You are one cool cat !!! More of this play ''the changes'' series , please Please do some on how to play over classic jazz standards as well , not just blues ! Thanks !
Aw, thanks! Yes, I've thought about expanding it into some other situations besides the blues form. I've gotten into that a little bit in a few of the fingerstyle lessons here, but I'll think about that for sure. Thanks for watching!
For me it would be easier to recognize all of this if you were in A instead of Bb. Plenty of us knucklehead guitar players are more accustomed to guitar friendly keys, and fighting the transposition is just a hassle that isn’t necessary in trying to apply your worthy instruction to our playing.
Hey Don - thanks for the feedback! I appreciate your taking the time to check out the lesson. Agreed, it's easier at first to see some of these elaborations as applied to a more familiar, guitar-friendly key. That said, these licks and moves are coming primarily out of the more horn-oriented worlds of swing, jump blues and bebop, where keys like Bb and F are the norm. So getting up close and personal with how they work in Bb is one incremental step closer to operating in that world. Which means, if you find yourself listening to that kind of music yourself to see what makes it tick, or even hanging around with musicians who play in those styles, you'll already have slugged it out with the transpositions ahead of time, and will be able to absorb those new sounds and situations more quickly because of it.
I understand and appreciate your efforts to teach us in the more traditional keys. But if it is a needless obstacle to learning all this great stuff, it is counter productive. If a player gains the chops well enough to comfortably use your lessons in A, it’s easy enough to move up a half step to play that jam session with the horn orientated old school group. Here in Topeka Kansas it is far more likely for somebody to shout out “Blues in A”, and then you can dazzle everybody with the cool diminished based licks in the key that everybody is actually used to playing in. I’m not trying to argue your valid point, just hoping your deep understanding is transferred and used by as many players as possible.
@@jhwk1970 Thanks for the considered reply and explanation, and I appreciate your desire for these ideas to be as accessible as possible. I do get that if you're operating in blues and blues-rock circles where blues in A is the common cause, then of course, you'll want to see all of this from the point of view of embellishing your A blues vocabulary. And that's totally cool. My take is more about creating a bridge from blues through jump blues and swing into hard bop and soul jazz, so presenting the licks in Bb has the same kind of logic and purpose as an immersion language class where you do everything in the new language from the get-go. It really comes down to the result you're looking for, whether that's to bring jazzier sounds into a blues context, or to make a more wholesale foray into jump blues, swing and jazz for their own sake. I think both are totally valid pursuits, but since my own interests lie more towards the latter, that's how I tend to present things.
@@jhwk1970 what is your problem!? - you want it made "easy" ? just for you? -you want to "dazzle" your small circle of Topekans or learn music? Stop insulting a talented teacher with your "needless obstacles" and "counter productive " bullshit. This man is teaching thousands of people for free--- YOU should pay for your own teacher if you want someone to talk at YOUR level.
Calling the third of a diminished 7th chord the "flat third" is incorrect and confusing. It's simply the third. Same with the other chord tones. A diminished seventh chord contains a third, a fifth, and a seventh. That's it.
Thanks for the taking the time to watch and comment! I like to know what each note I'm playing (or thinking about) is relative to the root of the chord I'm currently on, so if that G, Bb and Db are in fact a b3, dim5 or dim7 up from the root of the E diminished chord of the moment, that seems relevant and helpful. Are you saying it's redundant to call them out by the quality of the interval because, if they're in a diminished chord, the quality of the interval is implied?
Wondering why, with these excellent lessons. That the majority of instructors, when they go to say the next example. They tend to smack their lips, it pops quite a bit. Distracting from lesson a lot. Out side of that again, excellent lessons. Sure not trying to criticize, just a little constructive request Thanks All.
Yeah, I know, it's a drag, we all gotta do these things like breathe and swallow too, and the lavalier mic leaves nowhere to hide :-). Glad you like the lessons though, thanks for taking the time to leave a comment!
Hey, just discovered your channel and your web page with the PDF's .... just brilliant teaching and for free? wow...thanks so much!
You are one cool cat !!!
More of this play ''the changes'' series , please
Please do some on how to play over classic jazz standards as well , not just blues !
Thanks !
Aw, thanks! Yes, I've thought about expanding it into some other situations besides the blues form. I've gotten into that a little bit in a few of the fingerstyle lessons here, but I'll think about that for sure. Thanks for watching!
