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Jazz & More Guitar Lessons: “Bluesette”

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Tune-Based Instruction "Bluesette" Chords.
Let's run through the basic
chords of this song.
B flat major is the key.
[SOUND] So that's the first chord.
[SOUND] B flat major 7th.
B flat A.
[SOUND] Fourth string 7th position.
[SOUND] Third string 7th position.
[SOUND] And 6th position.
Second string.
[MUSIC]
And the root is B flat on 6th position.
[SOUND] Sixth string.
So, let's first chord.
[MUSIC]
One, two.
If we, if we count.
One, two, three, four, five, six.
[MUSIC]
One, two, A minor 7 flat 5.
[MUSIC]
A minor.
[SOUND] A.
[SOUND] G.
[SOUND] C.
[SOUND]
[MUSIC] E flat. [MUSIC]
So, two, three.
[MUSIC]
One, two, three.
[MUSIC]
And the basic chord is D7.
[MUSIC]
D.
[SOUND] F sharp.
[MUSIC]
And C.
But you can of course add, 'cause in the
melody here, [SOUND] you have the flat 9.
[MUSIC]
And, and the major 3rds.
You can of course,
[SOUND] play a D7 flat 9.
It looks like this.
[MUSIC]
If you want to finger it this way
[SOUND] or that way.
D.
[SOUND] F sharp.
[SOUND] C.
[MUSIC]
E flat on top.
So one.
[MUSIC]
Two, three.
[MUSIC]
G minor 7.
[SOUND] C7.
G minor.
[MUSIC]
G.
[SOUND] F.
[SOUND] B flat.
[SOUND] And B.
[SOUND] Can use the thumb for the bass or
you can just do like this or bar it.
[MUSIC]
Here I'm usually
doing a C7 [SOUND] or a C9.
[SOUND] C.
[SOUND] E.
[SOUND] B flat.
[SOUND] And D.
[SOUND] Then F minor 7.
[MUSIC]
And B flat 7.
[SOUND] So you can move
positions here if you'd like to.
[MUSIC]
You can play the F minor.
[MUSIC]
You can play.
[MUSIC]
You can play the F minor up here.
We could do an F minor, if you don't
want to do the regular F minor 7.
You can do the F minor 9,
[SOUND] like this.
[MUSIC]
Going to a B flat 7, [SOUND] or
a B flat 13.
So F, [SOUND] 8th position.
[MUSIC]
Fifth string.
So [SOUND] F.
[MUSIC]
A flat.
[SOUND] E flat
[MUSIC]
Then G.
[SOUND] And B flat 6th position.
[MUSIC]
A flat.
[SOUND] D.
[MUSIC]
And keep that G [SOUND] as a top note.
[MUSIC]
E flat major.
[SOUND]
Major 7.
[SOUND] Wanna play E flat.
[SOUND] B flat.
[SOUND] D.
[SOUND] G.
[SOUND] And B flat.
[MUSIC]
Or if you wanna do a, [SOUND] like a nice.
[MUSIC]
Major 9th.
[SOUND] E flat.
[SOUND] G.
[SOUND] D.
[SOUND] F.
[SOUND] So instead of the E flat major 7,
[SOUND] you can use the E flat major 9.
[SOUND] If you like that voicing.
[SOUND] Maybe put the 5th on top.
[MUSIC]
Then the same,
you can continue with the same
shape then for the E flat minor 7.
[MUSIC]
Or minor 9.
[MUSIC]
A flat 13.
[MUSIC]
B flat [SOUND] minor 9.
[SOUND] These are sequences,
[SOUND] as you can hear.
[MUSIC]
Then.
[SOUND] Then D flat.
[MUSIC]
Sorry.
One more thing before D flat.
[MUSIC]
Minor 9.
[MUSIC]
G flat 13.
[MUSIC]
To B major 9.
[SOUND] Or just a B major 7.
[SOUND] And if you wanna alter these
a little bit, you can do [SOUND] like.
[MUSIC]
But during the melody, it's nice,
we try to do 13 'cause
that's a melody note.
But during the solos, you can do.
[MUSIC]
Alter then a little bit.
[MUSIC]
Maybe go from 13 to sharp 5 flat 6.
[MUSIC]
Then after B [SOUND] major 9 or B major 7.
[SOUND] We got to C minor.
[MUSIC]
7 flat 5.
[MUSIC]
Or if you wanna do, like put the F on top.
[MUSIC]
'Cause that's your voicing.
[MUSIC]
C.
[SOUND] G flat.
[SOUND] B flat.
[MUSIC]
E flat.
