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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: “Sunny”

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Tune-Based Instruction, "Sunny" Chords.
Here are the chords for this song.
The first chord is an A minor 7.
You can play it like this, or if you want
to use the thumb, or if you want to bar
it, there are many ways of doing it.
A, 5th positions and 6th string.
G 4th string, also 5th position.
All the notes are within the 5th position.
So you have C and you have E.
All right.
And a chord voicing.
You can choose to play it.
Up here you wanna like flavor it
a little bit.
Add maybe a ninth.
A minor 9.
A, C, G, and B.
Some possibility too.
Or maybe an A minor 11, A, G, C, and D.
There are many possibilities but
let's stick to this one to start with.
One, so, one, two, three, four.
Then the same voicing,
two frets down, G minor 7.
Then a C7.
So C is C, E, and B flat.
A 9, a D if you like, so.
C, E, B flat and D.
Go to an F major 7.
F, first position F, E.
A, and C on the 6th, 4th,
3rd, and 2nd string.
First, second, second and first position.
that chord you can also play
if you're playing up here.
Drop here, you can, like,
do a C13 for the dominant C,
B flat [SOUND]
E, and A.
And then F major 7.
F, C, E, and A or maybe you can like
color it a little bit with the 9th.
F, A, E, G.
Then you have a B minor 7 flat 5.
B, D,
and F.
Or down here B, F, A, B.
You wanna color it with an E11.
Well actually, some people when playing
this song, they don't really play the B
minor 7 flat 5, they just play like a B
minor 11 at the chord, so, you can choose.
You can make these small
alterations as well for
the dominant like the 9th to flat 9 to.
The 5th of the major chords.
That's a nice line.
Like here.
That 13th to the flat 5.
To the 9th of the F chord.
And these chromatic lines they sound so
good when you're playing a chord
progression, and you move like the chord
half a step and the next chord.
You play it.
You move it chromatically, the top note,
and then for next chord, yet another step,
half step chromatically.
So it's important to like find a good
line on top to be able to play this,
these nice chord voicings.
So you don't jump it too much like,
That might sound a bit weird to trying
to find a good,
good melody line on top, also,
so, you have this alteration here.
Then after the B minor 7.
Let's do, we can do an E7, altered E7.
Sharp 9.
Like that, it's a nice chord.
You can add like a sharp 5
as well if you'd like to.
up to there it sounds
It's not a nice voicing.
13 flat 9, D, G sharp, D flat, or,
or A flat if you wanna call it A flat,
and F on top.
One more time, then third time,.
I'm not going to G minor.
To have a little bit of variation,
I'm going to a C7 sus, like a B flat over,
B flat over C.
And I might resolve it,
F into a C, C9 chord.
This is like a 9 sus 'cause
I have the D as well.
Another F major chord.
Major 9 or
if I wanna play the major 7 like this.
F, A, C.
E, and A.
Sorry, go straight to the dominant.
This is a B7 sharp 11.
B flat, I'm sorry B flat 7 sharp 11.
B flat, A flat, D and E.
Sounds like this.
Or you can do a B13.
If you like, do another nice voicing.
And another.
B minor 7 flat 5.
If you wanna play the flat 9,
works as well.
Or the sharp 9.
Flat 9 sounds like this.
Then another B minor 7 flat 5,
or B minor 11 and E7.
So let me play the chords one more time,
and I will move it around a little bit.
So you'll hear the possibilities.
Chromatic passing chord.
what I did there,
I added a couple
of like chromatic
passing chords,
A minor,
A flat minor if
we're going
to G minor.
And also sometimes I
replaced a C7 with G flat 7.
A tritone substitution.
A sharp 11 chord,
which resolves chromatically.
It's pretty cool.
And I also used this voicing
on the B minor 7 flat 5.
It's the same as this one that I showed.
But up here, on the fourth,
third, second, and first string.
Then moving it up,
three frets to get an E.
7 sharp 5, sharp 9, and
then back to the A minor chord.
So those are a few
voicings that you can use.
There are of course many many voi,
more voicings.
Why not find out a few of your own?
But these are good basic voicings
that I like to use when I'm playing.
So, thank you.
Tune-Based Instruction, "Sunny" Melody.
It's time for me to do a little
breakdown of the melody of this song.
So, as you noticed,
I'm playing it, like, two times.
