If it wasn’t for you and those arpeggio/chord tone videos, I’m not sure if I would have worked on that stuff as hard as I have haha. I printed all of them out and really drilled on them. So thank you for that, that stuff was a game changer.
That's great to hear, Mark! I'm glad you took those so seriously. That's challenging stuff! :) I agree that it's game changing, just takes a lot of effort and time and diligence, which you obviously don't shy away from and that's awesome. Thanks for sharing! ~~Jared
Fantastic lesson, thanks so much Jared! This is exactly what I'm working on for a few months now. It's really tough, makes your brain hurt. and seems totally undoable first but it's getting easier bit by bit. Getting better at this takes a really long long time but it's so worth it! Being able to do this is a total game changer but it really means a lot of hard work. Thanks again!
you're seriously underrated bro and you make guitar interesting for all of us that was trapped in the mediocre intermediate stage.. sadly, I was there for like 10+ years.
Good question. I have a playlist for each chord type on how to map out and improvise with the chord tones here: ruclips.net/p/PLho65cYn4nF2GuEyLwFoHA-yUeatoCtCw. But those lessons aren't about changing chords through a progression. I don't have any lessons that have more detailed instructions on how to work on that yet, but I'd be happy to create some. Thanks for the request! -Jared
Makes much more sense than the “modes” approach. I mean, modes like Dorian or Lydian are something a piece can “live” in, entirely. Not for switching between them every half bar. But some actually tell you to play D Dorian over dm7, B Mixolydian over B7 etc. Certainly looking forward to the phrasing part. Make it tell a story!
Do you have the standard notation or tab for this session on soloing chord tones only. I play the 1-3-5-7 for each chord front, backwards, mixed up, never starting with one keeping things in time and I cannot put together a jazz line. Trying to capture your playing by ear but notation would really help to give me the ideas you are laying down.
Great Video! The only I do not understand is that when you solo your lines do not sound like the song at all. Can chord tones sound like the song?? if so, why do you not recreate the song? Many thanks!
Jared, as others have mentioned, all of your Arpeggio shape lessons have been great. I've known these shapes in a general sort of way, but your suggestions on systemic ways of practicing them are truly helpful. A quick question regarding playing over changes. It seems there are specific relationships between how chord tones resolve one into the other in the context of a chord progression ... say the relationship between the b7 of one chord and the 3 of another. Are there hard and fast rules on this, or is it more of an ear thing that develops over time as one plays more? Or, to put it another way, I often hear that one should target the 3. You hint at it in this lesson, but maybe there's something more specific I'm missing. Also, what is the App you are playing along with? Apologies if you have mentioned it before. Thanks.
Great questions! Thanks for asking. The app I'm playing along with is called iRealPro. And regarding what voice leading to seek out, I don't worry about that at all, I just look for half step or whole step connections when chords change and the rest takes care of itself. If you do that the b7 to 3 connection will become clear and obvious and you'll use it all the time, but I don't prioritize it other than that it sounds good and I'm used to all of the connections, so I'll use it when I want to hear it. I hope that helps! ** Jared
@@soundguitar Thanks for the reply. This information certainly helps. It seems like there's definitely a balance between being cognizant of the connections and just hitting them intuitively. I tend to lean toward the former, I think. I'll keep drilling it until it becomes second nature (I hope). The backing app seems like a great tool for the process. Thanks for the tip on that.
I don’t know. Nothing sounds out of place to me. All these chord tones are neighbors anyway, I don’t think it’s too much jumping. It’d be the exact same if you were actually playing the chords instead, since you’re just dealing with chord tones.
@@brookeaday9423 They all come from the major scale though, so it’s not too crazy and wild. The root will either be a half step or a whole step from the 7 and b7 and the b3 and 3 are near by too. I think I’m really gonna focus on those guide tones.
I hear what you're saying Brooke and I completely agree. Going from playing one parent scale over a series of chords to being able to see and play a completely unique structure and collection of notes for every single chord that goes by is a HUGE difference and it's not at all an easy thing to get used to even for experienced players who are good at jamming in a key. It felt impossible for me when I first started working on this years ago, but it's turned out to be the most valuable thing I've ever practiced when it comes to improvising. -Jared
Yeah... those were spam bots. :/ pretty annoying that three of them got through. I get those every time I post a new video. Sometimes RUclips filters them out but often it doesn't catch them.
