Good jazz basics; becoming familiar with these chord shapes and progressions will enhance your lead playing, giving you new licks and colours and also some new ways to fight your way out of dropping the odd greenie!
Totally awesome. I look for new ways to play 12 bar blues, yes with jazzy concepts to break up the boredom. This is a way cool lesson! Thanks for sharing!!
@Atomicflash500 "shut up and play it"...did you actually say that? Douche move man. With an attitude like that I bet even 7 months after making that comment you still can't play to save your life.
@matti2906 it isn't confusing just learn cipher or chromatic degree and know what is the formula of the chords and you will know what is beng said and done
@matti2906 There are only 3 types of chords: Major, minor, dominant. Any chord called Bb7, D7, E7, is understood to mean dominant 7 because the 7th note of the scale is played as a b7. The extended names can be 9 13 b9 #9 b5 #5. Any one of these is simply a dominant 7 chord with added color. So if you hear D7#9 or Bb13, just think Ddominant and Bbdominant. Diminished and augmented chords are considered dominant in nature because they contain tritone intervals as well. Hope this helps..
@matti2906 There are only 3 types of chords: Major, minor, dominant. Any chord called Bb7, D7, E7, is understood to mean dominant 7 because the 7th note of the scale is played as a b7. The extended names can be 9 13 b9 #9 b5 #5. Any one of these is simply a dominant 7 chord with added color. So if you hear D7#9 or Bb13, just think Ddominant and Bbdominant. Diminished and augmented chords are considered dominant in nature because they contain tritone intervals as well.Hope this helps.
Not to be one of 'those' guys, but the instructor in this video should really verify that he is playing Bb13 (not Bb7) and in measure 8 a D7#9(Not D7) and in measure 10 a C7#9(Not C7). Knowledge of the correct chords will lead to different soloing ideas.
@WonderPantsiiVI There are only 3 types of chords: Major, minor, dominant. Any chord called Bb7, D7, E7, is understood to mean dominant 7 because the 7th note of the scale is played as a b7. The extended names can be 9 13 b9 #9 b5 #5. Any one of these is simply a dominant 7 chord with added color. So if you hear D7#9 or Bb13, just think Ddominant and Bbdominant. Diminished and augmented chords are considered dominant in nature because they contain tritone intervals as well.
This is great stuff. How do I continue study of this progression? I clicked on "iVideosongs," and got unrelated clips of basic instruction. Where's the full website on this particular jazz blues riff? Thanks for great study.
This isn't a good example of a jazz blues imo. Not not make this about me, but I do a lesson on this that actually sounds like BLUES. I know what he's doing but it isn't a blues progression anymore. Lame. Thanks for your time on the lesson I guess. I also never thought Bird's Changes constituted a blues sound.
@BrannonMcConkey It is most certainly a good example of a jazz blues because it's what the entire jazz world calls a jazz blues. As Steve explained, the progression evolved from the basic 12 bar blues progression; this doesn't necessarily mean it will (or should) continue to sound 'bluesy'. The term 'jazz blues' relates to the structure of the progression, not the sound.
Thanks, Steve, for a well structured, clear and informative video (:
@lickmyballs I just re-read my comment, and I was unnecessarily dickish (which usually isn't like me.) I suppose I get tired of people complicating what would normally constitute a simple blues - even in a jazz context. I still completely disagree with you. Is your last definition for a 'jazz blues' the official on? The entire world calls it a jazz blues? Ehh, not so much. You should probably listen to a wider variety of jazz.
@lickmyballs Could we apply your logic to something else? Perhaps a nigerian rap with a buried blues structure is considered a blues? The sound and feel are the ultimate indications of what SHOULD be considered a blues.
I DO appreciate what he's doing, and I also do it - I just don't call it a blues.
@lickmyballs Ask BB King or Buddy Guy or Hubert Sumlin what they think a blues tune sounds/feels like. I could almost guarantee they won't talk about a theoretical structure, especially one buried in upper extensions with a Bossa feel.
