00:00 - Intro 00:41 - Original Chord Progression 01:58 - With Extensions 04:59 - The Sharp 4 Substitution 09:22 - With Extensions 11:17 - Song Example: They Can't Take That Away From Me 11:59 - Song Example: I Can't Give You Anything But Love 12:46 - Song Example: How About You? 13:17 - 3 Improv Patterns 13:27 - Pattern 1 15:49 - Play with backing track 16:17 - Pattern 2 18:10 - Play with backing track 18:36 - Pattern 3 20:03 - Play with backing track
Interesting. I’ve done #4-7(b5) 4m 3m b3dim 2m, or F#-7(b5) Fm Em Ebdim Dm G7 (or Db7), but not this way, but of course tritone dom7’s are very common, but that 4m chord is so pretty! (the Fm).
Thank you, this progression is beautiful. I am slightly confused about one thing that I'm seeing st 09:13. For your first chord substitution (from C to F#m7b5), you are obviously using a shell of 3 notes (F# in the bass, E and A). Why can we call this a m7b5 if C is not being played? To me, the shell simply implies a m7. I understand that shortly after this, you added a C to complete the m7b5, but at this point, it seemed to me as if it were just Fm7. Looking forward to hearing your explanation.
00:00 - Intro
00:41 - Original Chord Progression
01:58 - With Extensions
04:59 - The Sharp 4 Substitution
09:22 - With Extensions
11:17 - Song Example: They Can't Take That Away From Me
11:59 - Song Example: I Can't Give You Anything But Love
12:46 - Song Example: How About You?
13:17 - 3 Improv Patterns
13:27 - Pattern 1
15:49 - Play with backing track
16:17 - Pattern 2
18:10 - Play with backing track
18:36 - Pattern 3
20:03 - Play with backing track
The breakdown analysis really helps to understand step by step.
This Guy is Super Fantastic 👌 👍
This is excellent practice
Thanks so much man!!! Really love how u break things down
Awesome thank you so much!!!
Thank you!
Thank you. you are very detailed.
Great lesson!
Thank you
Very cool! Thanks!
This is very helpful ❤
1:58
9ths and 13ths
4:58
I - IV - II - VI - II - V
changed to
#IVm - IV - III - bIII - II - V
9:21
Adding 9ths and 13ths
Interesting. I’ve done #4-7(b5) 4m 3m b3dim 2m, or F#-7(b5) Fm Em Ebdim Dm G7 (or Db7), but not this way, but of course tritone dom7’s are very common, but that 4m chord is so pretty! (the Fm).
I loved it!
liked this v much
Eres bueno para enseñar!
SubV7/II, mixo#11
love the hair. super neat look bet the girls are wowed even before he plays.
Thank you, this progression is beautiful.
I am slightly confused about one thing that I'm seeing st 09:13. For your first chord substitution (from C to F#m7b5), you are obviously using a shell of 3 notes (F# in the bass, E and A). Why can we call this a m7b5 if C is not being played? To me, the shell simply implies a m7.
I understand that shortly after this, you added a C to complete the m7b5, but at this point, it seemed to me as if it were just Fm7.
Looking forward to hearing your explanation.
This guy talks too much.
very cool indeed.. thanks so much 🤗🤗