Great job! I have vivid memories of being a teenager in the 70s, teaching myself to play guitar by ear and constantly lifting the needle back on this tune trying to figure out what on earth he was playing. I had picked up the album Blue Benson in a second hand record shop and was captivated by it - Billie’s Bounce was my favourite track. I would have killed to have a teacher like you and resources like this back then. Bravo!
The Amaj7 came from the F#m relative. George Benson calls that the Secret of 2 chords. If you want to know more about that, check out Peter Farrell’s youtube channel
So glad you dug it! Wasn’t sure if the longer lesson format would go over with my audience. Do you prefer a longer analysis or more of a quick lesson video?
I might be wrong, not even being a musician, but phrase 2 sounds a lot like the guitar part at the start of Night in Tunisia as recorded by Charlie Parker. I never noticed that until now because it goes by so quickly in GB’s solo.
I really enjoyed it but it would be really useful if you played each complete lick slowly with a time reference so you know whether the first beat is on a downbeat or after the beat… Also play each phrase after the explanation of harmony, just so I can see how all the phrases connect… Sometimes it’s hard when you explain each phrase and then play the entire phrase at tempo because it’s tricky to see how the parts of phrases connect
14mn 40 Eb major triad and F major triad are in the tonalité of Bb major (F7 is the V) the F# major triad and the B major triad are the substitution of F#7 B7 wich resolve to Bb7
11mn56 Ab major triad and Db majeur triad are the V and the I of the Db major scale (Ab is the tritone substitution of D7) then it could be the G minor harmonic mélodic scale or the D altered scale with the D augmented triad wiche resolve to G-7
@@ChaseMaddox I thought of that, but didn’t want to seem pretentious. 😂 I enjoy your videos very much. Truth is keyboard is not my main instrument. I’m actually a bassist that also plays guitar haha. GB is one of my favorites. Cheers! 😎
tritone substitution of F7 is B7 (V degres of E majeur) Benson plays the IV degres of the E major scales (AM7 arpeggio wich is the diatonic substitution of F#-7)
Great lesson. That Cm thing he does in the #5 phrase seemed a little mysterious to me at first, but I guess it could be like going briefly back to F mixolydian/C dorian, even if he's playing over D7, just forcing that bluesy mixolydian vibe over it, or at least I can think about it that way.
Thanks Nick! They’re all based around different sections in an F Blues. Could be used in multiple keys. The PDF for this lesson and the second part of the video will be in my upcoming Jazz Blues course 🤘
@@ChaseMaddox just an idea but a lesson on F blues and different scale options etc would be awesome to incorporate all these great lines. I'd love to see different chordal options for an F blues too. Thanks again man for these rad lessons! Take care!
One more question, would the melodic minor phrases and the secret jazz chord work in this F blues context? what would be the best root note for the jazz chord to get some killer melodic minor lines going on the F blues? Using on a C which would be the 5th sounds pretty good!
Great question! A few ways it can work but in general thinking of F7 as the secret jazz chord with a D melody note and the Bb7 as a G melody note works well. That gives you the dominant sound with a nice #11 sound. On the C7 or turnaround phrase you would think C7alt, so secret jazz chord with an Eb melody note. Merry Christmas! 🤘
@@ChaseMaddox cool. yeah i rack my brain trying to figure out what note you are counting up from to use the melody on D or G. Are you just counting a 6th up from the root F and C? That creates a Dom 13 type chord yeah? I always go back to your secret chord video and how create different chords. Love the concept. Thanks!
I have a recording of that tune and it has a glitch in the middle of it somehow it sounded like somebody put their finger on the tape for like a millisecond or two I wonder what happened?
Ideally you would know every note on the fretboard, but I would start off simpler by focusing a single arpeggio type and learning which chord tone it is (root, 3rd, 5th, 7th) and the note name. If you’re focusing on blues, do that for dominant 7th chords only to start and maybe first from shapes rooted on the 6th string and then shapes rooted on the 5th string.
@@ChaseMaddox I have been playing for 55 years now. I play my share of stuff well, but just never learned music, I play all by ear and it makes learning new stuff a lot harder than it should be. Anyway love Benson and will slog on.
