The REAL Way to Solo Over Jazz Chords
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- Опубликовано: 30 июл 2024
- A key element of soloing is being able to place certain notes, let’s call them target notes, on certain beats. But, this is difficult to do under the time pressure of actual improvisation and not at all obvious how to practice. The goal of this lesson is to give you three concepts to practice and then connect it all to the dominant bebop scale we learned last week.
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0:00 The Problem and Solution
1:26 Concept 1
3:13 Concept 2
4:44 Concept 3
6:07 3-Note Approaches
8:49 Special Announcement!
What other approaches do you use when soloing? Let me know below!
I’ve watched a lot of videos and this is by far … by farrrrr the easiest to understand and approach from an absolute start point! Bravo dude many thanks!
Hands down the best, most logical, most approachable way I’ve ever found to get past noodling and actually work a method to build and improve my solos!!! Thank you very much!!!!
Glad it helped! Make sure you subscribe to my email list and channel to stay up to date 👍
Love the way you explained this Chase, and good luck with the new community - sounds awesome!
Thank you, Az! I appreciate the support! 🤘
Amazing lesson, Chase! This really demystifies a lot of the nuance that goes into approaching chromaticism when soloing.
Thank you! 🙏 Glad you found it insightful 🤘
Wow!!
Fantastic lesson!!
Great analysis of note targeting/enclosures, etc.
Spot on👍😎👍
Thank you, Anthony! 🤘
Superb! The first in dozens of other RUclips guitar teachers' lessons that I have seen to take this approach. Working backwards from the beat to fill in the blanks. Thank you!
Glad you dig my approach! 🤘
The course sound phenomenal! Signed up and looking forward to starting.
Awesome! I’m excited to get it going 🤘
This was a superb lesson in How Jazz guitar sounds like jazz guitar! Other lessons show us scales, chords, Arps etc: but these Approach Target patterns are excellent: connecting them with a Bebop Scale - genius. Thanks
Glad you liked it! I cover a lot of scales, chords, and arpeggios in previous lessons too if you haven't seen those! 🤘
Another great lesson, keep it up - you and Jens are my "go to's" with learning Jazz since I'm still pretty new to it. Thanks for keeping the lessons simple and direct, really enjoying your content bro! As a request, I would like to hear your take on Common Mistakes or Misconceptions people make when trying to learn Jazz as well as maybe your personal top 5 Jazz Guitar Albums for inspiration. Anyway, thanks again my friend!
Thank you, Chris! 🤘 Honored you put Jens and I in the same category! Love both of those suggestions, got them marked down and will shout you out when I get to them 🙏
A bit of an answer to both questions : It is a mistake to focus only on jazz albums/artists/songs that have guitar. Sure, it's cool to learn how jazz guitarists play. I'm not discounting it at all, as I am a huge...a bigly huge fan of Scofield. I have transcribed 4 whole albums of his so far lol. However, in terms of just learning about creating Melody between and around chords and shloads of other tricks and ideas...I have definitely learned most of those things from Sax players. My favorites are Cannonball Adderley, Sonny Rollins and Dexter Gordon. I have piles and piles of transcriptions of their solos. It's actually not that hard to transcribe horn solos onto guitar. Doing that helped me an incredible amount, man. I would sit and transcribe a chorus from Dex, for instance, and then sit and look. At the notes he's playing and where, over what? How the notes sit in the bar, aka rhythm. You will start to see some really really neat little things. Like they are playing 4 different arpeggios over a single chord, in one measure.
I really think that had I not transcribed horn solos to guitar and studied them, that I would not have been able to figure out Scofield tunes and solos.
Awesome explanation of what my ear loves to hear, and what's happening with the notes!!!
Glad you enjoyed it, Steve! 🤘
Thanks for this analysis! I need to try this exercise out 🤟
🤘🤘
Great lesson! And thanks for the free pdf. Very interested in the community idea 👍
Awesome, thank you Matthew! Be sure to sign up to the waiting list so you'll be notified when I launch 🤘
@@ChaseMaddox Just signed up!
