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Guitar Basics
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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
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Jazz & More Guitar Lessons: Gonzalo Lick

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Gypsy Guitar, Andreas Oberg & Gonzalo
Bergara Gypsy Guitar Lick Demonstrations.
So I think while Gonzalo is here,
we're gonna take
advantage of his skills and
he will show us a few of his licks.
You know, we're gonna start with a,
a basic lick it's a, like G7.
Going to a, a phrase two bars of G7.
>> Yeah.
You know it happens on many of these songs
that happens they you have a down and
chord for
two bars going into a major chord.
For two bars.
It happens pretty much on every song.
90% of the songs, right?
Whatever key you're in.
So, yeah we have a little.
>> Yeah it's more like five,
if you would talk like theoretically
it's more like instead of 2 5 1, like.
>> Yeah it's just 5 1.
>> D minor 7 G7 C.
It's more of a five one [CROSSTALK].
>> G7, G7 C, C.
>> 'Cause this is,
you know these songs are,
are old like from the 30's,
20's, 30's and 40's and and.
Then at that time that was a more
typical chord progression for,
for the jazz music, you know,
from that time period.
So, I'm gonna play the chords and
you're gonna play the phrase.
First we're gonna do it in, in, in tempo.
Then we're gonna, like we're gonna
do it a little bit slower and
then Gonzalo's gonna break it down for
you and show.
How he's fingering it and
also how he's picking it.
'Cause in this style,
it's important with the,
the rest stroke and
with the gypsy picking to change
do down stroke on each string
change going both and down.
And this is something,
this is something I have taught
you within the previous lessons.
But it's, it's great to see
Gonzalo do it and he has a really
nice right hand, you know,
and it looks really good.
>> It's pretty.
>> Clean and nice technique, so
have a close look now, and here we go.
Let's count it in.
>> One, two, a one, two, three, four.
One more time a little bit slower.
One, two, one, two, three, four.
All right.
>> So it's basically what's happening,
it's a.
If you want to analyze it,
which you don't need to at all, it's G7.
[SOUND] G augmented to that C.
All right, so
I'm doing up here, this shape.
I'm looking,
I'm visualizing this shape all the time.
[SOUND] It's very helpful for
me to see shapes under the, the,
the things I play, you know?
[SOUND] If I see this chord,
I know what I'm doing.
Just playing the arpeggio.
>> That's an old mantador bit,
you're right.
>> Right.
And I slide down because I like that sound
>> Okay that's
something that Django did a lot because
he had only two fingers to, to, to.
>> And also it brings it back a little on
the time so it adds a little more bounce,
more groove.
You're not supposed to.
>> So if you name the notes slowly.
>> Yeah.
The D, B, C, G.
So it's D, B, G,.
[SOUND] A, B, A.
Back to G.
Back to D sharp, right?
>> Yeah D sharp is
the augmented- [CROSSTALK].
>> D sharp flat, right.
>> D-sharp flat.
as your hear this is like a melodic motif.
This is something.
>> Right.
>> I'm, I'm often talking about.
You find an idea then you
alter it a little bit for the next chord,
and then you resolve it.
>> It's just the, the, the,
you start with this note,.
[SOUND] and then you do.
And then change the note.
>> Yeah.
[SOUND] B down to B.
D flat, C.
A, G.
D sharp, E.
And the tempo's weird 'cause I like it
that it doesn't fall right on a down beat.
If you.
Can you play rhythm on center [INAUDIBLE]?
>> Yeah.
Listen to the last note.
One, two, three.
>> The whole, the whole thing?
>> Yeah.
One, three,
So that end, on the upbeat,
that always brings a lot of excitement I
feel and, and I don't hear that that much.
I think-
>> No, no.
People should use that.
>> Wha, where do you get notes at the end?
From when you, after you.
>> I think.
>> Or slide it down.
Could you can name them?
>> Yeah.
B, D, C sharp, C, B, A.
G, D sharp, E.
>> Great.
the next thing is the, the picking here.
If you would explain it a little bit.
>> You're rest you doing rest strokes,
right so each time you.
>> Every time I do a down stroke
I do a dense a rest stroke.
>> A rest stroke means that you're
resting on, you let the pick fall and
rest on the next string.
>> Right okay.
[SOUND] If you play one down stroke.
[SOUND] And you, and look at your hand.
If it's up in the air,
you're probably doing something wrong.
It should be
>> On the next string.
>> On the next string, yeah.
And you do that by picking, not just this
way, but into the guitar a little bit.
you don't have to hit that hard either.
You can just let the pick fall and
you will.
>> Exactly.
>> get a very.
>> A nice.
>> Accurate.
>> Yeah.
>> [MUSIC]
[SOUND] this particular lick,
even though when I'm on one, the same
string I would actually alternate.
This particular lick since it's not
a fast lick I actually play it all down.
