Hi Chase, I just found your channel early this morning (head cold, can’t sleep 😊) I really like your videos - I would like to see your set up if you dont mind sharing. I am a Blues Player just getting into Jazz and would like to know what pedals and amp settings you use to get your tone or any advice for getting that “Jazz Sound”. Thank you for the content and your hard work🤙
Playing interesting stuff over one chord vamps. I do use ideas based on the V, but most interesting to me is superimposing chords over the static chord and playing lines through that. I tend to run out of interesting stuff quicker when I'm just playing outside lines over the V of that static chord. Just wondering what works for you.
I have no idea how you got into my timeline but this has to be one of the coolest lessons with obviously a ton of work put in for our benefit!! Thank You 👏🙏
@@ChaseMaddox What was your "last video", please? And thx for this one, I.ve to work for days on that, but challenge is the only thing, that brings one forward!!!
Nice video! The first lick in video is F melodic minor scale played backwards right? Does it means F melodic minor scale can be used in 2 5 1 progression in C?
It could be thought of as many different minor scales since it’s only 4 notes over D-7, but I think most people would think of that as a Dorian sound and not Melodic minor sound.
Hey, Walter...F Mel. Mi. could be used over the G-Alt (5-dom) but the A-flat Melodic Mi. (altered dominant scale) is used more often. In the same way F-Melodic Minor can be thought of as an E Alt (5-dom) in A...But jazzy memes is right in the sense that it depends on what chord you're soloing over.
What I was always curious about is do you consciously think about the notes you are playing and their relation to the chord, or do you intuitively use a chord shape to know where you are (for example the G mixolydian in the video) and understand the relation from the shape, not from the notes?
I’m sure it’s different for different musicians. But I think I’m sometimes thinking of specific notes that I want to resolve to in relation to the chord and other times I’m playing from an intuitive sense of the chord shape or another melodic structure. It’s a bit of both depending on a lot of factors like the tempo of the song and how familiar with the tune I am.
the algorithm popped you into my YT feed yesterday. glad i clicked. i've checked out several of your vids and so far it's great stuff. between your channel, jens larsen, rotem sivan, jazz guitar with andy, learn jazz standards, and robbie barnby - i'm getting some top quality jazz guitar instruction. congrats on the 10k! headed over to IG now to follow there!
You should look into Things I've Learned from Barry Harris, Labrynth of Limitations and Open Studio as well if you really want to up your game in addition to those you'd already mentioned!
You can say what you will.about social media but us passionate ,unsigned musicians are enjoying exposure to some of the most righteous content. We are living a in guitar learning Renaissance....
When I look at the triad for Dm it plays like a Fmaj. I simplify the 2,5,1 to a 4,5,1 in my mind to make it easier to navigate the neck. Then I only have to change the 3rds for the sound I am looking for. Is this over simplifying the chordal movement?
Oh so you build these chords in thirds until you have 4 notes! I always wondered why 2 -5 -1 in C wasn't just Dm-G-C I never got that concept till a minute ago! THANKS!
Musicians! This post is excellent and well worth watching a few times to be sure that you catch all of the content as this knowledge is an excellent tool for soloing and sounding fantastic.! The intro is helpful for the instructions/ explanations and giving time to tune up! Enjoy!🎸🎸🎸🎸😎
Chase, you are on a roll: the Benson 2-chord lesson and now this one on the ii-V-I. What I recognized from the G7b9 fingerings from an earlier lesson on the magic jazz chord: the harmonization of a V-altered scale. Anyway, this lesson brought it all together for me. Thank you.
You have a genius for finding the essential elements at the heart of playing jazz solos. There are many videos on playing jazz on RUclips, but most of them do not get the really key things at the heart, you do. So you are gonna be high on my list of videos for learning, in addition to my teacher.
Hi Chase, once again, thank you for all you do. This week your two lessons on “Benson, two chords” and the interaction with the V7b9 lines (and the altered scale) has really opened my eyes all along the neck. Game changer for me. Thank you.
Fantastically useful and clear, wish I’d learned this crucial foundational bebop stuff earlier! Many thanks. By the way looking at what to play on long 2-5-1s would also be good.
Musicians! Pay very close attention! This teacher is outstanding and you should find this lesson to be very helpful. I have been performing around New York with a Jazz quartet and I learned exactly what I needed to learn! This teacher and lesson is a great place to start. There is also a RUclips channel called practice Jazz backing tracks that is really helpful as well! Enjoy! Don’t be afraid to play a few gigs to learn what you DON’T know! 🎸😳🎸😳🎹
I just discovered your channel with this vid. When I saw that this vid was more than 10 mins, and then you started off by opening a can of soda, I’ll be honest, I was thinking, “man, just get to the point, I just want to hear the playing, I don’t want to watch another Adam Neely.” But then you went straight into a expertly-presented, unpretentious, master class in important jazz patterns. I LOVE that you explained all the musical and jazz terms like “building in thirds” and “make the changes” instead of just assuming that everyone knows what those terms mean. I have a less than basic understanding of music theory, so that was extremely helpful. I honestly walked away with a better understanding of music and jazz. Thanks!
I do some catching up and house keeping with my audience in the intro of the video just like I would in a lesson. I include chapter markings so you’re always able to skip the intro if you want to get right into the lesson.
Does the flat 9 melody note work fine if the rhythm player is laying down a straight G7 chord? Is there ever a time when you would play these lines with an A natural? I agree that it sounds more bland that way. Is there ever a time when one should avoid the flat 9 sound on a five chord?