@BrannonMcConkey the three kings and buddy guy are POP-blues musicians sir.(infact BB king has his inspiration form a jazz saxophonist).from the time when blues and jazz LONG have separated and took their separate ways in reality blues and jazz were once united and thus had a similar musical structure..one was connected to the other..many jazz musicians played their own version of *blues* however pop-blues *which was started by the three kings* became more populer and thus became a standard..
@arcainjust You are an IDIOT! Pop blues? Jazz saxophonist? Everything you just was ridiculously inaccurate - every painful bit. You have no concept of musical history. That was embarrassing. I don't have the energy to repudiate that kind of egregious fodder.
BB King would slap you for speaking so absurdly about him and the blues.
@BrannonMcConkey instead of giving reply with proper reason you resort to insult...typical.
again i will tell you jazz players have been playing their vision of blues before t-bone walker and robert jhonson were even born....when blues became populer in the 50's *with the three kings it became pop blues and became a musical standard..of course sir your insult instead of giving a proper reply..proves your ignorance i see no point in continuing this argument peace.
@arcainjust blues became popular in the 50s? thats not right. the blues had been around a long time since the 50s. rock and roll came round in the 50s, thats blues and jazz's child. learn some history
@arcainjust You previously replied (and yet, here again) in idiotic fashion, so I called you an idiot - so yes, that's typical. I also stated you were so wrong that you didn't didn't deserve a proper reply. So there's that. So let me be clear for you. Jazz players were not playing ANY thing that would would considered blues at that time, UNTIL BLUES players, such as Charley Patton, Son House, Bukka White, Skip James (etc,) cam along - at THAT point only did we see an amalgam of form. Continued..
Are you guys familiar with the famous story, (I don't know how true it is), about W.C. Handy seeing some country blues player playing slide guitar, and then incorporating it into jazz? He wrote St. Louis Blues and other songs based on blues after that point. remember, jazz started in NOLA.
@arcainjust Secondly, T-Bone and RJ and about a half-generation removed - the former being a an inspiration to BB, Buddy, Muddy, etc. T-bone is a perfect example of a jazz blues player. BB had plenty of jazz inspiration (Django being a big one,) as well as plenty of blues players, but your ill-concieved notion of "pop blues" is absurd. This "blues before blues" concept of your simply doesn't exist; at best, there was a very ambiguous amalgam that was neither Blues nor Jazz. Continued..
@arcainjust Enough history yet? More? Ok. To drive home my point to all you hipsters conflating Blues music with other shit, let me point out specific Jazz/blues artists who combine the best of both genres: Grant Green, Wynton Kelly, Kenny Drew, Horace Silver, Red Garland, Hank Mobley did some good stuff, Robben Ford (current day), and countless others. This group would be drawn in stark contrast between, say, your Andrew Hills, Jackie McLeans, Eric Dolphys, Wayne Shorters etc. Info is there..
ninths, thirteens are just color tones, less important. the most important thing is to just mark the type of a chord, which here is mostly dominant 7ths. but if you watch more than a minutes he shows voicing he uses, so relax.
Not to just get in the mix but I've been playing for years and this is just about as complex as I can understand, and if I could watch this at about 50% of this speed I could get it. But the misnamed chords confused me too.
In all fairness this is an easy mistake to make and an easy fix as well. In order to return the chord to a dominant 7 just drop the pinkie embelishments on the F9, Bb13, and D7#9. Although the "Am7" in bar 8is in fact an Am7 if you listen to it. Perhaps it just looks like his index finger is playing the F#. We all make mistakes.
Further many of you already know that in a blues you can almost always drop the embelishments and just play dominant 7 chords to get through a song.
To really understand this stuff you must teach yourself music theory. There are no short cuts to understanding theory. If you're worried about constructing scales I strongly suggest you stick to soloing with the major scale in the tonic key. Look up Jimmy Bruno 6 fingerings for jazz guitar. Drinking helps too.