One time, you know,
up here at one octave up.
But let me show it one octave down.
You know in this mid range of the guitar
first, so it starts like this with an E.
Second string 5th position.
Two times A,
G, E, B, C, A,
C, D, E.
So in tempo, that's one, two, three, four.
E, E.
Four, one, two, A, G, E, D, C, A, C, D, E.
And then, one you can actually play.
If you wanna use A, 7th position.
Fourth string.
Or 5th position, third string C.
And a D before E once again.
Second time.
Same melody.
A, G, E,.
Then E,
C, we're still on 5th position.
E, C, B, C, D,
E, C, B, C.
And actually, like, the vocal melody,
I think it repeats like four times.
But usually this last time
I'm doing something a little different
when I'm doing it instrumentally.
Why not do it like this?
A little line.
G, F, C, G sharp.
Or A flat.
G, F.
So it's first, second string,
third, fourth.
Second then, so, the tempo
Like a little triplet here means like
three notes.
On one beat.
One, da, da, da.
Then E.
E, E flat, D, A, C, D, C, A.
So let me play it one more time.
And what I'm usually doing is,
like, sliding.
You know, phrasing the melody
a little bit, instead of just playing
I might do
You know, you can slide like
half a step up.
It's a really good tool for
making it sound more interesting.
You can do some of the notes longer.
You can add a little vibrato.
Make it sound a little bit more romantic.
We can do sort of short and more staccato.
Or you can do the hammer-ons, like from a.
Whole step down.
[LAUGH] Something like that.
This is a nice thing you can do here,
this slide here.
And E, and then G.
9th position, 8th position,
third and second string.
And also you then you can play it one
octave up the same,
same notes but up here.
A good idea is also to just
to try to hear the melody and not think
too much about staying in one position.
Just trying to play it
freely over the neck.
Now go up here.
And another thing will be to play octaves.
So you play the same note
One octave apart.
So you have the E.
fingering it with the first finger and
the fourth finger.
And third and first string.
And when doing these octaves,
you can slide as well, and.
can play with the pick or with the thumb.
And, it's important when doing
these octaves that you're kind of,
with this first finger you're
muting the open string in between.
So it doesn't make any noise.
Otherwise, it would be like that.
That's no good.
So one octave down is.
This is
a nice thing.
We're gonna do a little bit of a variation
to the melody.
Second time.
Instead of going to A, you can go to C.
Then we're down low here.
Tune-Based Instruction "Sunny" Solo.
It's time for the usual breakdown
of the devices that you
can use when soloing over a song.
And, this time we're doing Sunny.
And, the song the key of this
song is I would say an A minor.
A minor Aeolian.
The, the pure minor scale.
Like, the same as C major.
The relative minor key to the C major.
it's like a C major scale starting from A,
in a way.
A, B, C, F.
a D, E, F, G, A.
And then, I mean, you can for this chord.
I'd like to change the, the mode as well.
Sometimes, I like to play Dorian to.
To play that F sharp instead of.
You hear a different sound.
That's also a, a possibility.
And, you can also add the G sharp.
If you add it to the Aeolian scale,
and replace this G with G sharp.
I'm sorry,
this note, G sharp, you will get a,
A harmonic minor scale.
That's also a possible choice.
if you do the same thing to the Dorian
scale and replace that note with this one.
A G with a G sharp and keep the F sharp.
You'll get a melodic minor scale.
A, B, C, D, E, F sharp, G, A.
Then, you get this sound.
It's also nice and
the next chord the G minor 7,
followed by C7.
Followed by
An F major chord.
And, it's a 2, either you can view
it as you're still in the key of
a minor cause all these chords, I mean
the C7 is the F major chord is actually.
If, if we are in minor now,
it's a 1, 2, 3, 4, 5, 6.
It's the sixth step of A,
Aeolian you can find F major and
C7 is the dominant to that chord and also,
it's proceeded by a, by a G minor chord,
related to the dominant.
But, you can also view it as
a temporarily key change.
Like a 2, 5, 1 in F.
That works as well.
And, that means for
the 2, you can use G Dorian.
As you notice, it's only one note
different from, from the first.
If you're playing a Aeolian.
And, you changed that B into B flat,
it's only one note different.
And, for the C7, you can just play that,
that same scale.
