Learning how melodies relate to chords is really important. Make it a habit of how you learn and chord melody playing will become easier further down the line. What do you think? Is this something you already do?
This is such a good video that has enlightened me(light bulb moment)to understand a lot more than I expected the first time I watched. Thank you very much for sharing this.
Hi Andy, good lesson again. So should we practice our arpeggios from say third to third or seventh to seventh to get these important tones under our fingers? Thanks.
Hi saw you video an taught I ask a question pertaining to your info. Firstly I am not a problem at all just learning, but I have been trying to play melody and jazz chords together however proving difficult. The issue is or question 1. Do I play the melody on the higher strings (e,b,g) or the lower strings (d,a,e). 2. On the string that I chose to start my melody at which note of the key do I change strings and how many string do I use to play the melody to keep the same octave. 3 when playing the melody and forming chords do I play shell voicings or major chords, and which combination of strings for the chords. 4 which jazz chords do harmonise with majors,9ths,6ths,13ths. 5. Often times I see the notes of the key being harmonized with chords, but in jazz there seem to not be a rule to follow ex. The major key is 1M,2m,3m4M.....etc...but I see the notes of the key for example in the key of C....the 2m and 3m is Dm and Em but in jazz when I have to play the note D, of the melody of the song, the Dm does not sound properly, it only sound good when I play the chord progression of a 2-5-1 chords progression. I hope you understand my questions
Hi Kevin, I'll try to answer those for you... 1) I try to put the melody on GBE - sometimes I might use the lower strings, depends on the song/ range of the melody. GBE enable a melody to cut through. 2) That really depends on which point within an octave/scale the melody starts and then the range of the melody (e.g whether it falls within an octave or has a larger range). I try to follow position playing to ensure efficient movement. In reality a chord melody can move you around a lot and is heavily reliant upon recognising the interval in question against the chord at any given time. 3) You can use a variety of voicings - I tend to favour drop 2, drop 3 and 3 note shapes. 4) For a major chord I might use plain major triad, major 6, 6/9, major 7, major 9, add 9, 13th etc I also might use minor chords of the relative minor or other subs for more interesting sounds. eg use Em7 instead of C major 7 (sub 1 for iii) 5) In relation to that D - if you are in the key of C you could harmonise it with a dm, but if the chord at that point is Em7 - then you want an Em7 with a D on the top rather than a D. Does that make sense?
@@jazzguitarwithandy thanks for the reply I was not actually thinking I would get a reply but appreciate the time to answer, I am not sure I get it but I am still learning an trying to decode the fret board using only the melody since I am not a strumming guy, maybe if you ever have the time you can give me 15min zoom call, I can’t afford a lesson but if you ever have the time to pass on some knowledge I would be thankful.
Learning how melodies relate to chords is really important. Make it a habit of how you learn and chord melody playing will become easier further down the line. What do you think? Is this something you already do?
Thank you!👍🎸
This is another good lesson, really helpful !
Thanks! 😃
This is such a good video that has enlightened me(light bulb moment)to understand a lot more than I expected the first time I watched. Thank you very much for sharing this.
Great lesson again! I will do this with the black Orpheus melody!
Excellent plan James.
Hi Andy, good lesson again. So should we practice our arpeggios from say third to third or seventh to seventh to get these important tones under our fingers? Thanks.
Yes - I think practicing arpeggios from the any of the notes is a good idea so that we avoid defaulting to the root.
Hi saw you video an taught I ask a question pertaining to your info. Firstly I am not a problem at all just learning, but I have been trying to play melody and jazz chords together however proving difficult. The issue is or question 1. Do I play the melody on the higher strings (e,b,g) or the lower strings (d,a,e). 2. On the string that I chose to start my melody at which note of the key do I change strings and how many string do I use to play the melody to keep the same octave. 3 when playing the melody and forming chords do I play shell voicings or major chords, and which combination of strings for the chords. 4 which jazz chords do harmonise with majors,9ths,6ths,13ths. 5. Often times I see the notes of the key being harmonized with chords, but in jazz there seem to not be a rule to follow ex. The major key is 1M,2m,3m4M.....etc...but I see the notes of the key for example in the key of C....the 2m and 3m is Dm and Em but in jazz when I have to play the note D, of the melody of the song, the Dm does not sound properly, it only sound good when I play the chord progression of a 2-5-1 chords progression. I hope you understand my questions
Hi Kevin, I'll try to answer those for you...
1) I try to put the melody on GBE - sometimes I might use the lower strings, depends on the song/ range of the melody. GBE enable a melody to cut through.
2) That really depends on which point within an octave/scale the melody starts and then the range of the melody (e.g whether it falls within an octave or has a larger range). I try to follow position playing to ensure efficient movement. In reality a chord melody can move you around a lot and is heavily reliant upon recognising the interval in question against the chord at any given time.
3) You can use a variety of voicings - I tend to favour drop 2, drop 3 and 3 note shapes.
4) For a major chord I might use plain major triad, major 6, 6/9, major 7, major 9, add 9, 13th etc I also might use minor chords of the relative minor or other subs for more interesting sounds. eg use Em7 instead of C major 7 (sub 1 for iii)
5) In relation to that D - if you are in the key of C you could harmonise it with a dm, but if the chord at that point is Em7 - then you want an Em7 with a D on the top rather than a D. Does that make sense?
@@jazzguitarwithandy thanks for the reply I was not actually thinking I would get a reply but appreciate the time to answer, I am not sure I get it but I am still learning an trying to decode the fret board using only the melody since I am not a strumming guy, maybe if you ever have the time you can give me 15min zoom call, I can’t afford a lesson but if you ever have the time to pass on some knowledge I would be thankful.