+Gage Wiggins Thank you! That's very nice of you! If you want to help me then you can share one of my videos on Facebook or Twitter and help me spread the word!
This lesson is perfectly timed for me. I've been a struggling blues player for years, but jazz has always been further out of reach. For the past couple of weeks, however, I've been trying to play with Thelonius's Blue Monk in Bb, so this lesson should really help.
I finally decided to start to learn the basics properly, so I am really building my theory knowledge and practicing of the major & minor scales, the pentatonics and the argeggios (with their extentions) across all positions and now I believe I have enough foundations so that I can get into Jazz and Jazz-Blues playing. However I am not really sure the best way to start. I can see from your video that a good approach is to start with the chords then draw from the arpeggios, scales and maybe the pentatonics as best suited to build on the improvisation skills. However I have a long way to go as learning to play jazz still seems a hugely complex genre to me. Can you recommend a good structured lesson guide (video or books)?
fred blowey I actually don't know any book or videos, the best thing you can do is to find a good teacher, because then the material will fit what you know. No book can do that. But for the rest: major scales and diatonic arpeggios are essential, so learn that and then start to learn simple songs like Blue Bossa or Cantaloup Island, mix up arpeggios and pentatonics where you can and build it from there. It is very important that you use it in songs if you really want to learn to use it.
I found this old video and I'm glad I watched it. I've been working on a tune that is in Bb. Title is Ace in the hole, and old western tune. It would work with your ideas
@@JensLarsen This lesson is great because I am primarily a Blues player, but I like to add jazzy runs into my playing and this lesson is helping me widen my vocabulary. Thanks again!
+Jens Larsen Thank you so much for taking the time and effort to do such great lessons. I dive into each lesson and practice them all thoroughly (especially after my gorgeous neighbor made a comment on how she loved the new style of guitar playing that I've been practicing) Since I found your lessons a couple months ago I have drastically expanded my understanding of the fretboard..... and isn't that what guitar playing is all about? :)
I think you could argue that guitar playing are also about impressing gorgeous neighbours? :D But I am really glad you find the videos useful and can put the material to use! If you have any questions you know how to reach me! :) If you want to help me then you can share one of my videos on Facebook or Twitter and help me spread the word!
Jens, Thank you for teaching. I have found your videos quite helpful. In this particular video I have a question about the choice of G7. From my understanding of the Bb major scale, the dominant 5th degree is F. Im curious about the choice of G7. I can hear the resolution with the next chord played Cm7, but im still confused as to why the G7 would be considered the dominant of the Bb scale in this case. Thank you for your time!
Thanks for all those videos, that's really interesting. Not too hard but still challenging for me. I have one question not really related to the Bb blues, but what is the blue thing on the head of your guitar (besides the fact that it matches your t shirt) ? I've noticed that also on other jazz guitarists, a piece of fabric just behind the nut. What is the use of that ?
Thanks! It's hairband that I use as a mute for open strings, but it does not really do anything when it is behind the nut- I sometimes use it while recording or practicing legato.
Just bought your new book from Jazz Fundamentals and wondered if were working on doing a book on functioning chords-or harmony like some of your videos here?
Great lesson.I have a question.I learned the Bb blues progression with a short i vi ii v turnaround at the end.What would you play over that turnaround?It goes by quickly.I can outline it with the 3rd and 7th of each of the chords but that kinda sounds boring. Also i can play all the scales and the arpeggios including the altered scale on the G7,I have the knowledge of note choice but i just struggle to improvise to make it sound melodic and like jazz.Cheers
Thanks man! The turnaround is indeed quite normal. I find that I sometimes reduce it to one bar of I and one bar of V. Otherwise I have a whole bunch of lessons on rhythm changes and turnarounds that might help you out, and some of them are even in Bb :) Hope that helps a bit?