I'm afraid I have to agree with wakold* on calling out accurate chords: "Its not F7, its F9, its not Bb7, its Bb13, its not Am7, its Am6, its not D7, its D7#9"* - *this is the kind of thing that drives students nuts... they turn to these videos to make music easier not harder. I can't agree on the speed. It's slow enough... you can slow it down more in djay. I also understand what he means by tone. This is a very bright tone.... but some people think of that as "modern" - i can live with it.
he should learn the name of the chord he plays before trying to make an instructional video... its not F7, its F9, its not Bb7, its Bb13, its not Am7, its Am6, its not D7, its D7#9...
besides, slow down dude not everybody watching your vid has a good grasp of jazz chords and progressions yet...
You should learn about substitutions and chord color before making ignorant comments on peoples' free lessons. The chords are the same- the extensions don't change the nature and function of the chord. It would have been a hell of a lot more confusing if he named all of the extensions instead of just saying what they function as- dominant, minor and diminished chords.
@pandacommanda They most certainly DO change the nature and function of the chord - seeing as there are many aspects of a song structure (including sound, feel, tempo, etc) to take into consideration. When loading a "blues" tune with minors, b9, tritone subs, minor 3rd usage etc, you inevitably change the nature and function of the chord...that's painfully obvious (to anyone serious about the guitar.) It can be done, but one has to be careful, as one is treading a slippery slope.
I've been lookin for this. I really like chords. there is more to guitar than leads. I would like to know where to get some music like "Cry me a River" the places I have found want a lot of money. RTO
Great upload, really useful vid for students.
Does anyone happen to know what make that acoustic guitar was at the end? It - as much as one can tell in digital media - sounded fab!
psychoprosthetic 2 months ago
Maaan:) what scales would you use for that:)!
kalbieful 2 months ago
Thank you so much..this is amazingly helpful
Jigglemonkey00 3 months ago
Good jazz basics; becoming familiar with these chord shapes and progressions will enhance your lead playing, giving you new licks and colours and also some new ways to fight your way out of dropping the odd greenie!
McDeadcat 3 months ago
ugggghhhhh music theory
raider2661 3 months ago
Mmmm I'm diggin that tone. What setup have you got there?
Great video lesson, too.
crazyfreak1919 5 months ago
@TrendyhendyPD i think sweeping was actually used in jazz before metal
MamaPants001 5 months ago
@MamaPants001 true ; )
kalejut 1 month ago
Totally awesome. I look for new ways to play 12 bar blues, yes with jazzy concepts to break up the boredom. This is a way cool lesson! Thanks for sharing!!
Ezguitarpick 7 months ago
shut up and play it.
Atomicflash500 7 months ago
@Atomicflash500 "shut up and play it"...did you actually say that? Douche move man. With an attitude like that I bet even 7 months after making that comment you still can't play to save your life.
NateMantle 2 weeks ago
awesome PRS!
rotorheaddk 8 months ago
are you playing that guitar on a stand
joethein 9 months ago
what a great lesson! thankyou lots of juicy chords to play around with..
musiclido 9 months ago
Hot dang! Thanks for the chord diagrams and tut ! Very nice of you. ;-p
Ezguitarpick 9 months ago
@djerwulfe Your totally right about that! its so annoying when half the lesson is when the instructor talks about themselves
trilobite3339 10 months ago
Is that a Canadian guitar?
JimiKiwi 1 year ago
@JimiKiwi Paul Reed Smith guitar, american made
triple8dope0fresh3 1 year ago
mann bist du guut....
manne1962 1 year ago
Nice PRS guitar
omGspyder 1 year ago
Blues for Alice Changes?
saron380 1 year ago
if you are new to jazz or the jazz blues, these extended chords like F9, Bb13, A7#9, ... are really confusing!!!
matti2906 1 year ago
@matti2906 it isn't confusing just learn cipher or chromatic degree and know what is the formula of the chords and you will know what is beng said and done
jerdub 1 year ago
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@matti2906 There are only 3 types of chords: Major, minor, dominant. Any chord called Bb7, D7, E7, is understood to mean dominant 7 because the 7th note of the scale is played as a b7. The extended names can be 9 13 b9 #9 b5 #5. Any one of these is simply a dominant 7 chord with added color. So if you hear D7#9 or Bb13, just think Ddominant and Bbdominant. Diminished and augmented chords are considered dominant in nature because they contain tritone intervals as well. Hope this helps..
