Andy, this might be the most valuable, far-reaching tuition in a presumably 'one-song lesson' I've ever seen. From the insight into differences in the historical genre to the clearest explanation of practical application of solfege to song structure, this is what sets you apart from many, many others. Thank you!
@@jazzguitarwithandy initially yes, but after the explanation it IS very nice to know and see the V-I progressions that this song is filled with and my understanding of why this works so well, has grown a fair bit, thanks for that :-)
Fantastic lesson, you're an excellent teacher: I've been overwhelmed by scales approaches to jazz and almost gave up, but now I think I found an easy starting point. You got a fan from madrid!
Yes! The Bechet version is totally inspiring. I love the version he did with Jonah Jones. His attack on his instrument is staggering. And how Bechet improvises with the melody is so illuminating :)
Really great lesson and brilliant way of explaining the difficult concepts in the piece. I'm new to Jazz and whilst I've actually heard 2nd Dominant explained before, it didn't make ANY sense before... NOW it does! Well done Andy and thank you. Subscribed!
Glad it helped, sometimes it takes a while for these concepts to click. The next stage is to go on and recognise the same things happening in other songs.
Hi Andy I wanted to learn how to play this song and found your channel. I love the way you explain the all structure of the song, you're a terrific teacher! Ťhank you for giving us your time and knowledge.
I really like the "Making the Changes" sheets -- my thinking being if I can't play the arpeggios for each chord -- which requires memorising the chord changes -- then I don't really know the tune. Also, they're excellent practice for sight reading. Not too complicated to sight read, and there's a tonal centre there for my hearing, which helps with the sight reading (for some reason). So I'm glad you haven't put tabs on the "Making the Changes" sheets. Not everything needs tabs. Maybe the topic of "sight reading for guitar" is something you could create a video for? I'm sure there's lots of things I could learn about how to progress on that path. If you can sight read, there's so much more material available that you can learn from.
It's very true Jon. I include tab on a lot of things to make it accessible and inclusive. That said, it does exclude guitar players from tons of great materials. It's something I very much wrangle with!
Very well presented. A little (ok, a LOT) beyond me - I can look forward to repeating this a few times to get some understanding. Thanks for the concentrated lesson :-)
A great lesson Andy on a great song. I have worked on this one and there are some nice new ideas for me to try here. As usual I love the analysis as well. Thanks for your reply to my email about our son moving to Brighton! I will share your response to me including the Guitar stores to check out. He and his new wife are actually up this weekend to help my wife celebrate her Birthday. We are all excited about their move! Best Wishes! - Bill
I just added this tune to a setlist for a(n outdoor socially distanced) gig I just got... great timing Andy! My current strategy was to just use chord tones when I'm not sure what to play but this was a helpful analysis, thanks!
Nice! Hopefully you live in a warm climate? It's starting to get a bit cold to play outside here for my liking! That sounds like a good approach re the chord tones. The other thing you can do is just use the C major scale or A minor pentatonic on the chords in key. Funnily enough my next lesson is all about using chord tones on All of Me!
@@jazzguitarwithandy I live in Toronto, Canada and it's not too cold yet (gig is this Saturday and it's supposed to be 23 deg C) but it will be in a few weeks probably. Since COVID is still an issue here gigs are few and far between so I'll probably keep doing private backyard parties until the weather makes it impossible, having two gigs in a summer makes you hungry to play. Regarding the scales, to be honest when I play using scales I try not to think of the scales and instead just sing what I want to play while I play it, otherwise my solos sound kind of lame and exercise-y (I'm primarily a singer). I look forward to your next lesson to see if there's anything I missed on my gig
@@DannyZaidman Is there no sign of indoor performances returning in Canada? I know what you mean re scales and sounding like an exercise! Hope the gig goes well. I've had one gig since this Covid thing started, there's signs of indoor things returning, but I'm a bit sceptical if these events will actually happen. The one positive is there's been a lot more time to practice :)
@@jazzguitarwithandy I know some people who got some indoor gigs, but I haven't been called to one yet. Right now most venues aren't doing shows and the ones that do aren't paying much because they have limited capacity. More time for me to practice I guess!
