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Jazz & More Guitar Lessons: “Cherokee”

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Tune-Based Instruction, "Cherokee" Chords.
When I showed you guys the melody, I
already went through some chord voicings.
But just, let's do it one
more time really quick, and
I will show you even more basic voicings.
First chord, B flat major 7.
B, A, D, and F.
Root, 7th, 3rd, and 5th.
Then, you can do an F minor 7, if you
want to do this for the basic voicing.
F, C, E flat, and
Or if you prefer to,
this is nice to keep that F on top and
just do the [SOUND] root,
minor 3rd, and 7th.
[SOUND] And then you can kind of.
More or less just change this E flat to B,
or to D, I'm sorry.
And then you have a B flat 7 chord.
if you want to play B flat
13 with a G on top is fine.
E flat major.
E flat, B flat, D and G.
G or if you wanna do the 9,
[SOUND] with the F on top.
If you wanna play A flat 13,
A flat, G flat, C, and F.
Or if you wanna play the sharp 11.
A flat, G flat, C, and D, the sharp 11.
Then G minor 7,
G 3rd position, F 7th, 5th.
And sorry, 3rd and 5th, D.
Change that into C9.
A C instead of the G and then move
this note, F, down half a step, too.
Then maybe go down to,
just move this note down to C minor 9.
And, or if you really wanna
do a plain C minor 7th.
[SOUND] G flat I'm sorry, G7 sharp 5.
G7 sharp 5.
G, F, B, and E flat.
[SOUND] Back to C minor.
Then F7, sharp 5.
Same voicing, two frets down.
So from here,
B flat major 7 down there or
up here, same thing.
We're gonna do that voicing for you.
C7, then F13 or F7.
Or if.
There are many voices to choose from.
Or if you want to do the augmented.
It's time for the bridge.
either do the plain C
sharp minor 7 voicing,
the same as I showed you before,
or you do like, a minor 9.
That's nice,
[SOUND] 'cause that's the melody note.
C sharp, E, B,
and D sharp.
Changing then this note,
the B, into E flat or A sharp.
An F sharp has to,
has to run into a 13 chord.
B major 9 or just B major 7.
Same voicing if you, or.
Just two frets down for B minor 7.
Or if you want to do.
[SOUND] Just D minor 7, E9.
[NOISE] You can also alter
these dominants if you want,
'cause [SOUND] like, I put a flat, flat 9.
But on this second chord second 2,
5 progression, it sounds better to just do
the plain 'cause we have
The F sharp as the melody note so
it sounds better with the plain 9.
But the first one
Sounds good with flat 9
It sounds better with a natural 9,
because of the melody note.
A major 7, A.
G sharp, C sharp, and E.
A minor 7, here it sounds good
with a D7 flat 9 if you wanna do that.
D F sharp C and, and E flat.
Or just a 9.
The same voicings here down to G minor,
C7 or C7, C minor,
unless you wanna move that 13,
the D down to C sharp over the F7 chord.
Same the, back to the A section.
A flat.
So, we'll play it through one time.
One, two, one, two, three, four.
Using these voicings I already show you.
And so on.
And remember, if you have a bass
player playing the bass lines or
the bass notes, you don't have to
always play the root for the chord.
You can just work on some upper voicings.
On the top four strings or something
Instead of using the root all the time.
But it's good.
If you're comping a singer or
playing a duo setting,
it's really good to be able to play the
full chords and play all the bass notes.
Tune-Based Instruction "Cherokee" Melody.
Today we gonna break down
a tune called Cherokee.
An old standard jazz tune
that I really enjoy playing.
And instead of just showing you
the melody, I've come up with a little
impromptu chord melody kind of thing that
you can use for this backing track We've
only got bass and drums, so it's good to
fill out with some chords here and there.
So, the melody starts on a D, and
then I'm playing a B flat major 7 chord.
First position, B flat, F, A, and D.
[SOUND] Then I'm doing like,
a B flat triad on
8th, 7th, and 6th position.
Fourth, third, and second string.
And then [SOUND] moving that.
