All that said, thats just what the theory books say, and what teachers reccomend, and I for sure use and so does everyone. BUT like FuchsFran said you can still use Lydian dominant over a resolving dominant chord. It sounds awesome too. thats the sweet thing about dominants, pretty much anything goes.
Just learn the chords in each scale position by heart ,then add the three remaining scale tones and get used to seeing c melodic minor as seven different chords with scale or interval possibilities.It takes time but it,s not as hard as many believe.For example position seven yields b super locrian ,just see bm7b5 as the chord and practise seeing and playing any flat interval in terms of b,introducing them gradually as scale fragments or chords.It,s the learning of these intervals that is key.
I had a teacher once who taught like this. Just played absurd licks that I couldn't catch if to save my life. Then a simple explanation. It's not the most effective way of teaching, but it can work, it just forces the student to take more responsibility.
Was kinda looking for major pentatonic stuff, but good video anyway.
Okay, this is a serious question, why do jazz players play with their guitars so close to their face? I'm a rock guy trying to broaden my horizons, and I see jazz players with the upper bout of their guitar practically hitting them in the face. What's up with that?
@RaymondFRevalee I thought the same thing too at first, but the more I listened and transcribed the more I realized that each player is unique. and as long as the player knows what he or she is doing, there is a lot of artistry and creativity involved.
Great demo, but the theory stuff losses me, jazz is so complex or maybe it's just me. Love the tone of the guitar, it looks like a Gibson but which model Joe?
He has a secret talent too: he can see his right and left hand at the same time ;) Thats why he hides his secret weapon with a sun glasses... Any way, he is a great guitarist and I have his Creative Jazz Guitar video tutorial and its great!
Well, if you really mean it (if it's your true expression, what you feel) then it doesn't matter how horrible or atonal it may sound to somebody. It's not wrong!
Of course. And that's the most obvious "in" example you could give. But again, i'm speaking HARMONY...making chords with your hands...not melodic single note playing. Concerning single note playing, I've played waaaaay more "out there" sounds than your example. But that's not to what my comment referred. Gotta pay attention bro! On a side note: the reason the minor pen works over dom grooves is the b3 can also be looked at as a raised 2nd (sharp two), and #9's sound hot in a blues groove!
I said CHORDAL form. One of the comments was playing this scale over various chords, including Ebmajb7 and Ebmaj9b7, and unless we unknowingly lapsed into Narnia, that 'chord' doesn't exist. It's major or dominant, thats it. It's written as Eb7 or Eb9. It can be a major triad, but when the b7 is introduced it's no longer referred to as a 'major' chord. I wasn't referring to single note playing. Yeah you can play whatever the fuck you want in those terms.
In the end, after you learn basic music theory, you realize you can play anything over anything. Where the notes you play land, strong beats or weak beats for example, is more important than what note it is. Sure, using guide tones works great but mix things up and see what colors you can create. Thelonious Monk and Joe Zawinul, for example, used to get away with all sorts shit that wasn't "correct" but they put the notes in the right places and made great music with it.
All I'm saying is not to get so caught up in the "use this for this and that for that" kind of "in the box" thinking. Support the music, not your ego and be a good listener.
I think at the end there it was an Ebmaj7b5, correct? You can't have an ebmaj7 with a b7, that won't work haha. Anyway, too confusing for me. This type of "lesson" can't be given in a minute time.
Melodic minor scales over V7 chords -great way to break out of the old white bread myxolydian sound. As Joe rattles off all those possible chords to play over however, it depends in what context the the chord is moving, e.g.; to use C melodic minor over an F7/9/13-type chord the F should be a non-resolving dominant chord; if the F7 is resolving back to the "1" chord (C) then the Db melodic minor scale works best. Emily Remler and Don Mock both explain these concepts very clearly in their videos.
You can still use mixolydian #11 over resolving V7 chords, but the altered dominant scale or the dominant diminished (half/whole) create more tension and "pull" harder toward the chord you're resolving to. Try phrygian or locrian ideas from the root of a dominant chord...there are many valid choices.