A great lesson, it terms of clear concise explanation. building block principles , slower tempo build up to crasp the essence first and a solid structred approached one can learn and build from. ( This is something most great players seem to overlook and the pupil is left confused). May I suggest you visit Peter Farrell's Benson classes, great material really strong, but he suffers from poor explanation and needs the audience show how fast and skilled he is at playing the lines. His content is awesome but one is left trying to translate this to useabale material.
Thank you David! I’ve checked out Peter Farrell’s Benson classes and felt very similarly to what you said. I learned a TON from him content wise, but for another student who maybe didn’t study jazz guitar in college, the organization and presentation can be confusing.
I have been looking for YEARS for a video like this! Thank you sir you truly know your stuff and have a great approach to jazz and teaching. Seriously the best beginner jazz vid ever i cant wait for more to come.
Could you do a basics for blues/ music really. Concepts like: what is an arpeggio? What is a scale and why does it work with that arpeggio? And what is a mode exactly?? I know it might be boring for someone advanced, but really, there are soooo many people who are lost in theese things
I have rewatched this several times, and each time I try to give a thumbs up. But alas, I can only give one. As for a lesson, do you know of any complete walking bass lines and variations one could use for common tunes?
Sooooo much good advice, so well explained in such a short format... It gets me over-excited about trying it in my style (wich is far from Jazz, I must say). Thank you! Here is a suggestion for you: I wish you could show us a concrete application of all these concept with real solo played over a typical II-V-I progression.
Thank you! I wish I could too, but I’m not sure how possible that is. For it to be a real solo and not contrived it’s unlikely I’d happen into all of these concepts. I could force it but then it takes away from the real solo element.
I really appreciate this content. It's really helpful for me as an introduction to jazz principles. My musical background is in classical guitar. I now play a lot of blues rock type music, but maybe it's time for me to finally delve into jazz a little bit. As far as I can tell, jazz theory is based on the same fundamental principles as classical music theory: playing through the changes, as you call it (melodies based around chord tones and passing notes, and the concept of tension and resolution). The difference between jazz and classical seems to me mainly that jazz harmony tends to add a lot of notes on top of the basic triads, including notes from outside the key, as well as maybe jazz tending to use different rhythms and different types of overall song/composition structure compared to classical music. By the way, some musicians seem to be put off by the idea of "rules" in music. I like to think of music theory not as a set of rules but rather as an analysis and description of the melodic, harmonic, rhythmic patterns of a particular style of music that give that style of music its particular sound. Every style of music has a set of patterns that it tends to use and you could talk about the theory behind them. Some styles of music are just a lot more complex than others so mastering all the different patterns takes a lot more work. In the end there's only one rule in music: if you like how something sounds, go with it! Great musicians have always experimented and innovated. thanks and all the best! I'm going to check out your ebook.
Hey Nelson, thanks! 🙏 I don’t have variations for one chord per bar, but one method I’ve used is doing these same lines for the bar of G7 and then playing D- lines leading into that. Basically treating the G7 bar like a short ii-V.
Great lesson you have a really clear approach - love it! Would be great if you expanded this one into long ii-V's one measure for the iim7 one for V7b9 two for the I chord etc... Keep up the great stuff my man!
Thanks Kip! That’s a great idea 👌 My next continuation of this concept will be applying it to minor ii-V’s but then I can do one showing how I approach a long ii-V 🤘
I'm really enjoying your style of teaching; it's very clear, and you're not assuming that your audience already knows or has a background in jazz. What would help me would be to hear these lines and variations played over the chords. Playing a short loop that you can play them over would really help hearing them in context. Cheers
Thank you John! It’s a tough balance to give enough context for people who aren’t already familiar with the topic but not so much that the lesson is bogged down from information people already know. I will definitely play the lines over chords next time 🤘
Great lesson!! I would enjoy a similar lesson for minor 2 5 1s. I don't quite get how to use the altered scale a video on that would be great aswell! Congrats on 10k and keep it up!
Could you talk about the b9 of the G7(b9) a little? Seems like very standard jazz vocabulary to flat the 9 there, but you just assume it's the right move and I'd like to have someone fill in the musical logic behind it. Enjoyed the vid very much.
Thanks Bill! The way I think about it is the b9 just gives added tension into the chord tone. You could also use A as a natural 9 but it loses some of the tension. It’s basically changing which scale you’re pulling notes from, either diminished or altered with the b9 or mixolydian for the natural 9.
@@ChaseMaddox Makes sense and kinda what I thought, since that's the effect. Very much a gypsy jazz thing, too. Some gypsy chord transcriptions I've seen just assume it, without even bothering to add (b9) or (b5). But I'm a dumb rocker so I like to have it spelled out. Thanks for the reply
Congrats again Chase 👍🎸 your channel has meant a lot to me. Been going through an illness and my inspiration to play has been low. Your content and teaching have been a huge blessing to me in so many ways. Best to you brother, thanks so much! Doug
So sorry to hear that you’re dealing with that Doug 🙏 Your comments over the earliest videos have been an inspiration to me to keep putting content out there! So I thank you for that. Be well 🤘
Thank you! I don’t really think of the modes for melodic minor since I was taught the “secret jazz chord” method by Barry Greene. If you know that approach it really takes away from needing to think of all the individual modes.
