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Guitar Basics
Introductory Guitar Concepts for All Players
Tricks & Techniques
An Assortment of Techniques for Specific Playing Situations
Jazz Basics
Introductory Jazz Guitar Concepts
Jazz Advanced
Advanced Jazz Guitar Concepts
Gypsy Guitar
Concepts and Techniques for Playing the Gypsy Style
Lick Breakdowns
Detailed Analysis of Specific Licks and Melodic Ideas
AGU Tunes
30 Day Challenge
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Jazz & More Guitar Lessons: “Days of Wine and Roses”

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Tune-Based Instruction,
"Days of Wine and Roses" Part 1.
While you're learning and working on these
songs, make your own rendition of them and
send in a video, a couple of videos,
of yourself playing these songs, and
I'll watch them for you and
I'll give you some good feedback.
Maybe can give you some new ideas,
more advanced ideas for
improvisation, expanding your vocabulary,
once you get to know these songs and
the basics, devices, how to improvise.
So, please do that and
I will see you online.
Tune-Based Instruction,
"Days of Wine and Roses" Part 2.
Let's start with the melody this time.
This song is in F major.
C7 sus for
a couple of bars where I improvise.
And then here's the melody C,
Starts on A.
G, A, C, D, C.
C, A, A, D, D.
Now, I'm playing it straight
instead of playing it in swing.
C, A, A, D flat.
A, G, G, C, D, E,
F, G, A, D, C.
B flat, C, B flat.
A F G A E G F E D G.
And then you can do G sharp up to A again.
Next, the A section.
Here's the second bar, A, C,
G, C, D, E, F, G, A, C, E.
A high E.
E, D, C, A, G,
F, B flat, E, F.
Maybe you find it more suitable to stay in
the position I like to go all
over the place like this.
Maybe down here.
Or, or where I played it.
Or even up here.
Sometimes you could play
If you like that B flat better.
So, that's the melody.
Then we have the chords.
F major 7.
E flat 7.
And 9 maybe.
If you wanna put the A on top,
there's a sharp 11.
Like a D7 sus,
D7 sus, D, G,
C, E, and A.
D7 flat 9.
D, F sharp, C.
A, A flat.
G minor 7.
B flat minor 7,
just move it up three bars.
E flat 7, A minor 7, D minor 7.
G minor 7, F minor 7,
B flat 7, like a 2, 5.
F minor 9, if you want.
Then E minor 7 flat 5.
D, minor 9, or D minor 7, the.
G minor 7s, E7.
We'll do a flat 9 leading back, so.
F E flat 7, D7 sus D7 flat 9,
G minor 7, B flat minor 7,
E flat 7, A minor 7.
Here comes B minor 7 flat 5.
E7, flat 9 then sharp 9.
A minor, D7, G minor, C7.
And here comes the G flat major 7 chord.
It might be leading back at the end, but.
You can stay at that chord until and
here comes the one, the new chord so.
One bar.
If you don't recognize
all these chord voicings,
please go back to your another section.
To the basic guitar knowledge and
to the basic Jazz course and
the tricks and
techniques sections to make
sure you're following.
One bar.
Two bars, a D7.
G minor 7, two bars.
Here comes B flat B minor 7.
Flat 5, B flat, E7.
Sometimes it's nice to do like that,
to practice on your own just to
play without any rhythm section.
To add some chords here and
there when you feel like it,
and after awhile you.
Take off all the chords and
just play like.
See, it's hard to outline the changes.
So, to be able to do that, go back to
jazz section and check out some of
the stuff when I'm speaking about
practicing without any chords.
Tune-Based Instruction,
"Days of Wine and Roses" Part 3.
I will show you some scales for this song.
You could just play by ear and find and
play around the melody, improvise around
the melody if you're not used to scales,
not used to thinking this way.
Scales are just a supplement.
Just an idea so you know what words to use
in your vocabulary, what notes to use.
And then you can make it up yourself.
Change the order.
Do whatever you like.
It's just to get you an idea of
what kind of sounds you can get.
So you shouldn't be limited to a scale,
you know
Like, feel you have to play,
like, a scale.
It's just a bunch of notes that
you can use however you like.
So first chord,
it's in the key of F, this song, so
I will play some kind of an F major scale.
There's a lot of other stuff you can do.
If you wanna go out and
do, make it more modern.
But the basic scale would
be an F major scale.
Second chord, E flat 7.
So, I wanna stay and keep this note.
You know, to keep as many notes
as possible in the key of F.
still use the chord notes of E flat 7.
I use these chord tones from E flat 7, but
I fill out with notes in between from,
from the, from the key of F.
So it will be,
This one.
So E flat F.
B flat, C.
D flat, E flat, F.
And that's called a E flat Lydian
flat 7 scale or Lydian dominant.
And sometimes,
if you're not sure what scale to use.
You can actually do like that.
Take the core tones of the actual chord,
and then fill it out with
the notes from the remaining
notes from the key.
