and I'm having a difficult time getting in the right direction here. So I showed him the book that I was working out of, those working through in for my songs. And he looked at it and he told me, he thought that that particular book and the chord progressions, we're too busy. So at the time, I didn't fully understand what he meant because I thought, you know, these are all the chords for the song. So all of these courses need to be here. It took me a long time to figure out what he was trying to tell me. Was that the person who put that book together, who wrote that book, had put in all of the passing chords that they thought should be in there. Which, you know, after thinking and reflecting on it for years and years, I think that was a mistake. The best song arrangements should have only the most basic and fundamental parts, only the most necessary courts and only the most necessary notes. Everything else should not be there. They shouldn't even print it. Just the most basic stuff. Because when you're putting in all of the passing chords and you're putting in all the extra embellishment notes in the melody. You're taking away the musicians ability to improvise and to put their own style into that song, their own interpretation of that song. So part of your job as a jazz musician, as a jazz guitarist is to look at a chord progression and to be able to find the important courts and to determine what the unimportant courts are. And one of the big ways you're gonna do that is by always getting better ads, the relative scale coordinates. You're going to know your skill courts. So if we're in the key of E flat, you know your seven basic courts. And so you'll look at a song. If you see a song in the key of E flat, you'll know you've got E-flat major and F minor and G minor and A-flat major, and b-flat dominant. And c minor and D minor seven flat five. And those are going to be your seven basic coordinates. And so any other chords that you see are, there's a very good chance they're going to be passing courts or embellishment courts. There may be some important chord changes going on in the song. They may not be passing chords, but there is a great likelihood that there will be a number of passing chords and embellishment courts. And it's your job to be able to see those and spot them. And to know that they are not as crucial as the E-flat major, the F-minor, the G minor, that kind of thing. Okay? Now, because in jazz we have lots and lots of passing chords of substitution cores and extended chords and altered chords and secondary courts. So that is a big part of what playing jazz is. And you need to be able to look at a piece of music ends. In your mind's, get rid of all those cores that are just embellishment and identify the most important fundamental courts of the song. Okay, so now let's get back into the embellishment. Passing dominant seventh chords. What I'm doing down below is I wrote down a couple of samples of how we can throw in some dominant chords. And so I'm going to write before I get to the F minor, going to play this F sharp seven. And I'll probably do it on beat 4, 1, 2, 3, F-sharp seven, F minor. And then right before I get, and so I'm coming at the F minor from above it, coming at it from above the F sharp, and then back to the F-minor. We can do a passing chord from below or from above. Okay? We can ascend into it. We're descended into it. It's your choice. There's no right or wrong. It's just what kind of sound do you want? Here? We are going for the G-sharp 13, this time into the G minor. So again coming from above. And then here we are coming again from above in 89 into the a flat major chord. Okay, Let's see what this sounds like. At the end as I'm doing my turnarounds and coming back to the E-flat major. Let's do, let's go for a. Let's go four and an E 7 and study sue the seven. Real basic. Sounds fine. What if we went to a D7? See what the D7 sounds like going into the E-flat major. Oh, good. Ok. How about let's go for a D9 into our E-flat major seven. Okay, let's try and E9. This time going into the E-flat major. E9. Really like Ellen. Okay? All right, let's try some alternatives, some altered dominant chords. So let's go in IE, nine. Let's go A7 flat 9. Okay? A7 flat 9 into the E major seven chord. Nice. Okay, let's try that. E7 sharp nine into the E-flat. Interesting, really interesting. Let's hear that again. E7 sharp nine into our first chord, E flat major. Very interesting. Okay, let's try a. Let's try D seven flat five, D7 flat five into the E-flat. Nice. And let's try the D seven sharp five into the E-flat. Nice, Let's hear that again. Well, I like that one a lot. Okay, let's try the E7 sharp five. Let's see what that sounds like into the E-flat. Again, we're just going one friend, we're trying one fret below it, and then 14 and above it, trying out the different chord combinations. E sub a sharp five into the E-flat major. Good. Let's do E 7 flat 5 into E-flat major. So these all sound pretty good. Okay? Now we can do any of these going to any court, okay. We can do any kind of a dominant that we want. So we can do a seventh chord and nine chord and 11 chord at 13 chord, we can just stick with dominance. When Fred above or below or destination cord. Or we can do an altered chord. Seven flat 57 sharp 57 flat 97 sharp nine when Fred above or below our destination court, anytime. So this is really giving us practically unlimited possibilities for embellishing any chord progression. Okay, so let's take a look at going through this again. And you've got E-flat major seven. And I am going into my F minor, so I'm going to go E minor seven flat five to F-minor. Then we are going to the G minor. So let's do a G-flat, 7 sharp five. Good. Okay, then we're going to A-Flat Major. So let's try. Let's try and g nine. Yeah, and it works. It sounds cool. Sounds very cool. Okay. So when you are seeing jazz guitar players who are just playing chords all over the place. And it's modeling, where are they getting all these ideas? This is what they're doing, is the kind of stuff that they're doing. And the very fun thing about playing jazz guitar, jazz music is that you can improvise, not just when you're soloing, but you can improvise, just coordinate. Lots of unlimited cord possibilities. So you could spend an hour just on these four chords. You could spend an hour just on two or three courts, just change it between 23 courts and throwing in all of your passing. I'm passing chords in between. And we haven't even touched on the diminished seventh or the 9 flat fives in what we talked about today. But those are additional possibilities for passing chords. So lots of interesting stuff. So my advice to you how to practice this is to take a simple progression, take this progression right here, or do something even smaller than that. Maybe two chords maybe just go to an E flat major seven and F minor. And just go between those two chords and experiment with all of the different possibilities for passing courts, taking turns going above the destination port and below the destination port. So you can take two chords and turn it into just a, a weaving interchange and all these different sounds that will not be, it won't sound repetitive, it'll continue to sounds fresh and interesting if you keep on trying to use you different altars and dominance and approaching it from above and approaching from below. Okay? I think you get the concepts. So good job and go work on your passing. Dominant and alter courts. 35. Tritone Substitution & Secondary Dominants (page 84-85): Let's go through some tritone substitution and then we'll talk about secondary dominance. Tritone substitution is a pretty neat little thing we can do. In jazz. It seems to be pretty popular, although it is pretty similar to something that we've already done. Okay, So here's how it works. When you get to the fifth degree. Okay? So there'll be like the dominant when you get to the fifth degree chord. Anytime you get to the fifth degree chord, the dominant chord. And I'm talking about the primary dominant, the original dominant. We can substitute it by playing a, a dominant seven chord, a flat five away from it. Okay, so what am I talking about? Imagine we've got our dominant chord. We're playing something in the key of E-flat, okay? An E-flat are dominant is B-flat. B-flat seven, okay? So B-flat seven is our fifth degree, it's our dominant chord. Okay? So I wanna do a tritone substitution. So what I'm going to do is when I'm playing my song, when I'm supposed to be going to my dominant chord, my B-flat seven, my fifth degree. Instead of playing it, I'm going to go up a flat five from that root. And a flat five looks like a thing. Here's my B-flat on the low E string. So it's down a string and help one fret. That's a flat five. Okay? I'm going to go there and I'm going to route on that note and make a dominant chord is an E. So in this case it winds up being an E7. That is a tritone substitution. Okay? So you may be thinking We already did that to the nth degree when we were doing our dominant passing courts. Yes. I just want to make you aware of the fact that when, because it's a popular concept in jazz, the tritone substitution, I want you to know what it is when you hear it. And it's something that you could always do if you didn't want to screw with a lot of passing chords, you didn't want to mess with all of these embellishments and substitutions. You just want to play the song. But you can always do the one tritone substitution. And it winds up being one fret, a dominant chord, one fret higher than your one chord. In this case, E-flat major. Okay? So if we were going to go through this progression, alright? And I'm going to do my tritone substitution. I'm going to substitute my B flat seven with the Tritone, which is going to wind up being the E dominant seven. All right, so let's see what it sounds like. Let's do that again. Okay. When I play that E-flat seven, my tritone substitution, I'm playing it instead of playing B-flat seven. And so when I do the tritone substitution, what's happening in the notes is it's like I'm playing a flat five and flat nine of the B flat chord, the B-flat seven. So it's like I'm creating something else where I can get a flat five and a flat nine in there. So I'm adding an altered chord in there. And by doing that substitution without having to actually play an altered chord, just by doing a seven, a dominant seven, a tritone away. I have created an altered chord because I'm supposed to be playing the B-flat seven. So going and tritone away turns it into an altered chord effect. Does that make sense? Okay, let's listen to it one more time. So that's the tritone substitution. It's easy enough, right? Okay, let's move on to secondary dominance. Secondary dominants are so fun. I love them, I use them all the time. They are. Another way to think of passing courts, although they don't go one fret above or below, like we've seen so far. So secondary dominance can precede any court. Secondary dominance can precede any court. They come before the destination cord, and they are a fifth away from the destination cord. And they are a dominant chord, of course, secondary dominance. So there are dominant chord like a dominant seven or a nine, something like that. But let's start with dominant seven. Okay? They are called secondary dominance because we've already got a dominant arg, regular dominant, it's the fifth, right? And so we can start thinking of our regular dominant set of calling it a regular dominant. We can start thinking of it as a primary dominant. It's our primary dominant, like our first dominance, the original to primary. Okay, So the primary dominant. And then you have a secondary dominant. Secondary dominance can be over any court. And they are the precede the courts are there on the way to the court. So what I mean by that is if we went through a progression, so I've E-flat major seven. Now before I want to hit my secondary dominant, I'm going to an F minor, okay. The fact that it's minor doesn't matter. It could be major, could be minor, could be minor, seven flat five doesn't really matter with the chord type is that I'm going to, I'm just going to play a dominant a fifth away from my destination. Here's an easy way to find the fifth away from the destination. We're going to an F, right? F minor. So here's an F on my a string. Here's an fMRI, a string, it's on the eighth fret. So I am going to just go same, Fred. Just go in the Eastern right below it. This is a fifth away from F. So here's F. And here is the fifth of f is just right below it on the same fret. Okay? So reading right here on the E string, I'm going to play a seventh quarter, winds up being a C7. Okay, then I can go to my F minor nine. Let's listen to it again, starting at the beginning, the E flat major. So sitting on good, good, good, good. Okay, what's my next coordinate I'm going to it is the B flat, B flat 7. So where's my B flats? Here's a B flat. First fret on the a string. So I just go the string below and same fret, f. So I'm going to do an F dominant as it's going to be my secondary dominant is the F 7. Then I'm going to the B-flat seven. Was interesting is that I'm going from a secondary dominant to our primary dominant. B flat is our primary dominant. So like I said, the destination coordinate type does not matter. It could be any kind of court. We're just going to preceded a fifth away with a dominant type. Okay? So F7 to be flats. Then we're going to the E-flat major seven. So I will, well, we're