Great job! I have vivid memories of being a teenager in the 70s, teaching myself to play guitar by ear and constantly lifting the needle back on this tune trying to figure out what on earth he was playing. I had picked up the album Blue Benson in a second hand record shop and was captivated by it - Billie’s Bounce was my favourite track. I would have killed to have a teacher like you and resources like this back then. Bravo!
Amazing! Thanks for watching 🙏
Great lesson and playing!
Great video. Thank you - I will start working on these cool lines. I love the longer lines that cross several bars and chords and show the changes.
Thank you for your comment, Bjarne! Incredible, long lines are definitely one area, among many, where Benson can’t be touched!
Great lesson! I really appreciate the theoretical breakdown. Fantastic-Thanks for that!!!
Thank you Robert! Glad you dig it 🤘
Really loving your videos! Thank you.
Thanks Kristopher! I appreciate you saying that and checking them out! 🤘
Great analisis, thank you 🙏🏽
Satisfying video, I feel like I'm learning something substantial and in chunks. Thank you!!
Thank you! You’ll definitely dig this week’s lesson on Saturday, so tune back in or subscribe if you’re not already 🤘
The Amaj7 came from the F#m relative. George Benson calls that the Secret of 2 chords. If you want to know more about that, check out Peter Farrell’s youtube channel
What's the title of the video where he discusses it?
Woah!
Awesome lesson brother! 🤟🔥
Thanks bruh!
Good stuff! Thanks for the free lesson. I've been a Benson listener for a long long time. Good job. Good luck with your channel.
Awesome, thank you! I have a bunch more Benson related lessons on the channel to check out 👍
Great job brother 👍👍👍
Appreciate the support! 🤘
Benson is smooth as hell
Haha the smoothest!
Thanks, for sharing Bro, very clear. Good Teacher,you are, keep it up...
I appreciate that! 🙏
Great stuff
Thank you!
That Amaj7 arpeggio could also be considered like the relative IVmaj7 from the B7 tritone sub going to the Bb7.
Occam's (Benson's) Razor would suggest the simpler explanation is probably it.
This is an incredible lesson 👍 thanks so much for this video!!
So glad you dug it! Wasn’t sure if the longer lesson format would go over with my audience. Do you prefer a longer analysis or more of a quick lesson video?
@@ChaseMaddox I personally love the longer analysis. Thanks again for the excellent videos, they are much appreciated 👍🎸
Great, I’ll make sure to keep doing some longer videos 👍
I might be wrong, not even being a musician, but phrase 2 sounds a lot like the guitar part at the start of Night in Tunisia as recorded by Charlie Parker. I never noticed that until now because it goes by so quickly in GB’s solo.
Awesome
Thanks!
I really enjoyed it but it would be really useful if you played each complete lick slowly with a time reference so you know whether the first beat is on a downbeat or after the beat… Also play each phrase after the explanation of harmony, just so I can see how all the phrases connect… Sometimes it’s hard when you explain each phrase and then play the entire phrase at tempo because it’s tricky to see how the parts of phrases connect
Thanks! Appreciate the suggestion 👍
thanks! go boy jump to next ;)
14mn 40 Eb major triad and F major triad are in the tonalité of Bb major (F7 is the V) the F# major triad and the B major triad are the substitution of
F#7 B7 wich resolve to Bb7
11mn56 Ab major triad and Db majeur triad are the V and the I of the Db major scale (Ab is the tritone substitution of D7)
then it could be the G minor harmonic mélodic scale or the D altered scale with the D augmented triad wiche resolve to G-7
Really great. Thank you. It doesn’t matter, but if you’d like to know: “giblet” is actually pronounced “jiblet”. 👍
Thank you! Guess I was pronouncing it like the difference in “GIF” and “JIF” 😄
@@ChaseMaddox I thought of that, but didn’t want to seem pretentious. 😂
I enjoy your videos very much. Truth is keyboard is not my main instrument. I’m actually a bassist that also plays guitar haha. GB is one of my favorites. Cheers! 😎
This channel focuses on jazz, so I think we’re all a *little* pretentious 😁 Appreciate the support and feedback! 🤘
tritone substitution of F7 is B7 (V degres of E majeur) Benson plays the IV degres of the E major scales (AM7 arpeggio wich is the diatonic substitution of F#-7)
Yeah that seems much more complicated to me
killer lines love it Freshwater
Thanks again 🙏
Great! Which kind of pick do you use? Dunlop Jazz3?