Yeah this is a good thing to point out.
When the tempo's not that fast you can
actually do like mainly down strokes.
>> Yeah.
>> The sound is.
>> Yeah, yeah so much better.
>> But if you're gonna play it
fast you will need to alternate.
>> Yeah and then I alternate
when I'm on the same string.
That's the, the rule, you know, new string
down stroke, same string alternate.
[CROSSTALK] So if I follow that rule.
>> And you started with a downstroke yeah.
>> New, new, new.
Yes, so new string.
[SOUND] New string, new string, new.
New string, same, [SOUND]
same thing.
>> Yeah, yeah.
>> No.
Same string.
And this.
It's so, there's so
much time between here and here,
by not, instead of going [SOUND] and go
You get much more bouncy feel
when you actually do the
All right.
>> Yeah.
>> Gonzago is going to
play this lick once again.
And have a look at his right hand now.
First he's going to do it all
down strokes at a slower tempo.
And then he's going to do
it with gypsy picking with
some alternate picking as well while
he's on this, staying on one string.
And on doing the gypsy picking we.
While changing the strings.
So you have two options here.
So let's go slowly.
>> Let's just do it slowly first.
>> Okay.
One, two.
One, two, three, four.
All right.
And let's do it faster.
One, two.
One, two, three, four.
That was that nice ending to it.
All right.
Let's do it faster now.
One, two.
One, two.
One, two, three, four.
One more time.
One, two.
One, two, three, four.
Gypsy Guitar, Andreas Oberg & Gonzalo
Bergara Gypsy Guitar Lick Demonstrations.
It's time for the next lick and
this is a cool outside sounding
dominant lick right over a D7?
>> Yes it's a little and again,
that little augmented sound
that I find really useful.
>> Yeah and Django he, he kind of brought
augmented scale into jazz I would say.
One of the first players to do it.
>> The whole tone.
>> The whole
>> Definitely.
>> Scale and the augmented triads,
'Cause he listened to lot of classical
music like Claude Debussy and
the Impressionists.
And he, he took some of their ideas and
brought them into jazz.
And this is an even more modern thing.
This is like,
would be like a contemporary.
>> I guess it would be.
>> Gypsy jazz lick.
But it, it is great.
These ideas are, are very popular
among younger players today.
So let's hear it.
Let's play it fast first and
then slowly and then break it down.
>> D7.
You count it in.
>> One, two, a one, two, three, four.
>> A little bit slower.
>> Yeah.
>> One, two, one two three four.
>> Yeah.
>> So what are you doing there?
So I'm doing, kind of a whole tone.
I'm playing,
I'm outlining D major in the beginning.
Five, one, three, you know?
And then I put the flat five.
And then I put the flat 5.
>> These shapes are really useful to,
to, to, memorize.
>> Yeah.
And they're so comfortable.
I keep going up at the 7.
And then I.
go two frets down like a whole tone again.
I'm on A sharp.
>> So name the notes at the beginning,
you start on A.
>> So A.
F sharp.
G sharp.
>> Yeah.
>> And then D.
F sharp.
[SOUND] G sharp.
[SOUND] the A sharp.
Now I play a whole augmented.
>> Yeah.
>> With a, with a, with a 9,
with an E, D at the end.
So D.
[SOUND] F-sharp.
F sharp.
A sharp.
And now
after doing all that I just go into a more
of a normal D7 by playing C [SOUND] A.
F sharp [SOUND] A.
[SOUND] D flat [SOUND] C.
[SOUND] So the ending sounds.
The whole thing.
>> Yeah.
The chromasic, chromatic pass going again.
>> Want to play the tempoline?
>> Yeah.
>> One, two, three, four.
No, that's great.
>> Yeah.
>> And so the picking once again?
>> The picking is same, this is the same
rules that we always follow for
everything, new string, down stroke,
same string, alternate.
If you follow that rule,
you'll be able to figure out
the picking to any lick you have.
New [SOUND] new [SOUND] new [SOUND] same
[SOUND] new, [SOUND] same.
[SOUND] New.
[SOUND] Same [SOUND] New.
[SOUND] New [SOUND] new
[SOUND] new [SOUND] same.
New string.
[SOUND] down.
Same [SOUND] alternate because it's,
well, down [SOUND] alternate.
[SOUND] New [SOUND] new [SOUND] new.
[SOUND] alternate.
If you.
You only need to know that rule and
you, you'll be able to figure out
how to pick any, anything you play.
>> Yeah.
>> And the slower you play,
if you can do it without
down strokes the better.
You get better tone.
>> Absolutely.
>> Yeah.
>> So yeah try this lick out.
Start slowly and then try as.
>> Also you know it's not just,
obviously it's not just D7.
So move it around a lot.
Sometimes I notice that.
It's, you know you learn it
very good in one shape and
then you get lost, you know when you're
playing in F sharp or something.