Andy, thanks a lot for this great lesson, I kow my question is probably too far wide and broad, I tried to narrow it down. How would you suggest to solo over E7 and A7? I'm stuck with just corresponding arpeggios, which gets boring really quickly.
Good question. Couple thoughts - 1) try filling out the arpeggio with notes from the scale eg. E7 = E G# B D (This leaves F, A, C as notes from the key of C to add in). You could also try extending the arpeggio by adding the 9th, or playing 3579 instead of 1357. 2) Try the tritone sub for each chord. For E7 you could try Bb7 or go from E7 to Bb7 into A7, that will work nicely. When playing over chord changes, it's important to learn to connect chord up closely. You might want to look at the close links between the two chords. EG. From E7 to A7 you could go D>C#. or B>A, B>C#. OR the b9 on the E7 F>E
@@TarasLogvin It is out of key, but as a chord it only has one note out of key from C major - the G#. You can turn that scale into another one, E F G# A B C D - Mixoldyian b2b6!
@@jazzguitarwithandy and @TarasLogvin I have a personal kind of way of looking at things because of how I taught myself, but I was looking at it as B Dorian for the E7 and then to get to A7 you can flatten the Dorians '6th' which is just B Aeolian. So you cn basically mess with the B minor pentatonic and play with the 6th making it major for the E7 and then minor for the A7. I feel like it may be viewed as a cop out by jazz players but if you use your ear to select the notes it will find you some harmony. I'm curious what you think?
Hi Andy, Great Video! Im new to jazz guitar and haven't learned the chord shapes by memory yet. Is there somewhere I can get charts like the one you used in the video, which have the chord shapes printed on them? I found it to be a really helpful chart as opposed to the ones where I am constantly looking up chord shapes. Thanks!
This is like a key that unlocks the why of jazz chords. Why do they sound so good put together like this?? Why are these chords not in key?? What is going on?? I can answer all these questions now.
✅Don’t forget to grab the two pdfs of the chord shapes and charts over at my website :www.jazzguitarwithandy.com/blog/all-of-me-chords-and-chart
Really appreciate the explanation of chord function. Thanks!
You're very welcome!
You are a genius and the BEST TEACHER!!! So well laid out. You explain it ALL in such an accessible way - thank you!
Thanks so much for your kind words Laura. Really glad to be of help, hope the practice goes well 👍
Great teacher Andy!!!very inspiring!!
Glad you think so!
Andy, this might be the most valuable, far-reaching tuition in a presumably 'one-song lesson' I've ever seen. From the insight into differences in the historical genre to the clearest explanation of practical application of solfege to song structure, this is what sets you apart from many, many others. Thank you!
Really glad you like it. I think a lot of people just want the chords and none of the explanation!
@@jazzguitarwithandy initially yes, but after the explanation it IS very nice to know and see the V-I progressions that this song is filled with and my understanding of why this works so well, has grown a fair bit, thanks for that :-)
Excellent. Great presentation on secondary dominants.
Glad you liked it!
Thanks Andy! The way you taught this really clicked with me!
Glad to hear it!
Fantastic lesson, you're an excellent teacher: I've been overwhelmed by scales approaches to jazz and almost gave up, but now I think I found an easy starting point. You got a fan from madrid!
You're very welcome!
Great lesson, helps me to understand more about secondary dominant and why they are used
Thanks for the feedback, glad to be of help!
Changing with the Metronome works a treat. Thank you.
Glad to hear it 🎸
Yes! The Bechet version is totally inspiring. I love the version he did with Jonah Jones. His attack on his instrument is staggering. And how Bechet improvises with the melody is so illuminating :)
Now Jonah Jones is a man who knew how to phrase.
