as a beginner, it's very interesting to know why you chose to play what you played, it kind of opens my eyes to things I didn't realize/know I could do, videos like this are always helpful! thanks a lot! maybe the same kinda but more focused on comping? for example with chord substitutions, different voicings or something like what works best when playing together with a piano player, or if it's just you and a bass player... =)
Absolutely! I personally think I take the most out of your lessons which cover a full form. It's really great to hear the full solo first to get the big picture and then see how you break it into all those chunks that represent a valuable statements I can apply in different context. I found this approach as the best one to learn new vocabulary. It would be great to see more lessons like this - let's say one chorus of your solo over a standard and afterwards a deep dive into what happened.
I really enjoyed this and having the audio and visual together really helps a lot. This is enough to keep me busy for quite awhile !!!!!!!!!! Thanks for sharing !!!!
I stumbled upon this video *today* and BAM! I started filling sheets of paper (ruled with music staff, of course) with transcriptions, notes, target notes, harmonic substitutions, tritones, and so on. Amazing video! BTW in 5 years your "presentation skills" have been growing endlessly... congrats! I wish I could grow my jazz skill this way! 😁
What a brilliant video this is, I got to learn so much like thinking of the maj7#5 when the tonic melodic minor chord is played, also using m6 instead of minMaj7, that E7 tritone over B7 sounded so good, I knew the concept but the application really made me hear the sound, thanks for explaining the headspace so clearly, although it takes me a lot of time to figure it out now and I keep pausing the video in between to learn them but this is a really awesome video. Thanks a lot.
Hey Jens, thanx for your solo and explanation. Some days ago I found your vid about how to practice scales, arpeggios, etc. I'm practicing this way for some days and I must say that really pushed me forward. It is always good to get into topics from different point of views. I was practicing scales etc. for a long time but the progress for me was not that extreme and fast since I do it "your way". Now it seems it's getting all together. I can highly recommend it.Thanks for that. All the best from Germany
really useful lesson for me. I kind of struggle to use melodic minor and have only recently figured out how to use some of it from Justin Derrico who uses it over a tonic chord in a blues context. but this was super useful for other aspects like altered and tritone in a blues context. I'm comfortable with major scale, harmonic minor and their modes and haven't been able to fit the melodic minor piece of the puzzle so much appreciated with a context I can work with
Glad you like it Bradley! A lot of melodic minor can be fitted in on the places where you use harmonic minor so maybe that is the place where you should attack it?
You've given me things to work on to last me a couple of years damn you professor Larson, lol I can only go so far on Solar before sounding stale so Thanks for this lesson Jens.
thanks for the great info on this song,I have recently been trying to loop this in my solo looping gig ,where I simply loop those chords and hit the melody and then improvise, your info blows me away though,really inspiring
JENS!!!!!! You da man!! thanks again for sharing your beautiful self man.i always love improvising on this progression BUT playing trying to come up with hip stuff is an interesting challenge.singing your ideas on this one really is fun w/ the chords as I'm sure you know Shalom my brother God loves you deeply Rock on😎
Concerning the G7alt its a "alt" because a "halfwhole-diminished" would resolve better to major instead of minor (so without context of the higher part of scale most people would consider it as an alt-scale too)
@@JensLarsen Agreed I meant even with just these 4 notes the alt scale seems to be implied/heard, exactly because of this difference in function(and sound)
I find this type of lesson to be the most useful; incorporating jazz theory with actual improvisational work to make music on a standard ! Excellent lesson!
As I work my way through this lesson, I noticed you said that one arp you could use on the Cm6 is a non- diatonic, flat 5. Is this correct ? That would be a Gb?
In jazz the one playing the chords is free to interpret the chord symbol and add the extensions and alterations that fits how he or she is playing. For that reason I usually try to stick with the chord type and not specify the extensions like 9 or b9.
I like using G7-9 instead of a straight G7 chord before returning to Cminor7. I t would be nice to hear your own backing track that I assume you are using for this with your personal extensions and comping style ?