[MUSIC]
Then an F7 or F13.
[MUSIC]
'Cause it's the melody note.
[MUSIC]
Wanna play F7 up here.
[MUSIC]
Or right here.
[MUSIC]
Then D minor.
[MUSIC]
And here I wouldn't use [SOUND] the 9th,
'cause we're in the key of B flat.
Now I'm kind of returning to the original
key in D minor would be the third
step Phrygian.
[SOUND] And then [SOUND] would
have the E flat instead of the E.
So I wouldn't put [SOUND]
this voicing here.
I would.
[MUSIC] Maybe like this.
[MUSIC]
Or at regular D minor 7.
D.
[MUSIC]
A.
[MUSIC]
B.
C, I'm sorry.
[MUSIC]
Or D.
[SOUND] F.
[SOUND] C.
[SOUND] And F.
[SOUND] Doubling F.
[MUSIC]
Or if you wanna go.
[MUSIC]
And play a substitute dominant for
the G7, tritone substitution D flat 7.
[MUSIC]
And you can actually add the 9th [SOUND]
and the 3rd on top [SOUND] to get an F.
[SOUND] That's a pretty cool voicing.
[MUSIC]
So.
[MUSIC]
And then for the next chord,
you will still.
[MUSIC]
Have that note on top, so
you can just move the [SOUND] D flat to C.
[MUSIC]
The B down to B flat [SOUND] and
the E flat to D.
[SOUND] So its C.
[SOUND] Add that note you feel like.
E flat.
[SOUND] 1st position fourth string.
[SOUND] Now your C minor 9, 11.
[SOUND]
If you wanna do an F7.
[SOUND] Sharp 5 here.
[SOUND] Or
if you wanna [SOUND] do the tritone.
So you have a bass line
[SOUND] that's descending.
[MUSIC]
That's nice.
B, B9 sharp 11.
[SOUND] B.
[SOUND] B flat or D sharp.
[SOUND] A.
[MUSIC]
D flat [SOUND] or, yeah,
we could call it D flat here or
C sharp if you like.
'Cause it's a, [SOUND] it's a B7
[SOUND] and then a F on top.
[MUSIC]
You can move
around these chords a little bit.
[MUSIC]
This is nice to find these chromatic.
[MUSIC]
G flat 9.
[SOUND] G flat 7.
[SOUND] G, G flat 9 or G flat 7.
[SOUND] Flat 9 leading.
[MUSIC]
To finding these guide tones within
the chords like.
[MUSIC]
Good exercises.
[MUSIC]
Turning back.
[MUSIC]
And then we're up to.
[MUSIC]
C minor 7 flat 5.
[MUSIC]
Here.
[MUSIC]
You can keep that note if you,
you, you like.
[MUSIC]
Or go.
[MUSIC]
And go up there.
[MUSIC]
Another good thing to do is like,
moving the chords and
trying to have a line on top that is like,
moving half a step or staying on the same
note even when you're changing strings and
then you can go opposite direction.
So maybe.
[MUSIC]
Something like this.
[MUSIC]
Turn it around.
[MUSIC]
Another good thing here is to play chords
and chord movements that has
a strong melody line on top.
Like either staying on the same
chord moving it half a step or
whole step up and down, so
you don't jump too much.
Might sound like this
if we're starting on a.
[MUSIC]
a B flat here.
[MUSIC]
A.
[MUSIC]
A flat.
[MUSIC]
Moving chromatically down.
[MUSIC]
Moving, changing direction.
Going up.
[MUSIC]
[LAUGH].
[MUSIC]
I'm up there and I can change.
[SOUND] Continue.
[MUSIC]
If I like to.
[MUSIC]
This is a really good exercise.
So, those are the basic chords.
Thank you.
[MUSIC]
Tune-Based Instruction "Bluesette" Melody.
Now I'm gonna show you the melody
of the song Bluesette.
As you noticed, I play the melody
over two different octaves.
But now let's focus on the lower octave
and just go through the melody here.
So first note [SOUND] with
that B flat major chord.
We have an F.
[SOUND] So right now I'm not
sticking in a specific position.
I'm kind of moving it around kind
of freely playing this melody.
So you don't have to necessarily
play the same way as I'm doing.
You can, you know,
as long as you get the notes.
And, and, and the concept of a melody,
you can always play it like here
[MUSIC]
or if you want to play it.
[MUSIC]
Or
[MUSIC]
So many ways of doing it, so, for
instance, if we start here, F.
[SOUND] G.
[SOUND] A [SOUND] B flat,
start on the 8th position, fifth.
