How do you approach soloing over chord changes? 12 Things NOT to Do When Starting Jazz Guitar (By a Jazz Guitarist) ruclips.net/video/lwdhhj0bBjM/видео.html
Then you do indeed need to move to changes playing. Just playing on one chord will not teach you to solo over changes, that needs more skills than that 👍🙂
Jens, another great video with solid ideas from beginning to end. Plus, I knew as you kept expanding the ideas on soloing that Barry Harris was bound to make an appearance!
this video is a blessing! i've been looking around for clear and straight to the point resources on target notes for a while now and incredibly enough this came out at the exact right time! thanks once again Jens, you're a great teacher :)
Great video Jens ! Soloing over chords is probably the most sought after skill by guitarists yet very few know how (or think they need to know how) to approach it. I know more about it nowadays (which I'm very happy about) but also realise the journey never ends. I consider that part of the fun too. Getting bored with ways I used to play is a great motivator as well.
For years I could not solo over changes until I started composing ii V I lines in 1 chord per measure blocks and 2 chords per measure blocks. I video recorded lines I wanted to remember, lifted a few licks from my favorite solos that I transcribed and changed a little to make fit into my solo. I still suck, but I have some vocabulary to draw from to trick people into thinking I don't suck. That is the stage I am at now. Great lesson, Jens. So helpful as always.
I have been a big fan for a while. You are one of the teaching greats on RUclips. Thanks. One question is would you write most or all of these ideas down or just keep playing different small licks to the target note?
Lots of GREAT ideas here!! I've been trying to get flow playing over the chords for years. Maybe now I'll finally get something that sounds good!! Eight minutes of advice easily worth eight months of fumbling around on your own of attempting to learn to "think" about which target knows to go after. Of course rhythmic vitality is a big part of the right sound as well!! Thanks so much for this fine video!!
Brilliant teaching as always Jens. You seem to be more and more comfortable in front of the camera. You were making me chuckle...😂 I have a question. Do you have any particular methods for ear training and in particular hearing chord progressions better? Cheers!
Thank you! I do have a method for hearing changes when I am learning songs: figure out the melody and then figure out the bass line and use those two to hear the chord. In time, you get better and better at just hearing what chord is played and what the note is in the key.
oh now I understand how to find and go from there, was doing that from my feeling but your explanation make it easy for me thanks sensei Jens.further question shall ask trough your mail.nice day🙏🎸
@@JensLarsen I really got into it, even though I'm not a jazz guitarist, I really love to hear playing through chords, and to see how it's done, thanks again.
Hi! I have a very simple question: should i aim to get to a level where in your head not only i can 'hear' in my mind what i want to play before executing it and at the same time also know exactly what note I am playing ? I am definitely far from both, with the first one feeling slightly less impossible (i.e. i can sort of anticipate what a given interval is going to sound like+ using muscular memory of a scale i can sort of guess what I am about to play). Whereas being able to do a sort of inner "solfege" where I also name the notes in my mind while i solo is definitely something I cannot do and not sure I would even ever be able of doing to be fair. Is this a goal worth aiming for? Is this a requirement for decent soloing? Thanks!
For me, I am not analyzing when I solo, and I doubt that anybody has time to think every note or interval they play. They probably just listen and hear melodies.
@@JensLarsen that's really helpful, it is one of those things I would have never known if I hadn't asked. Okay, sounds like it is enough to put the effort on "listening" the solo and have an idea of where we are going with it! Thanks!
My opinion, FWIW: The first skill will naturally develop and is most definitely a great thing. With the second, it sounds like you're referring to actually naming all the notes while you're playing, which I think would just get in the way. I do think you should be able to name key notes when needed, though.
Every time I watch these videos I spend about an hour on each one breaking down the ideas as they appear, thank you for the wonderful content! @JensLarsen
What’s the best way to find target notes on the fretboard during improv? Do you “see” the position of the interval visually within a chord, scale or arpeggio shape (without necessarily knowing the name of the note)? Do you memorise every note in each chord and identify the target note by name through having memorised all notes on the fretboard? Do you recall target note positions for given chord progressions through having extensively practiced those progressions? Are you hearing the chord interval (without necessarily identifying the name of the particular note)? I find this the hardest thing in terms of progressing in guitar.
@@JensLarsen It's right after you start the video, during the intro, and say, "A big part of why a solo sounds great, is the flow..." You then play the music that you have up on screen.