@zebopper Duhhhhhh...... What? No, please don't explain it. I just know my brain will explode... Criminy, I just want to play guitar, not learn string theory... Lol...
@zebopper if F7 is resolving to its respective i or "I" chord, Bb would be the tonic, not C. In this case, F#/Gb melodic minor would be the common alt mode, offering every possible alteration to the F dominant chord.
@zebopper earlgray626 is correct. like wise, using c mel. min. over an F7 type chord would yields the 9/13/#11 tensions, thus making the resulting F7 9/13/#11 a tritone sub of B7, which mean the F7 9/13/#11resolves chromatically to some type E maj or e min tonic chord.
@marinopposite To my ears,if the F7 has b9/#9/#11/b13, ie F7 altered dominant scale, or Gb melodic minor scale, (or B/Cb Lydian dominant; tritone sub.) would I hear it resolve to a Bb maj or min tonic. If you say F7 9/#11/13, I hear F7 lyd.dom, hence a tritone sub of B7 alt, resolving to an E maj.min tonic, but if I hear F7 b9/#11/13 (D/F), THEN I hear an alt chord of the diminished family, Gb sym diminished scale resolving to Bb Major only, since,the D(13th of F) would clash w/ Db-min 3 of Bb
@zebopper What you are saying is theoretocally correct but you could use C melodic minor over an F7/9/13 resolving to a C without any problem. You can use a lot of different scales over dominant chords, it all depends on how you resolve the frase and your intention and conviction while playing.
@zebopper You Got the right idea. Wrong notes. C melodic over F7 creates F Lydian dominant, theory books say that when its not a resolving chord to use this scale. That is correct. Just one note I think you prob just weren't paying attention to the notes you typed. C is not the I chord of F7, Bb is. The scale you said to play instead of Lydian dominant was melodic minor from the Db, we would move that down to B.
This isnt correct either, you play Gb melodic for F7 giving altered scale.
This comment has received too many negative votesshow
well , i was born in the stomach of ricky , yes , ricky martin , then bruno roncoroni came with all the ceviches and the rolas , and the putas, the putas , o my god the putas , i love the rolas and the putas , together they make a great mix , what do you think , vajtun vajtunk
rs hilly pol jazz.eraene ...rs tonto. nryc tev uic molt. eraene eraene eraene eraen .Irene is the best in her house because she is the only woman,so there is a female dog too
Yes he is. I had not seen him for 11 years at one point and I went into Steamer's Cafe in Fullerton, CA when he was sitting with Ron Eschte and other friends waiting to start his set. The room was over-filled with people. I just wanted to say "hello" and I wasn't sure if he would remember me. As I got about 15 feet from his table, he stood up, walked over and hugged me like a father would a son. He is truly remarkable. A gentleman on all counts. (Then he played his ass off!)
His classroom and office were always filled with guitar players clamoring to learn from him. Both his approach and his humility are what they aspired for. There were the heaviest of metal guitar players sitting with him to learn along with jazz players of all levels of ability.
hello i can see where you're coming from, but also witzwater. just from the feel of his music it seems as though he is playing what is in his fingers, not what is in his head. the theory schpeel sounds like hes overcomplicating things. definately not a true alpha dog like joe pass...
Joe Diorio wrote the first MASTER' SERIES article in Guitar Player in the late '80's. It was on "Right-Brain Thinking". Joe is a painter and makes pottery to keep his creative muse in shape. All you have to do is listen to him play once and you will see how he incorporates this "mathematical" approach into beautiful, improvisation. In his book "Intervallic Designs" he wrote that it took him 28 years to be free from keycenters and to just play. Good art is a lifetime commitment.
theres no doubt in my mind that joe diorio is a phenomenal player, and he has certainly paid his dues, with regards to technique. In many ways he is actually better than the players i would consider the "alpha dogs" off jazz. its just that its so mathmatical it seems to lose its soul
You have never heard Joe play either live or on recordings. That is made obvious withh your comment.