Fifth string moving to the fourth string.
[MUSIC]
F.
[SOUND] G.
[SOUND] A.
[SOUND] B flat.
[SOUND] C.
[SOUND] D.
[SOUND] E flat.
[MUSIC]
G, F sharp.
[SOUND] That's the sequence.
So either you can play it then the [SOUND]
same thing a whole step down [SOUND] D.
[SOUND] [SOUND] F.
[SOUND] F [SOUND] E Or
[SOUND] if you wanna play it here, easier.
Same thing another whole step down.
[SOUND] C, E flat, B.
[SOUND] So, so far we have.
[MUSIC]
Or if you wanna play it here.
[MUSIC]
Same notes.
[MUSIC]
Then B flat.
[SOUND] or here.
[MUSIC]
it's B flat.
[SOUND] D.
[SOUND] E flat.
[SOUND] G.
[SOUND] G flat.
[SOUND] A flat.
[SOUND] B flat, up to.
[MUSIC]
G flat.
[SOUND] F.
[SOUND] E flat.
Or we wanna play it here.
If you wanna play it here, F.
[SOUND]
Might be easier.
If you think that, this position.
[MUSIC]
Then [SOUND] A Flat.
[SOUND] F.
[SOUND] E flat.
[SOUND] D Flat.
[MUSIC]
Same thing, but
changing this note into this, so A Flat.
[SOUND] E.
[SOUND] E Flat.
[SOUND] D Flat.
[SOUND] Then A flat [SOUND] sorry G flat.
[SOUND] 4th position, third fourth string.
G flat.
[SOUND] A flat.
[SOUND] B flat.
[SOUND] B or C sharp.
[SOUND] B flat,
[MUSIC]
up to E flat.
[SOUND] F.
[SOUND] E flat.
[SOUND] B.
[SOUND] C.
[SOUND] F.
[SOUND] Then I did [SOUND]
a little bluesy phrase.
A flat.
[SOUND] F.
[SOUND] E flat.
[SOUND] F.
So let me play the melody.
[MUSIC]
One octave up.
[MUSIC]
Up here.
[MUSIC]
Remember, you can slide if you like.
[MUSIC]
Hammer-ons,
if you like that.
[MUSIC]
Slurs.
[MUSIC]
might work as well.
If we're gonna do like that.
So this is the basic melody of blues set.
So try it out.
And I will continue my
breakdown with the chords.
And I then I will teach the devices for
soloing
[MUSIC].
Tune-Based Instruction, "Bluesette" Solo.
Soloing over a song you know,
a waltz might be a difficult
thing if you're not used to it,
'cause instead of four beats, within each
bar here of three, if you choose to count.
One, two, three, you know,
one, two, three.
You can also choose to count, one, two,
three, four, five, six, one, two, three,
four, five, six and so on.
So, if you're playing eight notes.
If we have, like, three bars.
One, two, three, it's one,
two, three, four, five, six.
One, two, three, four, five, six.
One, two, three, four,
five, six in each bar.
And if we counted to six.
One, two, three, four, five,
six, seven, eight, nine, twelve.
And one, two, three, four, five,
six, seven, eight, nine, twelve.
That's why it says many.
So, so it's important to feel one,
two, three, two, two, three.
[MUSIC]
At first I would start, one, two, three.
[MUSIC]
[MUSIC]
Play the quarter notes, and so you hear,
I'm playing a couple of eighth notes,
like, leading back to the one, like.
[MUSIC]
And then, after a while,
you can start, when you're getting
used to that and start feeling that,
you can start playing longer lines that
will stretch over each bar line, so.
[MUSIC]
[MUSIC]
Now ending on the one.
[MUSIC]
[MUSIC]
And so on.
So that's a good way of exercising.
Not just starting,
trying to play over the bar line at first.
Just feeling the tempo.
Feeling the, the waltz.
And, and then start adding more and
more eighth notes over time the more
comfortable you feel with the,
with the track.
You can also practice to a metronome.
Or, like I was doing now,
just playing acapella.
You know, with just guitar.
And trying to still keep track of the,
the feel and the tempo.
So what we're gonna do now, I'm gonna
show you the devices for soloing.
This song is modulating quite a bit.
You know, 'cause there are 2 5 1s.
You could try to, like,
analyze it mo, around B flat but
since they're a,
they're a sequence of just.
[MUSIC]
2 5 1s, I mean it's, it's probably easier
to look at them separately as 2 5 1s and
temporarily key changes.
So, first B flat, B flat major.
This B flat major scale,
Ionian would be the natural choice.
