Added: 3 years ago
From: guitarousse
Views: 162,339
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  • bella questa

  • i made a cool walking bassline to this.

  • This is so amazing.

  • G mixolydian

  • play c maj over this!

  • nice...

  • I had sun on that one

  • if brian may were drunk and jamming ii-V-I with Freddie Mercury. This is what it would sound like.

  • Hey thats greate! thanks :D

  • loool @ the end

  • thanks man

  • somethings out of tune man.

  • @Fozzy757 I noticed that too, I must've checked my tuning 10 times.

  • thanks

  • I'm sorry! I meant to say "don't cry" from GNR.

  • @alderguicardi i thought you were talking about galaxy news radio from fallout 3 for a sec...

  • I just played "sweet child.." solo from GNR over it, it sounds jolly!! lol u should try it.

  • I swear youtube needs a repeat key.

    Thank you so much for this, love it.

  • @TheDouglasification You can make a playlist out of this video and have it queued up a few times and it'll repeat the video. There'll be some delay between the videos, of course, but it's better than nothing. Ha ha

  • lovin' this

  • Great!

  • Eurgh dear lord.

  • I've seen some comments asking how to solo over this, What I usually do for this backing track is I start with a dm arpeggio and follow in to the c bebop scale, with the addition of the sharp 6th, and for the other filler lines I use E Phrygian, and my favorite mode, Locrian which in this case I use b

  • 2-5-1-6

    2-5-1-4

  • no, on the contrary it´s very misleading to think that theory is a matter of observations on what has worked musically in the past. There is infact an analytic and scientific side to music and its structures and that´s what theory is about ; clarifying the mists and gain to ones intuition by opening still new paths by studying, practicing and building good routines that make sence and add to ones musical vocabulary and articulation. Without language everything would be rubbish.

  • I've seen alot of jam tracks on here, but5 this one ranks amontg my favorites!

  • Jazz is all about tension. That's why many mainstream lovers don't appreciate it much. Their ears haven't "developed" musically enough to enjoy such melodies. Altered scales over the 7 chords add tension to the melody. I think it sounds cool as hell, but in a sense I've acquired a taste for it and it was well worth it

  • I guess Ritchie Blackmore Or Hendrix gave a shit about all that play the 11th over the 13th of whatever chord. Jesus this is so complicated.

  • HEY... would you guys use g mixolydian throughout this whole thing or does it not work at points?

  • G mixolydian works throughout the who song because it's the fifth mode of C...It's got all the same notes of C major, you just start on G that's why it works. If you want to be specific, you should play D dorian over the Dm7, G mixolydian over G7, and C ionian over Cmaj7...But really it's all the C major scale and you need to know how to connect your phrases that way as well.

  • @ChadizzleFoshizzle It's a Cminor7 though, you could play C dorian. Personally, i like playing c phrygian over it then an altered lick over the a7, and back to c major over the dm7. The phrygian just gives it a cool outside sound

  • G mixolydian works but try G altered over G7 and A altered over A7 (try get a phrase in one scale and move it into the next, always sounds cool). Also try D harmonic minor over the Em7b5 to A7b9 progression. @ BCrockdahouse, flat 6 is an altered tone included to make G7#5 chord, a commonly used chord in a V - I progression in jazz. Same deal with the F in A7, except the A7 is not being used as a V chord leading to anything (can still use the same scales, or try phrygian major mode sounds nice).

  • VERY nice to play over... Thank you so much! :)

  • thank you for this track. i play a lot over it!!

  • theres also a minor 6th in the A-7 (F) whaddup with these?

  • *A7 my bad

  • great track, thanks a lot, expect why did you put a flat 6 (Eb/D#) in the G7 chord?

  • c'est cool. merci.

  • COMPLIMENTI,A E PER GLI IDIOTI INGLESI CHE SPUTTANANO IL JAZZ:"MA VA SUCATEVI UN PRUNO"

    -translate-

    REALLY GOOD

  • @MrUnknow28 Sei un grande!

    Nice backing track!

  • @MrUnknow28 grande

  • crap :D

  • @OswaldoBonfa i had fun. maybe its you

  • Its crap? Why? Cos u dont like the chord progression or cos u cant play? For me it was great. Had alot of fun with this.

  • @OswaldoBonfa It worked really good for me. Go learn some theory and come back whenever you want

  • @SijsbRattlehead333 nope it's just chuck testa

  • yours is. take it as a sign.