already preceding it with the dominant, so we can't do a secondary dominant, It's already the primary. Let me look at, let me go through this one more time. Secondary dominance. Great, great. Let's do a relative scale chord. Look at how to do secondary dominance. And we're just going to use the trick. Where was player's skill chords already did on the a string? And every time we're just going to go to the same fred on the string below it, on the low E string to get our dominant seventh chord, which will be our secondary dominant. And we're just going to pop it on beat four right before we get to the change. Okay, So E flat major. Now I'm going to F-minor, so I'm going to go the, the string right below it for my secondary dominant. Now I'm going to G7, G minor seven, Bowman, it hit the secondary dominant first, D7. Okay? Now I'm going to a flat major, but I want to get the secondary dominant, so that's going to be E-flat seven. Good. Now I'm going to my, the flat or my B flat seven. So I'll get the secondary dominant, F seven. Good. Now I'm going to C minor. So I'll get the secondary dominant, which is G7. Now I'm going to D minor seven flat five. So I'm going to get the secondary dominant, which is a seven. And then I've got my E-flat major, so I'll get my, it's actually my primary dominant this time, B-flat seven. Let's listen to that. Sped up just a little bit. Okay. Sounds pretty cool, doesn't it? Okay. So secondary dominance, we can throw them into preceded any chord change that happens. Sometimes you will see lots of dominant chords in different keys in a song. This happens in all styles of music. And when that happens, you're usually, you're usually dealing with secondary dominance. Lot of people don't know what it's called. Some people would say it's bluesy. It's got Blues sound, two words jazzy. Yes, but more specifically, there's lots of secondary dominance. That's what's going on. And so it would be a good idea for you to, you know, you're always kind of looking quickly. You take a quick look at all the chords in the song. You can figure out what the key is and you want to know what your primary dominant is. So when you know your primary dominant is, there's only going to be one of those, is your fifth. Then every other dominant seventh chord is going to be either a secondary dominant or some kind of a passing chord. Okay? And so when we're dealing with secondary dominance, we're passing chords. We're not spending much time on that chord. That court is not a fundamental part of the core structure of the chord progression. It's just an embellishment. Okay? So that's an important thing for us to know. Alright, so secondary dominance they are, We're cool thing that we can do to embellish chord progressions. Soloing over secondary dominance. The safest bet is of course going to be using a dominant arpeggio. Then you could also expands out to the Mixolydian mode using parallel Mixolydian modes. So all that means is whatever the, whatever the key of the seven chord, just play the Mixolydian mode over that, or the dominant seven arpeggio. So if I'm going from E-flat major, and I've got a C seven right before it gets my F-minor. So you do the c Mixolydian where I can go to C dominant arpeggio. Then I've got the D7 chord, so I've got deep excluding or D7 arpeggio. Now going to E flat seven, so a flat major. Now going to the F7 secondary on my way to the B flat seven chord, G7. To see a seven. On my way to the D minor seven flat five. B flat seven, finishing the E flat major. So I hope that makes sense. Those are the two best choices for soloing over secondary dominant, the dominant seven arpeggio, or the Mixolydian mode following each secondary dominant change. So this is something that you're going to see all the time. Next time you've got a song. And there are lots of different seventh chords. Unless the song is changing keys. If it's not changing keys and staying in the same key for the whole song, then one of those seven chords is a primary dominant, and the rest of them are secondary dominance. So I hope this makes sense to you. And I will see you in the next video. 36. Advanced Pentatonics (page 86-87): Let's talk about playing advanced pentatonic scales. I don't think we've really covered pentatonics in the course, lunch until now. They are really simple. They are a five note scale. A pentatonic scale is like playing. It's really similar to playing a major or a seventh. Arpeggio was adding one extra note. So it's five different notes in it. And there are dozens and dozens of different pentatonic scales. Most guitar players will focus on just the minor pentatonic, and they call it the blue scale. But as the minor pentatonic. So we have a minor pentatonic and a major pentatonic. They're just five-note scales. And essentially, the major pentatonic is a smaller version of the major scale. It's like if we got rid of two notes from the major scale. As a matter of fact, it was, if we got rid of the fourth and the seventh degree of the major scale, That's the major pentatonic. So, and the major pentatonic and key of EG, okay? 57. Next string 47. Next string 47 again. Next string 46. And extreme 57. And next strings 579. Okay, so listen to the end, the major pentatonic in a symbol. It's exactly the same as the major scales. Like I said, we just got rid of the fourth and the seventh intervals. The minor pentatonic is the same as the minor scale or the Aeolian mode, the natural minor scale. It's also the same as the Dorian mode and the Phrygian mode. We're just getting rid of the second and the sixth degree. So the second sixth degree of the minor scale is gone, and then we have a pentatonic minor. Okay? So starting on key of a, again, it is 58, 57, 57, 57. And the next, or 58 and 5, 8. Let's listen to it again. Okay, so that's the minor pentatonic. Pretty simple, right? So the reason we haven't spent a whole lot of time on the pentatonic scales is because I wanted you to have more options. I wanted you to have the full major scale in all of the modes so that you'd have all of the notes at your disposal. So when we talk about playing advanced pentatonics, what we can do is we can use these. Shapes to start accessing some of the more extended intervals of our courts. So we're going to look at a couple of different ways to do that. Okay? So the first thing we're going to look at is the major chord. And we are going to deal with the major pentatonic when we have a major chord ends. In jazz, of course, we're talking about like a major seven chord, major 7, a major 9, something like that. So in this case we're going to deal with a, an, a major seven chord. And we can use the major pentatonic in the key of day, just reading in the key of a. And I've got my guitar plugged into my looper pedal. Normally, you don't needs the electronics and labours ands any kind of gear when you're playing jazz, because you should be able to handle everything on your own. You should be able to show everything on your own. The reason I'm using the looper right now is because I want you to be able to hear the different intervals that we're going to explore. Okay? So all I'm gonna do is I'm just going to loop a loop and a major seven chord. Okay? So good. Okay, Now I'm going to play the a acidotic major and in a key of a over it just for a minute. All right? Okay. Pretty basic, right? All the tones are just tones that we would expect to get from our major scale. Now, let's, we're still over the a major seven chord. I want to play the major pentatonic shape, but this time we're going to play it over the fifth of our court. The fifth of our a court is 1, 2, 3, 4, 5, and E note. So we're going to play the E pentatonic major over the A7 chord, okay? Whereas reading on the fifth of our original court, or we're still doing the pentatonic major scale. Okay, let's try it. Alright, and already we can start to hear more of that major seventh start to come out. I'm still using the exact same major pentatonic scale shape. Just when I read it on the fifth of the chord, it really starts to bring that the sound of the major, the major seven. So that's what we want. Now. Let's roots on the ninth of the chord. So when we route on the ninth of the chord, is going to sound more like we're going to get a little bit more of a sort of a Lydian or a slightly augmented sounds. Good. Let's see what happens. Okay? So the 9th of a is the same as the two. Alright, so that is my nine. Okay? So I'm going to read it on B, B major pentatonic. Okay. Did you, You're so one of the things that's happening when we do that is we are getting an augmented fourth sounds in there. It's what I hit the number third, which is the E flats. Also happens right here. It's an augmented fourth sounds, which is a little bit like a Lydian cells. And we would get out of the Lydian mode. And the Lydian is something that we would also see getting a major seven chord. So even though the a major seven could be over the Ionian mode or it could be over the Lydian mode. We can, we want to experiment with getting some of these different tones and sometimes going for that. That augmented fourth is something that you can do to sort of influence major seven chord. Okay, Sue, we've got that over the major courts. Now let's look at the minor chord, okay? So if we have a minor seven. Of course, we can play the a minor pentatonic over the a minor seven chord. So let me record that. Well, if you then had a minor seventh of the room. Good. Okay. Now let's take a look at doing the reading on the fifth of that. So the fifth is still going to be E 12345. So the E, We're going to play the minor pentatonic this time. Over the a minor chord, E minor pentatonic over the a minor chord. Okay, and already we can see we're getting some different tones coming out. We're using the same pentatonic scale. There's minor scale getting some really good returns. Okay, now let's look at one more. Let's go for the nine. The nine is going to be a V. The night is the same as the two. So let's root it's on the bee and see what it sounds like. Sounds cool, sounds cool. It gives us a completely different set of intervals that we can play around with. Okay? So those are three great options for major and minor chords is you can use the pentatonic. Major chord. Do the major pentatonic scale on the root note of the chord, or the fifth routing on the fifth of the chord. We're reading on the ninth of the court. Ninth is the same as the second. And minors work the exact same way you can play the minor pentatonic routing on the root of the chord, the fifth of the chord or the ninth of the court. Lastly, let's take a look at the, what we could do over a dominant seventh. This one is definitely more adventurous. What I mean is that if we want to start getting some ultrasounds from a dominant seven chord, well we can do is we can play the major pentatonic, a flat five away. Okay, so we're still going to use the a. Let's do an A7. So let me get my A7, go on. A flat five away. Remember when we discussed our tritone? Okay, so here's my bag. So the next string and up a fret. So it's E-Flat, right? So if I play the major and monotonic skill and key of E-flat, what's going to happen is we're going to start accessing all of our altered tones. We're going to get a flat five sharp five of flat nine, and a sharp knife. So you may think it sounds great. You may think it sounds awful and maybe a little too altered for you. If you wanted to really get away from the basic sound of the dominant and go directly in altered than playing the major pentatonic scale. A flat five away from the root will get you there. Sounds like I'm E-flat, E-flat major pentatonic over the A7 chord. Alright, sounds really different. So this is something that's into our players bool, experimental with personally, I think that's the first about six examples are, are great ideas. Doing the major and the minor is on the roots, fifths and ninths. Cord do major pentatonic. And if it's a minor chord, a minor pentatonic, the dominant idea. I think it's interesting. I think it's an interesting way to start accessing the altered tones. So, but, you know, the question is, do we want to get every single alter tone at once? Maybe play a little bit of that. And you would jump back into the, into the dominant arpeggio or some like that, because we don't want to get, to get too far away. So what I mean is that if we're on E modern when they jump back into her for just one minute. Okay. E flat major. So when I was doing was I was jumping the, a dominant arpeggio and the E-flat major pentatonic. And so when I go into the dominant arpeggio and a, it really sounds like it just matches up with the court. When I go into the E flat major arpeggio, over there was the flat five root. You can hear that it's gone away off kilter, which is kind of the point of altered. So if you wanted to achieve that, this is a great way to do that. So go work on your advanced heads atomic scales. And I'll see you in the next video. 