Hi Jens, I've just recently started watching your videos but so far I like them a lot! I'm trying to transition from rock guitar to jazz guitar and I was wondering if you could give me some advise. I know my pentatonic scales and major scale modes and I'm comfortable improvising over simple tunes like So What and Autumn Leaves, but I'm having difficulty figuring out what to play in more complex tunes like Donna Lee. What's a good way to approach learning how to improvise over standards? Thanks so much!
+Vaz Arpeggios and target notes! Try using the approach I use in the Blue Bossa lesson on it. And maybe check out the target notes on a II V I lesson as well? How does that sound?
I’m following a jazz book at the moment and whenever I don’t understand something, you always come through with a great video. Thank you so much. Pardon my ignorance, but I’ve always wondered what the blue fuzzy fabric above the nut on your guitar is? It’s fascinating. Thank you, again.
This is five yrs late, but Sundown by Wes Montgomery is an excellent blues that he plays in the key of A, which is only a half step lower. Wes created his own very cool signature turn around in the head starting at the 9th bar, but the rest of the blowing section is basic jazz blues. Trumpeter Blue Mitchell has an excellent Bb blues called Blue Soul incorporating a sweet and bluesy simple head - lots of improv ideas from both Mitchell and pianist Wynton Kelly here
You use altered scale on the blues in the same way you use it on other progressions, on chords that resolve. So in that sense all the videos on the altered scale are solid info :)
Great series. I do have a question about that diminished chord and the scale choice, I understand that there are many possible choices, and that your choice here works very well, but you seem to see the progression differently that I would have. You seem to describe the diminished chord as if it were a sub for the implied Ab relating to the previous Eb7 chord, and choose the scale appropriately. I would have thought of the diminished chord as leading into the following Bb7 chord. I'm thinking of how diminished chords are used to harmonize non-chord note passing tones - they resolve to the next chord tone. Does that make sense? In any case, why not use the dim chord?
I don't really follow your questions? I don't see the Edim as a sub for Ab, I see it as a #IV in Bb, and the scale choice is the one I find fitting best to go to Bb7. What do you mean with "why not use the dim chord"?
Ok. I never really use dim scale in a tonal context because it is an atonal construction, so it never really fits. It works ok for dom7th chords as a special effect, for the rest I would not use it. I made a lesson on dim chords a few weeks ago, I talk about it there :)
Well, I am not sure that arpeggios and that type of analysis is the best way to describe his playing? Have you ever heard him play a maj6 arpeggio in a solo?
@@JensLarsen T Bone shuffle, the one chord is a major 6. Bt no i have not specifically heard him play a maj6 arpeggio. I guess my question is, and notwithstanding T bone Walker, if the 1 chord is a maj6, would we not then play a maj6 arpeggio over it?
@@steveandsheilalauder8261 That was the one I listened to. They write G6 on that because the rriff is that arpeggio, but they don't use the arpeggio in the solo so that link doesn't really make any sense.
@@steveandsheilalauder8261 No, a dom7th arpeggio would work better, BUT this is not music that really is working with harmony in the way that I am describing in this lesson. Approaching it like that is not really describing what they are playing, so I am not sure it is that useful. Why worry about which arpeggio to practice if the style you are referencing doesn't use arpeggios?
an old video but allow me the question: i want to use the melodic minor from the 5. over the dominant chords (remler style). would this be gross nonsense and i should stick to the mixolydic approach or is this an acceptable scale?
Hi Jens, I have a question. For improvising over the blues, I was wondering how I should approach it when thinking about what scales to use during each chord (to "fill in" the notes between the target notes). Should one think about just the blues/pentatonic scale or think about it in terms of modes (e.g. Bb mixolydian, Ab mixolydian, etc.). I have read various opinions and was wondering about yours?
Hi Jens! This is a great video that I'll have to re-watch about 12000 more times before I'll actually get it. If I may, I have a small question. I'm running into trouble practicing the jazz blues because while practicing I lose track of the chord scales and arpeggios at some point, and there's not really a 'home key' to fall back on like in a regular blues. With a normal blues, when I lose track of what I'm doing, I just rock out in pentatonic minor until I can pick up the clever stuff again, but on a jazz blues I basically just go quiet until we're at bar 1 again. Is there any 'cop-out' in a jazz blues, or will it just only become musical when I've practiced enough to keep going?