'Cause G Dorian share the same
notes with C Mixolydian.
Starting from C.
And, if you start that
scale from F major playing those same
notes, you get, get an F major Ionian.
So, you can pretty much
stay within the same,
Stay within the same group of,
of notes, of possible notes.
Just have to change one there.
Another thing would be to go more outside
and over to C7, maybe play a super Locrian
scale or do something like
Super Locrian would be C,
B flat, E flat, E, G.
Flat A Flat B Flat and, and, and C.
It's a really useful scale.
So, go from the Dorian into that scale,
resolving into the F major chord.
So, that's a possibility.
Another possibility is
to do a chromatic thing.
Playing, like, a, A minor.
A flat minor into G.
So, one, two, three, four.
One, two, imagining that this is,
this is a passing chord.
That's a cool device as well.
Then, we have the B minor 7 flat 5,
where you can either, this will be the
Related minor 7 flat 5
chord related to this
dominant that leads back to the,
to the, the root.
And, it's also part of that.
A Aeolian scale you find
here is the second step.
B minor 7 flat 5.
So, you can do Locrian.
Same as A Aeolian.
Same set of notes.
Same set of notes as C Ionian.
It's just that it's starting from,
from a different root.
And, it has different chord tones.
if you like you can change
that C into C sharp.
So, you will get a more, like a,
a Locrian natural 9 sound.
That's pretty cool.
And, over the E7.
The most inside scale will be to
play Mixo flat 2 flat 6 from E.
E, F,
G sharp, A, B, C, D, and E.
And, for those of you who might
notice that this sounds familiar
it's actually the same notes as
a harmonic minor that we used before,
just starting from
a different root once again.
Same set of notes.
Or, you can do the super
Locrian scale from E.
You hear the difference
in the sound playing.
Mixo flat 2 flat 6.
This is the super Locrian scale.
E, F, G, A flat, B flat, C and
So, that repeats.
One time first.
That's one time.
Second time.
Third time it starts the same.
But now, instead of going to G minor,
we go straight to
Like A9, C9 sus, or C7 sus.
So, there you can either play
mixolydian from c.
if you want to play that lydian flat 7 and
get this note in there.
F Sharp.
That's nice.
And then,
before we're going to F major, 7.
We can do something more interesting.
We can alter that chord,
playing a C super Locrian.
If, if we like, that would,
like, trying to find these
these chromatic notes.
Like [SOUND] the sharp 5 leading
down to a 9th on the next chord.
Or, finding the 9 to the flat 9,
to the 5th of the next chord.
Those finding those guidelines are, are
really important to make it sound good.
So, if I would improvise my sound.
using, you can go the other
direction, like,
Going up.
Sounds very good, too.
Using that C super Locrian resolving
in [SOUND] Then, we have a B flat.
This is a a substitute for E7.
Sub you could call it
the tritone substitution.
So, you, then you can use that E altered
scale, but starting from B flat,
using the same set of notes.
the scale's called Lydian
flat 7 from B flat.
And, for all these tritone substitutions,
That, that is the scale
to use Lydian flat 7.
So, that whole thing works out
finding back.
Find my way back to B minor 7 flat 5.
At E7 again.
And, A minor.
And, that's the end of the song.
So, let me play a little bit
without any backing track.
And, I'm gonna try to keep
it really simple, and
find these good guidelines
within the solo.
Longer lines.
And so on, sometimes it's good to work
a little bit with chords,
adding chords to your solo,
to kinda give it more more
of a what do you say.
Especially, if you don't have any
like rhythm section, any piano.
You will get more substance to it,
to fill out the, the.
But this, this sound a little
bit make it sound fatter,.
[SOUND] have more variation to your solo.
And then,
you can try to find these guide tones
within the chord voicings as well.
And so on, you can go both ways.
And, and, and so on.
So, try it out for yourself,
improvise a little bit with or
without backing tracks and
send in a video for
me to review of this song and
make a version of your own.
Thank you so much
Tune-Based Instruction
"Sunny" Performance 2.
I'm gonna do another performance of this
song and the first couple of chords, this
will be really basic for, for you guys
who just started, you know doing jazz.
And, and this might be a good solo to
study and, and rip a few lines from.
And then after a while I am going to
head into more advanced stuff, but
I am going to keep it really
basic from the beginning.
So here we go.