joeyguitarlo 11 months ago
This has been flagged as spam show
@matti2906 There are only 3 types of chords: Major, minor, dominant. Any chord called Bb7, D7, E7, is understood to mean dominant 7 because the 7th note of the scale is played as a b7. The extended names can be 9 13 b9 #9 b5 #5. Any one of these is simply a dominant 7 chord with added color. So if you hear D7#9 or Bb13, just think Ddominant and Bbdominant. Diminished and augmented chords are considered dominant in nature because they contain tritone intervals as well.Hope this helps.
joeyguitarlo 11 months ago
i am very confused by all this :L i need help
GetTheFunkOut46 1 year ago
Not to be one of 'those' guys, but the instructor in this video should really verify that he is playing Bb13 (not Bb7) and in measure 8 a D7#9(Not D7) and in measure 10 a C7#9(Not C7). Knowledge of the correct chords will lead to different soloing ideas.
That is all
WonderPantsiiVI 1 year ago
@WonderPantsiiVI There are only 3 types of chords: Major, minor, dominant. Any chord called Bb7, D7, E7, is understood to mean dominant 7 because the 7th note of the scale is played as a b7. The extended names can be 9 13 b9 #9 b5 #5. Any one of these is simply a dominant 7 chord with added color. So if you hear D7#9 or Bb13, just think Ddominant and Bbdominant. Diminished and augmented chords are considered dominant in nature because they contain tritone intervals as well.
joeyguitarlo 11 months ago
Comment removed
joeyguitarlo 11 months ago
Cool. Thank you,
stolzvonbaden 1 year ago
Thank You very Much Great Lesson and excellent teacher/player.
737flyhigh 1 year ago
very good - loved it- have learnt it - many thanks
paulpaulpa1 1 year ago
is that guitar mounted or are you just incredibly stable haha
BrandonColon 1 year ago 6
@BrandonColon LMAOI I WAS THINKING THE SAME THING
JaeMetropolis 1 year ago
....That looks more like a Bb13 chord than a Bb7
Mojoman1 1 year ago
@Mojoman1 well... in jazz it is allowed to substitute a 13 chord when there is a 7 chord as well as a 9 chord. Feel free to experiment ;-)
EpiLPstandard 1 year ago
the chords are misnamed!!! really confusing as I know what a Cmin7 sounds like but you're not playing it!
ramezk 1 year ago
This is great stuff. How do I continue study of this progression? I clicked on "iVideosongs," and got unrelated clips of basic instruction. Where's the full website on this particular jazz blues riff? Thanks for great study.
Judplay 1 year ago
This isn't a good example of a jazz blues imo. Not not make this about me, but I do a lesson on this that actually sounds like BLUES. I know what he's doing but it isn't a blues progression anymore. Lame. Thanks for your time on the lesson I guess. I also never thought Bird's Changes constituted a blues sound.
BrannonMcConkey 1 year ago
@BrannonMcConkey It is most certainly a good example of a jazz blues because it's what the entire jazz world calls a jazz blues. As Steve explained, the progression evolved from the basic 12 bar blues progression; this doesn't necessarily mean it will (or should) continue to sound 'bluesy'. The term 'jazz blues' relates to the structure of the progression, not the sound.
Thanks, Steve, for a well structured, clear and informative video (:
lickmyballs 8 months ago
@lickmyballs I just re-read my comment, and I was unnecessarily dickish (which usually isn't like me.) I suppose I get tired of people complicating what would normally constitute a simple blues - even in a jazz context. I still completely disagree with you. Is your last definition for a 'jazz blues' the official on? The entire world calls it a jazz blues? Ehh, not so much. You should probably listen to a wider variety of jazz.
BrannonMcConkey 8 months ago
@lickmyballs Could we apply your logic to something else? Perhaps a nigerian rap with a buried blues structure is considered a blues? The sound and feel are the ultimate indications of what SHOULD be considered a blues.