If you look at something like a beautiful car say a Ferrari, you see the unmatched style and performance...and the beauty. There is a lot of math and logic required to build that car that only the "insiders" see. In his teachings, Joe shows you the inside...what it takes to make beautiful art. Listen to his recordings and your opinion wil change.
I had the priveledge of meeting Joe and taking some private lessons with him. Also saw him play in Venice Beach and Fullerton several times. He is a true artist. Full of humility and a willingness to share what he knows. He is one of those guys who makes you comfortable even though he is lifetimes ahead of you in ability. Having lunch with Joe is even a lesson in being a gentleman. Thank you Joe.
Joe is one of the all time best. Incredible creativity and a completely unique player. His books are lifetime projects and he is also a great, warm, compassionate person. I had the pleasure of spending some time with him after his stroke. He's working on getting his playing back together, and he'll always be tops for me.
This is the real deal in guitar playing!! Why I didnt learn this tuff years ago, Joe is one of the best and much to be leanred from him as well as Joe Pass Pat Martino Frank Bruno has a awesome dvd out!!
Jazz players, The atomic scientists of guitar playing. Did you catch what he was saying? Not our taste but props to him. Did you see that sweep picking? Awesome
Hey, talkin about C D Eb G A isn't pentatonic but C Eb F G Bb is but I get the picture about the rest of the theory(use it alot too)Anyway what's the use of words without wonderfull music and indeed this is a great player whom every jazz player can learn from.
pentatonic only refers to the number of notes in the scale any grouping of five notes is a pentatonic scale. C Eb F G Bb is the minor pentatonic and the most common.
Well put erod1944, Joe is an amazing guitar player, and a very inspiring human being, and "Intervallic Designs" is such a great book. Thanks to the poster of this clip.
You guys need to go out and MASTER the Joe Diorio "Intervallic Designs" guitar study book and call me in the morning. If you Can. It's readily available for ADVANCED PLAYERS like yourselves. Please Post a Video when complete. Thanks in Advance. Ed
All that said, thats just what the theory books say, and what teachers reccomend, and I for sure use and so does everyone. BUT like FuchsFran said you can still use Lydian dominant over a resolving dominant chord. It sounds awesome too. thats the sweet thing about dominants, pretty much anything goes.
brunostung 4 months ago
How are Joe's eyes - does anyone know? BTW supercool stuff. I'm oft to practice.
miro108 5 months ago
waaaaaay out of my league.
highintel 6 months ago
Just learn the chords in each scale position by heart ,then add the three remaining scale tones and get used to seeing c melodic minor as seven different chords with scale or interval possibilities.It takes time but it,s not as hard as many believe.For example position seven yields b super locrian ,just see bm7b5 as the chord and practise seeing and playing any flat interval in terms of b,introducing them gradually as scale fragments or chords.It,s the learning of these intervals that is key.
monkeysbum999 6 months ago
I had a teacher once who taught like this. Just played absurd licks that I couldn't catch if to save my life. Then a simple explanation. It's not the most effective way of teaching, but it can work, it just forces the student to take more responsibility.
Was kinda looking for major pentatonic stuff, but good video anyway.
mattpolofka 6 months ago
@mattpolofka Certainly not for beginners, I wouldn't teach this stuff to my beginner/intermediate students but it's great for the advanced players.
William102582 6 months ago
Okay, this is a serious question, why do jazz players play with their guitars so close to their face? I'm a rock guy trying to broaden my horizons, and I see jazz players with the upper bout of their guitar practically hitting them in the face. What's up with that?
WoWintosh 8 months ago
@WoWintosh Allows you to do way bigger stretches and generally gives you better access to the fretboard with less effort in your left hand.
socratesandlavagods 7 months ago
@RaymondFRevalee I thought the same thing too at first, but the more I listened and transcribed the more I realized that each player is unique. and as long as the player knows what he or she is doing, there is a lot of artistry and creativity involved.
RoadToRecoveryBand 10 months ago
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FAT FUCK
TheFigueroa007 11 months ago
does his explanation of what chords this works with make sense to anyone??? how can one possibly remember all of that?
agredford1 1 year ago
hahahah... aaahahhaahha.. HAAAHAHAHAHAHH!