37. Bebop Scales (page 88): Let's play some bebop scales. Be-bops scales are eight tone scales. Really what's going on in a bebop scale is, it is the major scale and we're adding in an extra note for a passing tone. Okay? So equivalent passing tone that we can do that seems to work pretty well. Over the major scale. Bebop, the word evolve. Evolve is kind of like a style of jazz. So it was around the, I would say the late 1950s. Bebop became the style of jazz that everyone was listening to. Probably around the time of early Miles Davis or early John Coltrane is Bebop. And it's usually to a faster pace. And lots of, lots and lots of improvisation going up and to evolve. Okay? So there are two difference, bebop scales or a tone scales because the major scale has seven different notes. So to add in that one extra note, mix it in eight tone scale. The first one we can play around with is the and skill with a minor seventh and a major seventh interval. So the major skill already has a major seventh interval. We are going to include the minor seventh. So let's do this in the key of a major scale, a minor seventh, major seventh, minor seventh major. So here's my Octave. Here's my major seventh that we would normally have, including the Fred behind it, which is the minor. So if they're volt, so 2, 3, 4, 5, 6. Going for the minor seventh. My normal major seventh, and my Octave, right? So her seventh, major seventh and positive 2, 3, 4, 5, 6, monitor seventh, major seventh, octave. Okay, let's practice this on, plugged in a little bit louder. I'm still plugged into my looper pedal. Let's try it over a 251 progression. Okay? So I'm going to play a major 7. And then I'm going to play an a sharp diminished seven. And then a B minor seven. D minor seven is my two, and E7 is my five. So the VI minor is the to, the E7 is the five. The a major seven is the one. Before I get, I'm going to walk from my a minor to my B minor with this a sharp diminished. And he could play here. I'm going to try to keep it in my position. So I'm going to play down here instead of up here. In fact, let's see if we can put this together. Hi. And the way I'm using it is a walking into my eight notes using the two-sevenths or. So. A lot of times when we're just playing around one scale and sometimes we get lucky, we have a progression where we get to just found on one skill. They ran with it. What we want to look for some outside notes to make that skill or interesting. So this is one of the things that we can do using both servants allowed to walk into, to walk into that root note. Okay? Another bebop scale that we can use is where we take the major scale and we're going to play the regular fifth, 12345 and the sharp fifth. So it has one fret higher than the fifth, 12345, sharp 56. And so 12345 and sharp 5, 6, 7. Well, so really what's happening is we're kind of walking from the five to the 6. We're doing a little chromatic walk. From the five to the six. Let's see what it sounds like. And are there and there. Again. I was taking turns walking up and walking back from the five to the sixth and from the six to the five. So that is just another little embellishment that we can do. Now if we combine these two bebop scale ideas. So we have the embellishment on the 7s using both sevens and then we have the embellishment on the fifths where we can access the sharp five. Let's see what that sounds like. Okay. All right, so we've got to walk along there. Let's just the major scale, and we're just using those two extra tones to play around with. So this is a cool thing you can do when you're just doing something as basic as the major skill, you can still look for some to play with accessing your b bob scales. So you're doing great and we're doing good stuff. So go practice. You were evolved scales. 38. Jazz Progression 1 (page 89): Well, we are starting to get to the end of our course. I want you to have something that you can jam over to practice everything that we've gone through and we've gone through a lot. So what I'm going to do right now is I'm going to play these chords that I wrote on the whiteboard. I'm going to record them through the looper. And I'm going to let it just loop for a few minutes. And I may even leave the room and give you an opportunity to solo over this, um, and to really take some time to go through all the stuff that we've worked on. So I want you to practice going through your arpeggios, your modes and scales. Including these stuff like the super locrian and the diminished and the advanced pentatonics. The whole tone scale, I want you to practice with putting in your passing courts and going through the chord tones on those, working with dyads. And just all the stuff that we've gone through so far. And so in order, worked on all that stuff. What you need, a chord progression, a good chord progression, the right chord progression. And you can work on most of your guitar stuff. So this is what I put together, and it is in the key of E flat, E flat major. And we've got a 25 one going on. And then over here, I'm giving you a secondary dominant. So I don't know if you may have noticed that, but that's C7 is a secondary dominant going to the F-minor, which winds up being another 25, 25 one. So this is just some cores that I came up with. Have you good practice over. So I'm going to play the course through looper and then have it keep going. And I want you to solo on top of the courts. Hello. Hi. Okay. Okay. Hello. All right. Great. Great. Is not up. Alright, so go back to this video and then you can skip past all this stuff I was saying in the beginning, just get right back into soloing and lying over this progression again. So good job and get back to it. 39. Jazz Progression 2 (page 90): All right, As we start to wind down our course, I wanted to leave you guys with a couple of good core progressions that you can solo over and practice all of your tricks, techniques and concepts and guitar and jazz theory over. So I thought that this would be a good one because it covers a few different ideas. I'm going to put this through the looper and let it just loop for a little bit and give you guys a few minutes to really explore the ideas. And you know, if please go back and watch several times and just keep on playing, keeps soloing through this. And so it's relative to E-flat major. But this progression is really going to be in the mire. So C minor, which is relative to E-flat major. I've got a little bit of altered stuff happening here. Rather minor seven flat five to the G7 flat nine progression. We will see that a lot in jazz. And then we have an altered chord here at the end. We're just going to wrap us back around to the C minor again. So you have all the modes relative to the E-flat major or C natural minor scale, the Aeolian mode. You've got all of your arpeggios, your diminished Super Locrian, whole tone, your advanced pentatonics, your bebop scales. You've got a lot of different stuff that you can work on here. So I want you to practice all of it. You're passing tones, you're passing quartz, your core tones, every arpeggio, all the scales, and try to just get the most out of this progression, you should be able to practice. Most of your guitar work inside of one good progression. So you should be able to take a progression and spent an hour on it easily, and just keep on looking for different things that you can pull out of it. When I, so the G7 Alt, okay, so that's telling us to play that as an altered chord. We can play it as a, just a dominant seven. Or we can play it as an altered chord because it says ALT. And that means that we get to choose what altered chord we want it to be. Okay? So when I play it on the loop, I'm going to just do a basic triads, going to play it like for the G7. Just gonna do the basic triad. I'm not going to do an altered coordinator, going to leave that for you to play around with all of the different alter courts over that. So I'm going to just pave the way for you by doing a basic seven triad. And then after that, you guys can start practicing with all of the different altered combinations. Okay. Let's jump into it, see what it sounds like. Okay. Hi. Okay. Hello. Okay. Hi. Hi. Rights. Rights. Rights. You don't it? You're playing jazz. So go back to the beginning after I left the room as keep on playing around with this. 40. Honorable Mention (page 91-92): Well, we've made it to the end of our course. It's sad, but I am really impressed that you've got here so well done. Excellent job. We did a lot of work. We covered so many different concepts and we learned so much stuff and all these different shapes on the guitar and music theory and learning to read and all this complex scales and arpeggios in ways to think about manipulating harmony and the melody. We did so much stuff. So I am really happy and proud of you. Now. I know that you may not have absorbed 100% of everything we talked about. That's okay. You've been exposed to it now. Your first pass all the way through this course and this material. So even though you may not feel like you understand everything, you may not get a 100 percent of it. You've been exposed to it. So think about this stuff. You know, you will think about it when you're playing, you'll think about it maybe a few weeks or few months down the road from now, from today, you will remember some of the stuff that we talked about in one of the videos. And it'll make sense to you all of a sudden. You'll, you'll understand it just for no reason, but you will randomly just, it'll make sense to you then. So this stuff will start to come to you. And one of the things that I would love it if you did is if you went out and got a copy of the real book, it's called The Real Book. It is a compilation of jazz songs. It's not my book, it's just what every jazz musician will carry around. If a jazz musician carrying around one book, it would be the real book. And it's just a book of songs that are all jazz songs with the chords and melodies, the basic melodies. And these are the core charts. We've talked about core charts. There, the core charts, they've actually got the actual, of course though written out. But this is what jazz musicians uses the real book. If you don't get the real book and get something similar to it, something with a lot of jazz songs to chords and melodies. I want you to start practicing and going through jazz songs. You can do a search and you can find some songs that you can print out also. And I wanted to do just a quick honorable mention of some jazz musicians that I highly, highly recommend that you listen to a little bit of. There are. Just countless amazingly talented jazz musicians. So we can't name even a fraction of them. I'm just going to give you the Giants. Okay, the giants. The first one would be Louis Armstrong. Okay. Louis Armstrong, spelled like Louis Armstrong. The trumpeter. Louis Armstrong is probably the greatest American musician of all time. Whoever lived of every style of music, rock, jazz, bluegrass, blues, everything of every style of music. He has, probably, even by today's standards, american musician that ever lived. He was a trumpeter. And around the early 1940s and all through the 1940s, 1950s, 60s and 70s, he was the greatest. And all these other great musicians came up. But no one was remotely as good as hemi was just born to play music, born to play the trumpet. He also saying and he was a bandleader and he was just a musical genius. He was someone who was put on the earth to play music. So Louis Armstrong, you should listen to him. He does great renditions of all the jazz standards. And then the next generation that came after Louis Armstrong, that started pushing the envelope and started developing what we call v Bob and Bob and hardball would be the guys like Miles Davis, also a trumpeter. Miles Davis was, does some really amazing music. John Coltrane. John Coltrane was a saxophone player. And he was just a obsessive musician. And he constantly played. He causally was worrying about music and understanding it and pushing into these further limits. And John Coltrane are responsible for pushing some boundaries and he acts. There are some music theory that has actually taught in the universities for music students with Coltrane changes from the song giant steps that he wrote. There's a, there's a piece of music theory that is being attributed to John Coltrane. Coltrane changes. So John Coltrane, listen to some of John Coltrane. My, one of my personal favorites is Thelonious Monk. Thelonious Monk was a piano player and he, he actually played with Miles Davis and John Coltrane. I should say they played with him on it was his bands. And when Miles Davis and John Coltrane were young, he hired them to a heated it, a trumpeter. So we hired Miles Davis 1, he needed a new sax player, so he hired John Coltrane. So these guys were up and comers when Polonius MOG was already a pretty big deal. Loneliest monk, who was a genius musician. He was a piano player, but a complete genius. He had a minimalistic way of playing the piano. He could control these altered chords on the piano, but he would give them to you in just the right amounts. He won give you too much of the altered tones we talked about that don't get too much. Do you just want to get the ball over the net? The loneliest monk was a master of that. He could just give you enough of it to get his point across. So Thelonious Monk and then vocalists, you could listen to Ella Fitzgerald. Ella Fitzgerald is, she was one of the most popular singers, believe from the fifties, the 1950s, forties, fifties. She did some work with Louis Armstrong. They did some stuff together. So she would be from the old school. But she was just a great singer. And so listening to these people, louis Armstrong, Miles Davis, John Coltrane, Thelonious Monk, elephants, Gerald. This would be a really wonderful start. And you're going to be listening to some of the very best jazz that there is by listening to those people. So that is my honorable mention. And of course there are so many other amazing musicians, jazz musicians that you will discover. But