Hi Chase I love your lessons very much - very very interesting - I have bought your 2 5 1 lesson . Is it possible to have one with long 2 5 1 ( one chord by measure ) ??? Thanks a lot for your work . Cheers ( a french guy )
At the beginning I would like to have a video for long 2 5 1 ( with same lines all over the fretboard ) , but just now I have bought your book ( 60 lines ) . I 'm just a little bit affraid because there are a lot of lines and they have to be played fast - just a little bit complicated for the moment - but I will try . Thanks a lot for all your great lessons . Cheers
The lines in the 60 Master ii-V-I Lines book definitely don’t have to be played fast, although they can be if you’d like. I suggest starting with the key you’re most comfortable in and if you get stuck or have questions, please email me at contact@jazzmemes.org. Glad you’re enjoying the lessons! 🤘
I am officially no less an atheist than when I clicked this bait. Guess I’m conceited and arrogant, since that is evidently this Christian’s opinion of my stance.
Lol, this is awesome. I was commenting on the previous video that I was viewing when it timed out and sent me to your video, which was next in my queue. Usually the comment would be added to the comment section of whatever video one starts responding to, but I guess in this instance it didn’t. My apologies for the confusion. If it helps, I’m officially no more of a jazzer after watching this video, but I neither think it is click bait nor do I necessarily think you find me arrogant or conceited. I do, however, find the content great and useful, and I’m watching more of your channel if you don’t mind atheists here.
Ok 👍 Just make sure you’re not listening with your eyes. In context with a band that F in the downbeat wouldn’t feel harsh because it’s immediately resolved.
Yeah man that last video did so well! It’s great watching the channel blossom. Keep cranking out the top notch content. I enjoy looking forward to each new lesson/video. This would merge well into a lesson and concepts on chord soloing. ✌🏼
@@ChaseMaddox throwing an idea out there. would be cool to see same concept how it applies to resolving to minor chords with in the C major diatonic harmony. Then will have concepts to apply within the entire key. Not sure if there's also a way to show how this might apply to secret jazz chord. Again this stuff is really gold for foundations of our improvisation journey! THanks Chase! Great lesson!
@@nickschuller9861 throw out all your ideas! I don’t think you’ve had a bad one yet 👍 Do you mean applying this to a minor ii-V? Like B-7b5 / E7 / A-? And there’s always a way to connect these lines to the nearest secret jazz chord. I would think of these lines in relation to the G7alt sound, so SJC off of Bb. And see how the lines fit over those 5 SJCs.
Well done, if you could give us some advice on the tricky question of which notes to use outside of the key to pepper the melody and create interesting tensions, cause usually I am afraid of risking of sounding wrong on them so I stick too much to the "safe" maj/min parent scale of the underlying chord. God bless.
Thank you! The best answer I can give right now would be to learn jazz vocabulary that has those interesting tensions and then apply what you learn all over your instrument. Any of the 12 notes could be interesting tensions in the right context, so what’s going to be more effective is learning various ways to add chromaticism with real examples. Here’s one: you can approach any chord tone by a half step if you land the chord tone on a downbeat. Start with that and then learn more ways to work with chromaticism 🤘
I play Boss Nova, Choro and Baden Powell. It's kind of jazz, ie., jazz chords. I listen to these jazz tutorials and they're so boring. Just keep playing the same line and talking and talking, but this is boring. Bossa Nova has great chords. I tried to apply these jazz "principles", but this stuff is just so boring. I played with these jazz musicians who reduce everything to these boring basic jazz chords and play their "lines". They sound boring. Just loads of cliches. If you don't understand the song and use the interesting chords of the original artist your basic jazz chords will sound boring. Everything sounds the same. I guess Ted Greene is the exception, he focuses on the chords. I mean, that CM7 voicing is just so loungy and boring, I never use it and I never want to hear it if I can help it, except perhaps as a passing chord or if I'm stuck playing and RnB tune.
@@ChaseMaddox I don't understand what that means. Either way, academic jazz is boring. Get rid of that CM7 and get some interesting chords, and don't worry about "lines" because that's a red herring.
just found your channel. Love it. Not a huge jazz guy but I love to learn all kinds of music and I like jazz/blues and your stuff helps with that. Thanks so much
Great lesson thanks! Congrats on the 10k milestone! Nice Ibanez, but perhaps you celebrate by picking up a Benedetto? 🤣Aren’t these the lines Barry discovered while transcribing Charlie Parker at Berklee? They’re to be found in Bach’s music as well. Hey, I’m curious as hell, what was it like to study with Barry at UNF? Thanks! Cheers & congrats! -JGC
Thanks Joshua! I have 10k subs not $10k for a Benedetto 😄 They’re awesome guitars obviously and I had the opportunity to play many of them when I was at UNF. Barry does talk about these lines, although I think my organization of them is different in order to show how each variation leads to another principle of jazz improvisation. Had a great time studying with Barry! He’s a monster player and teacher, what more could you ask for 🤘
Dude you look like Jared Barkowski who also teaches jazz on RUclips "Sound Guitar Lesson" channel! I thought it was him! Congrats on the 10K man! Love this channel!
Hey greetings! I have always found it helpful to simply think of V’s instead of II V’s… I once gave a ride to Mr Green in Manhattan after the last set. We listened to some funky Gene Ammons and Sonny Stitt from the cassette deck (!!) in my Honda.
Great lesson. So glad I found your channel. Practical idea that can be put into practice for some great results. This lesson really got me thinking about the variations and resolutions available. Great stuff!!!!
Hey Alex, do you mean for when I’m playing the lines? I probably should’ve added in some sort of harmonic accompaniment behind the lines when demonstrating them.
Loving the latest couple of Jazz guitar vids man.. It's like you answered my exact comment from last time with the perfect level of content. Amazing job dude, so much to get stuck into here 👌🙏
Thank you David! 🤘I really do take the comments and suggested topics seriously, so always feel free to let me know what would be helpful for you next or what you’d like me to cover.