Some of it is just practicing more, but if you can practice at a tempo where you also hit target notes so that you can hear the chord change and then hit those on beat one to help you build an internal clock that keeps track of where you are.
Thanks, that sounds like a great tip! Your lessons really help break down that overwhelming 'there's SO MUCH I need to learn before I can start playing at all'-feeling to manageable chunks that I can actually work into my playing a bit at a time. So thanks for being awesome!
@@RonSnijders I felt like you, find a good "bb jazz blues backing track" video and play it over and over eventually you will feel it. Just the chorus over and over. If you get lost your Bb pentatonic licks or whatever still work most of the time.
Question for fellow guitarists: what level proficiency would you rate yourself at soloing in a standard jazz blues like this? how long did it take you to get there?
Your lessons/videos are awesome. I’m learning so many things that I always wanted to know. Is it safe to assume you are NOT an Yngwie fan?🤨 . I know it’s not what you do. But the guy just...... I mean he IS one of the greatest rock / neo classical players ever. Innovation approaching Eddie status. Thoughts ?
Thank you! Yngwie and Eddie are not that relevant to me, I never listened to either. That doesn't mean they aren't good, just that it doesn't interest me 🙂
Interesting. How do you know they don’t interest you or that they are any good if you’ve never listened to them ? BTW (I just want to pick your brain. Not trying to be or convince you of anything.)
@@davidlibolt1264 I have listened to them and occasionally taught VH songs but they just didn't really do anything for me. Could be an age thing as well, most 80s music doesn't really appeal to me?
Hi Jens, Which jazz standard matches this progression? I assume not every Bb blues fits because they don't all go to the IV on the second bar or other differences. I thought maybe Blue Monk, but, that doesn't have the diminished chord and the 12th bar is a I chord (not a V). Thanks for all your videos!
It is the standard blues coming from generic blues(regular blues). Standard blues targeting 4 th as major tonality so u get the 2-5 before going to 1 Eb but actually it is Eb7 .just imagining Eb7 as EbMaj
Hi Jens, great lesson. One think I don't understand; on Edim what did you played? It isn't Whole Half Dim scale, it is not altered. It is in between dim half whole and altered. That was on purpose or was it mistake? best regards
No, I almost never use Dim scale on a dim chord, they always sound a bit off, and there is no dim chord in the altered scale.In this case I am using F harmonic minor because that is close to Bb7 and has an E dim. That was most certainly on purpose! 🙂
Hi, I've been playing jazz for a while, but kinda always skipped that diminished chord (E dim), because non of the harmonic minor scales seem to fit very well with it. Can someone demistify that one?
Probably the best scale that fits in the blues case is the diminished one. It sound most natural I think. But, definitely need to work on doing some creative patterns, not just playing it linearly...
Hi Jens, I have a little situation where I am asked to remove the link to this video when I recommended it in a forum. The administrator said I need your approval. Can you kindly approve my sharing on the forum (Classical Guitar Delcamp)? It is under the thread "Starting Jazz Guitar"
Thank's a lot, it's very interesting, but please, could you speak slowly, the automatic translator is very bad when you speak fast ;-) Thank's Charles from France
Usually, blues progression uses I IV V chords which some turnarounds and variations. However, whats the theoretical justification of using for example a Edim, Cm7 and G7 in this example that you showed?
Jens? I want to send you a video of me playing guitar. I want to see If you can watch IT and help me become a well versed jazz guitarist. Or maybe book some online lessons. I am stuck
But what happens when U learn so many scale.u end up all sounding the same. The best is just play what sounds good to you.. far to many people following scales. End up sounding like a robot
Keep in mind that for most people, not learning the sale means that they can't play what sounds good on the songs that they want to play. There are not that many scales, and you only end up sounding like a robot if you don't learn how to actually make music with them.
