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Guitar Basics
Introductory Guitar Concepts for All Players
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An Assortment of Techniques for Specific Playing Situations
Jazz Basics
Introductory Jazz Guitar Concepts
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Advanced Jazz Guitar Concepts
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Concepts and Techniques for Playing the Gypsy Style
Lick Breakdowns
Detailed Analysis of Specific Licks and Melodic Ideas
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Jazz & More Guitar Lessons: Soloing With Pentatonics

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Jazz Advanced,
Soloing With Pentatonics Part 1.
The pentatonic scale is a really
useful tool if you're gonna improvise
over a jazz standard or any song as I
described in the basic guitar block.
There, if you can either look
at this as a major pentatonic.
Like that.
starting from C, C, D, E, G.
A and C.
you could look at the same notes from
A then it would be A minor pentatonic.
'Cause the A minor is
the relative key of C.
The relative minor key.
So, I prefer to now in this block we're
gonna speak about minor pentatonics.
So, you know, it's not too messed up with,
mix it up with major ones.
So, when I say A pentatonic,
I mean A minor pentatonic.
you're trying to find a pentatonics
that works, you can find.
First of all, you can find one that's,
it's completely inside.
Like, for instance, C major 7 chord,
an A minor pentatonic would
be totally inside because it has
the only notes from the actual scale.
For the Aeolian chord scale,
it's good to learn
this pentatonic to find it all over,
all over neck.
So, practice that and
once you've have grown accustomed
to play inside pentatonics.
You can start going slightly outside.
You can find maybe a pentatonic that
has one or two really hip notes.
For instance, over this C major chord,
you could try
B minor.
And B minor pentatonic has a B,
The 9th,
now I'm speaking in regards to C major.
9th, the major 7th,
the 6th.
And here, the sharp four, the Lydian note.
And the 3rd, and the 9th.
Listen to this flavor.
It gives a Lydian flavor to this.
I'm just
staying in this
position to,
to show you.
So, this is a hip one and
you can maybe go even further
outside if you wanna find a pentatonic
that has, has notes there.
Or, even more outside like F sharp minor.
So, you,
This is a sharp four,
in regard to C major still.
This is the 6th, this is the major 7th.
This is the flat 9.
This note is really off.
It doesn't have anything to do
with the C major chords here.
And, this is the third.
And, back to
sharp 4
And, the more you go outside,
the more outside you play a chord.
The more important it is to have
a good rhythmic feel to it.
If I would play, just if I would,
If the melody in C would be like this.
And, if I will play this half a step
out [SOUND], up, like totally chromatic
It will still sound kind of hip.
Below the notes doesn't work, but it,
the melody has a strong
rhythmic kind of flare.
So, the more you go outside,
the more important it is to play.
Something really rhythmical or that you're
really convincing in what you're doing.
So, if you wanna play really,
really out, be convincing.
Find a convincing melody a pattern or
rhythmic feel and still it will sound
pretty good 'cause it's not really,
sometimes it's actually
not about what you play.
It's how you play it.
So, but let's try some other pentatonics.
For instance,
if I have a minor chord.
the minor chords instead of just using
the minor pentatonic, I like to use.
If the minor chords are,
are Dorian of course, I use,
like to use just [SOUND] the 6th note.
So, [SOUND] this is
a minor 6th pentatonic.
[SOUND] Instead of this note,
[SOUND] you have a [SOUND] A.
So, it's C, E flat, F, G, A, C.
Really nice flavor to this one.
Coltrane used this one a lot,
saxophone player, John Coltrane.
And, you can even
go even further outside.
You can, you can do kind of a,
a thing where you replace.
The root with a major 7th, so it's like a.
In a, in a, in a way,
a melodic minor pentatonic.
I think Jerry Bergonzi,
you know, the sax player,
he calls this scale for
the whole tone pentatonic.
Here you go.
Major seventh, B, E flat,
3rd, all of C minor F.
G 5th.
A 6th.
And, a major 7th.
That's the
ninth one.
So, you can use that one and
a minor 6th, minor over the.
The minor chords.
So, and then for
dominant chords, if you have for
instance, a G7 chord leading to C,
C minor, major.
If you just have a G 7th chord,
I have a few different
ones that I really like.
Some pentatonics.
I like this one.
The B flat minor.
The note will be the sharp, sharp 9.
In, in, in the key of G7.
Sharp 9.
Flat 9.
Sharp 5.
[SOUND] flat 5 [SOUND] with sharp 4.
All these altered notes, here's the chord.
Do some of
these bands.
Last time I taught you in the general
guitar trick, tricks section.
Jazz Advanced,
Soloing With Pentatonics Part 2.
Here's the backing track for
Green Dolphin Street.
Start with the Lydian pentatonic B minor.
It's minor, minor 6.
E flat minor
going into
F sharp major,