Blackout293 1 year ago
Anyone know how Joe's health is. Is he still around?
johnhguitar 1 year ago
@johnhguitar Yes, he is still alive (he'll be 75 this August)
rayjr62 11 months ago
C melodic minor.....
2 things added to it of course HAHAHAHAH... 2?!?!?!
jose044 1 year ago
basketball and jazz guitar are the best things in the world!!
BeatBay 1 year ago
@BeatBay Wonder what are the worst ones.
YofterMofter 1 year ago
Check out "The Color of Sound" a wonderful duo recording with Joe and David Becker. It was Joe's last before his Stroke.
SuperLavignia 1 year ago
He seems like an amazing guitar player, but there was no indication that it was for the mega-advanced player!
Guitarrmann 1 year ago
tight, great teaching
thejazzman8 1 year ago
Awesome lessonI I have incorporated many of your techniques into my playing! Thanks! Joey Vaughan "World Blues Attack"
cjoey39 1 year ago 11
ant reason in perticular the guitar is at mouth level . . . hes scaring me . . .
mercedes560sel 1 year ago
Fat ass
DaNuttBall 1 year ago
workshop jazzguitar cologne
fastjazzguitar 1 year ago
Great demo, but the theory stuff losses me, jazz is so complex or maybe it's just me. Love the tone of the guitar, it looks like a Gibson but which model Joe?
ColinPRS 1 year ago
@ColinPRS Looks like an ES-175
jellyfishsquid 1 year ago
For x-mas I want your jazz guitar skills.
nuke97 1 year ago
ol' Joe looks like he's about to pop
taragonsnuff 1 year ago
zebopper, I don't mean to be nit picky but over the maj chords it is EbMaj7b5.
johntpowers3 1 year ago
He has a secret talent too: he can see his right and left hand at the same time ;) Thats why he hides his secret weapon with a sun glasses... Any way, he is a great guitarist and I have his Creative Jazz Guitar video tutorial and its great!
kingofskateop 1 year ago
the human toad.
awesomewelles90 2 years ago
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the human toad.
samjohannes 2 years ago
AHAHAHAH! SO TRUE! SO TRUE!
awesomewelles90 2 years ago
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the human TOAD!
awesomewelles90 2 years ago
but u dont use mixo over every dominant chord .B flat is
sharp 9 on a G7 - very normal.
davidhilton 2 years ago
hi
Ronold
SteezeNotSketch 2 years ago
I have always loved Joes playing. He's the bosanova king.
benthemiester 2 years ago
As to Joe's final comment: No thanks, I'll use your imagination instead. : D
pekoe67 2 years ago
OMG this guy is a walking book! and his phrases are awesome.
ClaudioMariola 2 years ago 2
you're always a half step away from a right note
dpapaioannow 2 years ago
there are no wrong notes!
awesomewelles90 2 years ago
@awesomewelles90 so you can just play whatever and call it music then?
dpapaioannow 2 years ago
Well, if you really mean it (if it's your true expression, what you feel) then it doesn't matter how horrible or atonal it may sound to somebody. It's not wrong!
awesomewelles90 2 years ago
Of course. And that's the most obvious "in" example you could give. But again, i'm speaking HARMONY...making chords with your hands...not melodic single note playing. Concerning single note playing, I've played waaaaay more "out there" sounds than your example. But that's not to what my comment referred. Gotta pay attention bro! On a side note: the reason the minor pen works over dom grooves is the b3 can also be looked at as a raised 2nd (sharp two), and #9's sound hot in a blues groove!
BrannonMcConkey 2 years ago
I said CHORDAL form. One of the comments was playing this scale over various chords, including Ebmajb7 and Ebmaj9b7, and unless we unknowingly lapsed into Narnia, that 'chord' doesn't exist. It's major or dominant, thats it. It's written as Eb7 or Eb9. It can be a major triad, but when the b7 is introduced it's no longer referred to as a 'major' chord. I wasn't referring to single note playing. Yeah you can play whatever the fuck you want in those terms.