An extremely helpful lesson on the bebop approach. Many thanks. :-). Robert
Glad you think so, Robert! 🤘
I honestly think this is one of the best lessons I've ever seen
Thanks David! Watch some of my others 😉
Great lesson Chase - never thought of connecting a series of enclosures together like this and it works really well. I go to you, Jens and Chris Whiteman (for a more clasical sound) 👍.
Thanks Rick! 🤘I’ve found it’s such a great way to practice visualizing the chord tones.
great approach to enclosures-------great tools for improv
Glad you dug the lesson! 🤘
So much useful information!
Glad you think so! 🤘
That last 3-note approach reminds me a lot of the Barry Harris chromatic scale - a bit different but does a similar job of using all the chromatics and staying on chord tones. Great lesson!
Thank you! Many different options for chromaticism that would work 🤘
Great stuff !
Thank you! 🙏
Thanks for the lesson 👌
Glad you enjoyed it 🙏
Man. Great video. Thx!
Thanks for checking it out! 🤘
Excellent
Very useful. Thanks
You’re welcome, Glenn! 🤘
I was literally going to suggest doing a "song of the week, " so that we could build our personal songbook when your special announcement appeared. I think it will be a great thing.
Thank you! Hope to have you join 🤘
... so convincingly simple. COOL !!!
Thanks! 🤘
Why is this video better than every Jens Larsen video he has ever put out lmfao
I don’t agree with that, but I appreciate the compliment! 🙏
Valuable lesson.I can’t download the pdf,my email is getting rejected,
it happened with another pdf download a couple of days ago.
Email me directly at contact@jazzmemes.org and I’ll get you sorted 👍
Chase, I James. I just discovered you today. I think mastering pick control and the 2-5-1 in 5 positions is key. What prerequisites or level of proficiency do you require for the tune a month class?
I’m glad you’re interested in the tune-a-month program! I would say the main prerequisites would be knowing your major scales and the diatonic chords in each, being able to read music or TAB, and having at least 30min 3-5 days per week to go through the material.
Thanks Chase. I think you offered a logical and practical approach to mastering this materiial and knowing the ii-v-i Chords in 5 positions along with knowing the Major, Minor and Dominant scales in 5 positions. That IS the heavy lift and foundation for all that follows.
Like you I could never get my picking together especially when soloing. Downstroke picking all the way. To me, that's my first priority.
I thought I asked you this in the "I Couldn't Play FAST" video but how do I practice that in the same manner as the ii-v-i? You have 7 exercises. Stay with Exercise #1 for 5 days and move on to Exercise 7 then change keys and tempo?
I purchased the Master Arpeggios Book Vol 1 as well as the Master ii-v-i lines.
Chase, I want to master this. I've done the teacher thing many times but I always felt I was all over the place. What you offered in two lessons should have been my foundation from the very beginning when I started at Jazzmobile. I would have had my practice regimen as well an accomplishment of work.
@@bosslenz2766 thanks again for your comment! Since you have both books, I would go through them as the way to practice my picking. They both follow the picking technique and it’s much better to practice anything technique related in a musical context. The Master Arpeggios Book is probably easier on the picking since most of the patterns stay the same, where some of the Master ii-V-I lines have more varied approaches.
Absolutly Great!
But is it the same for minor chords?
Thank you, Cornelius! Good question, and it is not exactly the same. I can go over the difference for minor chords and major chords in another video 🤘
Would love to hear that
Reminds me of Banacos.
Accountability?
Hit me up. We can go from there. I have been putting in 6 hours a day into classics guitar studies for 10+ years and want to branch out into experimental jazz.
I’m interested in seeing if you can help me think outside of the box. I feel like a vessel playing other composers music.
Looking forward to your response.
Did you sign up for the guitar community waiting list?