Wow this is the first channel that allows me to deeply understand how jazz works and how to use scales musically, this is fire 🔥🔥! It would be very interesting to see what scales you would use in soulful jazz songs like sunny or is'nt she lovely , the grids are very interesting
I'm a simple man: I see great insight on the importance of beats for soloing over chords and on the true nature of the bebop scale _in under the minutes_, I subscribe. Great stuff!
Thank you! It is what I love to teach 🤘 I do not have a Patreon. I'm not against donations, but I'd rather have the feedback of creating lots of free PDFs and then paid products that are valuable to my audience. Soon I'll have my guitar community up and running, so that may be the closest thing I do to Patreon.
Excellent lesson. Newly subbed. Can you also let me know what guitar you’re using it’s absolutely beautiful and looks like it would be very comfortable to play.
Interesting stuff. The only thing I question here is avoiding the 4th scale degree on a downbeat. There are so many examples of the 4th being used on a downbeat in jazz. Dozens of Grant Green solos utilize the 4th on a downbeat in gospel tunes and blues recordings. But I certainly understand the effectives of starting a scale on an offbeat as well as using chromaticism to place the 4th on an offbeat.
Using the 4th scale degree on a downbeat effectively will come down to the context of what’s played before and after. If it’s a bluesy pentatonic lick for example, then the 4th will work great.
I’m working on it! Probably will be a few more weeks until I have it done because I want to make sure it’s thorough with all bebop scales, all keys, positions, fingerings, picking, and connecting it to my previous Master Arpeggios book.
I am definitely more of a jazz newbie than I thought, considering I didn’t know that some notes (in relation to the chord being played) weren’t preferable on certain beats, are there any videos or books relating to the theory of this?
Just bought the arpeggio book and have a few questions: -1st line Cmaj7 -2nd line Em7 is relative min -3rd line-Am7( how is this related)- to Cmaj ? -4th line ( master line)- what is the meaning of this ? Does it combine major and minor? - I didn’t cross out the text- RUclips crossed the text out
The Cmaj7, E-7, and A-7, all can be thought of as a tonic sound and the arpeggios for E-7 and A-7 can be thought of as Cmaj9 and C6 arpeggios, respectively. At the end of each key you’ll also see the dominant 7 arpeggios for that key. The Master line is meant to connect the shape of the line to the chord in that same position. The whole purpose of the master line is it should help you visualize the harmony in that position better. I provide an ascending and descending Master line for each of the 5 positions, but it’s more helpful to come up with your own master line for each position that connects to how you see the chords/arpeggios.
Sorry, I am not a fan of negative comments, but feel it necessary here. From my point of view this lesson was more of a promotion for the bebop scale. Albeit the concept of chord tones on downbeats is interesting. I am a self-admitted three chord frammer. So, what do I know.
@@ChaseMaddox I'm just trying to give back some helpful information after all the great information you have given me and the rest of the guitar community.
@@paullennon8586 No sorry, misunderstandment. ;-) I am not a native speaker. English is only my second language sorry for that. Hm ... I dont use a major scales. I always use pentatonic scales just the one that would fit that major key. if I would need G Major I will use E minor pentatonic plus those two notes to make it seven. Its the same notes than the major scale (I believe so at least) but my brain has only to remember one scale and its the position that changes This is because it makes it easier for me. Does that make sense? I am by no means an expert.
That makes sense to me! I tend to visualize the scales based around those pentatonic shapes as well 👍 I think you’ll enjoy this week’s lesson which will cover a lot more on using different pentatonics.
@@paullennon8586 I case of the e minor pentatonic they would be C and F#, wouldnt they? That would "major" the scale to a G major. If it sounds good depends mostly on the song the chords and the movement of the harmonies.
In a sense it is. Most analysis of what’s happening in a solo is applying analysis after the fact in ways that possibly are not how the soloist was thinking of it. I still think having some general guidelines is helpful for people just starting to understand this music instead of just saying “learn more vocab”.
@@ChaseMaddox I'm new to your channel so I will see what you have for beginners. Like I said I was listening to a demonstration that most musicians of a certain level find helpful. I spend a couple hours a day rowing since I suffer from a FURS syndrome. So some videos are too advanced but I try to understand anyway. I have made a video on exercises and self-treatments for the pianist since I developed many techniques for the shoulder and hands and wrists. This could be useful for all musicians. My daughter is editing it so it should be ready in August.
If you're practicing to play jazz, why not swing your scales? Practicing straight fours is a bad habit developed by classical and rock musicians that is tough to break when learning to swing. Yes, start scales on odd beats, and odd notes of the major scales. 👍🏻
Because…? For example, you could make the argument that there are plenty of times when non-chord tones are played on downbeats for deliberate tension or times when chord tones fall on upbeats from anticipating or delaying resolution.
Lol no I don’t know if we do because you didn’t explain your reasoning. I think the basic essence is chord tones on downbeats to sound like you’re hitting the changes and then there is lots of variation in NOT doing that to create tension. Fundamental is still chord tones on downbeats as level 1.
