Do not forsake these gifts! I’ve been a professional jazz guitarist for 42 years and this guy (Adam) knows what he’s talking about! I started doing this with my teacher years ago and it’s the concept that advanced my playing the most.
@@Poodleoop Thanks for being able to see the bigger picture! It’s all about being able to have the control and wherewithal to play whatever you want and being able to make something up on the spot. Of course one should look into what the masters did to add into the art of it all. Thanks for your comment!
One of the best lessons on jazz guitar. The emphasis on chord tones and enclosures is right on the money. Getting to the stage of using these ideas fluently may take some time and work but it is really worth it. Invaluable advice from Adam.
Your teaching approach unravels a mystery to thousands of us who spin our wheels for years if not decades trying to grasp the language of jazz improv . rock solid directions to jazz improv foundation if willing to woodshed this lesson +/- 6 months . Staring with one chord then 2, 4, II-V-I, I-IV-II-V, song, etc… as you generally outline . Thanks helping us understand jazz.improv as a second language😅
@@JazzRockswithAdam Bro do not underestimate your teaching style...maybe being compared to Bob Ross doesn't sit well with you but it's explains (for me anyway) why I watch your videos from beginning to end. The worse thing for me is an instructor whose style is distracts from the content. Some guys speaking tempo is too fast...others distract with attempts at humor and irrelevant comments about their lives and experiences. They probably mean well, but I have a lot of self doubt and anxiety about my playing after playing numerous gigs over the years and receiving lots of compliments about my playing. Your calm approach and focus on the information gives me confidence. Thanks.
@ Thanks for the kind words. I didn’t take your Bob Ross comment in an off way. Just more like, “Hmmm. Interesting.” All cool man. Thanks for digging the material. My next video coming out soon is sort of a follow up to this video.
Hi, I didn’t know about “chord tones on Beats 1 and 3”. I knew about “enclosures” but it was never explained and demonstrated as clearly. I didn’t know about “replacing the major 7 with a 6”. I’ll watch this again, and the next video of yours. So you asked for feedback, I’m a retired pro who went to Jazz college and I learned from this. Great job! Thanks!
@@m.vonhollen6673 Hey, so nice to hear from you. Yeah, by strategically placing your chord tones, you can literally play anything you want in between them and you will still sound like you’re “making the changes.”
Very helpful for someone who wants to get serious! I wished, when I was young -in the early 80s, I would have had a chance to have a teacher like this and internet..I would have made progress so much faster. I hope you get a lot of "Thank you's" from the players.
Great lesson, this is the link to the disconnect many of us have between just playing scale notes and and sounding like trash to having it sound like you know what you're doing...time to woodshed this.
These are some of toughest exercises I have tried - and they really move you forward. I still struggle though, to always remember the next chord in the progression in good time to move to those chord tones.
@@bjarnesegaard5701 But it can be done! If I was able to teach myself this, anyone can. The reality is, you ALWAYS have to know what is going to be happening next in any style of music. Thanks for your comment!
Good day to you Adam, usually I dont comment. I am so happy to stumble over this video though that I gladly do. In the past I never really found my way into improvising and was pretty frustrated about it. A couple days ago I picked up my sax again after a years long drought. Remembered immediately that I dont have any clue of what I am doing. Randomly your video appears in my youtube feat. This is just what I needed. A logic and simple approach, adaptable to any level and easy to progress with. I can grind now and dont have to consider taking lessons again. Thanks a lot buddy and all the best to you and everyone else from Berlin ✌🏻😉
@@muller8713 That is amazing! It makes me so happy that you found the video and mostly that you find it helpful. It literally changed my playing doing this. Eventually you can fear no set of chord changes again. The cool thing is there is sooo much room to develop your own sound and style this way. Thanks for your comment, my friend!
It is all down to discipline now 😅 That alone makes it a challenge I have to admit. But I am hopeful the structured approach will make it easier to improve and through this easier to motivate myself to practice. And you are absolutely right, while doing all this there is room for my creativity and developing my own style 💪🏻😎
Great video! I had searched for the topic of playing changes in a systematic way on YT, and finally found it here. I also appreciate the way you encourage watchers to go through the process and not to give up. Thanks so much Adam!!
