Many thanks for the helpful lesson Adam. Love the sound of those chords especially the Gbmaj7#11. I find it simpler to think of the C note as a b5 as there isn't a 5 in the chord which definitely has a suspended sound to it as it could also be Fsus/Gb. Great description by Jimmy Bruno of a chord with hair on it.
thanks for improving my Gb maj7 +11 chord - I played it before but never thought of putting the f note on top - sounds perfect now. Excellent lesson. Also, on the Bb sus 13, I'm beginning to be able to use my thumb for the bass note - or if not using the thumb - having to pluck 4 notes at once - which isn't my specialty at the moment. Lots to learn here. I had no idea that a minor pentatonic scale works on more than just the 3 chords in the 12 bar blues.
Hey Ralph, yes sclaes & chords can be mixed up a lot. Piano is the best medicine for this to get a birds eye view. Don't think too much, I suggest the backing track that I designated the SATURATION track - and just run the notes back and forth to digest new sounds. :-)
Ha, this is awesome. I’m always amazed by how often jazz guys are just playing pentatonics. It’s all in the delivery and phrasing. When I first heard the track, my mind immediately went to Abmaj7 for that first change, so I was surprised to see it was a Bb. Makes me wonder if Abmaj7/Bb is a simpler and more appropriate description of the tonality there. The bVmaj7(#11) in a minor key is boss as hell. I’m going to use that. 😊
I was also doing some other stuff not just pentatonics but I didn’t want to make everyone’s head explode 😀 This is a hood starting point - take all your blues stuff but lean it up against a different chord and lean into it…
Dear Adam, Thank you VERY much for this interesting arrangement and the lesson. But I do have a question. I didn’t check the other comments, and the question is probably asked and answered. Or somewhat on the theoretical side for some. But let me ask anyway. A Gbmaj7 is something I understand. It is a major-7 for a G flat. Correct me if not. But what on earth does #11 mean? Add the sharp of the 11th? A C#? Or maybe not add but change its 11th (3rd?) to its sharp?
NACI, it is the same note as a sharped 4th…,That’s the simple answer. The complicated answer is that it should reside above the seventh and ninth of the chord because it has a different sort of ring to it. I didn’t want to get too complex here. So if you start on G and count up 11 notes you end up with a C in the next octave. So let’s do this with G as the root for the sake of this UA-cam comment. Count up 11 notes: G A B C D E F G A B C If you Sharp that 11th note C it ends up looking like a C sharp. So for this song, the #11 on the Gb is the note C, first fret 2nd string. My wish with this lesson was to simply give you a scale and a chord shape and say have fun…..I don’t wanna get too intellectual here as that often scares people off. I suggest download the backing track and just run the scales over the changes like I described and try to sing what you’re playing!
@@adamrafferty Thanks Adam ❤️ I beleive I understand your explanation. And why you didn’t want to make it more complex initially. But there is always a nerd of a student out there 🤓 I have been a lecturer many years, so I know.
Take the 4th note of the scale, Gb, Ab, Bb, C and sharp it, so C becomes C#. An eleventh is simply an octave above the 4th, same note. They use it to denote the note should be higher up in the chord, past the octave of the root. So it would look like Gb, Ab, Bb, C, Db, Eb, F, Gb, Ab, Bb, C#! 11 notes up from the root and sharp.
Holy cow. Stunning arrangement.
Chords are life
Yessir!
Love it again Adam
Hi from France. Just downloaded this great stuff. Thank you very much for it and for the teaching
Thanks Adam, very interesting lesson!
Enjoy!
Great stuff! I'm going to pull out my Ibanez lawsuit guitar, download the backing track and rock on!
Thank you for accepting the challenge and being brave! For sone folks this may be a tad complex!
I have one of those!! A 12-string........close but I still miss my 1971 Martin D-12-28!!!
Learnt so much from this….thank you Adam
This, is great Adam, thanks for the superb explonation
Oh this is good stuff Adam as always. Fully incorporated this bite-sized yet infinitely tasty lesson.
Thank you G-San!
Thanx a lot Adam, this is very inspiried and push me up to a next level playing guitar in some songs with more jazzy style ! Greetings from Berlin !
Good stuff. Thanks Adam!
Many thanks for the helpful lesson Adam. Love the sound of those chords especially the Gbmaj7#11. I find it simpler to think of the C note as a b5 as there isn't a 5 in the chord which definitely has a suspended sound to it as it could also be Fsus/Gb. Great description by Jimmy Bruno of a chord with hair on it.