BrannonMcConkey 2 years ago
In the end, after you learn basic music theory, you realize you can play anything over anything. Where the notes you play land, strong beats or weak beats for example, is more important than what note it is. Sure, using guide tones works great but mix things up and see what colors you can create. Thelonious Monk and Joe Zawinul, for example, used to get away with all sorts shit that wasn't "correct" but they put the notes in the right places and made great music with it.
Cambodia69 2 years ago
All I'm saying is not to get so caught up in the "use this for this and that for that" kind of "in the box" thinking. Support the music, not your ego and be a good listener.
Cambodia69 2 years ago
This comment has received too many negative votes show
good player but hes too fat for the guitar
slashnduffVR 2 years ago
rodrigohurtado1 2 years ago 4
I think at the end there it was an Ebmaj7b5, correct? You can't have an ebmaj7 with a b7, that won't work haha. Anyway, too confusing for me. This type of "lesson" can't be given in a minute time.
BrannonMcConkey 2 years ago
You CAN use the b7...but it does sound better if you use it as a passing tone into the maj7 or ninth
Chromatype 2 years ago
No, the chord is an Ebmaj7b5, that's what he meant. Im talking about chordal form. It's either Ebmaj7 or EbDOM7, not both.
BrannonMcConkey 2 years ago
Ebmaj7 b5
Ebmaj9 b5
Not b7
spongey222 2 years ago
@rodrigohurtado1
actually he says:
EbMaj(b5)
n
EbMaj9(b5)
clifford2222 1 year ago
Melodic minor scales over V7 chords -great way to break out of the old white bread myxolydian sound. As Joe rattles off all those possible chords to play over however, it depends in what context the the chord is moving, e.g.; to use C melodic minor over an F7/9/13-type chord the F should be a non-resolving dominant chord; if the F7 is resolving back to the "1" chord (C) then the Db melodic minor scale works best. Emily Remler and Don Mock both explain these concepts very clearly in their videos.
zebopper 3 years ago 10
You can still use mixolydian #11 over resolving V7 chords, but the altered dominant scale or the dominant diminished (half/whole) create more tension and "pull" harder toward the chord you're resolving to. Try phrygian or locrian ideas from the root of a dominant chord...there are many valid choices.
Modes9 2 years ago
@zebopper Duhhhhhh...... What? No, please don't explain it. I just know my brain will explode... Criminy, I just want to play guitar, not learn string theory... Lol...
bosatsu76 1 year ago
@zebopper if F7 is resolving to its respective i or "I" chord, Bb would be the tonic, not C. In this case, F#/Gb melodic minor would be the common alt mode, offering every possible alteration to the F dominant chord.
earlgrey626 8 months ago
@zebopper earlgray626 is correct. like wise, using c mel. min. over an F7 type chord would yields the 9/13/#11 tensions, thus making the resulting F7 9/13/#11 a tritone sub of B7, which mean the F7 9/13/#11resolves chromatically to some type E maj or e min tonic chord.
egyptianminor 7 months ago
@egyptianminor also to Bb maj or min tonic
marinopposite 7 months ago
@marinopposite To my ears,if the F7 has b9/#9/#11/b13, ie F7 altered dominant scale, or Gb melodic minor scale, (or B/Cb Lydian dominant; tritone sub.) would I hear it resolve to a Bb maj or min tonic. If you say F7 9/#11/13, I hear F7 lyd.dom, hence a tritone sub of B7 alt, resolving to an E maj.min tonic, but if I hear F7 b9/#11/13 (D/F), THEN I hear an alt chord of the diminished family, Gb sym diminished scale resolving to Bb Major only, since,the D(13th of F) would clash w/ Db-min 3 of Bb
egyptianminor 7 months ago
@zebopper how's that? Db mel min doesn't have either F or A.
marinopposite 7 months ago
@zebopper What you are saying is theoretocally correct but you could use C melodic minor over an F7/9/13 resolving to a C without any problem. You can use a lot of different scales over dominant chords, it all depends on how you resolve the frase and your intention and conviction while playing.