@@Sparksnorthern There is no rules that says you have to play chord tones on the down beat all the time, the reason that very simple line works is that it flows to a very clear Bbmaj7 line. Don't try to make stuff into rules, that is not going to be useful 🙂
@@JensLarsen I've been taking notes on your videos and went back and rewatched later this morning (I'm in Arizona) and sure enough, you explained using Chromatic Enclosures as another way to build melodies where chord tones aren't even used. And when chord tones are used, they're not played on the downbeats. This is all so great, Jens - you are the premier jazz guitar instructor!
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How do you approach soloing over chord changes?
12 Things NOT to Do When Starting Jazz Guitar (By a Jazz Guitarist)
ruclips.net/video/lwdhhj0bBjM/видео.html
I'm at the exact point where I'm practicing over one chord vamps for 6 hours a day and this concept is such a simple change yet absolutely brilliant.
Then you do indeed need to move to changes playing. Just playing on one chord will not teach you to solo over changes, that needs more skills than that 👍🙂
I think this is one of your best videos ever! 😊
Glad you like it! 🙂
Oh my gosh! This makes so much sense . . . why haven't I heard about this method of thinking before? Thank you Jens
🙏🙂
Très bon cours ! Clair, précis et de l'humour.
Thank you! 🙏🙂
Jens, another great video with solid ideas from beginning to end. Plus, I knew as you kept expanding the ideas on soloing that Barry Harris was bound to make an appearance!
Glad you enjoyed it!
this video is a blessing! i've been looking around for clear and straight to the point resources on target notes for a while now and incredibly enough this came out at the exact right time! thanks once again Jens, you're a great teacher :)
Great video Jens ! Soloing over chords is probably the most sought after skill by guitarists yet very few know how (or think they need to know how) to approach it. I know more about it nowadays (which I'm very happy about) but also realise the journey never ends. I consider that part of the fun too. Getting bored with ways I used to play is a great motivator as well.
True, the journey never ends, and in many ways that is a good thing 🙂
very cool... Will point out that Parker's lines often - but not always -approached the target note by a half step.
Thank you! Essentially true for everyone or not?
For years I could not solo over changes until I started composing ii V I lines in 1 chord per measure blocks and 2 chords per measure blocks. I video recorded lines I wanted to remember, lifted a few licks from my favorite solos that I transcribed and changed a little to make fit into my solo. I still suck, but I have some vocabulary to draw from to trick people into thinking I don't suck. That is the stage I am at now. Great lesson, Jens. So helpful as always.
This one was absolutely fantastic, thank you so much
You're so welcome!
Great Video Jens 👌
Glad you enjoyed it!
I have been a big fan for a while. You are one of the teaching greats on RUclips. Thanks. One question is would you write most or all of these ideas down or just keep playing different small licks to the target note?
Thank you! I have done 5hat in periods, but I don't think you have to, experiment with what works for you
Made it here! Yay!
Excellent video. Thank you, Jens.
Lots of GREAT ideas here!! I've been trying to get flow playing over the chords for years. Maybe now I'll finally get something that sounds good!! Eight minutes of advice easily worth eight months of fumbling around on your own of attempting to learn to "think" about which target knows to go after. Of course rhythmic vitality is a big part of the right sound as well!! Thanks so much for this fine video!!
Glad it was helpful 🙂
Brilliant teaching as always Jens. You seem to be more and more comfortable in front of the camera. You were making me chuckle...😂 I have a question. Do you have any particular methods for ear training and in particular hearing chord progressions better? Cheers!
Thank you! I do have a method for hearing changes when I am learning songs: figure out the melody and then figure out the bass line and use those two to hear the chord. In time, you get better and better at just hearing what chord is played and what the note is in the key.
BTW... the 335 sounds beautiful, Jens!
@@JeffSmith-di5rk Thank you 🙂
Where are you going? Outstanding and thank you!
Thank you 🙏
2:00 Great
🙏🙂
oh now I understand how to find and go from there, was doing that from my feeling but your explanation make it easy for me thanks sensei Jens.further question shall ask trough your mail.nice day🙏🎸
You're welcome! You can probably better ask here 🙂
Grrreat!
Wow, that was such a great video, thank you.
Glad you enjoyed it!
@@JensLarsen I really got into it, even though I'm not a jazz guitarist, I really love to hear playing through chords, and to see how it's done, thanks again.
@@SteveSutherland-rh3tg That's great to hear 🙂
Thanks!
Thank you for your support, Tom 🙏
What a fantastic video have a wonderful day also today is my dad birthday ❤❤❤❤❤❤❤❤😊😊😊😊😊😊😊😊
Glad you like it! 🙂
AS USUAL - to quote Duke Ellington "Beyond Category"
🙏🙂
"Jazz Club" for the win! G-r-r-reat! 😎
😁🙏
Great lesson. New guitar Jens?