in the meantime, get yourself a jazz songs book. The Real Book is what I recommend. It has the true and proper versions arrangements of the songs. They're very simple, but it's the true proper arrangements that all of the jazz musicians are working on. Get a copy of the real book and go back through these concepts. Go back through these concepts. If you start feeling like you're not sure where you should be working on. As we just finished up in the previous few videos. You know, if you have one good chord progression, you can work on a lot of your stuff. So go back through the course and skim through it and watch the videos that were difficult for you, the ones that were difficult and confusing. Watch them again. I hope that you have all the PDFs and that you have the safe somewhere that you are keeping them. And, and I wanted to thank you for doing this course with me. I had fun putting it together and I'm glad that you're interested in learning this stuff because the world needs more good jazz guitar players. So thanks, and I'll see you later on. 41. Dominant in Music: We are talking about dominant in music, all things dominant. What does it mean for something to be dominant? So this is something that we talk about all the time. A lot of times when I am referring to anything as being dominant, I will be referring to the fact that it has a major third and a minor seventh interval. So usually that are, those are the core qualities of a dominant thing that, which is actually the next to last bullet point, foundation of ALT were altered being the one major three and the minor seven. We'll come back to that in just a minute. But the major third and a minor seventh, because we can have a lot of different kinds of dominant, but it has to have a major third, making it a major, a major thing, a major chord, major arpeggio, major scale, major third major thing. So it's major, but it's got a minor seventh, okay? So the major third, minor 7, those are really the main qualities of what something that's dominant is going to be, okay? So some of the more obvious qualities of Dhamma is the fifth of the major scale. So in most basic music, we're talking about a fifth of the major scale. So we can say the fifth note of any major skill is dominant. We can talk about that as a court also, the fifth scale court is going to be dominant, okay? So the fifth is just generally going to be a dominant things that fifth note of the major scale, the sixth chord of the scale courts. So of the seven chords each, each note of the major skill being associated with a cord. The fifth one is going to be the dominant. Now we could even say that with some of the minor scales that they will also be dominant. So we've seen that with like a harmonic minor scale that, that is dominant of or the Phrygian dominant is a dominant scale of the harmonic minor scale. For repeat that one more time from the harmonic minor scale, which is considered to be a variation of the natural minor scale. Harmonic minor, it's dominant will be the Phrygian dominant scale. Which is a major scale of major issue because it's got that major third and minor seven for the Phrygian mode. So that makes that dominant, okay? So dominant is the fifth. And we can even superimpose this that we've talked before about secondary dominance. And so a secondary dominant is just like take the principles of dominant and apply it somewhere we're normally would not belong. And all you can, all you have to do is just imagine that you're on your own some points in the scale. And you just want to say, I'm going to turn this into a dominant. So we're going to pretend it's the fifth. And so you just A dominant seven chord, and then you can pretend it's the fifth and resolve into what would be the one if it was the fifth, resolve it to what would be the one. And it might be like a minor chord. Might be, a major chord, might be a minor chord. It doesn't matter because that's how a secondary dominant works. So dominant just means that you're applying the basic principles of dominant to effect. But it naturally occurs on the fifth. We can see dom dominant is referred to as just DOM, DOM. And that is telling you or DOM seven. Dom, dom seven will tell you, I've seen that on charts before. We'll just say like you'll save a DOM. We're see DOM. And that's telling you to play a dominant chord. And when I was a younger musician, I didn't really understand why they didn't just say play an A7 because of the dominant is just a seven chord. Why don't they just want to be easier just to say, well, just play so they wanted to leave it open for interpretation. We're gonna get to that in just a minute. Dominant can be interpreted to different degrees. So like for example, on our third to last bullet point, I wrote 7, 9, 11, 13. These are core degrees. So what that means, we can, we can say an A7 is a dominant chord because it is, it's got that major third and the minor seven. And then we do there are tertiary stacking where we get to our ninth degree. Now we have nine chord, so it's going to be one major third, minor seventh, nine. That's a dominant chord like an 89. We could do an 11 coordinate. So we're going to go or one, or major third, minor seventh. And then usually we'll skip through the next couple of extensions. Skip the mind and ego rise to the ILO still doing tertiary stacking. But as guitar players we have to, we have to kinda like pick the important notes that we want here. 13 would be the same thing. We have one major third, minor seventh, and then we can skip the tertiary stacking. So skip the nine, skipped 11 and the gory to the 13. So one major third minor 7 and 13, these are all dominant chords. So 7, 9, 11, and 13, these are all dominant courts because they contain the major third and a minor seventh. And those, as we said at the very beginning of video, are the core factors that we need to have something be dominant. So going back to my original confusion as a young musician, it says play a DOM. Why doesn't it just say play? Because I can also play an 89. I can also play an a 11. I could also play an a 13. I have my choice of 7, 9, 11, 13. They're all dominant. They're all Dong. Okay? And so that's not even getting into the altered. So we'll talk about that in just a minute, kind of bouncing around a lot here in this video. But a fig. Hopefully you're starting to understand what I'm talking about. Dominance the fifth, right? It's got a major third and a minor seventh. And we can start applying it to all these different things as long as we just always make sure it's the fifth, make sure. It has a major third and a minor seventh. It can be a lot of different things. That's what dominant is. The actual term. Dominant is sort of an old term for functions and music. So this is sort of a relic in music theory. That's my third bullet point here where I wrote down tonic, supertonic media, subdominant, dominant, submediant and leading tone. These are Old World terms to describe the intervals of the major scale, which can also be used to describe the courts of the harmonic. So we've got the tonic is the one. So that's your word note. And tonic is still a word that we use on a pretty regular basis. Basis. Tonic is the root or the key. It is our unison. And tonic would also be like the octave. So tonic unison, root key, octave. That's all the same thing as the one. Supertonic is the two. It's just, it's just the next one up from topics, the supertonic Institute. The median is the third subdominant is the fourth, dominant as the fifth submediant is the six, the leading tone is the seventh. The leading tone is the seventh leading tone wants to resolve back to the one which is the talk. So the leading tone. And we've seen that before with the minor seven flat five chord. We've seen that it's a leading tone chord. Leading tone is like minor 7 flat 5 wants to resolve back to the one. So for example, if we have B minor 7 flat 5, That's going to want to resolve to a C major chord. That's the leading tone resolving to the tonic. So we have, we can see are building the dominant chord, one major third, perfect fifth, minor seventh equals DOM. This is in a perfect world, okay, maybe for piano player, they would say one major third, perfect fifth, minor seventh. But in jazz and on guitar. And this is true for every instrument, Piano, Piano also, I pick on piano players because they've got 10 fingers that they can create these enormous courts with. They can, they can get everything in there. They don't have to make concessions. They barely ever have to make any kind of concession or like knock out notes and intervals that they can get the point across. A lot of times when you're playing guitar, it's about getting your point across. It's about getting the ball over the net just so you can say yeah, that you know what I'm trying to do here. Piano players don't have to worry about that as much because they have ten fingers, they can make 10 notes simultaneously. Pretty, pretty amazing thing that they're capable of doing. So a piano player would say, yeah, it's the root, the major third, perfect fifth, and the minor seventh is a dominant chord. Guitar players, a lot of times we'll just skip the fifth completely. It's not really needed. We don't need the perfect fifth. We don't need it in there to show that we're playing a dominant chord. So a lot of times we'll go one major third, minor seventh, DOM, That's our dominant seventh chord. One major third minor seventh. Okay? So in plus, if we start building the 9, 11, and 13, same thing, we have to really make concessions. We don't have enough fingers or strings to get that fifth and a lot of the time as we can, but a lot of times we can't, so we just have to dump the fifth. That's why when you're playing a 13 cord, you have to sometimes get rid of the fifth and you have to skip that in the notes in between the seven over 13. And this is just one of those guitar things. Piano player would hit every single node. A piano player, Mike, oh, one major third, perfect fifth, minor 7, 9, 11, and 13. Effortlessly. No problem whatsoever. So top players, not easy. So we have to just dump a bunch of notes, the fifth being the first one to go. Another thing is that dominant is the foundation of, okay. So dominant is the foundation of altered, meaning that when we start forming altered chords, altered chords, altered arpeggios, or even getting into scales. It starts out with a, it starts out with a dominant premise. Meeting, as, as we said at the beginning of the video, to read note major third, minor seventh. From there, we can start adding in these other things, but altered. Whenever we start talking about altered or dealing with altered, it always has a foundation in dominant. So for dealing with something altered, oh, that's flat five sharp five flat nine, sharp nine. We're just playing that in on top of what is already dominant. So that's how we get to altered and that really, I think about sums it up. We usually will consider the Mixolydian to be dominant. We can also have the Phrygian dominant or the Lydian Dominant, like we talked before, for dealing in a very general sense though than the Mixolydian will be the dominant. Okay? If you're dealing with pretty much just like relative, relative modes, that music is not, start getting that crazy. Mixolydian will probably be your dominant scale, but you're also going to be using your dominant arpeggio, especially in jazz all the time, dominant arpeggios are going to be huge for you. And then you've got your more exotic skills like your dominant, your Phrygian dominant in your Lydian dominance. I think this about covers it. So good job. I hope this makes sense to you and I'll see you in the next lesson. 