Yes, G7b9 is much more natural sounding when the chord resolves to Cm. You can check out my playing on this Solar backing track: ruclips.net/video/SpWcIjK0r-4/видео.html
Hi! Thanks for the great lesson! I have just started going over it. The first melodic minor idea and 7/#5 arpeggio from the 3d is fantastic) I'm a little confused: in 3:13 you say you like to use b5 arpeggio, but I see that you play the line with m6 instead (1-2-3-5-6) in 2 octaves. Am I missing something?
I am playing the line in the solo based on the maj7#5 but I also talk about using the maj7(b5), and I also play that arpeggio, even though it is not in the solo.
Thanks Pierre! I have some lessons where I have written out examples, like this one: ruclips.net/video/h9tQL2-nARg/видео.html&list=PLWYuNvZPqqcF5S1dyREhN6BRUot19Oj7U And of course you can also check some of the lessons in my webstore with transcriptions of my comping: jenslarsen.nl/prodcut-category/comping/ Thanks for the interest!
Awesome as usual. Thanks! You don't have idea about this but you're my main guitar teacher for the last couple of months. Do you have any videos on your sweeping technique. For me it is extremely difficult to use the pick like you.
Not really. The 6th chord will only work if the 7th is not essential to the function of the chord, so mostly that is going to be tonic and in some cases subdominant chords :)
@@JensLarsen interesting, at first I had thought the harmonic minor scale was supposed to be used here; is it personal preference to raise the 6 and make it melodic? or how did you decide
@@joshuadownes1088 Most tonic minor in Jazz is melodic minor. I think you will hear that if you start transcribing solos :) You can of course choose to use harmonic minor, but it is not as common because the maj6th sounds so much better against the chord.
@@JensLarsen True. Im guessing its because dude is a black American. He had an accent and spoke ebonics. Thats simply how it sounded coming out of his mouth perhaps. Its just hilarious that this exception is made for this one word which is rooted in science. Now I'm inspired to write a tune called 'SOUL ARE" :) Thanks for talking with me, you're the best, Jens!
Hope you guys like the video! Is there one of the topics I should talk about more in another video?
as a beginner, it's very interesting to know why you chose to play what you played, it kind of opens my eyes to things I didn't realize/know I could do, videos like this are always helpful!
thanks a lot!
maybe the same kinda but more focused on comping? for example with chord substitutions, different voicings or something like what works best when playing together with a piano player, or if it's just you and a bass player...
=)
Absolutely! I personally think I take the most out of your lessons which cover a full form. It's really great to hear the full solo first to get the big picture and then see how you break it into all those chunks that represent a valuable statements I can apply in different context. I found this approach as the best one to learn new vocabulary.
It would be great to see more lessons like this - let's say one chorus of your solo over a standard and afterwards a deep dive into what happened.
I really enjoyed this and having the audio and visual together really helps a lot. This is enough to keep me busy for quite awhile !!!!!!!!!! Thanks for sharing !!!!
Thank you! Glad that it is useful 🙂
I stumbled upon this video *today* and BAM! I started filling sheets of paper (ruled with music staff, of course) with transcriptions, notes, target notes, harmonic substitutions, tritones, and so on. Amazing video!
BTW in 5 years your "presentation skills" have been growing endlessly... congrats! I wish I could grow my jazz skill this way! 😁
Thank you 🙂
What a brilliant video this is, I got to learn so much like thinking of the maj7#5 when the tonic melodic minor chord is played, also using m6 instead of minMaj7, that E7 tritone over B7 sounded so good, I knew the concept but the application really made me hear the sound, thanks for explaining the headspace so clearly, although it takes me a lot of time to figure it out now and I keep pausing the video in between to learn them but this is a really awesome video. Thanks a lot.
Wonderful solo with a ton of relevant info. Thanks Jen!
Glad it was helpful!
Merci beaucoup pour cette leçon Jens. You're once again the best teacher ! Very nice sounding
You're very welcome Franck! I am very happy to hear that you like it!
This is awesome! and such a fun tune one of my favorites to practice improvising on the melodic minor!
Glad you like it 🙂
A nice tone you have. That alone makes me want to listen !