Best teacher on RUclips hands down. Keep it up and thank you!
+Gage Wiggins Thank you! That's very nice of you!
If you want to help me then you can share one of my videos on Facebook or Twitter and help me spread the word!
i concur
Chris Cassidy Thank you Chris!
What really helps me is taking it really slow, and hitting the guide tones right on the chord changes (this video also seriously helps)
That is indeed an important skill to develop! 👍👍
This lesson is perfectly timed for me. I've been a struggling blues player for years, but jazz has always been further out of reach. For the past couple of weeks, however, I've been trying to play with Thelonius's Blue Monk in Bb, so this lesson should really help.
That's great Bruce! I hope it'll get you further on the journey! :)
What you need more.
That's stuff for a lifetime.
Thank you Jens. Great lesson. Greetings from Ireland
What a cool guy Jens is!
Thank you 🙂
Simple, clear and good basic notions to know.Hartelijk dank
Glad you like it! :)
I always enjoy your insight
Thank you 🙂
I learned a lot of Bb blues from a Duke Robillard swing video, back in the 90's. You would call them blues hacks nowadays. Love this channel btw !!
Working on my blues for jazz band auditions and this was very helpful! Thanks for the video!
+RJ Money You're very welcome ☺️
As always so insightful. thank you again
You're very welcome! Glad you like it!
This is great! I'm just getting started in Jazz Blues and this lesson is super helpful.
Great to hear, Ben
Thanks Jens 😎
Great that you can put it to use, Christian! 🙂
Great Lesson! thank you so much!
You're very welcome David!
Great Lesson - thanks Jens
You're welcome Fred!
Such a nice little solo! I am going to your site and download it, maybe use some of the licks.
Go for it 🙂
You have a sweet guitar collection
Thank you! :)
Great lesson Jens.
Thank you Paul! Glad you like it!
Very helpful Jens. Thank you very much. God bless
You're very welcome! I am glad you like it! 🙂
Great breakdown for a starting solo always time later to complicate things lol thx
Thank you Ralz! Glad you like it!
It's a good lesson to remind us of the foundational stuff Jens. Thanks for putting it up. - Mike
Thanks Mike! Yeah we all need to go over the basics once in a while :)
I finally decided to start to learn the basics properly, so I am really building my theory knowledge and practicing of the major & minor scales, the pentatonics and the argeggios (with their extentions) across all positions and now I believe I have enough foundations so that I can get into Jazz and Jazz-Blues playing. However I am not really sure the best way to start. I can see from your video that a good approach is to start with the chords then draw from the arpeggios, scales and maybe the pentatonics as best suited to build on the improvisation skills. However I have a long way to go as learning to play jazz still seems a hugely complex genre to me. Can you recommend a good structured lesson guide (video or books)?
fred blowey I actually don't know any book or videos, the best thing you can do is to find a good teacher, because then the material will fit what you know. No book can do that.
But for the rest: major scales and diatonic arpeggios are essential, so learn that and then start to learn simple songs like Blue Bossa or Cantaloup Island, mix up arpeggios and pentatonics where you can and build it from there.
It is very important that you use it in songs if you really want to learn to use it.
Good stuff, Jens! Love the use of the harmonic minor in a jazz blues. Need to practice incorporating it a lot more 😀
Thank you Steve! I guess it works on the dominant leading to the II, but you can also use it in bar 4 and in the last V I in bars 10 :)
+Jens Larsen roger that, Jens. I tend to think melodic minor more often but the harmonic minor is very tasty 🕶
I found this old video and I'm glad I watched it. I've been working on a tune that is in Bb. Title is Ace in the hole, and old western tune. It would work with your ideas
Great that it fits 🙂
Really enjoying this lesson, thanks very much.