42. Phrygian Dominant Scale: We are talking about the Phrygian dominant scale. The Phrygian dominant is the Phrygian mode, the third mode of the major scale, with the qualities of dominant applied to it. So what makes something dominant is that it has a major third interval as well as a minor seventh interval. So Phrygian already has a minor seventh interval. That's a natural, natural thing for Jim. But the phrygian has a minor third, so we have to make it a major third. So in order to, for the dominant qualities of major third, minor seventh, for giardia has minor seventh, so we just need to raise the third of Phrygian. Phrygian now has a major third, and it has a minor seventh. And we have the Phrygian dominant scale. So we have a small series where we're talking about Phrygian dominant. There's another less, or we're talking about Lydian dominant. And the Phrygian dominant is definitely the more common of the two. So this one is going to pop up frequently for you. I see this one all the time. And we can see kind of in the second bullet point here, kind of skipping around. But the second bullet point says it's the fifth mode of the harmonic minor scale. So the harmonic minor scale is a pretty common minor. So people consider it to be just another option of the natural minor scale. And this is where we start getting into like when classical musicians study music theory, they will learn certain rules and they understand these to be like just hard rules. And when jazz musicians learn music theory, they learn sometimes variations on those rules that also they think of as being the hard rules. So, and honestly they're public both a little bit right? But a classical philosophy would be that the natural minor scale, aka the Aeolian mode, could be the same thing or interpreted as the harmonic minor scale, as well as the melodic minor scale. So that's kind of a concept right there to itself. That if something is going to be minor, like truly minor, natural minor, that it could also be harmonic minor and it could also be melodic minor. So that is sort of a classical idea of Jazz being a more modern style. We don't really encounter the melodic minor scale very often at all. Um, I've, I've really dealt with it that much Personally. I think it's a lot more of a classical device. So in more modern music, we see the harmonic minor scale all the time. So that being said harmonic minor, yeah, comes up a lot. Now, the fifth mode of the harmonic minor scale will be the Phrygian dominant. So we take the Phrygian scale, the Phrygian mode. We raise the third or sharpen the third. Boom. That's it. Now you've got Phrygian dominant and it's a very cool sounding scale. One of the really neat things about Phrygian dominant to me. And the phrygian has always, in his natural state is a very dark sounding, very minor, very minor sounding scale. And when we lift up that third, now we can play a major chord over it, or a dominant seventh chord over it. So you've got a major chord and still has a lot of those dark qualities though, because it's got a lot of those modern intervals still. So, but you've got a major chord and you still have all of these really minor dark qualities on top of it. So it's a very neat thing that we can do. Okay, So here we're in the key of a because just an easy visual, we're routing on the fifth fret of the low string assigned by the courts. So the courts, we're going to treat Phrygian dominant as a dominant seven chord. And it, is, it being the fifth mode of the harmonic minor scale will occur over the fifth degree. Sue, like if we went five to one, it'll be a dominant seven, then resolving to a miter, one chord. So you could think of this like if we're in the key of a, and then if a is the five, then D is going to be the one. So we could say that like we're playing an A7 chord, which is our Phrygian dominant scale, A7. And then we resolve it to a D minor chord. And the D minor will be the one. So you're playing in the key of D minor, write the D minor or the D harmonic minor scale. And then so D minor chord. And then you may play A7, which is your Phrygian dominant. And you'll resolve it to the one, that minor one, which is the diameter or the harmonic minor scale in the key of D. So that's sort of make sense. So this is something that pops up a lot where you've got a dominant seven chord or a major chord resolving as a fifth, resolving to a minor one. And that is just a sort of Phrygian dominant or harmonic minor scale thing. Trick that you can use shows up a lot in modern songwriting. Okay, So also known as aka, the harmonic dominant, or can also be called the altered Phrygian. So those are both sort of, I guess, names. And as we said before, a lot of these exotic scales are going to have multiple names. So it's not, you know, don't, don't worry about it too much. If you call it the Phrygian dominant. So it says, You mean the altered Phrygian or the Phrygian altered. You mean harmonic dominant? Be like yeah. Yeah. Yeah, yeah, exactly. That's exactly what I mean. So one are different names for exotic skill like this. All right, so I think this about covers it. There's not a whole lot more to say. The shape will speak a little up for interpreting. In the tab here, you can see that I went to the next string and the third note to hit that major third. Some guitar players may want to just stretch the pinkie. So like that for on the a string, that's a C-sharp. So you go 56. For me, I would like to just jump down to the next string to grab that major third, that C-sharp just on, just on the next string down. A lot of guitar players were say, You know what, I want to do the three notes per string thing. And so they'll stretch their pinky up to get the nine, the C-Sharp on the low string. So that they can just kinda like hang on the fifth fret with your index finger. That's totally cool. Really. Any way that you get this thing to come out of your guitar is good. So you can either dropped down, grab that major third on the a string, which is my preference just because I can visualize it a little easier that way. But you may want to just two or three notes per string thing. And that's also cool. It's going to sound, it's going to sound cool either way. So, alright, Go practice your Phrygian dominant. And I'll see you in the next lesson. 43. Lydian Dominant Scale: We're talking about the Lydian dominant scale. The Lydian Dominant is exactly what it sounds like. We are playing an altered version of the Lydian mode, the fourth mode of the major scale. And we are applying the quality of dominant to it. So the quality of dominance is that we have a major third interval and a minor seventh interval. The Lydian mode already is major, so has a major third interval. So the only thing that we need to change about the Lydian is the seventh, because Lydian has a major seventh naturally. So in order to make it Lydian Dominant, all we have to do is flatten the seventh to give it a minor seventh interval. And we will arrive at the Lydian dominant scale. Here in our example, we are in the key of a because we're starting on the fifth fret. This easy visual for us to see. The shape is definitely going to look a little unusual. Because a lot of people will find the LEA in normally to be an unusual shape. So we alter it one more node then it can get a little weird. So Lydian Dominant. Okay, so let's talk about a function like how does, how does Lydian Dominant work? So anything that is dominant is going to be a major chord with a minor seventh. So like a regular seventh chord, a dominant seventh chord. But normally we think of the DOM seven as being the fifth degree of the original scale. So we usually think of it as being the fifth, this being Lydian. This is going to actually be the fourth degree. So it's going to be a DOM, seven chord and dominant seventh chord. But based on the fourth degree, That's what makes this one a little bit unusual. So dominant seven on the fourth degree, it will result to a minor one. That's an easy way to think about it. Okay, So for example, we're playing Lydian dominant in the key of a are chords are going to be a seven. And then we would resolve that to the one chord, which will be a minor one. So that's going to be E minor. Okay. Let's look at the second bullet point. I think that'll explain a lot for you. Lydian dominant is the fourth mode of the ascending melodic minor scale. So one of the, one of the things about the melodic minor, it's a kind of a classical rule, is that the melodic minor scale will have a major seventh interval when you're ascending it. And then when you descend it, it has a minor seventh interval. That's kind of like one of the weird classical rules for the melodic minor scale. And honestly, I don't think a lot of modern music really honors that as much today. It's kind of an old school idea that the melodic minor scale has different intervals depending on whether you're a ascending or descending. But the fourth mode of the ascending melodic minor scale, which we can just call them melodic minor scale. So the fourth mode of that will be the Lydian dominant. Okay, so really if we think of, if we imagine that our original scale is the melodic minor scale, melodic minor, let's pretend that we're in the key of E, k, So we're playing E melodic minor. And then we go 1, 2, 3, 4, the fourth note of E, melodic minors and a. And so then that puts us on the Lydian dominant. And so then that chord is a seven. Day seven goes over or across the Lydian dominant scale and results back to the one chord, the E minor, which is the melodic minor scale. And I guess lastly, I would say, when we start getting into these, what I would call exotic scales, they start getting a lot of different names. So the lithium dominance is also referred to as the acoustic scale. Also called the overtone scale, also called Lydian flat 7, or the Lydian flat seven scale. So and this is where a lot of musicians will get kinda weird sometimes because you'll say, Oh, I think, I think this is the Lydians autoscale. And someone else might say, Oh, those are alluding to, I call the Lydian flat 7 or Legoland acoustic scale. So again, it's all the same thing. You know what I'm trying to say? It's the Lydian dominant, Lydian flat 7 overtones, acoustic scale, whatever it's all the same scale. These exotic scales always have a lot of different names. So yeah, just embrace it. It's cool. It's a cool thing that they have multiple names in the reason's got multiple names to, because there's different regions of the world where people were playing these skills. And so different people came up with different names. So it's a pretty funny thing. Anyway, I think that should cover it for Lydian dominant. It's a good one to know. It comes up every now and then. And if you I'm able to play it when it does come up, you're just going to look like a pretty accomplished musician. Being able to pull out the Lydian Dominant. Like, you know, you've been working on it just for this particular moment. Anyway. Good job. And I'll see you in the next lesson. 44. Altered Chords: We're talking about altered courts. This is advanced guitar theory. So strap yourself. And for this one, alter chords are usually found in jazz and classical music. They will follow their own set of rules. So the structure of an altered chord is a root note, major third interval, and a minor seventh. So root major third, minor seventh, which is the foundation of a dominant seventh chord. From there, we're going to add in either one or a combination of our altered notes. And the altered notes are going to be a flat five, sharp five, flat nine, or a sharp nine. And we can have any combination of those. We can just have flat 5, or we can combine it with a flat five and a flat iron or flat five and a sharp nine. So an altered chord can be combined with other alternatives. We can make all these variations of it. When we are making an altered court, we are not going to use the irregular perfect fifth or major ninth or major second interval. It would conflict with the altar court and what makes sense. So we're going to either leave it out or we're going to alter those two intervals, the fifth of a knife, they have to be altered. Altered is different from extended. So extended chords would be from the typical family of courts, from the typical family of scale courts. So like if you're in the key of C, C major, D minor, E minor, F major, G major, or G7 dominant. The E minor and the B minor 7 flat 5. The b minor seven flat five, that last seventh degree is a typical CT. Because all of the notes and add minor 7 flat 5. If we look at them, all of the notes and the B minor seven flat five chord are part of our C major scale. When we're dealing with altered courts, we are coming up with notes that are not supposed to be there. And the extended core family, all of the nodes of those courts are present in the C major scale. So if we take the C chord, we look at all the extensions that we can do based off of the first court and the seven courts of our extended courts. We've got the major seven, we've got the sixth chord, we've got the major 9. We can do a major 13, we can do a 69. So in all of those notes, all of those extended chords for C are present in our C major scale. We're not adding anything and are changing anything. If we look at our second quarter of the extended chords or D minor, and we want to create extended chord. So obviously we have D minor seven, now relate extension, but it's a seven, D minor seven. Then we can go D D minor six would be an extension. We can go D minor nine. Um, and those are going to we could go minor 13. And those are going to be extensions that all of those notes are present in our C major scale. We keep doing this for all the extensions in R7 courts of the, of the scale course based on the key of C major. All of the nodes have all those extensions or bad, I'm including stuff like when we get to our fifth quarter G7, we said it's a dominant seventh chord, so we've got G or G7. We also have a G6, we also have a G9, dominant nine, dominant 11, dominant 13. Now we can go G 69. We've got a bunch of different options over the dominant chord. And then when we get to the seventh chord, the leading tone, we've got the B minor seven flat five. So that is our leading tone chord that all of those notes in the B minor 7 flat 5 or the G9 at the G 13, where the D minor six, all of these are extended courts. Every single note here is present in our C major scale, C, D, E, F, G, a, B. That's it. Altered chords we are adding in notes that are not present in the original scale. We're taking notes that aren't supposed to be there. And that's the whole point is we're looking to, we're looking for a big shift in the sounds. We're looking to insert something to make it sound really edgy. Okay, we want to have a big, big thing happened here. And that's what, when you're doing an altered chord, you're making a bold statement. That's the whole point. So we are at the top row, we're looking at tablature here. So the six lines represent the six strings on your guitar. The top line is your high pitch, little strain, your little E string. The bottom line is your low pitch, that E string. And the numbers on each line are the frets. So the five is the fifth fret. And if it's on this second to top line, then it's the fifth fret on the B string. The three at the