Thank you very much William! I hope you can use some of the other stuff as well! 😀
Hey Jens, thanx for your solo and explanation. Some days ago I found your vid about how to practice scales, arpeggios, etc. I'm practicing this way for some days and I must say that really pushed me forward. It is always good to get into topics from different point of views. I was practicing scales etc. for a long time but the progress for me was not that extreme and fast since I do it "your way". Now it seems it's getting all together. I can highly recommend it.Thanks for that. All the best from Germany
Thank you very much Wolfgang! That's really great to hear! 😀
Excellent amount of information thank you very much
Glad it was helpful!
really useful lesson for me. I kind of struggle to use melodic minor and have only recently figured out how to use some of it from Justin Derrico who uses it over a tonic chord in a blues context. but this was super useful for other aspects like altered and tritone in a blues context. I'm comfortable with major scale, harmonic minor and their modes and haven't been able to fit the melodic minor piece of the puzzle so much appreciated with a context I can work with
Glad you like it Bradley! A lot of melodic minor can be fitted in on the places where you use harmonic minor so maybe that is the place where you should attack it?
Raining day: perfect song to study...
Go for it!
Nice tone, nice job,thanks for the explanation and for sharing!
Thank you very much Hector! I am glad you like it!
Merci Jens.
De rien Gérard!
thanx this helped me a lot
Glad to hear that!
You've given me things to work on to last me a couple of years damn you professor Larson, lol I can only go so far on Solar before sounding stale so Thanks for this lesson Jens.
Hahaha! Thank you Anthony :) I never get tired of coming up with re-harmonizations and ideas for Solar :) Maybe I should make a video on that?
thanks for the great info on this song,I have recently been trying to loop this in my solo looping gig ,where I simply loop those chords and hit the melody and then improvise, your info blows me away though,really inspiring
Thank you, Gary! I am glad you like the video! Keep at it 👍
Great job as always, Jens! Thanks!
Glad you like it, Christian :)
Very grateful to you as usual!Thank you!
Wow. Really great and you are SO easy to listen to! Thx!
Thank you Sue! Really glad you like it! 🙂
JENS!!!!!! You da man!! thanks again for sharing your beautiful self man.i always love improvising on this progression BUT playing trying to come up with hip stuff is an interesting challenge.singing your ideas on this one really is fun w/ the chords as I'm sure you know Shalom my brother God loves you deeply Rock on😎
Thank you Brad! 🙂 Glad you like it!
Great, video, even though I play bass, it's really useful for my upcoming bass exam (I'll probably have to perform on Solar). Thanks so much.
Great! Good luck with the exam 👍🙂
Nice solo and analysis. I use the same approach, especially on short ii-V's and melodic minor.
Concerning the G7alt its a "alt" because a "halfwhole-diminished" would resolve better to major instead of minor (so without context of the higher part of scale most people would consider it as an alt-scale too)
at least i also hear it in this fashion. great stuff!
The altered scale is not the diminished scale, and I don't think that most people think they are the same thing, because they sound quite different.
@@JensLarsen Agreed I meant even with just these 4 notes the alt scale seems to be implied/heard, exactly because of this difference in function(and sound)
Congratulations on your videos you're very professional a good teacher,
Thank you very much Roberto! Glad you like them!
+Jens Larsen please to not say where you are from Jens
Sorry? :)
+Jens Larsen Please good music to you
Thanks!
Great lesson!!!!!
Thank you Brian!
I find this type of lesson to be the most useful; incorporating jazz theory with actual improvisational work to make music on a standard !
Excellent lesson!
As I work my way through this lesson, I noticed you said that one arp you could use on the Cm6 is a non- diatonic, flat 5. Is this correct ? That would be a Gb?
great job
Thank you Rick 🙂
Thanks for this video and your explanations, I am a bass player but I admire the way you explain harmony and jazz phrasing.
Thank you 🙂
Interesting ideas, I continue to be (shouldn't be) surprised at the versatility of pentatonics. Thank You...!
Don't worry, I get surprised as well quite often :)
Sometimes i see you playing a Minor9th chord instead of a Minor7th chord any reason for that or am i wrong?
In jazz the one playing the chords is free to interpret the chord symbol and add the extensions and alterations that fits how he or she is playing. For that reason I usually try to stick with the chord type and not specify the extensions like 9 or b9.
Ah okay! Thanks, that makes a lot of sense.
Hi Jens, you checked out Nitzan Bar covering Solar. Pretty incredible, especially for his age.