The line follows the picking techinique you showed in a previous video. It starts on an upstroke. I was told that for correctly accentuating offbeats one should always play the heavy beats with a downstroke and accentuate offbeats with upstrokes. How do you see this?
I was also taught that early on and my current thinking is that that is wrong. It matters way more for picking speed and accuracy to follow what I state in the previous video. If the tempo is slow, I do generally follow downstrokes on down beats.
Thank you this is really useful: I never know what to do over chord changes and especially when you give different examples of the same principle it hits home and gives my neurons some homework :-)
Thank you Tobias! Definitely check out my follow up lesson to this one, called “The MAGIC of minor ii-V-i’s”. That will give you even more context around the same ideas 👍
Excellent lesson…I would love to see it taken to the next level as a solo in the context of a standard; perhaps ‘Take the A Train’. Really great stuff. Thanks.
First time the channel came up in my RUclips feed. Glad it did. Great job on explaining and taking the time to demonstrate the variations at a reasonable pace. It helps tremendously in understanding what you are teaching.
What lesson content would you like to see going forward? The more specific the better!
@@HendersonGuitar will do! Thanks for the suggestion 👍
Thinking about how to build lines, that's very helpful
Hi Chase,
I just found your channel early this morning (head cold, can’t sleep 😊) I really like your videos - I would like to see your set up if you dont mind sharing. I am a Blues Player just getting into Jazz and would like to know what pedals and amp settings you use to get your tone or any advice for getting that “Jazz Sound”. Thank you for the content and your hard work🤙
@@chrisr530 I will do a whole video on my setup soon!
Playing interesting stuff over one chord vamps. I do use ideas based on the V, but most interesting to me is superimposing chords over the static chord and playing lines through that. I tend to run out of interesting stuff quicker when I'm just playing outside lines over the V of that static chord. Just wondering what works for you.
I have no idea how you got into my timeline but this has to be one of the coolest lessons with obviously a ton of work put in for our benefit!! Thank You 👏🙏
My last video blew up so that’s probably why, and I’m glad you enjoyed the video! 🤘
@@ChaseMaddox What was your "last video", please? And thx for this one, I.ve to work for days on that, but challenge is the only thing, that brings one forward!!!
Nice video! The first lick in video is F melodic minor scale played backwards right? Does it means F melodic minor scale can be used in 2 5 1 progression in C?
It could be thought of as many different minor scales since it’s only 4 notes over D-7, but I think most people would think of that as a Dorian sound and not Melodic minor sound.
Hey, Walter...F Mel. Mi. could be used over the G-Alt (5-dom) but the A-flat Melodic Mi. (altered dominant scale) is used more often. In the same way F-Melodic Minor can be thought of as an E Alt (5-dom) in A...But jazzy memes is right in the sense that it depends on what chord you're soloing over.
Way too much TALKING about yourself. Ten or fifteen seconds and I was done listening all about nothing. So, please, just get on with it. Thanks
No, thanks 🙏
just skip ahead lol there’s youtube chapters for a reason
@@coppelia9535 ^^^
What I was always curious about is do you consciously think about the notes you are playing and their relation to the chord, or do you intuitively use a chord shape to know where you are (for example the G mixolydian in the video) and understand the relation from the shape, not from the notes?
Very interesting question
I’m sure it’s different for different musicians. But I think I’m sometimes thinking of specific notes that I want to resolve to in relation to the chord and other times I’m playing from an intuitive sense of the chord shape or another melodic structure. It’s a bit of both depending on a lot of factors like the tempo of the song and how familiar with the tune I am.
GREAT question!
All guitarists end up evolving into jazz musicians
It’s the 3rd stage evolution
the algorithm popped you into my YT feed yesterday. glad i clicked. i've checked out several of your vids and so far it's great stuff. between your channel, jens larsen, rotem sivan, jazz guitar with andy, learn jazz standards, and robbie barnby - i'm getting some top quality jazz guitar instruction. congrats on the 10k! headed over to IG now to follow there!
Thank you! Happy to be among those great educators and players as well and glad you’re digging the content 🤘
You should look into Things I've Learned from Barry Harris, Labrynth of Limitations and Open Studio as well if you really want to up your game in addition to those you'd already mentioned!
Me three...!
You can say what you will.about social media but us passionate ,unsigned musicians are enjoying exposure to some of the most righteous content. We are living a in guitar learning Renaissance....
When I look at the triad for Dm it plays like a Fmaj. I simplify the 2,5,1 to a 4,5,1 in my mind to make it easier to navigate the neck. Then I only have to change the 3rds for the sound I am looking for. Is this over simplifying the chordal movement?
Oh so you build these chords in thirds until you have 4 notes! I always wondered why 2 -5 -1 in C wasn't just Dm-G-C I never got that concept till a minute ago! THANKS!
Musicians!
This post is excellent and well worth watching a few times to be sure that you catch all of the content as this knowledge is an excellent tool for soloing and sounding fantastic.!
The intro is helpful for the instructions/ explanations and giving time to tune up!
Enjoy!🎸🎸🎸🎸😎
Thank you Jack! Glad it was helpful for you! 🤘
The going from a B to an A flat gives a nice Gypsy Jazz quality.
Chase, you are on a roll: the Benson 2-chord lesson and now this one on the ii-V-I. What I recognized from the G7b9 fingerings from an earlier lesson on the magic jazz chord: the harmonization of a V-altered scale. Anyway, this lesson brought it all together for me. Thank you.