I completely understand that it's intimidating. This felt impossible when I first started working on it. Thanks for letting me know your reaction! Would it be helpful if I posted some videos with more step-by-step instructions on how to work on this? Thanks for your feedback! :) -Jared
Hey Jared I love this stuff. I have committed to focusing on this now. I wonder if anyone else in the comments wants to join me on a 6month challenge? Accountability and community would be the extra element that would help me Hook in. If anyone is down let's do a monthly check in here?
The chords tone are cools idea for jazz but doesn't work ir a rock or heavy metal music ...in a rock/metal progressions we have a riff maybe two fast power chord, that is impossible to aplícate the chords tone. You must focus in the tone area.
→ FREE Arpeggio Shapes Pack for Chord Tone Soloing → bit.ly/3cw1RbA
Thanks so much for all of your great Jazz guitar instruction. Five stars!
If it wasn’t for you and those arpeggio/chord tone videos, I’m not sure if I would have worked on that stuff as hard as I have haha. I printed all of them out and really drilled on them. So thank you for that, that stuff was a game changer.
That's great to hear, Mark! I'm glad you took those so seriously. That's challenging stuff! :) I agree that it's game changing, just takes a lot of effort and time and diligence, which you obviously don't shy away from and that's awesome. Thanks for sharing! ~~Jared
So good, just perfect for me.
Fantastic lesson, thanks so much Jared! This is exactly what I'm working on for a few months now. It's really tough, makes your brain hurt. and seems totally undoable first but it's getting easier bit by bit. Getting better at this takes a really long long time but it's so worth it! Being able to do this is a total game changer but it really means a lot of hard work. Thanks again!
Couldn't have said it better myself! I second all of that :) ~~ Cheers, Jared
favourite teacher on RUclips!
you're seriously underrated bro and you make guitar interesting for all of us that was trapped in the mediocre intermediate stage.. sadly, I was there for like 10+ years.
Seems like a spot-on approach for learning how to improvise on any jazz standard. Very cool!
Glad you liked it, Eric. Thanks! :)
Thanks!
Thanks so much, Alison!! 🙏 :)
Critical improv 🎶 lesson 👍🙏👏🎸
Awesome lesson, Jared. This is the next level of improvisation!
Thanks, Don! Glad you liked this one :) ~~Jared
Wonderful.
Amazing lesson that helped a lot.
Glad to hear that, thanks! :)
Great reminder and lesson Jared
Thanks, Colin! :)
Great lesson! Thank you.🎸🙂
Thanks, Robert! :)
Super yet again, thanks so much
Thanks Jared very interesting, is there any lesson that could help one learn how to play chord tones changes in one position like you've done.
Good question. I have a playlist for each chord type on how to map out and improvise with the chord tones here: ruclips.net/p/PLho65cYn4nF2GuEyLwFoHA-yUeatoCtCw. But those lessons aren't about changing chords through a progression. I don't have any lessons that have more detailed instructions on how to work on that yet, but I'd be happy to create some. Thanks for the request! -Jared
GREAT lesson thank you so much!!
You're very welcome!
Sweet sounds.. Thanks.
Thanks, Erv! :)
Makes much more sense than the “modes” approach. I mean, modes like Dorian or Lydian are something a piece can “live” in, entirely. Not for switching between them every half bar. But some actually tell you to play D Dorian over dm7, B Mixolydian over B7 etc. Certainly looking forward to the phrasing part. Make it tell a story!
I totally agree! Thanks for sharing your thoughts. :) -Jared
I like it!
Do you have the standard notation or tab for this session on soloing chord tones only. I play the 1-3-5-7 for each chord front, backwards, mixed up, never starting with one keeping things in time and I cannot put together a jazz line. Trying to capture your playing by ear but notation would really help to give me the ideas you are laying down.
Great Video! The only I do not understand is that when you solo your lines do not sound like the song at all. Can chord tones sound like the song?? if so, why do you not recreate the song? Many thanks!