These execises are some of the toughest I have tried but thy really move you forward, I still have a hard time remembering the next chord in the progression in good time to get to the those chord tones
You've got it right!... As a rock and blues rock guitar player... It is extremely difficult for me to get passed my instinctive reflexes and safe zones and switch my brain to jazz. But I'm trying. Although I am not very disciplined your video will be a foundation to gradually practice with a different mind set. Thanks for sharing the knowledge!!!
@@UnoUrong I’m glad you are going to find it helpful and use this moving forward. Don’t forget to check in with what your favorite jazz musicians are doing and work into your playing what they’re doing as well. Thanks for your comment!
Very interesting approach I have to admit. I'm always skeptical when I see a "this will change your life" type of video but this is really good advice. You give great tools for practicing.
@@TheStreetFabulous Thanks! No untrue hype on my channel. I’m just a professional musician giving advice because there are so many videos out there that are half-baked and not coming from a place of knowledge and experience. Thanks for watching!
@@JazzRockswithAdam I tried your very first exercice on the piano and already the phrasing makes much more sense. I'm going to try to practice this on both the guitar and the keyboard and see what happens. You have one more sub.
Great video and well explained. I will integrate this into my practice straight away. Practice the head, practice playing through the chords, practice these exercises.
Been teaching for 20 years and never really thought of this. Its a brilliant and instantly musical way to get new students away from the chord/scale syllabus type mentality. Thanks very much. This instantly became part of my teaching. Have you ever tried it using the 2 and 4 as your anchor points instead of the 1 and 3? And what about when theres 2 chords in the bar do you still keep it the same? One thing, for enclosures/approaches, the note a whole step above directly to the chord tone should be in the scale youre suggesting. Maybe you mentioned this and i missed it or maybe you disagree? If youre on a major 7th hitting that #9 to the maj7 is gunna be rough. If youre on a maj7 and you target the 3rd you may not want to suggest #4 by going from #4 directly to the 3rd. Etc. Same story for a whole step below the target chord tone. Half steps fine to not be in the scale. Edit: to add, i never really approach/enclose the maj7 in general as ive never been able to get it to sound good like you mentioned. Just used it as an example.
@@vivsavagex Unless you’re playing a really slow ballad, and not playing 32nd notes, you can play whatever you want. It only sounds wrong if you sustain a wrong note (one of them spicy ones you mentioned). The chord tones on beat 4 work great as an anticipation to beat one. Same with beat 2 anticipating beat 3. But if you only target beats 2 & 4 all the time it just sounds weird. The idea is to line up the strong notes on the strongest beats. And yes. It’s still the same if you have two chords in a measure. Target beats 1 and 3. As far as anticipation goes, I like anticipating on the “up beat“ more. It lightens things up and there’s more forward motion. But beat 4 can work too. Especially on a fast tune.
This is a great lesson. I’d figured this out some time ago but it took me ages to get there. I was looking at lots of videos on enclosures and knew about them and neighbour tones but I couldn’t put them together and link them over chord progressions. That’s what’s missing with so many other videos. There are lots of videos that say “here is a minor chord and here are some enclosures on the chord tones”. Not many show that chord moving as part of a progression.
@@iamtheweirdestone Thanks for watching. It’s a Jim Dunlop L, calico. You can find them on Amazon if you do a search. But, I reshape them so they’re playable. I haven’t found one thumbpick that doesn’t need to be reshaped in order to be playable for me. If you are a thumbpick user you might find this video interesting: Thumbpick: Everything changed for me when THIS happened! ruclips.net/video/Wcux4fmPptU/видео.html
This is a truely great learning approach. Thanks. For bars with two chords, using your system, do you have a preferred strategy? The obvious to me would be to play just one note per chord.
@@JazzRockswithAdamdoing well thanks! getting chances to jam with the musicians here. Humbled by the talent here and YOURS! thanks for sharing the knowledge 😊
@@enricopg2 Thank you! Something I’m always striving for. I wish it was something I could explain other than it’s what I hear in my head first. Thanks for watching!
Without any aggression or disrespect to Jazz, i can't tell the difference between "before" and "after" 😂 Maybe first one sound... unsure and awkward a bit, but again - for someone who don't listen to jazz there is no way to tell it's bad and not intentional.
This is by far the best video on RUclips about writing a cohesive jazz line. You literally explain the foundation of jazz melody in a few minutes. Thank you for posting.
