how quickly and easily your "demystifying" these ideas with no extra talking or fluff is truly invaluable. Really great explanation. Thank you and hats off
@@ChaseMaddox Oof, honestly this may be out of my pay grade ;) .. maybe dim. scale over Dom7 b9 and potential licks in a blues setting. tbh, this is such a nice hack and you give really solid direction for what notes to target. Any tricks like that on how you (or others) may think to "demystify" a particular technical topic would be well received by me :)
Jake South I have a cool diminished video in the works and will add a blues video to the list👌Definitely check out the “10 killer melodic minor lines” video I did since you dug this one. It’s basically a part 2 for this video.
Another great lesson Chase, really simplified that Maj7b5 concept, and the six important Jazz chords derived from that four note group. But also importantly, how to find and apply them in as you say real time! Thanks again, cheers Pete
I am really impressed by your teaching skills! with all due respect for Barry Greene, who I admire very much, your explanation made this concept easier to remember and apply. Thanks a lot!
@@ChaseMaddox Thanks Chase, checking out your vids now! Is there any video in particular you'd recommend watching after this one? Theres a lot of vids on your channel :P
I’d say you could either go chronologically or skip around to whatever interests you. For example if you’re interested in breakdowns of famous jazz guitarist solos, I have a bunch of those in a playlist. Or check out any of my most viewed videos.
absolutely fantastic lesson man! I'm a pianist who understands and can do all this on the keys but have been looking for a breakdown on guitar on how to structure it. well done and VERY helpful.
The background sounds like you're in a war zone 😮 You've studied with Barry Greene...great player,teacher and all round good guy! Thanks for the lesson, much appreciate it. You've clarified Barry's Secret Chord concept really well.
Great lesson.. great player.. The melodic minor is so great. I am learning to overlap it..for instance on a cmin- maj7 chord...if you use G in the bass..you have the five chord altered...so the aflat melodic minor scale overlaps with the c melodic minor.. I'm sure that most players already use this...?
Very cool. I actually backed into this way of practicing by just listening and thinking to myself but your improvised added melodic lines gives me ideas and support. Thank you..keep it coming..I would still like to see Root-less 2-5-1's or root-less 1-6-2-5's 0r root-less 3m7-6-2-5's...its easy for me to hear a standard 2-5 in simple pop tunes....but root-less turn arounds are much harder to hear for me when they are occurring....thx
Thanks again, Robert! I'm still in the process of making the jazz blues course, but once it's done I will be sending out emails to everyone that signed up on the email list.
Hello Mr. Maddox. Thanks for the Melodic minor scale pdf. Great content! Goes well with my Howard Roberts Super Chops practice and my Joe Pass Jazz Guitar.
I just discovered something cool (and very a la Barry Harris): If you take one of the secret jazz chord shapes and play it, you get a ii half diminished chord and then move it a MINOR THIRD (thank you Barry) you get the corresponding dominant flat 9 that leads to the minor i chord! So, play a shape that has G on the first string and you get Dø, then move it a minor 3rd to Bb and you get G7 alt, which resolves to Cmin. Very cool! Did I get that right?
Fantastic video and such a useful concept. Can you create another video giving examples of progressions beyond the 2-5-1 progression? Fusion? Rock? This application together with your 10 melodic minor lines video opens up being able to use the chords and lines in so many creative ways! Are there other lines that would work such as Dorian or Lydian that would also work over the secret chord? Thanks again. A whole series on progressions and lines with use of this secret jazz chord would be awesome. There’s really nothing like this on RUclips. Very unique! ✌🏼🙂
Thanks for your comment Nick! You could definitely use the Dorian approach instead of Melodic Minor over these same chords because the voicing itself doesn’t have the 7th of the scale. In other words if you have the secret jazz chord with a G as the highest note, it could be either F melodic minor or F Dorian. My next video is another on this framework of learning lines that I call the “Master” ii-V-I approach, but I can definitely show how these same concepts apply to different progressions in different genres. Appreciate the feedback 🤘 -Chase
@@ChaseMaddox thanks so much Chase. One question....so if move up the secret chord so that B is the highest note you could play in A Dorian or A melodic minor correct? Thanks and looking forward to more killer content. Take care. 🙏🏻
Exactly right! From there you can start to decide based on the musical context whether the Dorian or Melodic Minor flavor fits best to your ear. Lots more content coming soon, stick around 🤘
Good stuff. I think of it as an Abmaj7b5 structure, Ab C Ebb G, over various roots… Have you checked out Brett Willmott’s books on Mel Bay? Life changing fundamental concepts for sure. Cheers, Daniel
Thanks Daniel! I can’t deal with double flats so I always think of those notes as the “easier” enharmonic spelling. I haven’t checked out Brett Willmott’s books, but I will! Thanks for the tip 👌
@@ChaseMaddox Yw! Fwiw, when deploying the structure I think of the note functions in context, and while I’m aware of the enharmonic, generally just thinking b5. Only using the double flat here to clarify the structure as an alteration of a maj7 structure. With you on those generally being headache inducing. :) As for the Willmott, seeing a stock drop two maj7 chord invert into a voicing I only associated with Holdsworth at the time was a revelation.