  • I understand your point, I guess I had some inspiration in my mind from what sounded cool and then discovered the "theory" afterwards to explain it, of course the "theory" having been written beforehand.

  • j'aime cette video. je voudrais si vous faites plus de les videos!

  • Try the C major pentatonic over the Dm7, going to the C# major pentatonic over the G7 (sounds cool as it has the notes of the G altered scale but for me it's easier to phrase)

  • Sounds Awesome :D

  • Cheers man, I discovered it by ear then realised what I was actually doing in terms of jazz theory

  • Just realised I'd already replied and not deleted my inbox, sorry.

  • Cheers :)

    It's always good when you figure out something that sounds good by ear then discover the jazz theory behind it afterwards haha

  • Yoy bet it is. however, I'm not much of a jazz wonder myself so I should need people like you to figure it out for me :)

    Cheers dude

  • Haha me neither but it's always good to sit there for hours until you figure out something that sounds cool.

  • just plow those notes in there!

  • this is some funny shit haha

  • better tune your Guitar!!!! it sounds worse!!!

  • pocket playing please !

  • I think the CM7 as written above refers to Cminor7, it sound like one. Its confusing.

  • No it means Cmajor7th (large "M" standing for major)

  • please tune up

  • I might be stupid but isn't the CM7 just a C7?

    I might be confused about English or my ears just fucked me up. :p

  • yes it is. a Cm7 is the most common of the C7 chords so instead of saying CM7, people just say C7 because thats more common. and then when a Cmaj7 is played, its implied like that.

  • The 7th on C Major7 is half step down from the root, very pretty.. If it just is written C7 then the 7th is a whole step down from the root blues type sound.

    the two chords sound very different.

  • Of course... I was wondering if CM7 = C7?

    Or is CM7 = Cmaj7 or Cmin7?

  • Capitals in chord notation imply Major quality, lower case ('m7') imply minor quality.

  • ( although in the author's brackets he/she's written 'ii-v-i', which would be a minor key progression, which it isn't, so the root should be 'I', if I'm nitpicking...)

  • Its a drunk sounding chord sequence, I like it.

    It should be a C7 or Cmaj7. The II, III and VI can be made into Dominant 7ths but not the I unless a key change. The minor7b5 would normally be on the B but the A7b9 fits.

  • its sounds more like C mixolydian not major or minor but you have to change anyway for your chrods

  • can anyone teach me how 2 know whut is da key 4 a song?

  • sorry, the las two chords should be

    Em7b5 A7+5

  • Dm9 G7+5 C+9 A7+5

    Dm9 G7+5 C+9 Fmaj7 E7b5 A7=5

    Those chords sound better than the ones written on the video.

    It fixes the tunning issue

  • Comment removed

  • flaaaaaat

  • your finger is on C... count down one to B another to Bb and then to A.. thats ooo hang on 3 frets down..

  • you can use Am too just because it is the relative minor.. whenever you play a major song and you need to improvise count three frets down from your root note and you will find your relative minor

  • Comment removed

  • make that 4 frets* 3 frets would be the minor seventh.

  • I think he meant without counting the original fret

    e.g. 8th down to 5th

  • the best just love jamming over it

  • Thanks for posting this. As far as I can see it changes from C to D melodic minor at A7 and then to F at Fmaj7

  • i actually think this is in A and not C... but I could be wrong

  • its in C major (or A minor).

  • A minor yes, A major no, because the none of these chords exist in A major without accidentals

  • This sounds awesome if you play the A harmonic scale over it

  • yah...when comes the time to play in Major, I always use the same scales as when I play in Minor blues...the result is the same as if i would use the "traditional" jazz scales, but I see it a different way and it works pretty well.

  • so out of tune it gives me a rash!

  • You might want to look up the definition of the word, "tune" because you are definitely wrong about the notes being out of tune.

  • i definitely dont think i do. the A flat (flat9) on the dominant (which isnt included in the description of the changes, and would completely throw off any beginner guitarist trying to blow g mixo on the g7) is flat as is its resolution to the 5th (G) of the Cmaj7

  • oops, sorry the a flat is not an a flat, its an e flat... a sharp 5 on the dominant. and the 5th i spoke of on the c is actually the 9th (D). my bad...

  • Oh! c'est sympa dis donc!J'ai mis ton clip sur pause et je suis allé chercher une guitare pour jammer mon vieux!

  • Can sb please tell me the taps for the A7b9?? i cant find in anywhere?!

  • Are you asking how to play A7b9? If so, I would play A, Db, G, Bb

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