And the 7th step of B flat
Ionian would be A Locrian.
A minor 7 flat 5.
So the same scale, the same set of notes
[MUSIC]
Right?
Starting from A instead.
[MUSIC]
And then for the next chord
[MUSIC]
We might wanna change this note.
[MUSIC]
Instead, just change one note.
[MUSIC]
Play that
F sharp note and
then we'll get this scale.
[MUSIC]
It's a D7 mixolydian
flat 2 flat 6, the 5 7.
2 6 in B flat major.
So staying first.
[MUSIC]
You know,
that note will make a difference,
hitting that F sharp,
it will really make it sound like,
you know, something's happening in there.
You can hear that the chords
are changing into that dominant.
[MUSIC]
There, a flat 9 is also good to use,
E flat in combination with a major
3rd over these dominant chords.
[MUSIC]
So listen.
[MUSIC]
Or
[MUSIC] Or.
[MUSIC]
A very, very good thing.
To be able to outline that 7th chord
using that major 3rd and the flat 9.
[MUSIC]
Then down to G minor.
But since the G minor is followed by a C7,
I wouldn't in this case
usually a G minor over it.
In the key of B flat would be the sixth
step, and you would use Aeolian.
But since this is now followed by a.
[SOUND] The C7.
You can play Dorian, G Dorian.
The same at C Mixolydian,
that you would play over C7.
And of course, you can alter these seventh
chords using the super Locrian scale,
altered scale, Lydian flat 7,
adding that sharp 11.
If you like, there are many possibilities,
but I'm showing you the basics.
[MUSIC]
This mixolydian there.
Then F minor 7, B flat 7 can do the same.
Dorian on the F minor.
F Dorian.
F, G, A flat, B flat,
C, D, E flat, and F.
And from B flat just playing
the same set of notes that would be
a B Mixolydian scale.
You can also use the sharp 11
as an approach note if you like.
It's kind of nice.
[MUSIC]
Over both of these chords.
[MUSIC]
[MUSIC]
Now we're on E flat major.
Of course you can also alter the,
the B flat 7 if you like to.
[MUSIC]
And
as long as you resolve
it into E flat major.
Then another 2 5 1,
the same thing there is two repeating.
So E Flat minor 7.
A Flat 7, D Flat major.
[MUSIC]
D Flat minor, G Flat 7, B major.
So that that's what I.
What, what you can do is play a line that
maybe goes up instead of down 'cause
these are descending.
[MUSIC]
Maybe you can try
finding something that goes up.
[MUSIC]
[MUSIC]
And so on.
But otherwise you can do
these descending things.
[MUSIC]
[MUSIC]
Or after that B
major 7 chord,
we have a C minor
7 sharp 5 followed by F7.
[MUSIC]
And
then you think you're gonna go
back home after that to B flat.
But instead,
you're replacing the tonic with this.
[MUSIC]
D minor 7.
The 3rd chord.
Then D Phrygian would be the best choice.
[MUSIC]
D, E flat, F, G, A, E flat.
[MUSIC]
Then the D flat 7, substitute for G7,
mixolydian flat 7 would
be the scale from D flat.
D, E flat, F, G, A flat, B flat, B, E.
[MUSIC]
C minor, second step of B flat.
So Dorian, from C.
[MUSIC]
C, D, E flat, F, G, A, B flat, C.
[MUSIC]
And then, for the next chord.
[MUSIC]
we can do a B7.
And then, as a substitute for
the dominant tritone once again.
And then from B,
the scale would be Lydian flat 7.
[MUSIC]
So over this C minor 7 flat 5.
Before that you can actually
play Locrian if you want, but
you can also change that flat 9 into a D,
the natural 9,
'cause that note is part
of the B flat major scale.
So it will sound more inside using the,
within the key instead of,
you hear the difference.
[MUSIC]
[MUSIC]
And over that F,
F7 chord I'm sometimes
using the altered scale.
Actually.
[MUSIC]
So this is what it would sound like.
[MUSIC]
[MUSIC]
I miss using pure Dorian and
Mixolydian and Ionian for
these turn arounds.
Or these 2 5 1s.
[MUSIC]
Now we'll use some chromatic notes.
[MUSIC]
[MUSIC]
Altered scale.
[MUSIC]
Altered scale.
[MUSIC]
You could, I guess,
use the 9 theory, for like, but
it's more inside to use of the,
you play the Phrygian scale and
play the flat 9 over D.
So check out these devices and
looking forward to
seeing your video submissions
playing blues sax as a waltz.
[MUSIC]
[MUSIC]