Because there's no dots in the same
places that we have the dots before.
So as an exercise, you know, play it
in C [SOUND], play it in D [SOUND],
play it in E [SOUND],
play it in F [SOUND] ,.
Move it around.
It's good.
>> And a good thing about the guitar is
you can visualize some of the shapes.
And the whole tone shapes they're
looking the same, you know?
Whole tone up.
>> Yeah.
>> You can go like two frets up.
>> Yeah.
We should ex,
exploit that advantage, you know?
>> Definitely.
So that's was a whole tone lick in D.
Gypsy Guitar, Andreas Oberg & Gonzalo
Bergara Gypsy Guitar Lick Demonstrations.
All right.
It's time for Gonzalo to show one of his,
I would call it
one of his trademark licks,
'cause he's great at playing triplets.
You know, making long lines
crossing over the bar line.
And, this is like we have this is also
typical progression you will find in
many songs.
>> Yeah.
>> Like a circle of dominance,
starting A7, two bars and
D7, two bars and then G7.
>> Well, G, in this case G major, right?
>> Or, G, G ma, yeah.
We're ending it, so we can do, end it-
>> A song like, like Coquette.
Not with the two is down [CROSSTALK].
>> It, it could continue to G7 as well but
let's, yeah.
>> It could, you're right, you're right.
>> Yeah.
Let's go to G major.
So, A7 two bars, D7 two bars, and G major.
>> Resolve the G major.
>> Yeah.
So, let's play it first and can make one,.
>> Okay.
>> Two.
One, two, one two three four.
One more time, that's a great one.
One, two, one two three four.
So, what are you doing there?
>> Well, we start with A7 right?
So, I am, I'm sort of doing it.
you know.
I'm starting with a major 3rd, but
I start on the minor, the minor 3rd, so,
[SOUND] a typical blues thing, you know.
>> Sliding up.
>> Right.
And then, I just outline an A7.
So, minor 3rd, major 3rd.
Then, we have E and G, the 5 and the 7.
Back to A.
I do the same thing on the fourth string.
>> There we're getting into the diminish.
>> Yeah.
>> B flat diminish.
>> Right.
I play A B flat.
And then, I play D, E, C, C sharp right?
>> Yeah.
>> Again, the same thing that I did
on the.
Same thing, I play the 5 and
the 7, E, and G.
then I play B flat,
and then I play C sharp.
So, so
far I've only been playing like
an A7 with a B flat here and there.
>> Yeah.
>> And, with a C here and there.
I skipped a A, I don't know why.
Up to E,
which by itself is a great idea.
You know?
>> Yeah.
>> You understand?
I like when they move this way
a little bit, so we got that part.
I wanna come back up this way.
D C sharp E D C sharp and
then I play B flat again and A.
Then, I play G and F sharp.
Actually, G F F sharp.
And then, I play that G.
That's the hardest part of the lick, all,
all that running.
>> Yeah, turning around right?
>> Okay?
when you get there the fingering is
important because you gotta have,
you have to have this shape,
you know, the D right, this shape.
>> It's moving it chromatically.
>> Yeah and I keep going.
And, when I get to that G area,
and it's time, I resolved it.
And so, I'm here.
C B flat, B.
Typical you know.
A very typical to do that
around the 3rd of a chord.
And then, I play the 5D to the 6E
to the basically a major scale now.
D, E, F sharp, G, A.
And then, on the 3rd.
>> All right?
>> Yeah.
So, the picking for this
>> The picking is the same thing we
talked about.
If, if it's-
>> Yeah.
>> A new string, you go down.
If it's it's, if you're on the same
string more than one note, you alternate.
Let's do it really
slow ly.
And, let's have a look from,
from this side as you.
>> Let's do it.
>> Can see.
One, two, one, two, three, four.
Or, major.
[LAUGH] But 7 like yeah.
A little bit faster now.
One, two, one two three four,.
All right.
So, when you're turning around there,
is there anything they need to
know about the picking there?
>> No, nothing.
I'm following a rule.
>> Yeah.
>> I'm never doing.
I'm always doing the gypsy rule.
Same string up, alternate, new string
down, new string down, same string.
>> You didn't do any like pull up
or something?
>> At the end, no.
>> No.
>> Yeah there we go.
I'm breaking the rule on the last note,
because I like licks to always end with
that, you know, with a strong hit.
>> Yeah.
>> So, I do.
If you follow the rule, be new string down
same string up, new, same string dow,
I should end with an up.
>> But, you do two down.
Yeah that's typical.
>> I do down down.
And, that's a great exercise to be,
relaxed to that point
where you can do that.
You know?
So, that's the only part
where I break that rule.
>> Yeah, this is a great.
>> And, I recommend-
>> Yeah.
>> To break that rule.
>> Really really cool one.
So, check it out.