Sounds really great, reminds me of stuff Josh Smith likes to throw into his blues, always look forward to these lessons David, cheers mate 👍
Thank you!
Always a treat. Sound like C.C. straight out the box !
Haha! Hi David. Love me some C.C., that's for sure.
@@FretboardConfidential I need to listen to C.C. more, will try and make time.
Still a kool instructor with valuable and ready to use ideas....even when he lacks a bit o sleep.....lol.
Thank you D.H.
Great lesson ! Thx for it 👍👏
Just what I was looking for; thanks! Do you cover playing augmented sounds over blues changes too?
At around 2:20-25, i think you mean diminished 5th, and flat or minor 7th. But, of course, any of those notes could be the root ...
On second thought, i think you got it right.
For me it would be easier to recognize all of this if you were in A instead of Bb. Plenty of us knucklehead guitar players are more accustomed to guitar friendly keys, and fighting the transposition is just a hassle that isn’t necessary in trying to apply your worthy instruction to our playing.
Hey Don - thanks for the feedback! I appreciate your taking the time to check out the lesson. Agreed, it's easier at first to see some of these elaborations as applied to a more familiar, guitar-friendly key. That said, these licks and moves are coming primarily out of the more horn-oriented worlds of swing, jump blues and bebop, where keys like Bb and F are the norm. So getting up close and personal with how they work in Bb is one incremental step closer to operating in that world. Which means, if you find yourself listening to that kind of music yourself to see what makes it tick, or even hanging around with musicians who play in those styles, you'll already have slugged it out with the transpositions ahead of time, and will be able to absorb those new sounds and situations more quickly because of it.
I understand and appreciate your efforts to teach us in the more traditional keys. But if it is a needless obstacle to learning all this great stuff, it is counter productive. If a player gains the chops well enough to comfortably use your lessons in A, it’s easy enough to move up a half step to play that jam session with the horn orientated old school group. Here in Topeka Kansas it is far more likely for somebody to shout out “Blues in A”, and then you can dazzle everybody with the cool diminished based licks in the key that everybody is actually used to playing in. I’m not trying to argue your valid point, just hoping your deep understanding is transferred and used by as many players as possible.
@@jhwk1970 Thanks for the considered reply and explanation, and I appreciate your desire for these ideas to be as accessible as possible. I do get that if you're operating in blues and blues-rock circles where blues in A is the common cause, then of course, you'll want to see all of this from the point of view of embellishing your A blues vocabulary. And that's totally cool. My take is more about creating a bridge from blues through jump blues and swing into hard bop and soul jazz, so presenting the licks in Bb has the same kind of logic and purpose as an immersion language class where you do everything in the new language from the get-go. It really comes down to the result you're looking for, whether that's to bring jazzier sounds into a blues context, or to make a more wholesale foray into jump blues, swing and jazz for their own sake. I think both are totally valid pursuits, but since my own interests lie more towards the latter, that's how I tend to present things.
@@jhwk1970 what is your problem!?
- you want it made "easy" ? just for you?
-you want to "dazzle" your small circle of Topekans or learn music?
Stop insulting a talented teacher with your "needless obstacles" and "counter productive " bullshit.
This man is teaching thousands of people for free--- YOU should pay for your own teacher if you want someone to talk at YOUR level.
Calling the third of a diminished 7th chord the "flat third" is incorrect and confusing. It's simply the third. Same with the other chord tones. A diminished seventh chord contains a third, a fifth, and a seventh. That's it.
Thanks for the taking the time to watch and comment! I like to know what each note I'm playing (or thinking about) is relative to the root of the chord I'm currently on, so if that G, Bb and Db are in fact a b3, dim5 or dim7 up from the root of the E diminished chord of the moment, that seems relevant and helpful. Are you saying it's redundant to call them out by the quality of the interval because, if they're in a diminished chord, the quality of the interval is implied?
Wondering why, with these excellent lessons. That the majority of instructors, when they go to say the next example. They tend to smack their lips, it pops quite a bit. Distracting from lesson a lot. Out side of that again, excellent lessons. Sure not trying to criticize, just a little constructive request Thanks All.
Yeah, I know, it's a drag, we all gotta do these things like breathe and swallow too, and the lavalier mic leaves nowhere to hide :-). Glad you like the lessons though, thanks for taking the time to leave a comment!
Man.......some of the ridiculous comments you get on RUclips. Lol. Really? Too much lip smacking eh?