Really great lesson and brilliant way of explaining the difficult concepts in the piece. I'm new to Jazz and whilst I've actually heard 2nd Dominant explained before, it didn't make ANY sense before... NOW it does! Well done Andy and thank you. Subscribed!
Glad it helped, sometimes it takes a while for these concepts to click. The next stage is to go on and recognise the same things happening in other songs.
Enjoyed this lesson. Hope you enjoy the coffee I bought. Cheers!
Thanks Allen 🙏 The coffee is much appreciated 👍
Hi Andy I wanted to learn how to play this song and found your channel. I love the way you explain the all structure of the song, you're a terrific teacher! Ťhank you for giving us your time and knowledge.
Thanks for your comment and thank you for watching. I'm glad you found the video helpful.
Great lesson my friend. Have a good day
You too man :)
Learning this in my hs jazz ensemble. Ty!!
Nice!
Great vídeo!!! Just gold!!!! Cheers mate!
Thanks for the comment Miguel 🙏 I’m glad you liked the lesson 👍
Thank you Andy - Great Lesson and Information!!
My pleasure!
Thanks, regards from Madrid, Spain
Thank you for watching 🙏
Recently found your YT channel, and appreciate your lessons.
Thanks for watching Daniel 👍
I really like the "Making the Changes" sheets -- my thinking being if I can't play the arpeggios for each chord -- which requires memorising the chord changes -- then I don't really know the tune. Also, they're excellent practice for sight reading. Not too complicated to sight read, and there's a tonal centre there for my hearing, which helps with the sight reading (for some reason). So I'm glad you haven't put tabs on the "Making the Changes" sheets. Not everything needs tabs. Maybe the topic of "sight reading for guitar" is something you could create a video for? I'm sure there's lots of things I could learn about how to progress on that path. If you can sight read, there's so much more material available that you can learn from.
It's very true Jon. I include tab on a lot of things to make it accessible and inclusive. That said, it does exclude guitar players from tons of great materials. It's something I very much wrangle with!
Loved this… subscribed :)
Thanks for subbing
great video! Thank you!
Thanks for watching John!
Happy Thanksgiving Andy! :)
Cheers Bill. You too! Many thanks for your donation - very kind of you. Hope you are well.
Very good lesson
I subscrite
Thank you :)
Very well presented.
A little (ok, a LOT) beyond me - I can look forward to repeating this a few times to get some understanding. Thanks for the concentrated lesson :-)
Thanks - which bits were beyond you out of interest?
@@jazzguitarwithandy Lol - started @2:50 and up to about 13:00
I think I have some catching-up to do . . .
Awesome theory breakdown dude!!
Thanks Riley :)
Great video.
Glad you enjoyed it
Liked the introduction. Do you have a follow up tutorial with jazzy lines interspersed with chords.?
I haven't really covered that on the channel - I'll give that some thought for a future video.
A great lesson Andy on a great song. I have worked on this one and there are some nice new ideas for me to try here. As usual I love the analysis as well. Thanks for your reply to my email about our son moving to Brighton! I will share your response to me including the Guitar stores to check out. He and his new wife are actually up this weekend to help my wife celebrate her Birthday. We are all excited about their move! Best Wishes! - Bill
Thanks Bill. Hope you have a good weekend :)
I just added this tune to a setlist for a(n outdoor socially distanced) gig I just got... great timing Andy! My current strategy was to just use chord tones when I'm not sure what to play but this was a helpful analysis, thanks!
Nice! Hopefully you live in a warm climate? It's starting to get a bit cold to play outside here for my liking! That sounds like a good approach re the chord tones. The other thing you can do is just use the C major scale or A minor pentatonic on the chords in key. Funnily enough my next lesson is all about using chord tones on All of Me!