bottom. Every court here has a three at the bottom, actually on the next two bottom lines, the a string. So as the third fret on the a string, that's how all of these chords are rooted in the key of C. And obviously you can move them around. The first four core to the top of the image. Here are the basic courts. And altered has so many different connotations to it. And part of it depends on what genre music you're talking about. So a classical musician may say, Well, Dan, Not all these rules are true. Classical music. I'm talking about altered from a jazz perspective because that's my background. I don't really have too much of a background in classical music. Got a few years, but most of my background is in jazz. So this is going to be from a jazz perspective to the best of my knowledge. And so the, the way that most people would approach this, as you would say, you can have altered chords that are based on the fifth. So you have a dominant and you're going to sharp the five or flat the five. You can have an altered based on the ninth. So you're going to have a dominant, which is the one 37, always the one 37. And then you're going to sharp the nine were flat than I am. Or you can have a dominant with the, an altered with the five and the nine together. And that's what we have on the second tier here where we've got the flat five sharp, flat five, flat 9 flat five sharp knife, sharp five, flat nine, sharp five sharp nine. And what's going on with usually when you're seeing an altered chord, There's actually a lot of flexibility. Sometimes the altered note is going to be the melody note. And so you'll just want to watch out for that. As a general rule of music don't conflict with what's going on in the melody. As Playing courts, you are not supposed to go against the melody, okay? If there is a melody happening, you're supposed to honor it and respect it and support it. Okay, So don't play any notes in your cord that go against the melody. Now, if you're playing an altered chord and it's okay that it does not go against directly go against the melody, then go for it. When you see an altar court, a lot of times you're going to be able to play any variation of these that you want to. A lot of times you're going to have a lot of flexibility. That's what's cool about alter courts. In the beginning, they're very hard and they're complicated because so much to learn and a lot of different shapes. But once you get the hang of them, you'll learn that all you need to know is plain altered thing here. You'll actually see in a lot of that real books and fake books you'll see just alt will be the note, the notation. So you'll see sealed C7 Alt. And that's telling you, if you see ALT flat five sharp five flat nine, sharp nine, fly 55, nine flat five sharp by any combination of these is going to be Alt guy is, like I said, as long as it doesn't interfere with what's going on melodically. And when we're doing these, we want to be aware of the fact that there are, there are other things that can have, like a diminished seventh chord will be considered altered by a lot of people. So it's, because it's got that flat five. And so the diminished seven has a minor third. Usually an altered chord is going to be based on a dominant. Dominant as a major third. Occasionally, occasionally, we are going to see a minor third in an altered chord. Then it's usually when you're going to have an atypical uncommon minor courts. So like we said, that our leading to a coordinate extension, minor 7, flat 5. That's good, That's all normal. That all belongs in the scale. But what if we had a minor 7 sharp five? That's a typical the sharp five, we don't normally see that. So you could consider a minor 7 sharp five and also chord. And so that's an also we can see with the diminished seven that we have a couple of unusual intervals there. We've minor third, so diminished seven as a minor chord. It's got the flat five, That's the diminished fifth. But it also has a diminished seventh interval, which is an unusual interval. And so diminished seven is considered altered by many. We are also going to see intervals like sharp 11. Sharp 11 interval is at harmonically is the same as like if you had a sharp four, it's an harmonically the same as a flat five. Sharp 11 is the same as a flat five and harmonically. And we will also see a flat 13. So a flat 13 interval is the same as a flat 6, which and harmonically is the same as a sharp five. So flat 13, same as a sharp five. And we'll use these to pair with other altered notes when we're putting together our courts. So this is a crash course in ultra chords is pretty complex. And we're not even talking about soloing these yet. We just want to get comfortable playing these courts, but there's a lot of possibilities. And if you've ever opened up a real bug or a fake book or low decile jazz standards, you're going to see a lot of ultra courts. And so first glance, they look pretty weird, they look pretty intimidating and they've got big names. The fact of the matter is that if I opened up a song to any just entered and I saw a C7 sharp five sharp nine. I mean, really, I can just play the C seven sharp five, or you play the C seven flat five. You know, I can play this C seven sharp knife. I can, I can minimize it if I want to, It's my choice. I can either go for the whole thing or I can minimize it to a smaller altered court. That's part of the beauty of how these work. And so we're getting into the nuance now of jazz music where it has to do a lot with sort of your taste. You know, your creative taste or your intention. I need you to hear this note so I have to play it or I don't need you to hear this note, and I just need you to hear this part. So as a jazz creator, this is up to you to figure out what you want the court to sound like. And I think that's about it. Good job. This was pretty, pretty complicated stuff. So hope this made a little bit of sense to you. I hope you understand ultra chords better and I'll see you in the next lesson. 45. CmM7: Talking about the minor, major seventh chord. We're talking about the C minor major seventh chord in this case. And we're looking at it in three positions. Three positions just for redundancy, really, whenever you're learning anything on the guitar, it's a good idea to learn it in a few different places. So that's really what makes learning guitar hard, is that we have to learn everything in a bunch of different places. So once we do that weren't good shape. So the C minor major seventh, or just a minor major seventh chord. This is pretty confusing for a lot of people once they first encounter it. But it's pretty simple. And we're going to see this court a lot of times in a jazz contexts. You'll see it in a lot of pop music. It is a great court when there's something interesting in the melody that's going on. So what's happening is the lowercase l is telling us that we've got a minor chord and that's always true. This has to do with the chord notation. So the way that the courts are described, the lowercase m is always telling you that it's a minor chord. Okay? So the lowercase m is referring to the third degree of the court. It's never talking about the the second node or the six nodes, or the seventh note is only talking about the third note. So lowercase m always refers to the third node in a court contexts. So when you see lowercase m minor, also it's represented with a dash in some notations. So the dash means minor. So either a lowercase m or a dash means it's minor. What that means is the third, right? And the third is the only interval that can tell us if something's major or minor. We're talking about intervals now. So if you have seven notes, 1234567, and the first node is the root. So we're in the key of C. The one is the C note, and then there's a 234567. And so if you just imagine all of the notes, then the third note is going to be like a fret. Can be like a fret higher or lower if it's going to be a major third, making it a C major chord, which is going to be a minor third, making it a C minor chord. Now that we can have a minor second, That's definitely an interval, but that doesn't have anything to do with whether or not the C chord is major or minor. We can have a minor six and a minor seventh interval, but those have nothing to do with whether or not the C chord is major or minor. Only the third. So third is a major third, That's a C major chord. And if the third is a minor third, that's a C minor chord. Okay, now, the uppercase M also has its own rule. So the uppercase M only refers to the seventh degree. So when you see the uppercase, the big M, It's talking about the seventh degree as saying that it's major, a major seventh interval. Okay. As opposed to a minor seventh interval. So a minor seventh interval would be two frets back from the root or the octave. A major seventh interval would be one fret back from the root or the octave. So again, when we see the uppercase M, It's only referring to the seventh degree in accord context. Okay? We're only talking about CTE stuff here. So we've got intervals one at a time and sort of a melody context. Or we can say we have a major seconds, we have major third, we have a major six, we have a major step of, yes, we can have majors for all these different intervals. When we're talking about chords, the rules are a slightly different, okay? And that's what's usually confusing for people, is that the rules of slightly been changed. So uppercase M and a chord context is only referring to the seventh degree. And it's got nothing to do with whether or not the court itself is major or minor. That's why this chord is actually a minor chord. We said just a minute ago that the lowercase m, or the dash, is only referring to the third degree, which tells us that the courts major or minor, so it's lowercase m. That means the courts minor doesn't matter what the other intervals are, makes no difference. The core is a minor chord and it always will be. The uppercase. M is only talking about the seventh degree. So it's saying play a C minor chord and add in this major seventh degree. We just said the major seventh degree is one fret below the root. Normally, the seventh degrees, its default position is going to be, it's going to be technically a minor seventh degree, which means it's two frets back from the root. So he play like a C minor seven, or even just a C7 like a C dominant seventh chord. The first C7 you ever learned, the seven is going to be two frets back from the root note from the seed. So it's going to be a B-flat node. So that's just a regular, was considered irregular seven. So we need to qualify it by giving it the uppercase M, say a major seventh interval. So it's going to be one frame back for the root 14. It back from a, C is a B note. So we're going to play C minor chord, and we're going to have our B naught in there as our major seventh interval. Okay? I'm hoping this makes sense worth doing a couple of different theory things we're talking about how thirds are the only thing that affect major or minor. And that's true across the board. That's true with courts. It's true with all scales. That's true of the loads. That's true with all arpeggios. The third is the only interval that affects whether something is major or minor. So it could be CTO, Piaggio scales. Matter. Only the third note is going to be a major third or a minor third. And depending on which one it is going to be a major arpeggio were minor arpeggio. So major third, major arpeggio, minor third minor arpeggio, major third major scale, or major mode, major type mode, minor third, minor mode or minor scale. Major third major chord, minor, third minor chord. So it makes sense. When we're dealing with the uppercase M, It's only referring to the seventh degree. Okay. So when you see an uppercase M and a court name, that has nothing to do with whether or not the court has actually major or minor do with the third. And if you don't see a lowercase m and you don't see a dash, then the court is defaulted to major key. Now that we're looking at these C minor, minor, major seven, C minor major 73 positions. We're looking at the tablature here. So the six lines represent the six strings on our guitar. The top line is the high pitch, little E string, and the bottom line is our low pitch big fat E string. Okay, So the first position we're reading on the a string. And the, the lowest note for all of these chords is going to be our root node. So the, which is the c node. So the first position starting on the a string, 35 and 44, and above each of these nodes, I'm telling you what the interval is. So the first note of all positions is going to be the root node. The next is the perfect fifth. Then we have the four on the G string, that's a B note. Remember we said that b is one fret below the sea. So that's going to be our major 7 or uppercase 7. Which by the way, it's important that I remember to tell you that the triangle There's a triangle symbol, which also can denote a major seventh interval. So the triangle is a really cool symbol in courts. So the triangle tells us that we're dealing with a major seventh. But it also can tell us when we're dealing with extensions that we can take it all the way back down to a major seventh. So you could see something that's like triangle nine. You can see triangle 13. So the triangle is really powerful symbol that you will sometimes see used instead of the uppercase M, You could see C lowercase m, c minor, and that triangle. So C lowercase triangle means C minor, major seven. But you could