Duuuu, awesome. All the years of listening to jazz guitar teachers focusing on harmony only, NOT doing what you’re doing, what a waste, lol. When you said 1 and 3 I’m like “WTF! No shit!” Damn…
Great video lesson as usual, Adam. Perhaps, as a suggestion for a future topic, you could spend more time on what you touched on at the end, ways to transition from these exercises to freely improvising. That part has always been a mystery to me. It's a lot of work just to get to the point where you can run chord scales, arpeggios, and all the examples you gave over the changes to a tune, at a reasonable tempo, but even after all that you still have not achieved the final goal of being able to mix everything up (and more) to play interesting and unpredictable lines. Is it really just a case of learning to play the exercises so well that when you improvise freely, it (the magic good stuff) just happens?
@@DMMusicSound In a way, yes. I think it’s about hearing a line in your head and playing it! And I don’t necessarily mean having perfect pitch. I mean a shape with rhythms. Then I put all this stuff to the rhythms. The rhythm is what creates a phrases, punctuation included. If you check out the suggested video at the end, that’s exactly where that one gets into: This is why you suck at jazz ruclips.net/video/8x3gNE3GD50/видео.html
Hi sorry if this was mentioned somewhere in the video but I am a little confused. I know you say try different chord tones, does that mean you are not trying to bring out the chord tones specific to the chord you are playing over? It seems like there are chords (G7 for example) where you are playing a min7 over a dominant7 chord.
@@Benso39 Hey there. To be more clear, I meant try using different notes for each chord to create different outcomes. Each chord has a R-3-5-7, or R-3-5-6. So if you played R-3 last time around on that chord, play 5-7. On the dominant 7 chord, the b7 is in fact a min 7th interval. So you would be correct. If it’s a G7, the 4 notes you could play would be G-B-D-F.
@@JazzRockswithAdam Thanks for the quick response and clarification. I had a brain fart and thought Dominant 7 chords were built with a major 7, when they are indeed built with a min7 lol. It makes sense now.
@@JazzRockswithAdam I was being a tad facetious... great lesson as always! Your step by step approach is a super way to discipline myself. Thanks again!
Jazz does not always use 4 note chords. Jazz uses mainly 7th chords (Major, minor, Dominant/altered Dominant, minor 7b5, diminished). Having said that, many times these chords are expressed using two and three note voicings. (Especially guitarists).
@ Ummm…I’m pretty sure that’s what I said in the video. And as a jazz guitarist, I should know. And yes, we often use shell voicings. But 7 and 6 chords contain 4 notes: R-3-5-7 (or 6)
Unpopular opinion: there are no 4-note chords, except b7 or diminished maybe. It's always ultimately 3-note "perfect chords" with a 4th note as an embellishment. That's why chosing between 6 or M7 matters so little in the end. And one should learn 3-note arpeggios before anything else.
@ I think you’re confusing playing chord voicings compared to playing lines using all 4 valid notes of a chord that I refer to in the video: R-3-5-7 or R-3-5-6 The 3 note voicings you’re referring to are shell voicings which have the 5th removed. But you MOST CERTAINLY can play all 4 notes of a chord if one wanted to.
@@bjarnesegaard5701 I got all 3. If you’re commenting on the app, try refreshing by pulling down. I bet your comments will pop up. It me a while to figure that out myself.
I feel ive been cheated my whole life since i figured out all the major, minor and sevenths chords in my sisters keyboard when i was seven yo. I always thought i had to become a jazz guitarrist before reaching the 30 years. Then i discover Dylan and Silvio Rodriguez and forgot about jazz. Now im a poet and i hope that i dont blow it... And love to play flamenco which is FAR more difficult than jazz...that form of art consequence of two world wars...
@@Bandojy Every genre of music is challenging and requires study. But welcome back to jazz if you want to explore this road again, once more. Thanks for watching!
Julian Lage, Tim Lerch, John Scofield, Bill Frisell, Danny Gatton, Robben Ford, Ted Greene, Ed Bickert, Mike Stern... surely they didn't get your memo. Lol
I would love to hear from you! Let me know if you found this lesson helpful.
@@JazzRockswithAdam Thanks bey much. Great lesson. Are the exercise tabs available?
@ I often sell a pdf along with a video lesson. But not this time. Sorry.
Do not forsake these gifts! I’ve been a professional jazz guitarist for 42 years and this guy (Adam) knows what he’s talking about! I started doing this with my teacher years ago and it’s the concept that advanced my playing the most.
@@Poodleoop Thanks for being able to see the bigger picture! It’s all about being able to have the control and wherewithal to play whatever you want and being able to make something up on the spot. Of course one should look into what the masters did to add into the art of it all.