Good job on this! Is the PDF notation key of F major an error or is there something about jazz harmony I don't know. I'm thinking this is three flats or key of Eb. BUT the F Melodic Minor causes a C9 which gives a G Dorian for key of F major. Would you verify what is going on here? If you said Fm7 I would never have thought to take Fmajor7 and convert it to Fm(maj7). I would use F Dorian and put a maj7 on it...
Thanks Phillip! You’re overthinking it a bit. Since we’re dealing with melodic minor and not traditional major keys, there isn’t a key signature for F melodic minor. So the easiest way to notate F melodic minor with the fewest accidentals is using F major key and adding in the Ab. It has nothing to do with any relationship to the chords associated with F melodic minor.
@@ChaseMaddox It's your show. Maybe it would be realistic if you put 3 flats there because that is what key it is. Any additives are explained from choosing to apply F Melodic Minor to F Dorian. I really appreciate this video regardless and good to confirm for sure that is the key of Eb so I don't connect some weird dots overthinking.
That totally would’ve worked too as a key signature. I tend to be pretty loose with how I notate accidentals and put whatever is closest to how I think of it in practice vs the “proper” notation. For example, I almost never will notate a Cb even if it’s technically correct because I think of that note on guitar as B in all cases.
Yes, use a regular major 7 for the I chord. The secret jazz chord could be used to replace the ii chord and also as the V chord, either as the 13 or 7alt. sound.
I guess as there are no "avoid notes" in most of the melodic minor context that shape works fine for all modes of F melodic minor. I also wondered why C as bass was skipped. Great lesson indeed!!
@@douglasthompson8927 think about this as a certain voicing of notes, but the whole point of the lesson is that by changing the bass note you can change this voicing to be 6 different chords.
Fantastic lesson
Thanks Max! 🤘
how quickly and easily your "demystifying" these ideas with no extra talking or fluff is truly invaluable. Really great explanation. Thank you and hats off
Thanks Jake! 🤘Any specific topics you’d like me to cover in a future video?
@@ChaseMaddox Oof, honestly this may be out of my pay grade ;) .. maybe dim. scale over Dom7 b9 and potential licks in a blues setting. tbh, this is such a nice hack and you give really solid direction for what notes to target. Any tricks like that on how you (or others) may think to "demystify" a particular technical topic would be well received by me :)
Jake South I have a cool diminished video in the works and will add a blues video to the list👌Definitely check out the “10 killer melodic minor lines” video I did since you dug this one. It’s basically a part 2 for this video.
@@ChaseMaddox thank you so much, still processing it all :) excited to see your other explanations.
Thanks for checking them out!
Absolutely extraordinary lesson! Mind blowing for me and it will require some time to digest it and put it in action. Thanks a lot!!
Glad it was helpful!
Another great lesson Chase, really simplified that Maj7b5 concept, and the six important Jazz chords derived from that four note group.
But also importantly, how to find and apply them in as you say real time!
Thanks again, cheers Pete
Glad you liked it!
I am really impressed by your teaching skills! with all due respect for Barry Greene, who I admire very much, your explanation made this concept easier to remember and apply. Thanks a lot!
Thanks Marco! Glad you dug the lesson 🤘
This is one of the most amazing lessons I've ever watched!! I'm so excited to incorporate these ideas into my playing, thanks Chase!
Great to hear Sam! I use this concept in so many of my videos too if you want to go deeper.
@@ChaseMaddox Thanks Chase, checking out your vids now! Is there any video in particular you'd recommend watching after this one? Theres a lot of vids on your channel :P
I’d say you could either go chronologically or skip around to whatever interests you. For example if you’re interested in breakdowns of famous jazz guitarist solos, I have a bunch of those in a playlist. Or check out any of my most viewed videos.
Awesome teaching! Thank you!