see something like, you could see something like a maybe a C minor triangle 13. So that would be like a C minor major 13. And what it's telling us is that when we're dealing with extensions, extensions are all based on the seventh chord. So it's telling us that if we drop our extensions all the way back to the seventh, that the triangle's telling you this seven is going to be major. So triangle is the same exact thing basically as an uppercase, M is just Sometimes deal with future or further extensions of the court. So the 9, 11, 13, it can say when we bring it all the way back from 9, 11, 13, that we're always going to become back to a major seven. That's generally what the triangles trying to explain to us. Bulky, getting back into it, the four on the G string is a B note, so that's a major seventh interval. And then we've got our minor third on the B string, the fourth fret. And my tab editor, the minor and major are sort of similar looking there, the minor thirds is just a little bit of a smaller LL.M. Okay, so the second position now is 8 on the low E string with that's our root node of the sea. And then our perfect fifth, the P5 is the perfect fifth. That nine on the D string is our major seventh interval, which is going to be our B note again, the note on the D string, then the eight on the G string as our minor third. Okay, and lastly, our third position is rooted on the D string. So 10th fret on the D string is a C note. Next interval is a minor third. The aid on the G string, aid on the B string is a perfect fifth surgery note. And then seven on the high string is a major seventh, which is our B note. Okay? So the reason that I wanted to make this lesson was, I mean, it's kind of an interesting chord, has a cool sound. It pops up every now and then. So if you learn enough songs, you will encounter this court for sure. No question. But I want you to understand it because understanding how the court is constructed teaches you so much about music theory. It teaches you about how the intervals work, and it also teaches you how the cord naming works. This is a huge thing. So understanding the difference between intervals and coordinating the kind of work together, but they're also a little different as we just talked about. So understanding C minor major seven is a, goes along way to really help you understand. When you see a chord, you can see a CT name of according never played before, but you should be able to decipher it. When I'm playing jazz, I will come across coordinates that I've never played before, but I don't need to look up I don't need to look up the court I don't need to look up like the spelling of it or the court shape because I can decipher it. It's in the name. It tells you what to play in the name. That's what we're talking about here. So I think that about covers it. Oh, yeah, one more thing. The scale, what scale do you play over it? The harmonic minor scale. The harmonic minor scale. So the natural minor scale is, if we play the C natural minor scale, that would you like to see number 6 mode, the Aeolian mode, alien mode? If we played that scale, but then we raised our seventh degree to get that BY note. Because the C natural minor scale or the number 6 mode, that Aeolian mode has a minor seventh interval. So it's got to be flat note in it if we're in the key of C. So all we're gonna do is we're gonna play the natural minor scale. We're going to raise that seventh degree up to a B note. So it'll be one fret below our route or, or Octave every times one fret below. So don't hit the regular seventh. Don't hit the two frets to be flat. Hit the one fret below the root every time. Now when you're playing the scale, this is going to show up at least twice across the six strings. So when you find it once, Good job, make sure you find it the second time, okay? And don't hit the B flat. Always go for the B note when you're playing the C Harmonic Minor Scale. And that's what the harmonic minor scale is. And if you are going to attach it chord to the harmonic minor scale, It would be a C minor, major seven. That's kind of like saying if we were going to play just the natural minor scale or the Aeolian mode. Number 6 mode will cord, would you attach probably just a C minor chord. If you want to get a little fast, you'd say C minor seven. If we were talking about the harmless, see, if we're talking about the harmonic minor scale and you've see, what skill would you do for C harmonic minor scale, or sorry, what court would you do? You would do the C minor major seven chord over the C harmonic minor scale. So you could also just say the C minor chord though, because a C minor chord works over the C harmonic minor scale. But if you want to get a little fancier than you'd say C minor, major 7. I hope this make sense of this was not too confusing. We've covered a lot, but think about this and play these shapes and understand these intervals. And it will go a long way to your understanding of courts and the future. Good job. I will see you in the next lesson. 46. Dim7 Chords: We're talking about diminished seventh chords. So let's jump right into, how do we know we're dealing with a diminished seventh. So it's going to say dim seven. Most of the time. You're going to see like C, D, M seven, e flat, dim 78 him seven, a flat them seven whatever. So that's going to be one indicator that you're dealing with. A diminished seventh chord, dim seven. Then there are the symbols. So while there's one symbol, so we've got a circle, a full circle, it's like a full moon with the seven next to it. And I wrote that on the image here called DEM seven or shown with circle symbol, like for example, B, circle symbol 7. The circle is a full circle. And I am making a point about this because there are, there's another symbol that's a circle with a slash through it and a seven next to it. While we're talking about here, is a circle and a seventh, that's a diminished seventh chord. A circle with a slash through it is our minor seven flat five chord, which is a, it's called a half-diminished chord. So this is an area of confusion. Lots and lots of people will get confused by. These have been confused in the past. So the circle, full circle means diminished seventh or fully diminished. And the slash is a different quarter K. The slash through it is a minor seven flat five chord is actually one of our scale courts. That is, Semmelweis, what we're talking about, what are these diminished seventh chords? So a diminished seventh chord is, it's made up of a minor third. So a minor third is telling us it's a minor chord, but it's more than minor. It's like extra, extra, extra minor. So it does have a minor third. So one minor third, dense, not a flat five. And the flat five as part of the diminished. If we were just going to have a diminished chord, like straight up diminished. Because what we're talking about here is a diminished seventh. If we got rid of the seven that we just went even more basic diminished chord. So for example, like play me a diminished chord. You're going to have a root, a minor third, and a flat five. Okay? So that would be like having a minor chord, but then you just flood the five, and then your, your minor chord, C minor would turn it to a C diminished. Okay? So it's like a minor chord and flood event. Now you're dealing with a diminished chord. It's actually very rare to see straight up diminished chord. You don't see them that often. Usually you will see either a diminished seventh or you'll see the half-diminished all the time. Minor seven flat five chords. To go from a fully diminished the one minor third flat five. And to go to the diminished seventh, we have to add in this diminished seventh interval, okay? So we know that we've got, usually we're dealing with two different kinds of sevenths. We have either major seventh, which is one fret below the root, where we have a minor seventh interval, which is two frets below the root. A diminished seventh interval is three frets below the root. So this is a third kind of seventh interval. Now at harmonically, it has the exact same note as a major six or so. Like for example, if we're in the key of C, C, Then R6 is going to be the a note, right? So the major six would be in a note. So that means that our diminished seventh interval's going to be in a note. Think about it like this though. If we're in the key of C, K one fret below C is a, b. So that's our major seventh. One fret below that to be flat. That's our minor seventh. One fret below the B flat is an a. So that is going to be our diminished seventh. Okay? And so that is essentially what's going on with the diminished seventh interval. But it's, like I said in the image, it is a double flat, so you might not be referring to it as an a. You might be referring to it as a B double flat. Okay, moving on. So that's what they aren't, how they're made. And we've talked about how to recognize them that dim seven or the full circle with the seven next to it. At the top of the image, I'm giving you three different shapes. Now. What these images ours tablature. So were the six lines represent the six strings on your guitar. That top line is your high pitch E string, and your bottom line is the low pitch fat E string. The numbers on each line represent the frets on each string. So in the top image, I'm giving you three different positions of a C diminished seven coordinate. So I've got one rooted on the low pitch E string, so the eight, so that's our c root note for this diminished seventh chord. The second position is the on the a string. So the third fret, That's our c Note, RCA root note. And the third position is on the D string. The 10th friend is our C root note. So these are three different shapes to create a diminished seventh chord. All right, Moving into the middle of the image, it says December can move three frets or three semitones in any direction indefinitely and always contain the exact same notes. As in these chords. The E-flat dim seven, F-sharp DEM 7 and 8 times 7 times 7 are the same chord with different inversions. What does that mean? And also it says, these are the only listed four of them, but there's five in the image. Okay, so there are four different inversions of a diminished chord, and they are all the exact same shape. And there are three frets apart. They all have the exact same notes, but the notes are just mixed up in different orders, but they all have the exact same notes. As long as we keep on moving the shape three frets. And you can be with three friends higher or 3 first lower. And then from that position you can go three friends lower again. And then from that position you can go three fronts lower again. And then from that position go three friends lower again or higher. Obviously. If you took any of these positions, in this case, I started with the E-flat. So 12, 12, starting on the D string, the one on the D string first fret is an E-flat note, because the lowest note for all of these positions is our root note. So if I go three frets higher from the first fret than that postmen the fourth fret. So that means that the F sharp diminished seventh chord is the exact same chord as an E-flat diminished seventh. If I had to play an E-flat diminished seventh, I could actually play it on F sharp. I could do an F sharp diminished symptoms done. Or I could play an, a diminished seventh chord. If I did play an F sharp diminished seventh, that could play a diminished seventh or an E-flat diminished sounds. They're all the same. Courts. They just, the notes are in different orders, this different root node, but all the notes are in there. And if I had to plan a diminished seventh, I could also play a C or an attribute, or a seventh or an E flagellin South, they all have the exact same notes. If you go through and analyze all of these for the first four shapes here, E flat DEM seven, F-sharp. Tim Salmon, a dim seven and C dim seven that eat him C-flat him seven at the ends that 13141314 is just, we thought around the world. We've gone we kept on going up three frets until we hit that E-flat him seven again. And that just keeps on going three frets indefinitely, forever and ever. And if you analyze each of the nodes, so each of these courts is going to have the exact same notes. The E-flat, F sharp, a, C notes. So each of these courts has only these notes. Pretty neat. And this is actually a trick that you will hear. It's a, it's a super easy trick to do that is you've heard it a bunch of times where whenever somebody is asked to play diminished seventh chord, they may just play the inversions of it just to kinda hang around up or down the fretboard. So it is a symmetric court, which is why we have the ability to do this in, gets hard. There are only a few things that are truly symmetrical, as the diminished seventh chord is one of those things. So it just makes playing them all over the place really easy once you get the hang of how to move them around. Now. What are they used for? How do we, how do we do stuff with a diminished seventh chord? Most of the time, these are used as blogging or passing courts. What that means is that if you, if you are going, you have a chord progression and Before you get to your next chord in the regular core progression. So like if you're playing in the key of C major, Eve a C chord, and then your next skill chords, the D minor, right? So you have C coordinate, D minor chord. You play your C chord before you get to your next quarter, D-minor, one fret before you get to it, you play a diminished seventh chord. So it'd