FuchsFran 5 months ago
@FuchsFran Exactly...
brunostung 4 months ago
BTW Joe is one of the finest musicians and human beings that has ever graced us with his presence.
brunostung 4 months ago
@zebopper You Got the right idea. Wrong notes. C melodic over F7 creates F Lydian dominant, theory books say that when its not a resolving chord to use this scale. That is correct. Just one note I think you prob just weren't paying attention to the notes you typed. C is not the I chord of F7, Bb is. The scale you said to play instead of Lydian dominant was melodic minor from the Db, we would move that down to B.
This isnt correct either, you play Gb melodic for F7 giving altered scale.
brunostung 4 months ago
This comment has received too many negative votes show
well , i was born in the stomach of ricky , yes , ricky martin , then bruno roncoroni came with all the ceviches and the rolas , and the putas, the putas , o my god the putas , i love the rolas and the putas , together they make a great mix , what do you think , vajtun vajtunk
mirkolu 3 years ago
just kidding
slash4236 3 years ago
Great player and all but looks like a psycho killer qu'est que c'est!
slappingbelly 3 years ago
joe soares
melinatoni 3 years ago
i am not kidding
slash4236 3 years ago
I swear to god my name is joe diorio
slash4236 3 years ago 2
Diorio is great.
This lesson was pretty basic and common-place though.
PauloNideck 3 years ago
rs hilly pol jazz.eraene ...rs tonto. nryc tev uic molt. eraene eraene eraene eraen .Irene is the best in her house because she is the only woman,so there is a female dog too
enricrespo 3 years ago
Es ciego?Is he blind?
enricrespo 3 years ago
Joe owns :-)
guitarttimman 3 years ago
This is great stuff. Thanks for sharing.
orlandofriend 3 years ago
Thanks for everything Joe. Your always an inspiration.
Check out my stuff too guys.
Jack
jacktoneriordan 3 years ago
one how can anyone say who has soul or not and two (witzwalter) life is to short not to learn from one of the great jazz guitar educators!
wintertimetrio 4 years ago
Joe Diorio and Joe Pass played together quite often. Both are, and were, amazingly talented artists.
GDS1581 4 years ago
Yes he is. I had not seen him for 11 years at one point and I went into Steamer's Cafe in Fullerton, CA when he was sitting with Ron Eschte and other friends waiting to start his set. The room was over-filled with people. I just wanted to say "hello" and I wasn't sure if he would remember me. As I got about 15 feet from his table, he stood up, walked over and hugged me like a father would a son. He is truly remarkable. A gentleman on all counts. (Then he played his ass off!)
GDS1581 4 years ago
His classroom and office were always filled with guitar players clamoring to learn from him. Both his approach and his humility are what they aspired for. There were the heaviest of metal guitar players sitting with him to learn along with jazz players of all levels of ability.
GDS1581 4 years ago
hello i can see where you're coming from, but also witzwater. just from the feel of his music it seems as though he is playing what is in his fingers, not what is in his head. the theory schpeel sounds like hes overcomplicating things. definately not a true alpha dog like joe pass...
jonathanbritt 4 years ago
Joe Diorio wrote the first MASTER' SERIES article in Guitar Player in the late '80's. It was on "Right-Brain Thinking". Joe is a painter and makes pottery to keep his creative muse in shape. All you have to do is listen to him play once and you will see how he incorporates this "mathematical" approach into beautiful, improvisation. In his book "Intervallic Designs" he wrote that it took him 28 years to be free from keycenters and to just play. Good art is a lifetime commitment.
GDS1581 4 years ago
theres no doubt in my mind that joe diorio is a phenomenal player, and he has certainly paid his dues, with regards to technique. In many ways he is actually better than the players i would consider the "alpha dogs" off jazz. its just that its so mathmatical it seems to lose its soul
jonathanbritt 4 years ago
...Until you hear him play live or on record and not just in a lesson session.