That's amazing! Glad it's helping you 👍
Brilliant brilliant teacher
Thank you! Glad you enjoyed it 🤘
You have a genius for finding the essential elements at the heart of playing jazz solos. There are many videos on playing jazz on RUclips, but most of them do not get the really key things at the heart, you do. So you are gonna be high on my list of videos for learning, in addition to my teacher.
Thank you for watching! I've got a LOT of videos out at this point, so I hope they help you.
Hi Chase, once again, thank you for all you do. This week your two lessons on “Benson, two chords” and the interaction with the V7b9 lines (and the altered scale) has really opened my eyes all along the neck. Game changer for me. Thank you.
My pleasure, Robert! Thanks for watching 🙏
Fantastically useful and clear, wish I’d learned this crucial foundational bebop stuff earlier! Many thanks. By the way looking at what to play on long 2-5-1s would also be good.
Glad it was helpful! I think you’ll dig this video too: The SIMPLE Way to Play ii-V-Is (For Guitar)
ruclips.net/video/bc7GFPIm5Gg/видео.html
Musicians!
Pay very close attention! This teacher is outstanding and you should find this lesson to be very helpful. I have been performing around New York with a Jazz quartet and I learned exactly what I needed to learn! This teacher and lesson is a great place to start.
There is also a RUclips channel called practice Jazz backing tracks that is really helpful as well! Enjoy! Don’t be afraid to play a few gigs to learn what you DON’T know! 🎸😳🎸😳🎹
Thanks Jack! 🙏
I just discovered your channel with this vid. When I saw that this vid was more than 10 mins, and then you started off by opening a can of soda, I’ll be honest, I was thinking, “man, just get to the point, I just want to hear the playing, I don’t want to watch another Adam Neely.”
But then you went straight into a expertly-presented, unpretentious, master class in important jazz patterns. I LOVE that you explained all the musical and jazz terms like “building in thirds” and “make the changes” instead of just assuming that everyone knows what those terms mean. I have a less than basic understanding of music theory, so that was extremely helpful.
I honestly walked away with a better understanding of music and jazz. Thanks!
I do some catching up and house keeping with my audience in the intro of the video just like I would in a lesson. I include chapter markings so you’re always able to skip the intro if you want to get right into the lesson.
Does the flat 9 melody note work fine if the rhythm player is laying down a straight G7 chord? Is there ever a time when you would play these lines with an A natural? I agree that it sounds more bland that way. Is there ever a time when one should avoid the flat 9 sound on a five chord?
Yes to your first question. You would play an A natural when it’s a natural G9 or G13 or Lydian dominant sound like G7#11.
A great lesson, it terms of clear concise explanation. building block principles , slower tempo build up to crasp the essence first and a solid structred approached one can learn and build from. ( This is something most great players seem to overlook and the pupil is left confused). May I suggest you visit Peter Farrell's Benson classes, great material really strong, but he suffers from poor explanation and needs the audience show how fast and skilled he is at playing the lines. His content is awesome but one is left trying to translate this to useabale material.
Thank you David! I’ve checked out Peter Farrell’s Benson classes and felt very similarly to what you said. I learned a TON from him content wise, but for another student who maybe didn’t study jazz guitar in college, the organization and presentation can be confusing.
I have been looking for YEARS for a video like this! Thank you sir you truly know your stuff and have a great approach to jazz and teaching. Seriously the best beginner jazz vid ever i cant wait for more to come.
Thank you Josh! I really appreciate your comment 🙏 Is there any other beginner jazz topic you think I should do a video on?
Could you do a basics for blues/ music really. Concepts like: what is an arpeggio? What is a scale and why does it work with that arpeggio? And what is a mode exactly??
I know it might be boring for someone advanced, but really, there are soooo many people who are lost in theese things
Great idea! I can definitely do a video on this 🤘
I have rewatched this several times, and each time I try to give a thumbs up. But alas, I can only give one.
As for a lesson, do you know of any complete walking bass lines and variations one could use for common tunes?
Thank you! Unfortunately I don't know of a specific place you can find that, but it might be a good topic for me to address in the future!
Brandon Sanderson's The Stormlight Archive and Jazz. Who knew! LOL thank you for this!
Oh don’t get me started on the love/hate relationship I have with Name of the Wind
The other side of this lesson nay be Harmonizing a melody ?
That’s a topic I would really enjoy.
Thanks for the lesson!
Thank you! I can do a lesson on that topic 👍
Excellent lesson. Solid content, great delivery. Thank you!
Thank you for the specific feedback Pat! 🤘
I notice you're picking with an up-down-up-down motion rather than the more tradional down-up style. Is there an advantage to that?
Check my previous video on picking 👍
Oh, I lived in Jacksonville from 1998-2005. My Brother took classes at NorFla.
Cool! 🤘
I was supposed to go to the university of north Florida to study with Jack Peterson, but ended up on the road playing bars. That was the early 90’s.
Small world!
Great lesson because I've been learning the basic arpeggios but didn't understand why I wasn't hearing the chord changes in this fashion.
Glad it helped Carlton! 🤘
3rd, root / 3rd, root / 3rd
Honestly I hadn’t thought of that either before saying it on camera 😄
Sooooo much good advice, so well explained in such a short format... It gets me over-excited about trying it in my style (wich is far from Jazz, I must say). Thank you!
Here is a suggestion for you: I wish you could show us a concrete application of all these concept with real solo played over a typical II-V-I progression.
Thank you! I wish I could too, but I’m not sure how possible that is. For it to be a real solo and not contrived it’s unlikely I’d happen into all of these concepts. I could force it but then it takes away from the real solo element.