Thanks for your comment!
One of the best lessons on jazz guitar. The emphasis on chord tones and enclosures is right on the money. Getting to the stage of using these ideas fluently may take some time and work but it is really worth it. Invaluable advice from Adam.
@@irishmuso7129 Thanks for checking it out and for your comment!
Your teaching approach unravels a mystery to thousands of us who spin our wheels for years if not decades trying to grasp the language of jazz improv . rock solid directions to jazz improv foundation if willing to woodshed this lesson +/- 6 months . Staring with one chord then 2, 4, II-V-I, I-IV-II-V, song, etc… as you generally outline . Thanks helping us understand jazz.improv as a second language😅
@@JoseVijarro-st3gm Man! You couldn’t have summarized that better. I’m really glad you find it helpful. ❤️
Thanks for posting!
“Now it’s a chord, now it’s a scale”…….lightbulb moment! Thank you! 😎
@@innerstream That makes me happy!
I love your chill & comforting demeanor, it's like watching Bob Ross for jazz :)
@@evan2217 I guess that’s cool. Thanks. I hope you found the info helpful.
@@JazzRockswithAdam Bro do not underestimate your teaching style...maybe being compared to Bob Ross doesn't sit well with you but it's explains (for me anyway) why I watch your videos from beginning to end. The worse thing for me is an instructor whose style is distracts from the content. Some guys speaking tempo is too fast...others distract with attempts at humor and irrelevant comments about their lives and experiences. They probably mean well, but I have a lot of self doubt and anxiety about my playing after playing numerous gigs over the years and receiving lots of compliments about my playing. Your calm approach and focus on the information gives me confidence. Thanks.
@ Thanks for the kind words. I didn’t take your Bob Ross comment in an off way. Just more like, “Hmmm. Interesting.” All cool man. Thanks for digging the material. My next video coming out soon is sort of a follow up to this video.
Hi, I didn’t know about “chord tones on Beats 1 and 3”. I knew about “enclosures” but it was never explained and demonstrated as clearly. I didn’t know about “replacing the major 7 with a 6”. I’ll watch this again, and the next video of yours. So you asked for feedback, I’m a retired pro who went to Jazz college and I learned from this. Great job! Thanks!
@@m.vonhollen6673 Hey, so nice to hear from you. Yeah, by strategically placing your chord tones, you can literally play anything you want in between them and you will still sound like you’re “making the changes.”
Very helpful for someone who wants to get serious! I wished, when I was young -in the early 80s, I would have had a chance to have a teacher like this and internet..I would have made progress so much faster. I hope you get a lot of "Thank you's" from the players.
@@wolfgangrittner6637 Awww. Thanks Wolfgang. I hope you keep working on this stuff and see results soon. Take care!
Great lesson, this is the link to the disconnect many of us have between just playing scale notes and and sounding like trash to having it sound like you know what you're doing...time to woodshed this.
@@sgazzz Yes! I’m so glad you made that connection. There are secrets to the trade. Once you know them…
These are some of toughest exercises I have tried - and they really move you forward. I still struggle though, to always remember the next chord in the progression in good time to move to those chord tones.
@@bjarnesegaard5701 But it can be done! If I was able to teach myself this, anyone can. The reality is, you ALWAYS have to know what is going to be happening next in any style of music. Thanks for your comment!
Good job Adam, so thankful for your generosity! Thousand Blessings
@@marcoborge2128 Thank you! Don’t forget to practice this stuff while checking out the masters at the same time!
Great lesson professor, gracias y saludos desde México!
@@charlexguitar Hola! Thanks for your comment.
I learned this about four years ago, but if I had learned this some 15 years ago, it would be a hell of another story...
@@leomilani_gtr Awesome! Where did you learn this from?
Good day to you Adam,
usually I dont comment. I am so happy to stumble over this video though that I gladly do.
In the past I never really found my way into improvising and was pretty frustrated about it.
A couple days ago I picked up my sax again after a years long drought. Remembered immediately that I dont have any clue of what I am doing.
Randomly your video appears in my youtube feat.
This is just what I needed. A logic and simple approach, adaptable to any level and easy to progress with.
I can grind now and dont have to consider taking lessons again.
Thanks a lot buddy and all the best to you and everyone else from Berlin ✌🏻😉
@@muller8713 That is amazing! It makes me so happy that you found the video and mostly that you find it helpful. It literally changed my playing doing this. Eventually you can fear no set of chord changes again. The cool thing is there is sooo much room to develop your own sound and style this way. Thanks for your comment, my friend!