Thank you! No, I've had that ES335 for quite a few years ruclips.net/video/2Ze22BNftAA/видео.html
Is hal garper forward motion on this topic maybe?
Certainly!
This makes a lot of sense, that's why its called playing the CHANGES, not playing the chords.
Exactly 🙂
Target notes are _so_ much better than K-Mart notes, and they only cost a little bit more.
😁👍
4:28
Спасибо, привет из России!!!🎉
Glad you like it!
Hi! I have a very simple question: should i aim to get to a level where in your head not only i can 'hear' in my mind what i want to play before executing it and at the same time also know exactly what note I am playing ? I am definitely far from both, with the first one feeling slightly less impossible (i.e. i can sort of anticipate what a given interval is going to sound like+ using muscular memory of a scale i can sort of guess what I am about to play). Whereas being able to do a sort of inner "solfege" where I also name the notes in my mind while i solo is definitely something I cannot do and not sure I would even ever be able of doing to be fair. Is this a goal worth aiming for? Is this a requirement for decent soloing? Thanks!
For me, I am not analyzing when I solo, and I doubt that anybody has time to think every note or interval they play. They probably just listen and hear melodies.
@@JensLarsen that's really helpful, it is one of those things I would have never known if I hadn't asked. Okay, sounds like it is enough to put the effort on "listening" the solo and have an idea of where we are going with it! Thanks!
My opinion, FWIW: The first skill will naturally develop and is most definitely a great thing. With the second, it sounds like you're referring to actually naming all the notes while you're playing, which I think would just get in the way. I do think you should be able to name key notes when needed, though.
Step 1: Use a B7#5 arpeggio over Cm6 😏
😂👍
That was nasty of Bach not to want to share about the target notes.
😁🙏
👍👍👍
Glad you like it!
Yet another great video. Jotted these notes down in hopes it helps me practice later. Kind thanks!
Every time I watch these videos I spend about an hour on each one breaking down the ideas as they appear, thank you for the wonderful content! @JensLarsen
You're very welcome!
one of your best videos so far! it picks me up right where i am at the moment. :)
Glad it was helpful!
What’s the best way to find target notes on the fretboard during improv? Do you “see” the position of the interval visually within a chord, scale or arpeggio shape (without necessarily knowing the name of the note)? Do you memorise every note in each chord and identify the target note by name through having memorised all notes on the fretboard? Do you recall target note positions for given chord progressions through having extensively practiced those progressions?
Are you hearing the chord interval (without necessarily identifying the name of the particular note)?
I find this the hardest thing in terms of progressing in guitar.
To practice so that you know them when you have to improvise. When you solo you rely on what you already practiced and sit back and listen 🙂
Great lesson, Jens! Now I'm gonna work on Dm7-G7 for the next 8 hours! :o) (cue the falling downstairs sound bite!)
Thank you Jens I love your videos and your pedagogy. I hope one day to come and have a few lessons with you.
Thanks Graham! 🙂
Mind blown. Thank you, Jens!
Great to hear it that it was useful! 🙂
Thank you, Jens . . . I thought I subscribed to your channel some time ago, I didn't, however I have fixed that now!
0:38
Good act
great video with multiple insights Jens!
Is this approach also applicable for other music styles or mostly Jazz?
Cheers
Love it. I like to tell my students that's it's so simple:
Dm7: play F
G7: play F
Cmaj7: E
2 notes is a great start ❤❤
Excellent work once again Jens !!! Thank you 🙏
Glad you like it! 🙂
Jens, in the opening to this video, you play the chord tones of Cmin7 and F7 on the weak beats. How is it possible that it sounds good?
Can you point me to an exact time?
@@JensLarsen It's right after you start the video, during the intro, and say, "A big part of why a solo sounds great, is the flow..." You then play the music that you have up on screen.
@@Sparksnorthern There is no rules that says you have to play chord tones on the down beat all the time, the reason that very simple line works is that it flows to a very clear Bbmaj7 line.
Don't try to make stuff into rules, that is not going to be useful 🙂
@@JensLarsenI think this is probably why you continue to emphasize the importance of composing what sounds good. As always, Jens, thank you.
@@JensLarsen I've been taking notes on your videos and went back and rewatched later this morning (I'm in Arizona) and sure enough, you explained using Chromatic Enclosures as another way to build melodies where chord tones aren't even used. And when chord tones are used, they're not played on the downbeats.
This is all so great, Jens - you are the premier jazz guitar instructor!
😂Use C augmented 7 appegio over C#m6
Do you maybe mean C7(#5)?
@@JensLarsenyes
Think like a pro: “How much are they paying me for this? When’s the next break?”
Great way to ingrain this is by practicing triads