I really appreciate this content. It's really helpful for me as an introduction to jazz principles. My musical background is in classical guitar. I now play a lot of blues rock type music, but maybe it's time for me to finally delve into jazz a little bit. As far as I can tell, jazz theory is based on the same fundamental principles as classical music theory: playing through the changes, as you call it (melodies based around chord tones and passing notes, and the concept of tension and resolution). The difference between jazz and classical seems to me mainly that jazz harmony tends to add a lot of notes on top of the basic triads, including notes from outside the key, as well as maybe jazz tending to use different rhythms and different types of overall song/composition structure compared to classical music.
By the way, some musicians seem to be put off by the idea of "rules" in music. I like to think of music theory not as a set of rules but rather as an analysis and description of the melodic, harmonic, rhythmic patterns of a particular style of music that give that style of music its particular sound. Every style of music has a set of patterns that it tends to use and you could talk about the theory behind them. Some styles of music are just a lot more complex than others so mastering all the different patterns takes a lot more work. In the end there's only one rule in music: if you like how something sounds, go with it! Great musicians have always experimented and innovated.
thanks and all the best! I'm going to check out your ebook.
I agree with pretty much everything you said! Thanks for the thoughtful comment 🙏
I'm looking for a good jazz guitar teacher but I don't know of any in my area. Tracy, CA
Hi Greg, send me an email at contact@jazzmemes.org and we can chat in more detail 👍
I like it! Opens my eyes to what is going on under the hood of my ears. Thank you for your kindness in sharing your knowledge.
Glad you enjoyed it! 🤘
Or if you know a bit of prog rock, you have variations upon Free Will by the band Rush.
🤘🤘
Ninety percent talk and theory. Music is not a science. You can't learn what it takes to make good music. There is no system.
So people that play good music didn’t learn how? Totally nonsensical.
This is great Chase. Do you have variations for one chord per bar? Dmin7/ G7/ Cmaj7? Thank you
Hey Nelson, thanks! 🙏 I don’t have variations for one chord per bar, but one method I’ve used is doing these same lines for the bar of G7 and then playing D- lines leading into that. Basically treating the G7 bar like a short ii-V.
Great lesson you have a really clear approach - love it! Would be great if you expanded this one into long ii-V's one measure for the iim7 one for V7b9 two for the I chord etc... Keep up the great stuff my man!
Thanks Kip! That’s a great idea 👌 My next continuation of this concept will be applying it to minor ii-V’s but then I can do one showing how I approach a long ii-V 🤘
If that's a beginner/intermediate lesson I think I'll give up. Lol.
Lol don’t do that! Let me help you out. What’s the concept or technique you’re currently struggling with on guitar?
it's something how you start your lines up picking - i guess on the way down that's better?
Check out my video a few weeks back on playing fast to see my explanation 🤘
I'm really enjoying your style of teaching; it's very clear, and you're not assuming that your audience already knows or has a background in jazz. What would help me would be to hear these lines and variations played over the chords. Playing a short loop that you can play them over would really help hearing them in context. Cheers
Thank you John! It’s a tough balance to give enough context for people who aren’t already familiar with the topic but not so much that the lesson is bogged down from information people already know. I will definitely play the lines over chords next time 🤘
@@ChaseMaddox indeed, it's a real tightrope trying to teach on youtube. Thanks for your considered reply.
Excellent to start with one line and than build on it. Very powerful
Yes indeed!
A fresh take on intro jazz...thanks. I'll be following.
Thanks Paul! Glad to have you following along 🤘
Great lesson!! I would enjoy a similar lesson for minor 2 5 1s.
I don't quite get how to use the altered scale a video on that would be great aswell!
Congrats on 10k and keep it up!
Can do! Thank you for the support! 🤘
Could you talk about the b9 of the G7(b9) a little? Seems like very standard jazz vocabulary to flat the 9 there, but you just assume it's the right move and I'd like to have someone fill in the musical logic behind it. Enjoyed the vid very much.
Thanks Bill! The way I think about it is the b9 just gives added tension into the chord tone. You could also use A as a natural 9 but it loses some of the tension. It’s basically changing which scale you’re pulling notes from, either diminished or altered with the b9 or mixolydian for the natural 9.
@@ChaseMaddox Makes sense and kinda what I thought, since that's the effect. Very much a gypsy jazz thing, too. Some gypsy chord transcriptions I've seen just assume it, without even bothering to add (b9) or (b5). But I'm a dumb rocker so I like to have it spelled out. Thanks for the reply
Congrats again Chase 👍🎸 your channel has meant a lot to me. Been going through an illness and my inspiration to play has been low. Your content and teaching have been a huge blessing to me in so many ways. Best to you brother, thanks so much! Doug
So sorry to hear that you’re dealing with that Doug 🙏 Your comments over the earliest videos have been an inspiration to me to keep putting content out there! So I thank you for that. Be well 🤘
Good information, congrats on reaching 10k. I would like to see a study on the modes of the Melodic Minor.
Thank you! I don’t really think of the modes for melodic minor since I was taught the “secret jazz chord” method by Barry Greene. If you know that approach it really takes away from needing to think of all the individual modes.
Love celebrating with a Spindrift, myself.
It’s a vibe 👌
Fantastic lesson. Lightbulb on.
Awesome! 🙏
A guitarist with Sanderson on his shelf, Ya got a sub from me!
Journey before destination 🤘
Congrats on 15K likes and thanks for the great content!!!
Thank you Taylor! We’re on the path to 100k now! 🙌
Seems like a lot of rules. I’ll stick with rock and roll for now.