Thank you! 🤘
absolutely fantastic lesson man! I'm a pianist who understands and can do all this on the keys but have been looking for a breakdown on guitar on how to structure it. well done and VERY helpful.
Thanks again, Michael! Glad you found it helpful 🤘
The background sounds like you're in a war zone 😮 You've studied with Barry Greene...great player,teacher and all round good guy! Thanks for the lesson, much appreciate it. You've clarified Barry's Secret Chord concept really well.
I studied with him for four years, thanks for checking out the video! 🤘
Great lesson. Thank you !
Appreciate you checking it out! 🤘
Great lesson.. great player.. The melodic minor is so great. I am learning to overlap it..for instance on a cmin- maj7 chord...if you use G in the bass..you have the five chord altered...so the aflat melodic minor scale overlaps with the c melodic minor.. I'm sure that most players already use this...?
Thank you Gene! 🙏
This basically lines out how to find almost every cool chord quality in the melodic minor mode, and I love it. Thank you.
Right? You’d probably also like the videos I’ve done where I go over melodic minor lines based around these same chord shapes.
Very cool. I actually backed into this way of practicing by just listening and thinking to myself but your improvised added melodic lines gives me ideas and support. Thank you..keep it coming..I would still like to see Root-less 2-5-1's or root-less 1-6-2-5's 0r root-less 3m7-6-2-5's...its easy for me to hear a standard 2-5 in simple pop tunes....but root-less turn arounds are much harder to hear for me when they are occurring....thx
Got it! 🤘
Am grateful for this lesson , dis what I have been looking for all dis but I will be greatful if you can do the once dat goes with chords, Thanks.
Thank you! 🤘
Awesome!
Thanks Steve! 🤘
This was an excellent posting. I am going to use these chords on my next gig. :-). When can I get access to your jazz blues class?
Thanks again, Robert! I'm still in the process of making the jazz blues course, but once it's done I will be sending out emails to everyone that signed up on the email list.
Hello Mr. Maddox. Thanks for the Melodic minor scale pdf. Great content! Goes well with my Howard Roberts Super Chops practice and my Joe Pass Jazz Guitar.
Glad you dig it! Sounds like a good time 👌
I just discovered something cool (and very a la Barry Harris): If you take one of the secret jazz chord shapes and play it, you get a ii half diminished chord and then move it a MINOR THIRD (thank you Barry) you get the corresponding dominant flat 9 that leads to the minor i chord! So, play a shape that has G on the first string and you get Dø, then move it a minor 3rd to Bb and you get G7 alt, which resolves to Cmin. Very cool! Did I get that right?
That’s it! 👍
@@ChaseMaddox very cool. Thank you!
Great lesson. A bit intimidating☺️. Love the sound of the guitar 🎸
Thank you! 🙏🙏
Awesome video, would love a copy of the lines pdf
Working on that for you this week! Hopefully will be out Friday, so get those secret jazz chord positions and scales down to prep :)
Just dropped the video with the melodic minor lines, check it out!
Thanks for these vids & pdf's Chase, great!
You’re welcome Bryan! Glad you’re finding them helpful 🤘
Very awesome content thank you !!
Yeah Chase!!
Thanks Zach!
If it's a secret chord you shouldn't be telling everybody
The “secret jazz chord” was how my teacher Barry Greene named it. It’s his formulation and name for that voicing.
this chord with a G on the bass may work as a D half diminished in some cases
Yes it can in pretty much all cases 👍
Very cool 😎 thank you 🙏
You’re welcome! 🤘
Epic Plateau Eliminator. Many 😊 Thanks!
You’re welcome! 🤘
Fantastic video and such a useful concept. Can you create another video giving examples of progressions beyond the 2-5-1 progression? Fusion? Rock? This application together with your 10 melodic minor lines video opens up being able to use the chords and lines in so many creative ways! Are there other lines that would work such as Dorian or Lydian that would also work over the secret chord? Thanks again. A whole series on progressions and lines with use of this secret jazz chord would be awesome. There’s really nothing like this on RUclips. Very unique! ✌🏼🙂
Thanks for your comment Nick! You could definitely use the Dorian approach instead of Melodic Minor over these same chords because the voicing itself doesn’t have the 7th of the scale. In other words if you have the secret jazz chord with a G as the highest note, it could be either F melodic minor or F Dorian. My next video is another on this framework of learning lines that I call the “Master” ii-V-I approach, but I can definitely show how these same concepts apply to different progressions in different genres. Appreciate the feedback 🤘 -Chase
@@ChaseMaddox thanks so much Chase. One question....so if move up the secret chord so that B is the highest note you could play in A Dorian or A melodic minor correct? Thanks and looking forward to more killer content. Take care. 🙏🏻
Exactly right! From there you can start to decide based on the musical context whether the Dorian or Melodic Minor flavor fits best to your ear. Lots more content coming soon, stick around 🤘
This one will take a while to sort out mybiggrin's melodic minor is a good place to start.