GDS1581 4 years ago
You have never heard Joe play either live or on recordings. That is made obvious withh your comment.
If you look at something like a beautiful car say a Ferrari, you see the unmatched style and performance...and the beauty. There is a lot of math and logic required to build that car that only the "insiders" see. In his teachings, Joe shows you the inside...what it takes to make beautiful art. Listen to his recordings and your opinion wil change.
GDS1581 4 years ago
I had the priveledge of meeting Joe and taking some private lessons with him. Also saw him play in Venice Beach and Fullerton several times. He is a true artist. Full of humility and a willingness to share what he knows. He is one of those guys who makes you comfortable even though he is lifetimes ahead of you in ability. Having lunch with Joe is even a lesson in being a gentleman. Thank you Joe.
GDS1581 4 years ago
Joe is one of the all time best. Incredible creativity and a completely unique player. His books are lifetime projects and he is also a great, warm, compassionate person. I had the pleasure of spending some time with him after his stroke. He's working on getting his playing back together, and he'll always be tops for me.
sidethehead 4 years ago
Jimmy Bruno Sorry, brain fart< His dvd is priceless he makes learning jazz easy and understandable
MusiciansQuarters 4 years ago
This is the real deal in guitar playing!! Why I didnt learn this tuff years ago, Joe is one of the best and much to be leanred from him as well as Joe Pass Pat Martino Frank Bruno has a awesome dvd out!!
MusiciansQuarters 4 years ago
Jazz players, The atomic scientists of guitar playing. Did you catch what he was saying? Not our taste but props to him. Did you see that sweep picking? Awesome
Chewwy153qt 4 years ago
great!!!!!!!!!!!!!!!!!
4956uxarzvw 4 years ago
Thank you Joe.
1953flint 4 years ago
I went to GIT in the early 80s when Joe was teaching there. Great guy, hilariously funny. Great player, too. Very spiritual dude.
Eldaveer 4 years ago
good lesson !! jazz !! vini Brazil !
viniguitarjazz 4 years ago
Check out his right hand,so tension free. He can solo effortlessly for extended periods of time.
jplent 4 years ago
Very informative tutorial! I've always had difficulties when figuring out the melodic minor, you've cleared a lot of things up! Thanks.
shep4 4 years ago
Joe teaches a lot in 1 minute! I saw him play once and he owns " the Days of wine and roses"
angeloamericano 4 years ago
your really mister couch potato
jakeisdead 4 years ago
Hey, talkin about C D Eb G A isn't pentatonic but C Eb F G Bb is but I get the picture about the rest of the theory(use it alot too)Anyway what's the use of words without wonderfull music and indeed this is a great player whom every jazz player can learn from.
Jazzguts 4 years ago
pentatonic only refers to the number of notes in the scale any grouping of five notes is a pentatonic scale. C Eb F G Bb is the minor pentatonic and the most common.
BlueTrane5 4 years ago
incredible
silatyogi 5 years ago
i think he needs to lose weight. The guitar looks strangely-position on his tummy.
denim98 5 years ago
my biggest influence! also a wonderful person.
guitwiz 5 years ago
what's so funny???? this is a perfet lesson. i like
oaki89 5 years ago
Well put erod1944, Joe is an amazing guitar player, and a very inspiring human being, and "Intervallic Designs" is such a great book. Thanks to the poster of this clip.
jazzmacman 5 years ago
You are welcome~~
bret0918 5 years ago
You guys need to go out and MASTER the Joe Diorio "Intervallic Designs" guitar study book and call me in the morning. If you Can. It's readily available for ADVANCED PLAYERS like yourselves. Please Post a Video when complete. Thanks in Advance. Ed
erod1944 5 years ago
I prefer to use an Alt. Pent/5/9 that way I can fit in 11ths for that honky tonk style.
chris69666 5 years ago
LOL!
rouven84 5 years ago
certainly not his gut!
uncunabula 5 years ago
LMFAO
BallAndBiscuits 5 years ago
Flat what?
Maldoror123 5 years ago