Lol fair enough
Hi Chase I love your lessons very much - very very interesting - I have bought your 2 5 1 lesson . Is it possible to have one with long 2 5 1 ( one chord by measure ) ??? Thanks a lot for your work . Cheers ( a french guy )
Thanks Patrick! Are you asking me to cover long 2-5-1s as a topic for a video or how that would work to apply these lines over a long 2-5-1?
At the beginning I would like to have a video for long 2 5 1 ( with same lines all over the fretboard ) , but just now I have bought your book ( 60 lines ) . I 'm just a little bit affraid because there are a lot of lines and they have to be played fast - just a little bit complicated for the moment - but I will try . Thanks a lot for all your great lessons . Cheers
The lines in the 60 Master ii-V-I Lines book definitely don’t have to be played fast, although they can be if you’d like. I suggest starting with the key you’re most comfortable in and if you get stuck or have questions, please email me at contact@jazzmemes.org. Glad you’re enjoying the lessons! 🤘
Very good lesson; it's a beautiful transition.
Thank you! 🤘
Intro with a riff with the chords you are going to use, cheers
What?
I am officially no less an atheist than when I clicked this bait. Guess I’m conceited and arrogant, since that is evidently this Christian’s opinion of my stance.
Lol what?
Lol, this is awesome. I was commenting on the previous video that I was viewing when it timed out and sent me to your video, which was next in my queue. Usually the comment would be added to the comment section of whatever video one starts responding to, but I guess in this instance it didn’t. My apologies for the confusion.
If it helps, I’m officially no more of a jazzer after watching this video, but I neither think it is click bait nor do I necessarily think you find me arrogant or conceited. I do, however, find the content great and useful, and I’m watching more of your channel if you don’t mind atheists here.
No worries! Glad you’re enjoying the content and you are welcome here! 🙏
I don't like variation 5... f on the downbeat of C∆
Ok 👍 Just make sure you’re not listening with your eyes. In context with a band that F in the downbeat wouldn’t feel harsh because it’s immediately resolved.
Great stuff - advanced players should listen to this as well!
Thanks Rick! I agree! 🤘
Nice video man! You avoid resolving to the root?
Thanks! 🤘Not always, but unless you’re experienced it tends to sound corny.
Damn you have a RUclips! Love ur insta page
Thank you!! We have a RUclips now! 🤘
no idea what you just said, but I just suscribed.
🤘🤘
Great lesson. Also - I have that exact guitar !
Thanks! Great guitar! 🤘
Hi, I have a Ibanez AF-2000 and was wondering what strings you use on your Ibanez guitar?
I always have used Daddario round wound, .10s or .11s. Lately .10s.
@@ChaseMaddox In your opinion, what is the best way to learn to play jazz on the guitar?
@@ChaseMaddox Can you give me a Daddario set number? I don't see anything that is called round wound. There is half rounds.
Very good presentation of this material.
Thank you Roger! 🙏
this is super informational thank you! you make it make sense
Thank you, Jarred! Glad it was helpful!
Yeah man that last video did so well! It’s great watching the channel blossom. Keep cranking out the top notch content. I enjoy looking forward to each new lesson/video. This would merge well into a lesson and concepts on chord soloing. ✌🏼
Crazy how well it did! Totally not expecting that. Thanks for all your support, Nick 🤘
@@ChaseMaddox throwing an idea out there. would be cool to see same concept how it applies to resolving to minor chords with in the C major diatonic harmony. Then will have concepts to apply within the entire key. Not sure if there's also a way to show how this might apply to secret jazz chord. Again this stuff is really gold for foundations of our improvisation journey! THanks Chase! Great lesson!
@@nickschuller9861 throw out all your ideas! I don’t think you’ve had a bad one yet 👍 Do you mean applying this to a minor ii-V? Like B-7b5 / E7 / A-? And there’s always a way to connect these lines to the nearest secret jazz chord. I would think of these lines in relation to the G7alt sound, so SJC off of Bb. And see how the lines fit over those 5 SJCs.
this is close to raag yaman in indian classical music
Really? Any example you can link? I’d be curious to check out the similarities.
these are great, man, real public service!
Thank you Anthony! 🤘
Good, clear teaching. Nice job.
Appreciate it Adam! 🤘
What’s the link to purchase the 60 Master II V I lines book?
www.jazzmemes.org/the-60-master-ii-v-i-lines-ebook
Thanks for the support! 🤘
Very appreciated class - thx a lot
Thanks Yannick! 🤘
I liked this lesson a lot. Thank you
Thanks for watching! 🤘
Well done, if you could give us some advice on the tricky question of which notes to use outside of the key to pepper the melody and create interesting tensions, cause usually I am afraid of risking of sounding wrong on them so I stick too much to the "safe" maj/min parent scale of the underlying chord. God bless.
Thank you! The best answer I can give right now would be to learn jazz vocabulary that has those interesting tensions and then apply what you learn all over your instrument. Any of the 12 notes could be interesting tensions in the right context, so what’s going to be more effective is learning various ways to add chromaticism with real examples. Here’s one: you can approach any chord tone by a half step if you land the chord tone on a downbeat. Start with that and then learn more ways to work with chromaticism 🤘
I play Boss Nova, Choro and Baden Powell. It's kind of jazz, ie., jazz chords. I listen to these jazz tutorials and they're so boring. Just keep playing the same line and talking and talking, but this is boring. Bossa Nova has great chords. I tried to apply these jazz "principles", but this stuff is just so boring. I played with these jazz musicians who reduce everything to these boring basic jazz chords and play their "lines". They sound boring. Just loads of cliches. If you don't understand the song and use the interesting chords of the original artist your basic jazz chords will sound boring. Everything sounds the same. I guess Ted Greene is the exception, he focuses on the chords. I mean, that CM7 voicing is just so loungy and boring, I never use it and I never want to hear it if I can help it, except perhaps as a passing chord or if I'm stuck playing and RnB tune.
jazz: 7
boring: 5
@@ChaseMaddox If you're keeping score, sure you can appeal to the plebs, but this academic jazz stuff is done. Best way to kill it.