One word: Barry Harris. He calls this the half step rules, but his teachings go so much further so be warned: once you dive in, you'll be in a rabit hole! Thank (or hate) me later!
Wow this is the first channel that allows me to deeply understand how jazz works and how to use scales musically, this is fire 🔥🔥!
It would be very interesting to see what scales you would use in soulful jazz songs like sunny or is'nt she lovely , the grids are very interesting
Thank you! Glad you're digging the lessons 🤘
I'm a simple man: I see great insight on the importance of beats for soloing over chords and on the true nature of the bebop scale _in under the minutes_, I subscribe.
Great stuff!
I appreciate the comment! If you ever have any suggestions for topics you’d like me to cover, let me know 🤘
Wow! Mind blown! I knew about the bebop scale but not this application. Amazing! Thank you!
Thanks Jonathan! Stick around because I’ll be going much deeper into this concept in the coming weeks 🤘
Your content is SO clear and well presented. No bells or whistles just helping us unlock the keys to solid musicianship.
I appreciate you saying that, Bill! That is exactly what I'm trying to achieve with these lessons 🙏
and soft spoken. which is a must for a good teacher.
You have achieved what you set out to do. Thank you for making the guitar playing world a better place. I assume you have a Patreon page?
Thank you! It is what I love to teach 🤘 I do not have a Patreon. I'm not against donations, but I'd rather have the feedback of creating lots of free PDFs and then paid products that are valuable to my audience. Soon I'll have my guitar community up and running, so that may be the closest thing I do to Patreon.
Solid content dude. Concise info and easy to understand. Awesome job. Subbed.
Thanks Christopher! Appreciate the feedback 🤘
ah, these're some nice variations I haven't thought of. Cool exercise!
COOL😎
Great beginners bebop lesson, using the chromatic scale, and ascending minor arpeggio👍👍
Good stuff
Thank you Anthony! 🙏
Your arpeggios book kicks butt ♡
Glad you’re digging it! 🤘
Just awesome content Chase 🎸🙏 you are doing a wonderful job with these videos. Best to you brother!
Thank you! Appreciate it🤘🤘
Excellent lesson. Newly subbed. Can you also let me know what guitar you’re using it’s absolutely beautiful and looks like it would be very comfortable to play.
Thanks Jesse! 🤘 It’s an Ibanez AG 85, definitely comfortable to play as it’s more in the 3/4 hollow body range.
Thank you very much for sharing your knowledge. Your teaching skills are top notch!
You're very welcome! Thanks for the support 🤘
A great information/ application video, especially picking strokes works brilliant Chase
Thank you, David! 🤘
Interesting stuff. The only thing I question here is avoiding the 4th scale degree on a downbeat. There are so many examples of the 4th being used on a downbeat in jazz. Dozens of Grant Green solos utilize the 4th on a downbeat in gospel tunes and blues recordings. But I certainly understand the effectives of starting a scale on an offbeat as well as using chromaticism to place the 4th on an offbeat.
Using the 4th scale degree on a downbeat effectively will come down to the context of what’s played before and after. If it’s a bluesy pentatonic lick for example, then the 4th will work great.
Very insightful lesson!
Thanks bro!
Your channel is about to grow allot....
I appreciate the support! 🤘
Another fantastic video!
Thank you! Cheers! 🤘
Do you have pdfs for all bebop scales starting on different chord tones? Other than dominant? Thanks ! This is a great video
I’m working on it! Probably will be a few more weeks until I have it done because I want to make sure it’s thorough with all bebop scales, all keys, positions, fingerings, picking, and connecting it to my previous Master Arpeggios book.
Thanks for being so prompt and available chase
Awesome lesson Chase! ✌🏼🎶🎵
Thanks Nick! 🤘
Great lesson. Thank you.
Thanks Patrick! 🤘
I am definitely more of a jazz newbie than I thought, considering I didn’t know that some notes (in relation to the chord being played) weren’t preferable on certain beats, are there any videos or books relating to the theory of this?
Check out Barry Harris’ teachings 🤘
Great lesson. 👍
Thanks John! 🙏
Big like, thanks
Thank you 🙏
Does your "Master ii-V-I Lines" eBook adhere to the "notes-per-string" methodology (for fast and fluid playing) described in this video ?
Yes it does! As do my Master Arpeggios book and latest Master Dominant Bebop Patterns and Scales book 🤘
Just bought the arpeggio book and have a few questions:
-1st line Cmaj7
-2nd line Em7 is relative min
-3rd line-Am7( how is this related)- to Cmaj ?
-4th line ( master line)- what is the meaning of this ? Does it combine major and minor?