EXcellent - there are many ways to look at it, bravo - rock on!!!!
It all sounds and seems so exotic and difficult but then you always manage to sell it all so well and make it work for us, buddy!! Jim C.
13sus4 is THE BOMB! Just used this in a horn arrangement last night!
Thanks John!
Great one, Adam.
Thanks!
Hey - be sure to grab the FREE backing tracks and PDF here - crescent-ridge-publishing-llc.ck.page/1d7d3e33e9 Thanks for watching 🙂
Really nice ...what is the theory why the Cm pentatonic works ove the Bb chord and also the Gb chord?
🙏
Thank you!
thanks for improving my Gb maj7 +11 chord - I played it before but never thought of putting the f note on top - sounds perfect now. Excellent lesson. Also, on the Bb sus 13, I'm beginning to be
able to use my thumb for the bass note - or if not using the thumb - having to pluck 4 notes at once - which isn't my specialty at the moment. Lots to learn here. I had no idea that a minor pentatonic scale works on more than just the 3 chords in the 12 bar blues.
Hey Ralph, yes sclaes & chords can be mixed up a lot. Piano is the best medicine for this to get a birds eye view. Don't think too much, I suggest the backing track that I designated the SATURATION track - and just run the notes back and forth to digest new sounds. :-)
Ha, this is awesome. I’m always amazed by how often jazz guys are just playing pentatonics. It’s all in the delivery and phrasing.
When I first heard the track, my mind immediately went to Abmaj7 for that first change, so I was surprised to see it was a Bb. Makes me wonder if Abmaj7/Bb is a simpler and more appropriate description of the tonality there.
The bVmaj7(#11) in a minor key is boss as hell. I’m going to use that. 😊
I was also doing some other stuff not just pentatonics but I didn’t want to make everyone’s head explode 😀
This is a hood starting point - take all your blues stuff but lean it up against a different chord and lean into it…
@@adamrafferty yep, super keen to hear what’s happening on that hairy II-V heading back into the main harmony
Hey, Aaron!! How've ya been, bud?? Jim C.
Adoro esta música, Adam!
Interesting stuff but way above my pay grade. :) Great video brother 👍
Man grab the downloads and just try running those blue scales over the different chords. I bet you can do it!
Dear Adam,
Thank you VERY much for this interesting arrangement and the lesson. But I do have a question. I didn’t check the other comments, and the question is probably asked and answered. Or somewhat on the theoretical side for some. But let me ask anyway. A Gbmaj7 is something I understand. It is a major-7 for a G flat. Correct me if not. But what on earth does #11 mean? Add the sharp of the 11th? A C#? Or maybe not add but change its 11th (3rd?) to its sharp?
NACI, it is the same note as a sharped 4th…,That’s the simple answer.
The complicated answer is that it should reside above the seventh and ninth of the chord because it has a different sort of ring to it. I didn’t want to get too complex here.
So if you start on G and count up 11 notes you end up with a C in the next octave.
So let’s do this with G as the root for the sake of this UA-cam comment.
Count up 11 notes:
G A B C D E F G A B C
If you Sharp that 11th note C it ends up looking like a C sharp.
So for this song, the #11 on the Gb is the note C, first fret 2nd string.
My wish with this lesson was to simply give you a scale and a chord shape and say have fun…..I don’t wanna get too intellectual here as that often scares people off.
I suggest download the backing track and just run the scales over the changes like I described and try to sing what you’re playing!
@@adamrafferty Thanks Adam ❤️ I beleive I understand your explanation. And why you didn’t want to make it more complex initially. But there is always a nerd of a student out there 🤓 I have been a lecturer many years, so I know.
Take the 4th note of the scale, Gb, Ab, Bb, C and sharp it, so C becomes C#. An eleventh is simply an octave above the 4th, same note. They use it to denote the note should be higher up in the chord, past the octave of the root. So it would look like Gb, Ab, Bb, C, Db, Eb, F, Gb, Ab, Bb, C#! 11 notes up from the root and sharp.
So, Gb, Bb, Db, F, C# are the notes of GbMaj7#11
@@kenzeo No Ken, please correct - C natural is the #11 above Gb!!!!
Gb maj 7#11 is Gb Bb Db F (Ab) C
TEW KEWL with the grove
Thank you!
Thank you!!!!
@@adamrafferty Oh no, thank you! 🙂
you're perfect men
Aw thanks Benny!