Best intermediate to advanced lessons on RUclips IMO. When you're ready for deep dive into theory that is easy to follow and comprehensive and well explained, this is the place!
I'm aware of substitutions but this video really nails the theory behind it with excelllent explanantions. My favourite white dutchman YT channel by far!
This is how guitar lessons should be done. All substitutions are followed by the theoretical explanation behind it, so you can understand the WHY and make your own progression. Well done, it might take me months to master all the content explained here, but at least now I know HOW. Thank you.
Wow, thank you for such a clear explanation of things I've been chasing for 45 years. Absoulte best lessons I have seen, sooo much to dig into. Thank you for all you share!
There's nothing like drinking clear well of knowledge. In 15 minutes I learned more about blues than ever before in any time I sat down to study blues. Awesome, top notch material!!!
@@almendratlilkouatl dear Panjo, some of us are not as bright to see it clearly. That’s great you’re one of those! But in the mean time I pay tribute to those that light up the way for me as Rob does. Cheers and happy playing
This excelent, thanks for taking your time to prepare this. I would love to see a improvisation approach on each of the bars. But I am trying to find myself the path.
yes Rob, another clear and useful lesson, plenty of worthy acknowledgment to be learnt in each of your very well structured and visual helping lessons! Thanks so much Rob!
Excellent explanation of chord subs, good job! However, one needs to already possess some serious jazz music theory to understand the gist of it,including the jazz scales. It's an intermediate to advanced lesson. 👍Crystal clear, indeed!
Great lesson. One minor quibble: I would analyse the #iv dim7 (D#dim7) in bar 6 as a suspension of the I7 chord. D#dim7 has the same notes as Adim7 (i dim7). Suspending the resolution to the I chord with the i dim chord is a pretty common chord progression and also a widely-used substitution in solos. I don't think it makes sense to analyse it as a dominant substitution (F#dim7 for D7b9) because it doesn't resolve like a dominant in this situation.
I'd love to see an approach to improvising over this progression. Obviously, I can kind of follow the guide keys, but I can image there are lots of approaches.
I realize most people here will make the distinction, but it might be helpful to label the b13 chord as a 7b13. It ended up looking like an "Ab 13" chord, instead of "A b13"
In the section beginning at 3:08, I don't understand why the Em7/A7/D7 substitution is seen as a 2-5-1 progression. That would make sense if this were in the key of D, but I thought this is a 1-4-5 progression in the key of A. Given this, why isn't Em7/A7/D7 seen as a 5-1-4 progression? I understand that on its own 5-1-4 is equivalent to 2-5-1, but relative to A as 1, why isn't Em7/A7/D7 viewed as 5-1-4 here?
If I'm understanding it correctly, for this segment of the progression you're shifting the tonal center to D as such it's a 2 5 1 in D.Then you come back around later on to A as the tonal center with similar tricks.
@@timetravel5921 Thank you for the explanation. After watching the video again, I see that he mentions that it's a 2-5-1 in the key of D. I wish that he had gone into the explanation a little deeper, especially since he started the video by saying that he's going to keep it simple by keeping the tune in the key of A. I can understand that it's a 2-5-1 in the sense that he's switching up the Em7/A7/D7 substitution where it was originally supposed to be D. So that makes some sense, but the idea of switching the tonal center, then making the substitution from that new tonal center, only to return to the original tonal center, is a bit tricky. Again, thanks for your help!
This is the most comprehensive 12 bar blues lesson on RUclips ! Thank you for sharing !
Best intermediate to advanced lessons on RUclips IMO.
When you're ready for deep dive into theory that is easy to follow and comprehensive and well explained, this is the place!
Thank you Matt!
I agree 100%. I've learned so much from his RUclips channel and patreon.
Wow, this really helped me to understand how to put multiple 2-5-1s in a progression, even made my own variations, thank you
This was exactly what I needed in a jazz blues lesson. Dutch Master! 😀
The 60s!?! Elmore James is crying. Can you see the tears roll down his nose?
If you paid attention you'd hear him say the 60's of the 19th century, which means 1860's friend.
This is an excellent video! Few videos on RUclips need to be saved and shared but this is one of them! Great lesson.
Thanks Harlan!
I'm aware of substitutions but this video really nails the theory behind it with excelllent explanantions. My favourite white dutchman YT channel by far!
Thanks Tony :)
This is how guitar lessons should be done. All substitutions are followed by the theoretical explanation behind it, so you can understand the WHY and make your own progression. Well done, it might take me months to master all the content explained here, but at least now I know HOW. Thank you.
awesome lesson
Thanks Sasha!
Wow, thank you for such a clear explanation of things I've been chasing for 45 years. Absoulte best lessons I have seen, sooo much to dig into. Thank you for all you share!
There's nothing like drinking clear well of knowledge. In 15 minutes I learned more about blues than ever before in any time I sat down to study blues. Awesome, top notch material!!!
so you only studied it like 10 minutes max before? just basic stuff in this video
@@almendratlilkouatl dear Panjo, some of us are not as bright to see it clearly. That’s great you’re one of those! But in the mean time I pay tribute to those that light up the way for me as Rob does. Cheers and happy playing
@@almendratlilkouatl I don't think this is basic.