It is all down to discipline now 😅 That alone makes it a challenge I have to admit. But I am hopeful the structured approach will make it easier to improve and through this easier to motivate myself to practice.
And you are absolutely right, while doing all this there is room for my creativity and developing my own style 💪🏻😎
@ Yes, that’s what is the leveling field for everyone: you have to do some work. Keep going man!
Great video! I had searched for the topic of playing changes in a systematic way on YT, and finally found it here. I also appreciate the way you encourage watchers to go through the process and not to give up. Thanks so much Adam!!
@@jamesp8819 Hi James, great to hear from you. I always say, “If I can do it, anyone can.” Or, “Anything I can do, you can do better!”
These execises are some of the toughest I have tried but thy really move you forward, I still have a hard time remembering the next chord in the progression in good time to get to the those chord tones
This is how I learned , too, Adam!! Unfortunately I had to figure this out on my own lol but I have a nice chromatic style as a result. Cheers!! 🥂
@@jwinchester1320 DIG!!
You've got it right!... As a rock and blues rock guitar player... It is extremely difficult for me to get passed my instinctive reflexes and safe zones and switch my brain to jazz. But I'm trying. Although I am not very disciplined your video will be a foundation to gradually practice with a different mind set. Thanks for sharing the knowledge!!!
@@UnoUrong I’m glad you are going to find it helpful and use this moving forward. Don’t forget to check in with what your favorite jazz musicians are doing and work into your playing what they’re doing as well. Thanks for your comment!
Very interesting approach I have to admit. I'm always skeptical when I see a "this will change your life" type of video but this is really good advice. You give great tools for practicing.
@@TheStreetFabulous Thanks! No untrue hype on my channel. I’m just a professional musician giving advice because there are so many videos out there that are half-baked and not coming from a place of knowledge and experience. Thanks for watching!
@@JazzRockswithAdam I tried your very first exercice on the piano and already the phrasing makes much more sense. I'm going to try to practice this on both the guitar and the keyboard and see what happens. You have one more sub.
@ That’s awesome!!
Great video and well explained. I will integrate this into my practice straight away. Practice the head, practice playing through the chords, practice these exercises.
@@leemorse7851 That right there is a great practice routine! You’ll find you’ll end up knowing the tune inside out!
Been teaching for 20 years and never really thought of this. Its a brilliant and instantly musical way to get new students away from the chord/scale syllabus type mentality. Thanks very much. This instantly became part of my teaching. Have you ever tried it using the 2 and 4 as your anchor points instead of the 1 and 3? And what about when theres 2 chords in the bar do you still keep it the same?
One thing, for enclosures/approaches, the note a whole step above directly to the chord tone should be in the scale youre suggesting. Maybe you mentioned this and i missed it or maybe you disagree? If youre on a major 7th hitting that #9 to the maj7 is gunna be rough. If youre on a maj7 and you target the 3rd you may not want to suggest #4 by going from #4 directly to the 3rd. Etc. Same story for a whole step below the target chord tone. Half steps fine to not be in the scale.
Edit: to add, i never really approach/enclose the maj7 in general as ive never been able to get it to sound good like you mentioned. Just used it as an example.
@@vivsavagex Unless you’re playing a really slow ballad, and not playing 32nd notes, you can play whatever you want. It only sounds wrong if you sustain a wrong note (one of them spicy ones you mentioned). The chord tones on beat 4 work great as an anticipation to beat one. Same with beat 2 anticipating beat 3. But if you only target beats 2 & 4 all the time it just sounds weird. The idea is to line up the strong notes on the strongest beats. And yes. It’s still the same if you have two chords in a measure. Target beats 1 and 3.
As far as anticipation goes, I like anticipating on the “up beat“ more. It lightens things up and there’s more forward motion. But beat 4 can work too. Especially on a fast tune.
This is a great lesson. I’d figured this out some time ago but it took me ages to get there. I was looking at lots of videos on enclosures and knew about them and neighbour tones but I couldn’t put them together and link them over chord progressions. That’s what’s missing with so many other videos. There are lots of videos that say “here is a minor chord and here are some enclosures on the chord tones”. Not many show that chord moving as part of a progression.
@@guitarmatb123 Exactly! That’s where the rubber hits the road. I truly hope this will help you moving forward. Thanks for checking it out.