Like in this case, we're in E flat.
You can fill it out with notes from,
from F.
Because from the F major
scale because we're in F.
And then you can get a picture
of what scale to play.
So here, E flat 7, D7.
Here on this chord,
I will use D alternate or super Locrian.
Go back to the jazz section if you
are not familiar with this scale.
Or even the advanced jazz section.
'Cause this is one of the modes for
melodic minor.
maybe I wanna use the mixo flat 2 flat 6.
This leads well into G minor.
And one is also available in
the advanced jazz section as one
of the modes of harmonic minor.
So I might start inside
with a D mixolydian.
Then go out into an altered, or
going to the mixo flat 2 flat 6.
G minor, Dorian.
Second step of F major.
Then we have a 2, 5.
B flat, minor 7, E flat 7.
Then you can choose to do, play Dorian B
flat Dorian, E flat mixolydian.
Same, those are both the same scale,
they come from, they both come from,
they use the notes of A flat major.
But you can also add this note
to stay more in the key, so
in the B flat it will be.
B flat melodic minor.
Same scale starting from same note.
Starting from E flat
will be E flat Lydian.
Or Lydian flat 7 for E flat.
Back to A minor.
A minor is the third step in F.
So it would be F major 7
scale starting from A.
It's called a Phrygian.
Like that.
And the next chord D minor
is the sixth step of F.
So here you can stay and
you can play a D Aeolian.
And that's the same as Phrygian or
F major.
It just depends from,
on what root you're starting,
and you have different chord tones, too.
So, back to D, G,
minor 7 Dorian, same scale.
Still F major 7, but
now we're starting from [SOUND] G minor.
With these chord notes.
And here I do, like, a 2 5.
I like to do, this is not in the original.
But I like to do F minor, B flat 7.
Like, a 2 5.
You can play Dorian mixolydian.
Or, you can play Lydian flat
7 on the B flat with this note,
E on a left minor chord.
If that were the same note,
it will be the major 7th.
In the like, in melodic minor scale.
You have a few different options
Now you have E minor 7, flat 5.
7th step in F.
That will be F Locrian.
A dominant.
A dominant to D minor 7 which
is the 6th step of F major.
So A7.
If you're not sure what scale to play,
you could take the chord tones of A7.
And then fill out with notes from F major.
And then you get this, 'kay?
Which is mixolydian flat, 2 flat 6.
Leads into D minor.
It's the dominant.
Dominant leading to the second step.
It's dominant and then the scale will be,
take the chord tones and,
and fill out with the rest of
the notes from F major key.
And then you will get just
the mixolydian scaling.
a C7.
And here you can play the altered scale.
You can play maybe the diminished scale.
And you can also find in the,
in jazz block.
If you want to learn it
Or you can play
Yeah maybe altered or diminished,
those would me my choices.
And then back.
Same thing again.
Same thing again.
A minor, D minor.
Here comes the B minor 7 flat 5
which is like a 2, 5, and a 5.
E7 is going to A minor.
And A minor's the third step of F,
so it's called dominant leading
to the third step and what will,
what will be the, the scale you play,
if you, maybe you can all three you
know these scales work most of the time.
But if you want to find
out the most inside scale.
Then you use the chord tones of E7,
E, G sharp B and B.
And you fill out with the notes from the
key, from F and then you get this scale.
Once again the E
mixolydian flat, 2 flat 6.
A minor 7, D7,
D7 will be a dominant
leading to the second step.
If you wanna find out a proper
inside scale, you do the same thing.
Chord tones from D7.
D, F sharp.
A and C.
fill out with notes from
F major in between.
Here would be, this would be the scale,
mixo flat 6.
But this one,
I don't like that much to use,
so I'd rather play like a a mixo flat 2,
flat 6 or
the altered scale,
it's a little bit more outside.
G minor, C7, and then, this chord.
This is a flat
2 major 7 chord starting on G flat.
Here's the scale.
It's Lydian.
G flat
G flat, A flat, B flat, C,
D flat, B flat, F, G flat.
And then we'll, and
when you're improvising
it's a lot to think about,
especially if you're gonna
start with all these scales.
So I would come, recommend some ear
training too, is to find the improvised
around the melody or find,
come up with your own melody and
find like the shortest way like
You can do this with chords or without.
Here, I'm finding a note on the top note.
That works on all these chords.
The next step is to longer life.
So, this is the way I'm thinking when
I improvise.
I know the scales can be helpful
sometimes to find ideas for notes to use.
But then I use my ears, and
I prefer to find lines that works between
the changes the way I'm working now.
So a lot of more exercises like
this in the jazz block and
advanced jazz block, so.
Stay tuned.
And I'm gonna upload some more songs too.
More songs to come in the pipeline.
So send me some videos
where you're playing these,
practicing these, and
I'll review them for you.
And, make sure you're gonna
do some really good progress.
All right.