I DO appreciate what he's doing, and I also do it - I just don't call it a blues.
BrannonMcConkey 8 months ago
@lickmyballs Ask BB King or Buddy Guy or Hubert Sumlin what they think a blues tune sounds/feels like. I could almost guarantee they won't talk about a theoretical structure, especially one buried in upper extensions with a Bossa feel.
BrannonMcConkey 8 months ago
@BrannonMcConkey the three kings and buddy guy are POP-blues musicians sir.(infact BB king has his inspiration form a jazz saxophonist).from the time when blues and jazz LONG have separated and took their separate ways in reality blues and jazz were once united and thus had a similar musical structure..one was connected to the other..many jazz musicians played their own version of *blues* however pop-blues *which was started by the three kings* became more populer and thus became a standard..
arcainjust 8 months ago
@arcainjust You are an IDIOT! Pop blues? Jazz saxophonist? Everything you just was ridiculously inaccurate - every painful bit. You have no concept of musical history. That was embarrassing. I don't have the energy to repudiate that kind of egregious fodder.
BB King would slap you for speaking so absurdly about him and the blues.
BrannonMcConkey 8 months ago
@BrannonMcConkey instead of giving reply with proper reason you resort to insult...typical.
again i will tell you jazz players have been playing their vision of blues before t-bone walker and robert jhonson were even born....when blues became populer in the 50's *with the three kings it became pop blues and became a musical standard..of course sir your insult instead of giving a proper reply..proves your ignorance i see no point in continuing this argument peace.
arcainjust 8 months ago
@arcainjust blues became popular in the 50s? thats not right. the blues had been around a long time since the 50s. rock and roll came round in the 50s, thats blues and jazz's child. learn some history
starwarsfreak1111 8 months ago
@arcainjust You previously replied (and yet, here again) in idiotic fashion, so I called you an idiot - so yes, that's typical. I also stated you were so wrong that you didn't didn't deserve a proper reply. So there's that. So let me be clear for you. Jazz players were not playing ANY thing that would would considered blues at that time, UNTIL BLUES players, such as Charley Patton, Son House, Bukka White, Skip James (etc,) cam along - at THAT point only did we see an amalgam of form. Continued..
BrannonMcConkey 8 months ago
@BrannonMcConkey
Are you guys familiar with the famous story, (I don't know how true it is), about W.C. Handy seeing some country blues player playing slide guitar, and then incorporating it into jazz? He wrote St. Louis Blues and other songs based on blues after that point. remember, jazz started in NOLA.
at7000 8 months ago
@at7000 I'm not familiar with that story but it sounds interesting. I'll look into it. Thanks for the tip.
BrannonMcConkey 8 months ago
@arcainjust Secondly, T-Bone and RJ and about a half-generation removed - the former being a an inspiration to BB, Buddy, Muddy, etc. T-bone is a perfect example of a jazz blues player. BB had plenty of jazz inspiration (Django being a big one,) as well as plenty of blues players, but your ill-concieved notion of "pop blues" is absurd. This "blues before blues" concept of your simply doesn't exist; at best, there was a very ambiguous amalgam that was neither Blues nor Jazz. Continued..
BrannonMcConkey 8 months ago
@arcainjust Enough history yet? More? Ok. To drive home my point to all you hipsters conflating Blues music with other shit, let me point out specific Jazz/blues artists who combine the best of both genres: Grant Green, Wynton Kelly, Kenny Drew, Horace Silver, Red Garland, Hank Mobley did some good stuff, Robben Ford (current day), and countless others. This group would be drawn in stark contrast between, say, your Andrew Hills, Jackie McLeans, Eric Dolphys, Wayne Shorters etc. Info is there..