Thanks! I use a Fender Heavy pick 🤘
What Ibanez guitar model is that? It’s beautiful.
Thanks! It’s the AG 85 🤘
What gauge strings are on your guitar and are the flat or round wounds?
I think .11 and roundwound
Great lesson. That Cm thing he does in the #5 phrase seemed a little mysterious to me at first, but I guess it could be like going briefly back to F mixolydian/C dorian, even if he's playing over D7, just forcing that bluesy mixolydian vibe over it, or at least I can think about it that way.
Thanks! Got another Benson lesson coming tomorrow morning 🤘
@@ChaseMaddox Sounds good. Really great stuff!
I appreciate you checking out the lessons! 🙏
What Ibanez model is your guitar?
Ibanez Artcore AG85
No wonder I think he is epic. He was doing this in 68 lol
The GOAT 🐐
When you say one chord resolves into another triad…what does resolves mean?
It means “leads into” or that it has a tension that is relieved (resolved) when you go to the next chord.
What key are these lines? Is there a PDF? Killer lines. ✌🏼
Thanks Nick! They’re all based around different sections in an F Blues. Could be used in multiple keys. The PDF for this lesson and the second part of the video will be in my upcoming Jazz Blues course 🤘
@@ChaseMaddox just an idea but a lesson on F blues and different scale options etc would be awesome to incorporate all these great lines. I'd love to see different chordal options for an F blues too. Thanks again man for these rad lessons! Take care!
One more question, would the melodic minor phrases and the secret jazz chord work in this F blues context? what would be the best root note for the jazz chord to get some killer melodic minor lines going on the F blues? Using on a C which would be the 5th sounds pretty good!
Great question! A few ways it can work but in general thinking of F7 as the secret jazz chord with a D melody note and the Bb7 as a G melody note works well. That gives you the dominant sound with a nice #11 sound. On the C7 or turnaround phrase you would think C7alt, so secret jazz chord with an Eb melody note. Merry Christmas! 🤘
@@ChaseMaddox cool. yeah i rack my brain trying to figure out what note you are counting up from to use the melody on D or G. Are you just counting a 6th up from the root F and C? That creates a Dom 13 type chord yeah? I always go back to your secret chord video and how create different chords. Love the concept. Thanks!
I have a recording of that tune and it has a glitch in the middle of it somehow it sounded like somebody put their finger on the tape for like a millisecond or two I wonder what happened?
Hmm I don’t remember that. Interesting 🤔
As anyone in the 70s jazz scene would say.
This is the motherfu**n shit!
So I guess I should know the interval of an arpeggio note (3rd, 5th, 7th) and not just the the arpeggio mappings
Ideally you would know every note on the fretboard, but I would start off simpler by focusing a single arpeggio type and learning which chord tone it is (root, 3rd, 5th, 7th) and the note name. If you’re focusing on blues, do that for dominant 7th chords only to start and maybe first from shapes rooted on the 6th string and then shapes rooted on the 5th string.
7mn45 it's a A-7 arpeggio not a C major triad
A C major triad is within an A-7 arpeggio. It’s a different way to think of it.
I like a teacher who plays first before teaching and talk less!
Ok 👍
i mean the first lick is the actualy melody of the blues head
Yes it is 🤘
Well, thank you for the video...however now I feel totally demoralized.
Why are you demoralized?
@@ChaseMaddox because I am not smart enough to learn what you know, and never will be.
Anyone can learn what I know, but you have to be willing to start at the beginning 👍
@@ChaseMaddox I have been playing for 55 years now. I play my share of stuff well, but just never learned music, I play all by ear and it makes learning new stuff a lot harder than it should be. Anyway love Benson and will slog on.
Wow…….No Tabs….. unfortunate.
Free PDF for this is in my free community. Check the description on any of my recent videos 👍