Thanks so much, great stuff, very precise.
@@jorgevidal5453 I’m so glad it can help you out!
Great video lesson look forward to more.... you say it how it is
@@Alan-zi2rs Thanks a bunch Alan. I truly hope this helps you on your path.
Adam! I'm diggin' your channel, brother! Thank you!
@@michaeldean9338 Awesome! Welcome.
Hey, great vid... what brand of pick is that? Ty
@@iamtheweirdestone Thanks for watching. It’s a Jim Dunlop L, calico. You can find them on Amazon if you do a search. But, I reshape them so they’re playable. I haven’t found one thumbpick that doesn’t need to be reshaped in order to be playable for me.
If you are a thumbpick user you might find this video interesting:
Thumbpick: Everything changed for me when THIS happened!
ruclips.net/video/Wcux4fmPptU/видео.html
I play rock but jazz is still a mistery to me 😅 thanks a lot
@@claudedeleu1189 I hope it helps.
Great lesson, man!
@@AlexVonCrank Thanks!
This was super helpful!
@@kendalljones99 Awesome! Glad it helped you.
This is a truely great learning approach. Thanks. For bars with two chords, using your system, do you have a preferred strategy? The obvious to me would be to play just one note per chord.
@@jneily6074 You are correct! Still Beats 1 & 3. Thanks for watching and for your question.
This is such a cool lesson!
@@jkbck1 Thanks! Don’t forget to check out what the masters are doing so you can put that into your playing while working on this stuff.
Thank you sir!!
@@KakaBoonBoon you’re welcome.
This is where I am in lessons and it’s a great addition to have and play back to practice. Thank you Adam ….from the Soo! 😊🎸
@@innerstream Hey, how ya doing. Thanks for checking it out!
@@JazzRockswithAdamdoing well thanks! getting chances to jam with the musicians here. Humbled by the talent here and YOURS! thanks for sharing the knowledge 😊
@ It’s surprising how much talent there is in that small town, right?
@@JazzRockswithAdam yeah and there’s no shortage of performances these days both small and large venues
@ 👍
What a beautiful tone!!! How do I get close to it? I love it!
@@enricopg2 Thank you! Something I’m always striving for. I wish it was something I could explain other than it’s what I hear in my head first.
Thanks for watching!
Without any aggression or disrespect to Jazz, i can't tell the difference between "before" and "after" 😂
Maybe first one sound... unsure and awkward a bit, but again - for someone who don't listen to jazz there is no way to tell it's bad and not intentional.
@@oldensad5541 you have to practice.
Obrigado mestre!🔥🔥🔥👌
@@alexandre7185 Thanks!
This is by far the best video on RUclips about writing a cohesive jazz line. You literally explain the foundation of jazz melody in a few minutes. Thank you for posting.
@@dwightb8323 Hey, you’re welcome. Hope to see you around here some more.
Very good 👍
@@audioracket509 Thanks!
Do the strong beats change, if i play sixteenth notes ? Are 1 and 3 still the strong beats ?
@@Sarpi2000 Yes, still 1 and 3. In 3/4 the strong beat is beat 1. In 6/8 it’s 1 and 4. Thanks for your comment.
Duuuu, awesome. All the years of listening to jazz guitar teachers focusing on harmony only, NOT doing what you’re doing, what a waste, lol. When you said 1 and 3 I’m like “WTF! No shit!” Damn…
@@Sleestackx Awesome! Yeah, instead of chord tone -> notes; It’s notes -> chord tone.
Great video lesson as usual, Adam. Perhaps, as a suggestion for a future topic, you could spend more time on what you touched on at the end, ways to transition from these exercises to freely improvising. That part has always been a mystery to me. It's a lot of work just to get to the point where you can run chord scales, arpeggios, and all the examples you gave over the changes to a tune, at a reasonable tempo, but even after all that you still have not achieved the final goal of being able to mix everything up (and more) to play interesting and unpredictable lines. Is it really just a case of learning to play the exercises so well that when you improvise freely, it (the magic good stuff) just happens?
@@DMMusicSound In a way, yes. I think it’s about hearing a line in your head and playing it! And I don’t necessarily mean having perfect pitch. I mean a shape with rhythms. Then I put all this stuff to the rhythms. The rhythm is what creates a phrases, punctuation included. If you check out the suggested video at the end, that’s exactly where that one gets into:
This is why you suck at jazz
ruclips.net/video/8x3gNE3GD50/видео.html
@@DMMusicSound Oh, and thanks for checking it out.