BrannonMcConkey 8 months ago
@arcainjust And Albert & Freddie weren't popular in the 50's
BrannonMcConkey 8 months ago
7th is the base harmony, and it's implied you should extend the chord out as far as you prefer.
emixolydian 1 year ago
ninths, thirteens are just color tones, less important. the most important thing is to just mark the type of a chord, which here is mostly dominant 7ths. but if you watch more than a minutes he shows voicing he uses, so relax.
axiluss 1 year ago
o.o
TheJuliusJT 2 years ago
Cool, is it miller time yet?
mrmattstrat 2 years ago
scott brown yes!
obamascare 2 years ago
Great video!! However, I got a little frustrated and noticed that the instructor gave us a little message on 3:50 - 4:10 enfasis on 4:10
okicu 2 years ago
Not to just get in the mix but I've been playing for years and this is just about as complex as I can understand, and if I could watch this at about 50% of this speed I could get it. But the misnamed chords confused me too.
Ron
RonVermillion 2 years ago
SAY WHAT!!!
boladepapelaluminio 2 years ago
Wait a Minute I need turn my Distortion Off
theincredibleiannune 2 years ago 68
@theincredibleiannune
Shit yeah,I'm gonna have to turn off the distortion.Just don't know if i can do that.It's asking a lot.
jimllfaxit 1 year ago
In all fairness this is an easy mistake to make and an easy fix as well. In order to return the chord to a dominant 7 just drop the pinkie embelishments on the F9, Bb13, and D7#9. Although the "Am7" in bar 8is in fact an Am7 if you listen to it. Perhaps it just looks like his index finger is playing the F#. We all make mistakes.
Further many of you already know that in a blues you can almost always drop the embelishments and just play dominant 7 chords to get through a song.
Bluesslander 2 years ago
what if you come across this weird chord and want to construct a scale from it, to solo or w/e, how do you do that??
ialvarez357 2 years ago
To really understand this stuff you must teach yourself music theory. There are no short cuts to understanding theory. If you're worried about constructing scales I strongly suggest you stick to soloing with the major scale in the tonic key. Look up Jimmy Bruno 6 fingerings for jazz guitar. Drinking helps too.
Bluesslander 2 years ago 4
I'm afraid I have to agree with wakold* on calling out accurate chords: "Its not F7, its F9, its not Bb7, its Bb13, its not Am7, its Am6, its not D7, its D7#9"* - *this is the kind of thing that drives students nuts... they turn to these videos to make music easier not harder. I can't agree on the speed. It's slow enough... you can slow it down more in djay. I also understand what he means by tone. This is a very bright tone.... but some people think of that as "modern" - i can live with it.
jensenbell 2 years ago
Nice tone!
scootermo 2 years ago
also try to get a guitar with a better tone...
wakold 2 years ago
he should learn the name of the chord he plays before trying to make an instructional video... its not F7, its F9, its not Bb7, its Bb13, its not Am7, its Am6, its not D7, its D7#9...
besides, slow down dude not everybody watching your vid has a good grasp of jazz chords and progressions yet...
wakold 2 years ago
Are you saying his chart at the beginning is wrong? There all there! Cool chords tho!
scootermo 2 years ago
he was giving a casual breakdown for the structure...how good are you at talking into a camera when playing
thejazzman8 2 years ago
You should learn about substitutions and chord color before making ignorant comments on peoples' free lessons. The chords are the same- the extensions don't change the nature and function of the chord. It would have been a hell of a lot more confusing if he named all of the extensions instead of just saying what they function as- dominant, minor and diminished chords.
pandacommanda 2 years ago 17
@pandacommanda They most certainly DO change the nature and function of the chord - seeing as there are many aspects of a song structure (including sound, feel, tempo, etc) to take into consideration. When loading a "blues" tune with minors, b9, tritone subs, minor 3rd usage etc, you inevitably change the nature and function of the chord...that's painfully obvious (to anyone serious about the guitar.) It can be done, but one has to be careful, as one is treading a slippery slope.
BrannonMcConkey 8 months ago
Hello you said B dimised but if i looked at chords
you didn't play that what is the right name
or can you give me the tab please.
Its a good lesson but you go to fast to hear/see the chords
petertorro 2 years ago
kickass
ElectricSamurai 3 years ago
I've been lookin for this. I really like chords. there is more to guitar than leads. I would like to know where to get some music like "Cry me a River" the places I have found want a lot of money. RTO
righturnonly 3 years ago