Thank you Tony. I am glad you found it useful! 👍
@@JensLarsen This lesson is great because I am primarily a Blues player, but I like to add jazzy runs into my playing and this lesson is helping me widen my vocabulary. Thanks again!
Super nice channel, if you ever make a live stream I would be completely down for that.
Thank you! For now, I only use live streams on Patreon :)
Merci Jens.
Pas de quoi!
+Jens Larsen Thank you so much for taking the time and effort to do such great lessons. I dive into each lesson and practice them all thoroughly (especially after my gorgeous neighbor made a comment on how she loved the new style of guitar playing that I've been practicing) Since I found your lessons a couple months ago I have drastically expanded my understanding of the fretboard..... and isn't that what guitar playing is all about? :)
+JensLarsen
I think you could argue that guitar playing are also about impressing gorgeous neighbours? :D
But I am really glad you find the videos useful and can put the material to use!
If you have any questions you know how to reach me! :)
If you want to help me then you can share one of my videos on Facebook or Twitter and help me spread the word!
Found you on instagram, great lesson! Subbed
Thank you Alex! Hope you can use the videos!
You're very welcome!
Jazz Blues Improvisation
Is there any good jazz blues songs you’d recommend transcribing for a beginner
Maybe check out the recommendations in this video, a few of them are on a Blues ruclips.net/video/K7OO-s31pOU/видео.html
Is it better to know how to mix those arpeggios and scales all over the fretboard or just in a few specific positions?
It is probably better to first learn one position and make music with that while you are expanding what you know with other positions :)
Jens, Thank you for teaching. I have found your videos quite helpful. In this particular video I have a question about the choice of G7. From my understanding of the Bb major scale, the dominant 5th degree is F. Im curious about the choice of G7. I can hear the resolution with the next chord played Cm7, but im still confused as to why the G7 would be considered the dominant of the Bb scale in this case. Thank you for your time!
Glad you like it 🙂
It is not considered the dominant, but it is a secondary dominant. I have a video on that if you are interested 🙂
Enjoyable
Thank you 🙂
Thanks for all those videos, that's really interesting. Not too hard but still challenging for me.
I have one question not really related to the Bb blues, but what is the blue thing on the head of your guitar (besides the fact that it matches your t shirt) ?
I've noticed that also on other jazz guitarists, a piece of fabric just behind the nut. What is the use of that ?
Thanks! It's hairband that I use as a mute for open strings, but it does not really do anything when it is behind the nut- I sometimes use it while recording or practicing legato.
@@JensLarsen Thanks a lot!
Just bought your new book from Jazz Fundamentals and wondered if were working on doing a book on functioning chords-or harmony like some of your videos here?
Thank you, Bruce. I will be making more books, but I didn't decide on a topic yet. I think something with chords could be useful 🙂
Thanks a lot Jens! I see you like the sunburst! me too and strats. What about the strat in your wall lefty tremolo?
+liderguitar You're very welcome! That strat is my SRV strat that I bought new in '92 😎
SRV fan here too! regards
Great lesson.I have a question.I learned the Bb blues progression with a short i vi ii v turnaround at the end.What would you play over that turnaround?It goes by quickly.I can outline it with the 3rd and 7th of each of the chords but that kinda sounds boring.
Also i can play all the scales and the arpeggios including the altered scale on the G7,I have the knowledge of note choice but i just struggle to improvise to make it sound melodic and like jazz.Cheers
Thanks man! The turnaround is indeed quite normal. I find that I sometimes reduce it to one bar of I and one bar of V.
Otherwise I have a whole bunch of lessons on rhythm changes and turnarounds that might help you out, and some of them are even in Bb :)
Hope that helps a bit?
I don't understand why the G7 is in the key of Eb... The 5th of C minor can be altered to a 7th so it is Eb major technically?