Thanks Gilberto! Glad you can learn from this video.
Nice and thank you very much.!
This will change my playing altogether for the better and turn heads ! Thk You !
Another great lesson by my favorite mentor!!! Thanks for all you do for us Rob, you are the man!!!
Thank you Jose! :) Always appreciate your comments.
Excellent Lesson !!!
Thank you so much. Great explanation
Great Lesson ! Would love a similar lesson on minor blues as well !
I second this
Thanks Rob! This tutorial of the 12 bar progression is excellent.
Thanks Lambros!
This excelent, thanks for taking your time to prepare this. I would love to see a improvisation approach on each of the bars. But I am trying to find myself the path.
Great lesson! Lots to think about and apply.
Thanks Tom! Have fun studying these concepts.
this information is worth millions!!!
Thanks!
So that's how they do it! Thanks so much. Learned a lot in a very short time.
I've been trying to get this understood for years! Thank you for this.
it is a great lesson with the crystal clear info, thank you very much for sharing !
Excellent lesson
Great Lesson a real Mind Opener Stuff! Thank you!!
yes Rob, another clear and useful lesson, plenty of worthy acknowledgment to be learnt in each of your very well structured and visual helping lessons! Thanks so much Rob!
Thanks Rafael for yet another motivating comment!
I really love your videos thanks ...
Thanks Ismail!
Wow 👍 well explained and very visual. Thanks for sharing your theoretical knowledge 🙏
Thanks Rolando :)
Hi Rob. I learn so much from you. Thanks for sharing this.
You're welcome :)
Wish you're just around the corner and teach me... Thanks for sharing your knowledge
I remember listening to Wes Montgomery D Natural Blues and being blown away by his dazzling playing over turnarounds..
An absolute genius indeed!
white dutchman playing ibanez knows the blues for sure. well done mate
I thought oh no, then you sped it up...phew!..Great tutorial thank you.
great lesson!!!
Very useful, man. Thank you.
Excellent lesson, thank you!
Interesting lesson not a blues guy myself but i do like the use of major pentatonic over blues progressions think bb king
Hi AZ, Not a frequent blues player myself either:) I think the substitutions may work in other genes as well :)
Many thanks! Please consider doing a video(s) on the use of chromaticism in both harmony and melody.
great hacks, excellent presentation and explanation. Thank You...! B-)
thank you for using a JEM
Excellent explanation of chord subs, good job! However, one needs to already possess some serious jazz music theory to understand the gist of it,including the jazz scales. It's an intermediate to advanced lesson. 👍Crystal clear, indeed!
Great lesson. One minor quibble: I would analyse the #iv dim7 (D#dim7) in bar 6 as a suspension of the I7 chord. D#dim7 has the same notes as Adim7 (i dim7). Suspending the resolution to the I chord with the i dim chord is a pretty common chord progression and also a widely-used substitution in solos. I don't think it makes sense to analyse it as a dominant substitution (F#dim7 for D7b9) because it doesn't resolve like a dominant in this situation.
You got a point there :) Thanks Amandla for this contribution.
I'd love to see an approach to improvising over this progression. Obviously, I can kind of follow the guide keys, but I can image there are lots of approaches.
Great lesson….why not take the chord changes further….eg some changes with every beat in the bar? Then things get really interesting 👍🍷
I realize most people here will make the distinction, but it might be helpful to label the b13 chord as a 7b13. It ended up looking like an "Ab 13" chord, instead of "A b13"
You got a point there.
In the section beginning at 3:08, I don't understand why the Em7/A7/D7 substitution is seen as a 2-5-1 progression. That would make sense if this were in the key of D, but I thought this is a 1-4-5 progression in the key of A. Given this, why isn't Em7/A7/D7 seen as a 5-1-4 progression? I understand that on its own 5-1-4 is equivalent to 2-5-1, but relative to A as 1, why isn't Em7/A7/D7 viewed as 5-1-4 here?
If I'm understanding it correctly, for this segment of the progression you're shifting the tonal center to D as such it's a 2 5 1 in D.Then you come back around later on to A as the tonal center with similar tricks.
@@timetravel5921 I don't quite understand why that is, but thanks for the explanation! 🙏😊
@@timetravel5921 Thank you for the explanation. After watching the video again, I see that he mentions that it's a 2-5-1 in the key of D. I wish that he had gone into the explanation a little deeper, especially since he started the video by saying that he's going to keep it simple by keeping the tune in the key of A.
I can understand that it's a 2-5-1 in the sense that he's switching up the Em7/A7/D7 substitution where it was originally supposed to be D. So that makes some sense, but the idea of switching the tonal center, then making the substitution from that new tonal center, only to return to the original tonal center, is a bit tricky. Again, thanks for your help!
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Have you ever considered a classical technique lesson?
I guess that would be outside the scope of this channel, although I do teach classical music here in the Netherlands :)
You need to revisit your knowledge of blues history, sir. Robert Johnson played 12-bar blues and died in 1938.
Excuse me
Please do not strum a jazz progression like its an acoustic song