👍👍
This is brillant!
Thanks Pat! 🙏
my favorite way to think of this is that a m7b5 = maj7#11 a flatted fifth away.
That works! 👍
Good stuff. I think of it as an Abmaj7b5 structure, Ab C Ebb G, over various roots… Have you checked out Brett Willmott’s books on Mel Bay? Life changing fundamental concepts for sure. Cheers, Daniel
Thanks Daniel! I can’t deal with double flats so I always think of those notes as the “easier” enharmonic spelling. I haven’t checked out Brett Willmott’s books, but I will! Thanks for the tip 👌
@@ChaseMaddox Yw! Fwiw, when deploying the structure I think of the note functions in context, and while I’m aware of the enharmonic, generally just thinking b5. Only using the double flat here to clarify the structure as an alteration of a maj7 structure. With you on those generally being headache inducing. :) As for the Willmott, seeing a stock drop two maj7 chord invert into a voicing I only associated with Holdsworth at the time was a revelation.
What Ibanez guitar model is that?
Ibanez Artcore AG85 model
Super Stuff
Thanks Ralph! 🤘
Good job on this! Is the PDF notation key of F major an error or is there something about jazz harmony I don't know.
I'm thinking this is three flats or key of Eb. BUT the F Melodic Minor causes a C9 which gives a G Dorian for key of F major.
Would you verify what is going on here? If you said Fm7 I would never have thought to take Fmajor7 and convert it to Fm(maj7).
I would use F Dorian and put a maj7 on it...
Thanks Phillip! You’re overthinking it a bit. Since we’re dealing with melodic minor and not traditional major keys, there isn’t a key signature for F melodic minor. So the easiest way to notate F melodic minor with the fewest accidentals is using F major key and adding in the Ab. It has nothing to do with any relationship to the chords associated with F melodic minor.
@@ChaseMaddox It's your show.
Maybe it would be realistic if you put 3 flats there because that is what key it is. Any additives are explained from choosing to apply F Melodic Minor to F Dorian.
I really appreciate this video regardless and good to confirm for sure that is the key of Eb so I don't connect some weird dots overthinking.
That totally would’ve worked too as a key signature. I tend to be pretty loose with how I notate accidentals and put whatever is closest to how I think of it in practice vs the “proper” notation. For example, I almost never will notate a Cb even if it’s technically correct because I think of that note on guitar as B in all cases.
@@ChaseMaddox I see, good to know going forward. thanks.
To configure a Major II V I do you just use a normal maj7 chord on the 1?
Yes, use a regular major 7 for the I chord. The secret jazz chord could be used to replace the ii chord and also as the V chord, either as the 13 or 7alt. sound.
I see where the F melodic minor is the foundation of the first position. But I am also hearing a C augmented chord. Yes?
That's correct too! The notes in a C augmented chord (C E G#) are also in F Melodic minor as C, E, and Ab.
I guess as there are no "avoid notes" in most of the melodic minor context that shape works fine for all modes of F melodic minor. I also wondered why C as bass was skipped. Great lesson indeed!!
you have some very loud noise on the low end of this video, You can always cut the low if you are just talking and playing guitar.
Yes I can 🙂
does this chord have name ?
Because of the voicing it’s missing notes that would make it easy to name traditionally, thus the need for a substitute name like “secret jazz chord”
@@ChaseMaddox I understand that but all chords have a name often more than one..it is easier to understand chord functions in that way
@@douglasthompson8927 think about this as a certain voicing of notes, but the whole point of the lesson is that by changing the bass note you can change this voicing to be 6 different chords.
@@ChaseMaddox i understand that sir but all I asked was a name for the chord..it would help me if i knew the answer to that question
❤️
🤘🤘
That chord is just a major 7 flat 5 what so secret about that.
You really missed the point lol. The chord quality changes depending on the bass note, it’s not always a major 7 flat 5 as you call it.
Get a mic on your voice. Either the guitar is too loud or the voice needs to be mic'd.
Check the recent videos
Audio very bad in parts
lmao