cheap and shameless hack for hip dominant lines (that I use ALL the time)
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- Опубликовано: 6 дек 2023
- I was chatting to a friend about everything wrong with RUclips jazz content last night, and I realised this video the PERFECT example. However - this stuff WORKS.
Here is the handout (from FREE)
ko-fi.com/s/4e875abc87
#jazzguitar #jazzguitar #musictheory #improvisationguitar #jazzharmony #altereddominants #chordscaletheory #clickbait #howto #barryharris
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Darn - the chord diagram at 2:00 is WRONG… See the handout for the correct one.
This vid comes at a serendipitous time for me - thank you, thank you, thank you! I do not wish to be the one who says it, but I found another "darn" for the "darn pile". In the handout, page 9, the text describes the chord as Fm(maj7) where it should read Fdim(maj7).
@@davidsguitarstudio-toronto90 well, at least I can fix that!
@@davidsguitarstudio-toronto90 that should have fixed it…. If only it was so easy for videos. Thanks!
My pleasure - isn't it nice to know people are hanging off your every word?@@JazzGuitarScrapbook
every half diminished chord is 5 chords: E-7b5 = Gb alt, G-6, C9, Bb maj7#11
The world of dominants is where that gets really fun.
Bb13b9 is E7#9 natty 5
Bb13 (natty 9) is E7alt (#9/#5), D7#11, and AbM7#11
Bb7b5 is C9#5
Bb7#5 is E9b5 and kind of Ab9b5
I think finding all these weird structural equivalent items juxtaposed against different roots is one of the few true and objective superior harmony tools we have on guitar versus the clavier. I love finding new places to use old grips
Great stuff! These simple ideas that create a sense of harmonic movement in single note lines are what I live for.
Beautiful sounds, thanks for the supremely practical lesson.
Great stuff! Always appreciate the info.
Great ideas! Thanks for sharing this valuable hack!
Fantastic. Great content on your channel. Nice work!
this is a great lesson.
thank you!
You always make great videos Christian. Very useful. Keep it up 👍
Awesome lessons!!
Thx👍👍
been messing with sus sounds and have been thinking about them as IV/V, but hadn’t really messed with the applications for solos. very cool thanks for posting, i subbed!
Very good lesson!!!!!!
Allways the best content! Thank you, from Brooklyn, NY.
I would like to take a lesson.
Yes you are the boss of you! Great video!
😁
Nice stuff, so I liked and subscribed. 😎🤓
Thanks and welcome :-)
Really enjoyed the video. A nice little trick for crafting 251 lines for sure.
Not related to the video but I've been getting chatGPT to write jazz chord progressions. It's a useful practice tool. Might be a fun idea for some content as well. You can prompt it with 'write a complex latin jazz chord progression' and it starts churning out sharp #11 tensions and all sorts of spicy changes.
Haha I’ll have to give that a go
i usually play a major 7 arp a major 2nd down fromthe root, for ex ebmajor over f7
This is a great lesson. I love your mildly iconoclastic view on Jazz theory and improv. Very helpful. Thank you for the PDF as well. :-)
I learnt a new word today
Take subdominant chord and play it over dominant. Then try flattening various notes.
I needed this! Thank you!
Where can I purchase your music?
Link in the description
Nice! So much exploration possible with this idea. I've been having fun recently with a (kind of) similar idea of playing different pentatonic scales sharing at least one note with an extension tone of a dominant chord to get different colours. Overall, I feel these approaches make you work with the sound/color rather than worrying too much about exactly what you are playing, which is more helpful when you are burning over Donna Lee at 200 BPM.
2:15 is quite similar the opening lick of "old" Milestones A section.
Well done! You get today’s special prize. No idea where I got Line for Lyons from haha.
Drop 2 arpeggios. altered scale = tritone's minor
How would you relate this idea to Lydian Chromatic Concept?
I have no idea! Not an LCC guy.
@@JazzGuitarScrapbook It occurred to me that F major , F Lydian aug and F Lydian minor would produce the Sam extensions that you are exploring and that they are the Parent scales in George Russell’s theory.
@@johnblackwell2065 Cool! Let me know if anything cool comes up with that!
But I think of F Maj7 = Dm
So really you’re saying ignore the V not the II? 😂
Well your not ignoring it if you play the Fm7b5 or the Fo7 are you? The difference between the Dm7 and G7 is the C or B right? How you frame that is up to you… If you play a IIm6 you are playing V9. If you play V7sus4 you are kind of playing IIm7. (Ignoring the bass.) The framing is up to you… The idea of chord ‘root’ even is quite subjective. IV6 or iim7? Depends who you ask.
I chose a third option and went with IV because I’m a little bit weird haha. Also I like third inversion dominants. Also being able to use ANY of the standard chord qualities there is nice.
Chord symbols are not the boss of me!
I thought that quote came from my 7 year old daughter.
Theorists hate him!!!
They do. I literally get hate mail from Berklee.
Badge of honour! I’d print those out and frame them if I were you.
@@j.s.m.5351 (I don’t really)
@@JazzGuitarScrapbook I choose to believe you do... 😂