@@jazzguitarwithandy I live in Toronto, Canada and it's not too cold yet (gig is this Saturday and it's supposed to be 23 deg C) but it will be in a few weeks probably. Since COVID is still an issue here gigs are few and far between so I'll probably keep doing private backyard parties until the weather makes it impossible, having two gigs in a summer makes you hungry to play. Regarding the scales, to be honest when I play using scales I try not to think of the scales and instead just sing what I want to play while I play it, otherwise my solos sound kind of lame and exercise-y (I'm primarily a singer). I look forward to your next lesson to see if there's anything I missed on my gig
@@DannyZaidman Is there no sign of indoor performances returning in Canada? I know what you mean re scales and sounding like an exercise! Hope the gig goes well. I've had one gig since this Covid thing started, there's signs of indoor things returning, but I'm a bit sceptical if these events will actually happen. The one positive is there's been a lot more time to practice :)
@@jazzguitarwithandy I know some people who got some indoor gigs, but I haven't been called to one yet. Right now most venues aren't doing shows and the ones that do aren't paying much because they have limited capacity. More time for me to practice I guess!
Brilliant
Thank you :)
Hello Andy, That guitar is the most stunning looking instrument I have ever seen and you bring a wonderful tone out of it. What make is it please..
Hi! It's a Gibson L5
Hi! It's a Gibson L5
Andy, thanks a lot for this great lesson, I kow my question is probably too far wide and broad, I tried to narrow it down. How would you suggest to solo over E7 and A7? I'm stuck with just corresponding arpeggios, which gets boring really quickly.
Good question. Couple thoughts - 1) try filling out the arpeggio with notes from the scale eg. E7 = E G# B D (This leaves F, A, C as notes from the key of C to add in). You could also try extending the arpeggio by adding the 9th, or playing 3579 instead of 1357.
2) Try the tritone sub for each chord. For E7 you could try Bb7 or go from E7 to Bb7 into A7, that will work nicely.
When playing over chord changes, it's important to learn to connect chord up closely. You might want to look at the close links between the two chords. EG. From E7 to A7 you could go D>C#. or B>A, B>C#. OR the b9 on the E7 F>E
Wow, that's a lot to unpack there, made my day for sure, thanks a bunch!!! Congrats on your new guitar!@@jazzguitarwithandy
Justt one question you say on E7 I can fill in with the notes from Cmajor, but this chord is out of key...@@jazzguitarwithandy
@@TarasLogvin It is out of key, but as a chord it only has one note out of key from C major - the G#. You can turn that scale into another one, E F G# A B C D - Mixoldyian b2b6!
@@jazzguitarwithandy and @TarasLogvin I have a personal kind of way of looking at things because of how I taught myself, but I was looking at it as B Dorian for the E7 and then to get to A7 you can flatten the Dorians '6th' which is just B Aeolian. So you cn basically mess with the B minor pentatonic and play with the 6th making it major for the E7 and then minor for the A7. I feel like it may be viewed as a cop out by jazz players but if you use your ear to select the notes it will find you some harmony. I'm curious what you think?
🙏ありがとうございます。
You're very welcome :)
Hi Andy, Great Video! Im new to jazz guitar and haven't learned the chord shapes by memory yet. Is there somewhere I can get charts like the one you used in the video, which have the chord shapes printed on them? I found it to be a really helpful chart as opposed to the ones where I am constantly looking up chord shapes. Thanks!
Hi Nathan, on my website on the standards page I have all the songs like this, I also have this chord page: www.jazzguitarwithandy.com/chords
@@jazzguitarwithandy Thank you!
Great tutorial! Is that an es-175 and if so, what year? I have a 58.
It’s an L5 1977. So yours has PAFS?
@@jazzguitarwithandy yup 👌
This is like a key that unlocks the why of jazz chords. Why do they sound so good put together like this?? Why are these chords not in key?? What is going on?? I can answer all these questions now.
Glad to hear it Clark 👍 Thanks for watching and commenting
5:45
Did you ever play it?
All the time! I do that now in videos :)
good lesson...wish you would have just played through the song right at the beginning though
Thanks for the feedback. I’ll keep that in mind for future videos.
Spik spik spik spikk