@@TomTabaczynski jazz: 1
boring: 0
@@ChaseMaddox I don't understand what that means. Either way, academic jazz is boring. Get rid of that CM7 and get some interesting chords, and don't worry about "lines" because that's a red herring.
@@TomTabaczynski
jazz: 1
boring: 1
Good stuff. Subscribed!
Thank you! 🙏
Good stuff. I've been playing since around 1978, and I still love checking out phrasing like this. Breaking it down. Cheers.
Thanks Iver! 🙏
just found your channel. Love it. Not a huge jazz guy but I love to learn all kinds of music and I like jazz/blues and your stuff helps with that. Thanks so much
Thanks! Glad to have you here. Will put out more jazz/blues content soon 🤘
Bonus points for the books in the background.
Brandon Sanderson fan or the other books?
Stormlight Archive!
This lesson really clarified a lot of mismatched pieces. For a folk guy, this really answers the question “ Why jazz?“.
🤘🤘
I have to get this guitar! i love it!
It’s a phenomenal guitar! 🤘
that was awesome thnx!
Thanks for watching! 🙏
Great lesson thanks! Congrats on the 10k milestone! Nice Ibanez, but perhaps you celebrate by picking up a Benedetto? 🤣Aren’t these the lines Barry discovered while transcribing Charlie Parker at Berklee? They’re to be found in Bach’s music as well. Hey, I’m curious as hell, what was it like to study with Barry at UNF? Thanks! Cheers & congrats! -JGC
Thanks Joshua! I have 10k subs not $10k for a Benedetto 😄 They’re awesome guitars obviously and I had the opportunity to play many of them when I was at UNF. Barry does talk about these lines, although I think my organization of them is different in order to show how each variation leads to another principle of jazz improvisation. Had a great time studying with Barry! He’s a monster player and teacher, what more could you ask for 🤘
Dude you look like Jared Barkowski who also teaches jazz on RUclips "Sound Guitar Lesson" channel! I thought it was him! Congrats on the 10K man! Love this channel!
Thank you! Glad you dig the lessons! 🤘
Nice lesson. Thanks!
Thanks for watching! 🤘
Hey greetings! I have always found it helpful to simply think of V’s instead of II V’s…
I once gave a ride to Mr Green in Manhattan after the last set. We listened to some funky Gene Ammons and Sonny Stitt from the cassette deck (!!) in my Honda.
That works too! 🤘
You have a very elegant way of explaining things. Love what you’re doing with this YT channel.
Appreciate it! 🙏
Great lesson, thanks!
Thanks Jonathan! 🤘
Great lesson. So glad I found your channel. Practical idea that can be put into practice for some great results. This lesson really got me thinking about the variations and resolutions available. Great stuff!!!!
Thank you! Really so much to practice 😄
A humble suggestion....maybe have a most simplistic bass line accompanying your vids to even more compliment the melodic devices and storylines.
Hey Alex, do you mean for when I’m playing the lines? I probably should’ve added in some sort of harmonic accompaniment behind the lines when demonstrating them.
Loving the latest couple of Jazz guitar vids man.. It's like you answered my exact comment from last time with the perfect level of content. Amazing job dude, so much to get stuck into here 👌🙏
Thank you David! 🤘I really do take the comments and suggested topics seriously, so always feel free to let me know what would be helpful for you next or what you’d like me to cover.
The line follows the picking techinique you showed in a previous video. It starts on an upstroke. I was told that for correctly accentuating offbeats one should always play the heavy beats with a downstroke and accentuate offbeats with upstrokes. How do you see this?
I was also taught that early on and my current thinking is that that is wrong. It matters way more for picking speed and accuracy to follow what I state in the previous video. If the tempo is slow, I do generally follow downstrokes on down beats.
Super super helpful
Glad it helped you 👍
This is great info.
Glad you dug it! 🤘
Thank you this is really useful: I never know what to do over chord changes and especially when you give different examples of the same principle it hits home and gives my neurons some homework :-)
Thank you Tobias! Definitely check out my follow up lesson to this one, called “The MAGIC of minor ii-V-i’s”. That will give you even more context around the same ideas 👍
Excellent lesson…I would love to see it taken to the next level as a solo in the context of a standard; perhaps ‘Take the A Train’. Really great stuff. Thanks.
Thank you! That’s exactly the kind of thing I’ll be doing in my upcoming guitar community 🤘www.jazzmemes.org/jazzmemes-guitar-community-waiting-list
First time the channel came up in my RUclips feed.
Glad it did.
Great job on explaining and taking the time to demonstrate the variations at a reasonable pace.
It helps tremendously in understanding what you are teaching.
Thank you! Glad you enjoyed the video! If there any topics you’d like me to cover, feel free to let me know! 🤘
This was great man! Would love to learn more about fundamental principles of voice leading. Thanks!
Thank you! Can do 🤘
I appreciate you addressing us beginners and intermediates. I fall in the middle of that! Thanks for remembering us!
Best.
Absolutely! I’ll do more lessons for beginners and intermediate players in the future 👍