Give me a time stamp in the video and I will have a look 🙂
Hi Jens, I've just recently started watching your videos but so far I like them a lot! I'm trying to transition from rock guitar to jazz guitar and I was wondering if you could give me some advise. I know my pentatonic scales and major scale modes and I'm comfortable improvising over simple tunes like So What and Autumn Leaves, but I'm having difficulty figuring out what to play in more complex tunes like Donna Lee. What's a good way to approach learning how to improvise over standards? Thanks so much!
+Vaz Arpeggios and target notes! Try using the approach I use in the Blue Bossa lesson on it. And maybe check out the target notes on a II V I lesson as well?
How does that sound?
Hi Larsen, your explanations are incredibly good but could you please try to be a bit slow when showing some scales and arpeggios
You can slow down the video on RUclips. There are keyword shortcuts as well 🙂
I’m following a jazz book at the moment and whenever I don’t understand something, you always come through with a great video. Thank you so much.
Pardon my ignorance, but I’ve always wondered what the blue fuzzy fabric above the nut on your guitar is? It’s fascinating. Thank you, again.
The cloth is used to mute the buzzing of the strings iirc
@@crazydiamond3403 you’re awesome, thank you for the knowledge.
@@littlepigboy thanks😅👍
thanks Jens, this is perfect. currently trying to learn a jazz blues for my school audition. Going to try Blue Monk. Any otherher suggestions?
Great Cody!
Blue Monk is good! Tenor Madness is also a famous one, and actually Monk played Straight No Chaser in Bb too.
Don't know that one, I'll have to check it out :)
This is five yrs late, but Sundown by Wes Montgomery is an excellent blues that he plays in the key of A, which is only a half step lower. Wes created his own very cool signature turn around in the head starting at the 9th bar, but the rest of the blowing section is basic jazz blues. Trumpeter Blue Mitchell has an excellent Bb blues called Blue Soul incorporating a sweet and bluesy simple head - lots of improv ideas from both Mitchell and pianist Wynton Kelly here
Hi Jens, you use the AX8 now?, I see it on the table
+Juan Carlos Fiallos Yes, I got it in June. Very happy with it 😊
Do you have any lessons on how to use Altered scale over the blues of melodic minor over blues
You use altered scale on the blues in the same way you use it on other progressions, on chords that resolve. So in that sense all the videos on the altered scale are solid info :)
Great series. I do have a question about that diminished chord and the scale choice, I understand that there are many possible choices, and that your choice here works very well, but you seem to see the progression differently that I would have. You seem to describe the diminished chord as if it were a sub for the implied Ab relating to the previous Eb7 chord, and choose the scale appropriately. I would have thought of the diminished chord as leading into the following Bb7 chord. I'm thinking of how diminished chords are used to harmonize non-chord note passing tones - they resolve to the next chord tone. Does that make sense?
In any case, why not use the dim chord?
I don't really follow your questions?
I don't see the Edim as a sub for Ab, I see it as a #IV in Bb, and the scale choice is the one I find fitting best to go to Bb7.
What do you mean with "why not use the dim chord"?
A quick answer to the second part - I meant diminished scale over the diminished chord.
Ok. I never really use dim scale in a tonal context because it is an atonal construction, so it never really fits. It works ok for dom7th chords as a special effect, for the rest I would not use it.
I made a lesson on dim chords a few weeks ago, I talk about it there :)
With swing jazz, and jazz blues such as T bone Walker, the 1 chord is often a major 6 . In this case the Bbmaj6 arpeggio as, Bb, D, F, G, right.
Well, I am not sure that arpeggios and that type of analysis is the best way to describe his playing? Have you ever heard him play a maj6 arpeggio in a solo?
@@JensLarsen T Bone shuffle, the one chord is a major 6. Bt no i have not specifically heard him play a maj6 arpeggio. I guess my question is, and notwithstanding T bone Walker, if the 1 chord is a maj6, would we not then play a maj6 arpeggio over it?
@@steveandsheilalauder8261 That was the one I listened to. They write G6 on that because the rriff is that arpeggio, but they don't use the arpeggio in the solo so that link doesn't really make any sense.
