Red Baron - Tutorial

Lothar's Guitar School - Red Baron - Tutorial
This guitar tutorial is about another milestone in fusion music: Red Baron by Billy Cobham with Jan Hammer on keys, Lee Sklar on bass and Tommy Bolin on guitar.
For a pdf of the chart contact me at:
[e-mail]
00:00 introduction
00:56 theme
01:56 explanation
05:36 theme with charts

[@marcmichael521]

This is great! Thank you!

[@LotharsGuitarSchool]

I'm glad you like!

[@petercallaway3376]

Thanks for this super superb tutorial especially with the notation !🎵👍🏾🎸👀

[@LotharsGuitarSchool]

Thanks - yes the notation is a little tricky.

[@godu1111]

Thanks man

[@LotharsGuitarSchool]

My pleasure

[@maximosalerno5673]

Super Video !!

[@LotharsGuitarSchool]

Thank you. What's super about it? I sometimes ask myself should I explain more, in detail, slower - or to the contrary is it it too much, should I explain less?

[@Freebird_71]

Thanks! your timing is not 100% in this video (very tricky song) but I finally learnt it note by note :) Good job!

[@LotharsGuitarSchool]

Thanks! You are right, I am probably a better teacher than performer. That's okay for me and hopefully for you too. ;-)

[@bobbygpicker]

The last but one phrase lands on Db not Eb otherwise good lesson!!

[@LotharsGuitarSchool]

I have to check that. Thanks for the info. I love it, when people find mistakes I did. It means they listened to the music!

[@jakemcaleer1752]

Hi, I have another random question. In 251 progressions the 2 is “supposed” to be minor, but I see many songs that have 251 progressions where the 2 is just a normal dominant 7 chord (songs I’ve been looking at are but not for me and sweet Georgia brown). What’s the deal with this? How should I think about this? Thank you

[@LotharsGuitarSchool]

Interesting question: In a IIm7 V7 Imaj7 all the chords and their scales are within the same key, respectively share the same notes. In a II7 V7 Imaj7 the first chord functions as the dominant of the V7 and is called the V/V7 ("the five of five"). The tensions in the chord used are at first sight the 9 and the 13 (the same notes that would apply to the dorian IIm7 chord) and the closest scale to be used would be the mixolydian scale. Another often used option is to interpret the V7 chord as an altered chord (playing the melodic minor scale a half step above) and to interpret the V/V7 as mixolydian #11, which calls for the melodic minor scale of the 4th degree, resulting in a nice chromatic motion. Something that is likely done on a chain of dominant seventh chords i.e. D7/#11 - G7 alt - Cmaj7 = A melodic minor, Ab melodic minor, C ionian.

[@jakemcaleer1752]

@@LotharsGuitarSchool ok thank you so much. I see how that works. It comes up all the time. I’ve been looking at yardbird suite, and on the measure before going into the bridge starting on Em, there is C7 to B7. B7 isn’t in the scale of C, but it does happen to be the 5th chord of Em. Is this another instance of a five of five move (Tritone substitution?) thank you

[@LotharsGuitarSchool]

@@jakemcaleer1752 Almost - Em is the III in C. So the B7 could be the V/III. But I would see it as modulation to Em being the new I. An indication of that is that the melody contains a f# which is not part of the III. But the close relation to the key of C makes this a smooth modulation.

[@gcgceasy3581]

Eb7#11 n Db7#11 what notes …? Many thx

[@LotharsGuitarSchool]

guitar voicing: eb g db f a respectively db f cb eb g

[@gcgceasy3581]

Many thx🎉

[@gcgceasy3581]

I am sorry Sir why there are F n Eb on those chords ?

[@LotharsGuitarSchool]

@@gcgceasy3581 Cause it is an easy fingering for guitar and the 9s belong into the mix#11 scale and can be added as a tension.

[@gcgceasy3581]

thx again🎉