Improve Your Jazz Solos 2: The Power of Permutations
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- Опубліковано 7 лип 2024
- In this video I bring you the second in a series of 10 lessons to improve your jazz guitar solos: "Learn to use Approach Note Permutations" (to create variety and expand your vocabulary!)
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*Slonimsky 24 permutations of the Arpeggio Mini-Course:
jazzguitar.richiezellon.com/p...
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A wealth of information!!!
I used to wonder what mode or scale to use over a chord all the time.
Now I have the answer .
I like that the reference graphic to math showed the most beautiful equation in mathematics. Whether intentional or not, it was well played.
I bookmarked this video. Fantastic eye-opener for a rock guitar guy trying to learn jazz.
Great video - very clear explanation
Love your style of teaching! Subscribed :)
Thanks so much Richie! Really a great channel! Keep the positive vibes Flowin...
Thanks Beck, much appreciated!
The information about Slominski was very interesting
WOW, I was not familiar with this particular approach. Great background information and breakdown, lots to consider here. Thank You...!
This is a great channel. Thanks
man such an awesome playlist here to learn from😍
Thank you Richie!!! you are always the best!!!
Thanks for your support and encouragement!!
Thanks!
Thank you for this great lesson and all the serie, greetings from Belgium
Thanks for watching!
Love This Channel Thanks Richie
Thanks for your kind support!
Thank you for the lessons. Definitely improving my vocabulary .
My pleasure...thanks for watching!
I'm glad i found your channel!
😭😭... this is going to take forever..😭😭😭
amazing thanks :)
Very valuable information
Glad it was helpful!
yesss this is what ive been looking for, i knew there had to be algorithms for the guitar
Very helpful video thanks! Can you explain the shift from F# to F as a diatonic approach tone when playing the Eb7 in the key of G? I get that it is less than a whole tone from the chord tones of Eb and G, but why does it not "clash" with the key of the song given that F# is the major 7th of G? I understand how F# is a chromatic approach tone, but not why it cannot be a diatonic approach tone (or maybe how F can be given its just the 7th and not in the G major scale).
Ritchie when I teach a beginning Jazz guitar student, I start them off with the parent scale of each section of a tune. Then I move on to arpeggios. if that makes senses. :)
Thanks Richie! A little over my head, but how will I learn if I don't get challenged?
Great stuff but way above my pay grade. I will come back to this in a year.
Finally a great Channel with the real deal thank you. How can i buy the lesson im in peru
Gracias Luis....yo tambien soy Peruano..bebopguitar.richiezellon.com
Great channel! Talking about chord tones, some author considers that the 7th is not really a stable tone (specially in the I function chord). What do you think?
Thanks Rodolfo! I have to agree that the maj 7th can be unstable, specially in 1st inversion where a minor second is formed between the 2 top voices the 7th and the root.
Thanks for all your great videos! quick question though why is the F natural considered diatonic in the key of G? Are you thinking of it as diatonic to the key of Eb?
I think he's applying his rule that the inserted note, F in this case, should not create an interval greater than a major 2nd in the scale comprising the Eb7 arpeggio. Therefore, between Eb and G, there is only one choice, which is the F. The E natural and the F# (or Gb) would create minor 3rd intervals. So, the F is not diatonic to G major, but it is the only choice, and it sounds ok when playing over an Eb7 chord that is followed by a Gmaj7 chord.
Richie, did slonimsky consider putting a note or two above, below and between the principal tones?
Why do you ask me this???
Would you agree that minor keys are best suited for Sharp accidentals while Majors for flats?
Thanks for the lesson! Plenty to think about. Can I ask a question to better my understanding? Wouldn't an e flat dominant 7 chord in the key of G be a non-diatonic chord?
Yes...
Good Question but not much of an answer was given. if yes, please explain how Eb7 connects with key of G. could a modulation have happened?
@@toplaybass he answers it in a previous post. It’s a tritone substitution that resolves down.
The Lydian dominant scale is the fourth mode of the melodic minor scale. So the Eb7 comes from the Bb melodic minor i think.
What guitar are you using? The tone sounds so warm!
That's a Heritage 535
is the key G or Eb?
Eflat7 in a G major key? I'm thinking 'Out of Nowhere'.
Sure! It's the tritone sub of A7
Why is there an Eb7 arpeggio in the key of G?
Can you please tell me where that is in the video? That way I can give you an answer in context. :)
@@RichieZellon around 5:40
@@hugoc.5082 Eb7 is the substitute V7/V7 (tritone substitute of A7) in the key of G. It resolves half step down to D7.
@@RichieZellon Ah, I would probably need some background on that before tackling this 😅
its great stuff, just the diareara greens and colors dont work my friend, the video film making elements follow laws of color and visual texture in the same fashion as sound. sorry i have to be honest but your content and personality is great id be honored if you were my family.
tabs tabs tabs for noobs like me
So basically your playing the mode but not in sequence.
Math is key; music is all math.