@@JensLarsen But, It doesn't make any sense to play a maj7 arpeggio over a maj6 chord. ??
@@steveandsheilalauder8261 No, a dom7th arpeggio would work better, BUT this is not music that really is working with harmony in the way that I am describing in this lesson. Approaching it like that is not really describing what they are playing, so I am not sure it is that useful.
Why worry about which arpeggio to practice if the style you are referencing doesn't use arpeggios?
an old video but allow me the question: i want to use the melodic minor from the 5. over the dominant chords (remler style). would this be gross nonsense and i should stick to the mixolydic approach or is this an acceptable scale?
Hi Jens, I have a question. For improvising over the blues, I was wondering how I should approach it when thinking about what scales to use during each chord (to "fill in" the notes between the target notes). Should one think about just the blues/pentatonic scale or think about it in terms of modes (e.g. Bb mixolydian, Ab mixolydian, etc.). I have read various opinions and was wondering about yours?
Just think the scale that fits with the dominant. When you play changes then that isn't really a pentatonic scale.
Hi Jens! This is a great video that I'll have to re-watch about 12000 more times before I'll actually get it. If I may, I have a small question. I'm running into trouble practicing the jazz blues because while practicing I lose track of the chord scales and arpeggios at some point, and there's not really a 'home key' to fall back on like in a regular blues. With a normal blues, when I lose track of what I'm doing, I just rock out in pentatonic minor until I can pick up the clever stuff again, but on a jazz blues I basically just go quiet until we're at bar 1 again. Is there any 'cop-out' in a jazz blues, or will it just only become musical when I've practiced enough to keep going?
Some of it is just practicing more, but if you can practice at a tempo where you also hit target notes so that you can hear the chord change and then hit those on beat one to help you build an internal clock that keeps track of where you are.
Thanks, that sounds like a great tip! Your lessons really help break down that overwhelming 'there's SO MUCH I need to learn before I can start playing at all'-feeling to manageable chunks that I can actually work into my playing a bit at a time. So thanks for being awesome!
@@RonSnijders I felt like you, find a good "bb jazz blues backing track" video and play it over and over eventually you will feel it. Just the chorus over and over. If you get lost your Bb pentatonic licks or whatever still work most of the time.
Hi jens in first part for scale
what s scale you use ? Is it Bb scale
My English is poor , i don’t understand
Thank
This may seem dumb, but, why do you relate the E dim chord back to Ab maj?
I guess that does seem a little vague, but it is because Eb7 is coming out of the Ab major scale.
How did you fit the Cm7 in the progression?
Cm7, is a normal part of a Bb Jazz blues in bar 9? Maybe google Bb jazz blues chords and see if it doesn't pop up? 🙂
Jens Larsen Thanks. I think I figured it out.
Question for fellow guitarists: what level proficiency would you rate yourself at soloing in a standard jazz blues like this? how long did it take you to get there?
Wowww so we meet again, in 2022
Your lessons/videos are awesome. I’m learning so many things that I always wanted to know. Is it safe to assume you are NOT an Yngwie fan?🤨 . I know it’s not what you do. But the guy just...... I mean he IS one of the greatest rock / neo classical players ever. Innovation approaching Eddie status. Thoughts ?
Thank you! Yngwie and Eddie are not that relevant to me, I never listened to either. That doesn't mean they aren't good, just that it doesn't interest me 🙂
Interesting. How do you know they don’t interest you or that they are any good if you’ve never listened to them ? BTW (I just want to pick your brain. Not trying to be or convince you of anything.)
I’m sorry. Why do I care? You’re not into them or rock guitar . Totally cool. I’ll just shut up and keep learning from you. Thanks for responding.
@@davidlibolt1264 I have listened to them and occasionally taught VH songs but they just didn't really do anything for me. Could be an age thing as well, most 80s music doesn't really appeal to me?