be like a C sharp diminished seventh. So if you're supposed to play C chord and then a D minor chord, you go C chord, play it. And then before you do your next chord, one frame before it, you play your diminish South selling a C sharp diminished seventh. C sharp is one fret before and D. So you go C sharp, diminished seventh. And then you play your D minor chord. And you have to do this rhythmically also, like so you're going 11 fret before we get to our destination port. But you also have to do it like a, you know, at least a beat, maybe an eighth note of bead, maybe two beats before we get to the beat of the destination cord or the destination beat. So it's kind of like you want to leave the original chord progression exactly alone and just insert into it the diminished seventh chords as walking or passing chords. So in the example here, I'm saying, I've given you two ways to use them. You take any chord progression. And this is a lot of fun because you really could do this with almost any chord progression. Tried to do something that's simple to get started like maybe one chord per measure to give you about four BCE to play with. Some chord progression work the courts don't change too quickly. Like at least four beats for each chord. And then like maybe on beat 4, before you get to the next chord, throw in that diminished seventh chord one fret below the destination port. So for example, if your next chord is a C chord, that you'll play a, B diminished seventh, a beat or two beats before we get to the C chord. So it makes sense. And in examples 1 and 2 here, and the image at the bottom, I'm showing you like the first two measures are what we're going to call our regular progression, like an A7 chord. And then it goes to a D minor seven chord. So then the next two measures are going to be how we insert into it. So we have a semicolon. Then, before we get to our D minor 7, we're going to throw him that C sharp diminished seventh chord. And that makes sense. Example two, same original progression, A7 to D minor seven. And this time what we're doing is we're going to throw in in E diminished seventh. Because I said that we can also, before our destination chord, we can do two frets above. And the reason we can do it from two friends above the diminished seventh chord from two friends above is because two friends above is the same as one fret below is three frets of distance. Semi sense. If our destination chord is that D minor 7, like in the examples, the D minor seven is our destination. So forget them are savages. D. So one fret below a, D is a C-sharp. So what's three friends above? C-sharp is an e. So we can do C sharp diminished seventh to go to the D minor 7. Or we can do an E diminished seventh right before we go to the destination court versus our D minor seventh. And we can also, of course, play a G diminished seventh. And we can also play a B flat diminished seventh. And then F and B flat work background the world to the C sharp diminished seventh. So all of those are going to be options for you, for your destination court. But the two that seemed to be really easy to visually see as one fret below it, or to friends above it. And then go right to your destination corner. There's a really cool thing you can do right away to start spicing up a lot of your core progressions. And this is actually something that you see in a lot of more, I would guess it would called Smart music. Stuff where the harmonies really moving around a lot. Stuff like James Taylor, Willie Nelson, and a lot of the, even more of the modern guitar players will use diminish course just to fill in the blank spaces. So this is a player's preference kind of decision. Do you want to fill in the spaces or do you want to leave them blank? Tasteful thing to do is to leave the space blank. Leave the, leave the rest there. But if you're feeling energetic and you want to show that music, then you want to fill in the space, fill in the rest. And an easy way to do that is with a diminished seventh chord. Okay? Anyway, I think that about covers it. There is more to it than what we talked about here. There's a lot of stuff that we could do with diminished seventh. And they're not always used as walking or passing chords, but they are not stable. There are songs that will have a diminished seventh chord as a change. I've seen that for sure. Not often though. Low, where the change will be a diminished seventh chord for maybe a whole measure by itself. They're just not very stable. But anyway, does you're going to start to see them when you see them away to be completely confident. And if it says, if the music is telling you play a C diminished seventh chord right now, I want you to know that you can play that C diminished seventh, or a diminished seventh, or F sharp diminished seventh or E-flat diminished seventh. That because they're all C diminished seventh. So any of those movements of three Fred's up and down, those are all seat, diminished seventh. Those are all see dim sevens. Okay. So just, you don't have to route it on the root node of what it's telling you to do for the dim seven. So it makes sense. And also this is just chords we have not even touched on scale stuff, but there is diminished scales that accompany this and diminished arpeggios. So this is a pretty deep subject and a rabbit hole you can really get lost in. But if we want to keep it simple, that's what we're talking about here. Seventh chords. So go work on these. Good job. Thanks for staying with me all the way at the anterior. And I will see you in the next lesson. 47. Straight 8th vs Swinging 8ths: We're talking about straight eighths versus swinging eighths. We're talking about eighth notes, of course, straight eighth notes or swinging eighth notes, eighth notes with a swing feel. So we are looking at the, a lot of what we're looking at here is the rhythmic sulfate edge, okay, so the rhythmic slow fashion is basically how we will say it, how we will talk to each other as musicians about how to play these beats. The swinging. The reason for this lesson is because a lot of students have an issue with this concept of swinging the eighth. And some musicians think that it's just more of a feeling that we can't really, it's not something you can quantify and that's not true at all. That granite, it is a feeling and it becomes automated, and it should not be robotic. However, we have to start approaching it a little bit mechanically, little bit robotically in order to get to where the feeling is. Before I was a guitarist, I was a drummer, so I was steeped and drums and rhythm. And that's why this is near and dear to my heart, is the nuance of the difference between straight eighth notes and swinging eighth notes. There is also why this is important is because if you ever had an interest in playing jazz, you need to be able to swing, OK, if you ever had an interest in playing blues and I mean traditional blues, then you need to build a swing. Because blues swings and jazz swings, you don't play straight eighth notes. Sometimes you do. That's not a hard rule, but for the most part, you swing the beat. Now guys. So let's start at the top. Straight eighth notes. These are just 1234, and so we would play it like 12341234. Completely even there is absolutely no pause in between. It's like a ticking clock. Everything is completely even. 123 1234. And I'm just tapping on my leg. You should be doing this also. Okay. And so the 1234 is our quarter note beat, and then that ands in-between are the eighth notes. And we're just doing regular if nodes here. Now let's look at the swing eighth notes. Okay? If I, if you ever see a bracket above, and the bracket is got a three or a six, or nine, or 12 or 15. That's telling you that you're dealing with a tablet and it's in a three time. Okay. So when you're dealing with tuplets, it's telling you were breaking up the beat in an unusual way. So that's what a tuplet is. We're breaking up a beat in an unusual way. And it doesn't have to be like a really unusual, doesn't have to be super left field. Triplets are totally normal, they're very mainstream. Ok, So you see triplets all the time in music. 36 are the two most common tuplets that we see in music. So we're breaking one quarter note into three pieces. That's what we're looking at here. Now of course we do in our image, we have the rest in between. If we didn't have the rest that we would just have 3 eighth notes that are tied together. And then we have the bracket above it with the three. The bracket above it with the three is important and you will always see it that across every different music notation. You always see the brackets. And it'll tell you what kind of a tuplet it is. That's just how music is written. Okay? And so if we had that no arrests, we would count it. We're gonna talk about a few different rhythmic soft edges here. So the first one, that's like really easy is just counting everything is 1, 2, 3. So you'd be like 123123123123123123123, 3123. And what we do to get a little bit of that meter going is we're gonna kinda accent on the beats. 123123123123. I'm hitting the one a little bit harder. Okay. I'm accenting accenting the ones 123123123123. A way more complicated way of doing that, but a way that is more specific is to do the first number is going to tell you which Peter on. So you're like 123223323423. That's a little weird, right? 123123123123. That's easy. Now, we can call them one trip. This is actually the way, one of the ways that I learned when I was a kid was one trip plant that's breaking up the three pieces of the triplet. Triplet. Triplet, triplet, or triplets. So all we're doing is we're just play that evenly. One triplet, triplet, triplet, triplet, triplet, triplet, three triplet forward triplet 1. The other rhythmic sulfate for how we can do this, the one to top. Okay, I have seen this before. It's fine. It works. One to 22, 23 tit for tat tau, one tip to tip top three-tenths off for tip top. Now here's the truth is that all of these are fine. Personally, I like one triplet, triplet, triplet, triplet because it tells us which were on. And it also reminds us that we're playing triplets. 123123123123. That's part of the easiest one though. Okay? Now, so we, we understand triplets if we're playing straight eighths, okay? And we're like 123 and For ads here, how I'm accessing beats every one beat. 234123. Now if I go on to triplet, triplet, triplet, triplet, triplet, triplet, triplet, triplet, triplet, 1 and 3. Here how the quarter notes don't change at all. They're exactly consistent. When I go between one, I'm going between straight eighths and the triplets, eighth notes, eighth note triplets. The quarter notes are exactly the same. Okay. It's just in my brain into two pieces or three pieces. I'll go one more time. I'm gonna go one measure of eighth string and then one measure of straight triplets and split the tree for triplet. That make sense. Okay, Now how to achieve the swing feel? All we have to do is we take our eighth note triplets. We're going to rest on the middle beat, which is the trend, okay, if we're going to do triplet, three triplet. For triplet, we're going to rest on the trip, the middle one. So just don't hit it. One trick to trick, but 34 trip, but one triplet, triplet, triplet, triplet. That said, if you're doing the 12 dot-dot-dot three tough words, Italian restaurant every 10 K. So a one to two to three to four to one. If you're doing the 123123123123, then we arrest and every 2 1 2 J 123123123123123123123. If I stop talking and I'll just play it, I'll play a little bit more about speed. You can hear the blues coming out of it. You can hear the jazzy here, the swing coming out of it. That's what we want. Okay? That is a swing field as are swinging eighth notes. And this is what you would be doing with your courts. And by the way, you'd be doing this. We just solo to anything soloing scales, modes, arpeggios when you're soloing or if the blues or jazz, if you are courting swinging eighth chords, then you should also be soloing with the swing fill, okay, So this is something you want to practice with your solo, also with your courting. Instead of just going bom, bom, bom, bom, bom, bom, bom, bom. With your straight eighth notes, you should be going bump. Bom, bom, bom, bom, bom, bom, bom, bom, bom. Or if you're soloing, you should be going didn't do too bad at all. The little bitty soloing with a swing feel. That's it. That's the end of this lesson. So this is a huge, huge piece of understanding music theory because really a lot of playing the guitar is really understanding where them, even though we spent so much of our time on the techniques and the nodes of the fretboard and all the modes and ways to do exotic scales, ways to keep play the G chord and 20 different places. And we spent a lot of energy on that stuff, but really our ability to control and dominate the rhythm. That's the most important part of a plane. To really be on top of the music, we have to be on top of the rhythm. That's the real answer. So go work on this and actually spend the rest of your life working on this because all you can do is just sharpen your skills and just keep getting a little better, a little more precise every time you play this, go work on this. And I will see you in the next lesson. 48. Backing Track - C 116 bpm: Okay. Okay. Okay. Hi. Hello. Okay. Okay. 49. Backing Track - Cm 72 bpm: Hi. Okay. Hello. Okay. 51. Backing Track - C 100 bpm: Hi. Hi. Hi. 52. Backing Track - Bb 140 bpm: Okay. Hi. Hi. Hey. Hi. Hi. Hi. Okay. Hi.