- I didn’t cross out the text- RUclips crossed the text out
Am7 is relative minor
The Cmaj7, E-7, and A-7, all can be thought of as a tonic sound and the arpeggios for E-7 and A-7 can be thought of as Cmaj9 and C6 arpeggios, respectively. At the end of each key you’ll also see the dominant 7 arpeggios for that key. The Master line is meant to connect the shape of the line to the chord in that same position. The whole purpose of the master line is it should help you visualize the harmony in that position better. I provide an ascending and descending Master line for each of the 5 positions, but it’s more helpful to come up with your own master line for each position that connects to how you see the chords/arpeggios.
Sorry, I am not a fan of negative comments, but feel it necessary here. From my point of view this lesson was more of a promotion for the bebop scale. Albeit the concept of chord tones on downbeats is interesting.
I am a self-admitted three chord frammer. So, what do I know.
Your comment doesn’t seem negative to me, just maybe not relevant to your musical context.
1:12 you are using "per se" to mean something like: "so to speak" which is a common misuse of the phrase. "per se" means: "in and of itself."
Damn dude, I’m sorry you have so little going on in your life that correcting someone’s spoken grammar on RUclips seems like a worthwhile activity.
@@ChaseMaddox I'm just trying to give back some helpful information after all the great information you have given me and the rest of the guitar community.
I use only pentatonics. If I need major scale I use the parallel minor pentatonic with that two added notes you need to make a 7 note scale.
So you would play g major pentatonic and g minor combined ?
@@paullennon8586 No sorry, misunderstandment. ;-)
I am not a native speaker. English is only my second language sorry for that.
Hm ... I dont use a major scales. I always use pentatonic scales just the one that would fit that major key.
if I would need G Major I will use E minor pentatonic plus those two notes to make it seven. Its the same notes than the major scale (I believe so at least) but my brain has only to remember one scale and its the position that changes This is because it makes it easier for me.
Does that make sense?
I am by no means an expert.
That makes sense to me! I tend to visualize the scales based around those pentatonic shapes as well 👍 I think you’ll enjoy this week’s lesson which will cover a lot more on using different pentatonics.
@@countblue wich two notes?
@@paullennon8586 I case of the e minor pentatonic they would be C and F#, wouldnt they? That would "major" the scale to a G major.
If it sounds good depends mostly on the song the chords and the movement of the harmonies.
Love it... but out of my depth. Maybe one day!
You can do it! What topic would be helpful to you?
I can’t help but thinking this way of analyzing it is the tail wagging the dog.
In a sense it is. Most analysis of what’s happening in a solo is applying analysis after the fact in ways that possibly are not how the soloist was thinking of it. I still think having some general guidelines is helpful for people just starting to understand this music instead of just saying “learn more vocab”.
Merci, piano Noobie but this taught me something. TBH most of it was out of my pay grade.
I’m glad it did! What would be a topic that helps you out?
@@ChaseMaddox I'm new to your channel so I will see what you have for beginners. Like I said I was listening to a demonstration that most musicians of a certain level find helpful.
I spend a couple hours a day rowing since I suffer from a FURS syndrome. So some videos are too advanced but I try to understand anyway. I have made a video on exercises and self-treatments for the pianist since I developed many techniques for the shoulder and hands and wrists. This could be useful for all musicians. My daughter is editing it so it should be ready in August.
Is that an af 85?
I think it’s an Ibanez AG 85
Crucial
Yes! 🤘
Cool
🤘🤘
Throw that flat 6th in there!
🤘🤘
If you're practicing to play jazz, why not swing your scales? Practicing straight fours is a bad habit developed by classical and rock musicians that is tough to break when learning to swing. Yes, start scales on odd beats, and odd notes of the major scales. 👍🏻
Don't practice scales to learn to swing, practice vocabulary that swings 🤘
How does the arpeggio connect harmonically?
What do you mean by harmonically? Can you be more specific?
I think the premise of chord tones on strong beats is the exact opposite of jazz
Because…? For example, you could make the argument that there are plenty of times when non-chord tones are played on downbeats for deliberate tension or times when chord tones fall on upbeats from anticipating or delaying resolution.
@@ChaseMaddox sounds like we agree??
Lol no I don’t know if we do because you didn’t explain your reasoning. I think the basic essence is chord tones on downbeats to sound like you’re hitting the changes and then there is lots of variation in NOT doing that to create tension. Fundamental is still chord tones on downbeats as level 1.
@@ChaseMaddox so displacement = advanced vs non-displacement = begining / fundamentals
Too many ads, bailed before video started.
And yet, you found the time to comment 😂
Too much thinking about stuff that doesn't matter
What would you think about? What would matter?
excellent use of click bait for guitarists
How is it an excellent use of clickbait? The title or thumbnail?
Bebop chromaticism goes brrrrrrrrrr
Haha yes indeed 😁
.
?
One word: Barry Harris. He calls this the half step rules, but his teachings go so much further so be warned: once you dive in, you'll be in a rabit hole! Thank (or hate) me later!
I’m familiar! Haven’t gotten in deep yet, but I’m sure I will soon 🤘
@@ChaseMaddox Be prepared to be amazed ;-)
A lot of talk about nonsense
Wow! What a useful comment! 🫶