Hi Jens, Which jazz standard matches this progression? I assume not every Bb blues fits because they don't all go to the IV on the second bar or other differences. I thought maybe Blue Monk, but, that doesn't have the diminished chord and the 12th bar is a I chord (not a V). Thanks for all your videos!
It fits with Blue Monk actually, and also Tenor Madness :)
It is the standard blues coming from generic blues(regular blues). Standard blues targeting 4 th as major tonality so u get the 2-5 before going to 1 Eb but actually it is Eb7 .just imagining Eb7 as EbMaj
Great stuff as always Jens. Easily digestable. Was looking for a minor blues version as well, but that is only on your site right?
Yes, until now I only made a WebStore lesson, but that is then also very through. Maybe I should make a Patreon discount for the store 🙂
@@JensLarsen I don't see why not :)
man im still having trouble playing over the changes its crazy lol
Stick with it, it will come :)
Hi Jens, great lesson. One think I don't understand; on Edim what did you played? It isn't Whole Half Dim scale, it is not altered. It is in between dim half whole and altered. That was on purpose or was it mistake? best regards
No, I almost never use Dim scale on a dim chord, they always sound a bit off, and there is no dim chord in the altered scale.In this case I am using F harmonic minor because that is close to Bb7 and has an E dim. That was most certainly on purpose! 🙂
Thank you very much Jens. I made a comment before I watch further, you already explained in the video as well. Sorry for make you repeat. Best regards
+Sami Gündoğdu No worries! ☺️
Hi, I've been playing jazz for a while, but kinda always skipped that diminished chord (E dim), because non of the harmonic minor scales seem to fit very well with it. Can someone demistify that one?
Well, I do explain which one works in this video, but you can also check this one : ruclips.net/video/1egY4wnLLuA/видео.html
Probably the best scale that fits in the blues case is the diminished one. It sound most natural I think. But, definitely need to work on doing some creative patterns, not just playing it linearly...
Harmonic minor works well when resolving to minor, but in this case it's not that functional I think
Harmonic minor is the functional choice. The diminished scale isn't really a part of tonal and functional harmony.
Vil du ikke typisk spille en turnaround i de sidste par takter?
Jo, men en turnaround er jo bare en udsmykket version af I V.
Prøv at kigge på min første video om rhythm changes der snakker jeg også om det.
Hi Jens, I have a little situation where I am asked to remove the link to this video when I recommended it in a forum.
The administrator said I need your approval. Can you kindly approve my sharing on the forum (Classical Guitar Delcamp)? It is under the thread "Starting Jazz Guitar"
You can share a link to the video, that is no problem 👍🙂
Thank you Jens
Thank's a lot, it's very interesting, but please, could you speak slowly, the automatic translator is very bad when you speak fast ;-) Thank's
Charles from France
Sorry Charles! I wasn't aware of that. I'll see what I can do, but it's a bit hard to promise :)
All tobacco sunburst . Hmmmm!
Haha! Thanks 😊
He knows what he is about
what kind of metronome is that?
It is a KORG metronome, KDM1 I think? Had it for years and years...
Usually, blues progression uses I IV V chords which some turnarounds and variations. However, whats the theoretical justification of using for example a Edim, Cm7 and G7 in this example that you showed?
They make perfect sense in tonal harmony, actually more sense than the V IV in a normal blues
@@JensLarsen Thanks for the reply, appreciate it!!
Jens? I want to send you a video of me playing guitar. I want to see If you can watch IT and help me become a well versed jazz guitarist. Or maybe book some online lessons. I am stuck
Ok, the place to do that is the Facebook group. There is a link in the description
But what happens when U learn so many scale.u end up all sounding the same. The best is just play what sounds good to you.. far to many people following scales. End up sounding like a robot
Keep in mind that for most people, not learning the sale means that they can't play what sounds good on the songs that they want to play.
There are not that many scales, and you only end up sounding like a robot if you don't learn how to actually make music with them.
Welp, too much theory for me 😂