Jared, as others have mentioned, all of your Arpeggio shape lessons have been great. I've known these shapes in a general sort of way, but your suggestions on systemic ways of practicing them are truly helpful. A quick question regarding playing over changes. It seems there are specific relationships between how chord tones resolve one into the other in the context of a chord progression ... say the relationship between the b7 of one chord and the 3 of another. Are there hard and fast rules on this, or is it more of an ear thing that develops over time as one plays more? Or, to put it another way, I often hear that one should target the 3. You hint at it in this lesson, but maybe there's something more specific I'm missing. Also, what is the App you are playing along with? Apologies if you have mentioned it before. Thanks.
Great questions! Thanks for asking. The app I'm playing along with is called iRealPro. And regarding what voice leading to seek out, I don't worry about that at all, I just look for half step or whole step connections when chords change and the rest takes care of itself. If you do that the b7 to 3 connection will become clear and obvious and you'll use it all the time, but I don't prioritize it other than that it sounds good and I'm used to all of the connections, so I'll use it when I want to hear it. I hope that helps! ** Jared
@@soundguitar Thanks for the reply. This information certainly helps. It seems like there's definitely a balance between being cognizant of the connections and just hitting them intuitively. I tend to lean toward the former, I think. I'll keep drilling it until it becomes second nature (I hope). The backing app seems like a great tool for the process. Thanks for the tip on that.
This is exactly what I’m missing. Can I buy something from you? Lol
Lol, thanks for asking! :). I have courses available here: www.soundguitarlessons.com/store
Helloo Jared, I love your lessons. What app are you using for the backing track? : )
Thanks! I'm using iRealPro. Super handy :)
Thank you!
Nice playing!
BTW, what is your string gauge?
it seems like a very large jump to play in the primary key, to now changing and adjusting in time to match each chord change.
I don’t know. Nothing sounds out of place to me. All these chord tones are neighbors anyway, I don’t think it’s too much jumping. It’d be the exact same if you were actually playing the chords instead, since you’re just dealing with chord tones.
so the pdf is essentially the CAGED chord shape (arpeggiated) over the primary Key. are you changing the root with each chord change on the song?
@@markgoodwin5306 not big jumps but a recalibration of scales for each chord change...
@@brookeaday9423 They all come from the major scale though, so it’s not too crazy and wild. The root will either be a half step or a whole step from the 7 and b7 and the b3 and 3 are near by too. I think I’m really gonna focus on those guide tones.
I hear what you're saying Brooke and I completely agree. Going from playing one parent scale over a series of chords to being able to see and play a completely unique structure and collection of notes for every single chord that goes by is a HUGE difference and it's not at all an easy thing to get used to even for experienced players who are good at jamming in a key. It felt impossible for me when I first started working on this years ago, but it's turned out to be the most valuable thing I've ever practiced when it comes to improvising. -Jared
Kooooool.....
a few interesting comments you got Jared...
Yeah... those were spam bots. :/ pretty annoying that three of them got through. I get those every time I post a new video. Sometimes RUclips filters them out but often it doesn't catch them.
Thanks man, this is kinda intimidating though.
I completely understand that it's intimidating. This felt impossible when I first started working on it. Thanks for letting me know your reaction! Would it be helpful if I posted some videos with more step-by-step instructions on how to work on this? Thanks for your feedback! :) -Jared
@@soundguitar Hey Jared, yeah, a "more step-by-step instructions on how to work on this" would be awesome!
@@PatP1508 Great, Pat! Thanks for the feedback! :)
Hey Jared I love this stuff. I have committed to focusing on this now. I wonder if anyone else in the comments wants to join me on a 6month challenge? Accountability and community would be the extra element that would help me Hook in. If anyone is down let's do a monthly check in here?
Why do you say "jazz"? Seems this is something every guitarist, in every style, must do to stay on key with the song.
The chords tone are cools idea for jazz but doesn't work ir a rock or heavy metal music ...in a rock/metal progressions we have a riff maybe two fast power chord, that is impossible to aplícate the chords tone. You must focus in the tone area.
No kidding
Fantastic lesson! Thanks!
Thanks, James! :)