@@JazzRockswithAdam thanks, I will watch it again with this in mind.
@ 👍
Hi sorry if this was mentioned somewhere in the video but I am a little confused. I know you say try different chord tones, does that mean you are not trying to bring out the chord tones specific to the chord you are playing over? It seems like there are chords (G7 for example) where you are playing a min7 over a dominant7 chord.
@@Benso39 Hey there. To be more clear, I meant try using different notes for each chord to create different outcomes. Each chord has a R-3-5-7, or R-3-5-6. So if you played R-3 last time around on that chord, play 5-7. On the dominant 7 chord, the b7 is in fact a min 7th interval. So you would be correct. If it’s a G7, the 4 notes you could play would be G-B-D-F.
@@Benso39 Did you mean I was playing a Gm7 over a G7?
@@JazzRockswithAdam Thanks for the quick response and clarification. I had a brain fart and thought Dominant 7 chords were built with a major 7, when they are indeed built with a min7 lol. It makes sense now.
@ Awesome!
My dumbass definitely read "from meth to jazz" and I don't think I've ever been more intrigued by a video title 🤣
@@AlexH4774 I hope the surprise was good.
Chromatics are always great for Jazz.
@@KimchiSpringRoll Absolutely! It’s learning how to play the “wrong” notes the “right” way!
So... aim for a target note on 1 and 3 - but play anything to get there!
@@seattlevegas66 Just about right. Of course taste, feel, and appropriate things in that style are important. But yeah, pretty much!
@@JazzRockswithAdam I was being a tad facetious... great lesson as always! Your step by step approach is a super way to discipline myself. Thanks again!
@@seattlevegas66 Dig!
Jazz does not always use 4 note chords. Jazz uses mainly 7th chords (Major, minor, Dominant/altered Dominant, minor 7b5, diminished). Having said that, many times these chords are expressed using two and three note voicings. (Especially guitarists).
@ Ummm…I’m pretty sure that’s what I said in the video. And as a jazz guitarist, I should know. And yes, we often use shell voicings. But 7 and 6 chords contain 4 notes: R-3-5-7 (or 6)
7th chords are 4 note chords: root, third, fifth, seventh (or 6th). No contradiction here.
@ Totes!
Unpopular opinion: there are no 4-note chords, except b7 or diminished maybe. It's always ultimately 3-note "perfect chords" with a 4th note as an embellishment.
That's why chosing between 6 or M7 matters so little in the end.
And one should learn 3-note arpeggios before anything else.
@ I think you’re confusing playing chord voicings compared to playing lines using all 4 valid notes of a chord that I refer to in the video: R-3-5-7 or R-3-5-6
The 3 note voicings you’re referring to are shell voicings which have the 5th removed. But you MOST CERTAINLY can play all 4 notes of a chord if one wanted to.
omments here disappear
@@bjarnesegaard5701 I got all 3. If you’re commenting on the app, try refreshing by pulling down. I bet your comments will pop up. It me a while to figure that out myself.
yes! your first letter has already been consumed by the void!!
I feel ive been cheated my whole life since i figured out all the major, minor and sevenths chords in my sisters keyboard when i was seven yo.
I always thought i had to become a jazz guitarrist before reaching the 30 years. Then i discover Dylan and Silvio Rodriguez and forgot about jazz.
Now im a poet and i hope that i dont blow it...
And love to play flamenco which is FAR more difficult than jazz...that form of art consequence of two world wars...
@@Bandojy Every genre of music is challenging and requires study. But welcome back to jazz if you want to explore this road again, once more. Thanks for watching!
😴😴😴
Too bad. There’s sooo much valuable information here to learn from…
jazz needs a jazz guitar, some chamber for fullness & color. fat hollobody best except sooo thick, hard to play. anything but tele
@@raffyzoo2130 You couldn’t be more wrong. I think you’re listening with your eyes. What about Ed Bickert?
@@raffyzoo2130 There’s no such thing as a “jazz guitar” in reality.
@@raffyzoo2130 Lol, what???
Julian Lage, Tim Lerch, John Scofield, Bill Frisell, Danny Gatton, Robben Ford, Ted Greene, Ed Bickert, Mike Stern... surely they didn't get your memo. Lol
Right, all Tele players. Except for maybe Sco.