I just listened a bit. Very impressive! He transcribed the Pat Metheny solo, there are a lot of phrases from that :)
I like using G7-9 instead of a straight G7 chord before returning to Cminor7. I t would be nice to hear your own backing track that I assume you are using for this with your personal extensions and comping style ?
Yes, G7b9 is much more natural sounding when the chord resolves to Cm.
You can check out my playing on this Solar backing track: ruclips.net/video/SpWcIjK0r-4/видео.html
Hi! Thanks for the great lesson! I have just started going over it. The first melodic minor idea and 7/#5 arpeggio from the 3d is fantastic)
I'm a little confused: in 3:13 you say you like to use b5 arpeggio, but I see that you play the line with m6 instead (1-2-3-5-6) in 2 octaves.
Am I missing something?
I am playing the line in the solo based on the maj7#5 but I also talk about using the maj7(b5), and I also play that arpeggio, even though it is not in the solo.
Hi Jens,
Your comping is very beautiful
is it written somewhere ? in one of your lesson ?
Thanks Pierre! I have some lessons where I have written out examples, like this one: ruclips.net/video/h9tQL2-nARg/видео.html&list=PLWYuNvZPqqcF5S1dyREhN6BRUot19Oj7U
And of course you can also check some of the lessons in my webstore with transcriptions of my comping: jenslarsen.nl/prodcut-category/comping/
Thanks for the interest!
Awesome as usual. Thanks! You don't have idea about this but you're my main guitar teacher for the last couple of months. Do you have any videos on your sweeping technique. For me it is extremely difficult to use the pick like you.
Thanks! I have these: ruclips.net/video/76yoV6hWOxI/видео.html
and ruclips.net/video/skOOBzkTKVc/видео.html
Hope you can use something in there :)
Hey Jens, do you have any more videos about the diatonic 6th chords and their relationship to diatonic 7th chords?
Not really. The 6th chord will only work if the 7th is not essential to the function of the chord, so mostly that is going to be tonic and in some cases subdominant chords :)
Hi Jens, nice channel and nice video, at 4:50 the line you play is a little bit different from the transcription.
Thank you Marco! Glad you like the videos!
Yes, I often manage to have a few typos in the sheet music 🙂
Great
Thanks!
What make and model is this guitar? Sounds beautiful.
Thank you! It is an Ibanez AS2630 🙂
@@JensLarsen what year was it made?
@@brandonlewisguitar 77 or 78, I don't remember right now 🙂
@@JensLarsen what pickups are they? Super58’s?
I'm working on this now. Not really a jazz player in may take me a minute to feel comfortable moving around this simple chord progression.
If you are not used to jazz then this is a quite tricky progression actually! But you never know 🙂
Are you playing C-6 in place of the major 7?
Yes, Cm6 and CmMaj are often interchangeable 🙂
@@JensLarsen interesting, at first I had thought the harmonic minor scale was supposed to be used here; is it personal preference to raise the 6 and make it melodic? or how did you decide
@@joshuadownes1088 Most tonic minor in Jazz is melodic minor. I think you will hear that if you start transcribing solos :)
You can of course choose to use harmonic minor, but it is not as common because the maj6th sounds so much better against the chord.
@@JensLarsen thank you for the help, one last question: when you say "tonic minor" what does the tonic mean in this context?
@@joshuadownes1088 Minor of the root of the key. Solar is in C minor, it is a reharmonized blues.
Question. Why is it pronounced differently than the actual word solar? Any thoughts?
Nope, sorry. I am from Denmark, that is your language to figure out :D
why does everyone say "Soo-Laaar" when its simply 'Solar' as in : The rays from the sun? That always bothered me.
You have to take that up with Miles, that was his choice 😁
@@JensLarsen True. Im guessing its because dude is a black American. He had an accent and spoke ebonics. Thats simply how it sounded coming out of his mouth perhaps. Its just hilarious that this exception is made for this one word which is rooted in science. Now I'm inspired to write a tune called 'SOUL ARE" :) Thanks for talking with me, you're the best, Jens!
❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤
It's more common to pronounce it "SOL-ir than SO-LAAR. Like when you say "solar system" or "solar panels" the second vowel is short.
Smart Ass