F up to G, to the 6th.
[SOUND] Then for the next chord,
I'm doing an F minor 9 11 here,
barring over the 6th fret
with my first finger.
So F, A flat.
E flat.
G and.
B flat.
And you don't have to use the root,
play the root for all these
chords cause you got the bass but
you could if you want to do it just
solo you could play the root here but.
But for now it's fine to just play A flat.
D and G.
B flat 13.
Then I'm doing an E flat major 9.
E flat, G, D, and F.
Then D.
[SOUND] And once again, it's optional to
use the root, or if you just wanna do.
[SOUND] So this is the A flat 7 sharp 11.
The 7th, G flat,
C on the 3rd string 5th position.
C and then the sharp 11 D.
So here I'm, I'm keeping the 7th,
moving the C
down to the B flat, the 9th, and
then playing the C here on top instead.
So, and then, for the next G minor chord,
I'm doing [SOUND] G minor, C7.
I'm playing thirds
harmonized from the scale.
So G, B flat.
Like this.
G and B flat, B flat and D,
moving up here, playing D and F.
Then D on top and B flat.
[SOUND] Here.
[SOUND] Then B flat and G.
Now, we're on the C7 chord.
C minor 7, 8th position.
Like a E flat triad, B flat E flat and
G over C.
I'm doing B and F.
It's the 3rd and the 7th of the G7 chord.
Playing a D and then an inversion
of the C minor chord with the 3rd as
the lowest note, E flat, G and C.
And here's a nice F augmented, triad.
F, A and C sharp.
So, that far it sounds.
Same thing and starting over.
These ones, yeah.
Then I'm doing a F augmented.
Triad with F on top and
G and ending on this kind of B flat chord.
3rd 6th.
9th, 5th, and root.
if you just want to play the top voicings.
Those are the two A sections.
Then, it's time to move
into the B section.
And it's a series of 2, 5, 1s.
So, the first one is C sharp.
Major 7th, F sharp 7 and B major, so.
the melody note on top is D sharp.
The 9th.
So you could either choose to
play the root if you want to
just play the top voicings.
So that's B E G
sharp and E sharp.
Then doing a.
[SOUND] F sharp.
9 chord.
With A sharp or B flat E.
[SOUND] G sharp and C sharp.
So the melody, the melody it's like this.
And here I'm playing it,
once again a B major 9 chord.
With this voicing.
With or without the root.
A sharp.
D sharp, F sharp, and C sharp.
[SOUND] Same voicing,
for the next 2 5 1,
B minor 7, E7.
And A major 7.
It's the melody C sharp,
A, F sharp, B, and E.
Same voicing, just two frets down.
And this is a nice voicing.
A major 9 with an open B string.
G sharp, C sharp, open B string,
and open E string.
Same voicing, [SOUND] same melody,
[SOUND] but
here I did [SOUND] some variation.
I was using a D7 sharp 5
voicing instead of this.
And, and flat 9 of course, flat 9 sharp 5.
[SOUND] That works fine.
The same voicing, G minor, C9.
[SOUND] This is a nice one too.
C [SOUND] min, C minor.
C, E flat, B flat and.
And F7 sharp 5.
F, E flat, A and.
And C sharp.
And now we're back again.
And now we can add G.
F, G ,and the F sharp chord and B flat.
Gonna play the melody one time through so
you'll hear it.
With bass notes if you want to add them.
A, E7, sharp 9 is pretty cool there.
You can put it, if you want a G on top.
So, try it out.
Tune-Based Instruction, "Cherokee" Solo.
It's time to do a little breakdown
of how to solo over this tune.
The first chord and
the key is B flat major.
So, it's good to get started
with a B flat major scale.
B flat, C, D, E flat, F,
G, and A, and E flat.
And the next chord is a F minor 7,
a B flat 7, and a E flat major 7 chord and
those chords kind of belong together in,
as a 2, 5, 1 progression in E Flat.
So it's easy to look at it that way.
And F Dorian B Flat mixolydian,
and E Flat Ionian,
they share the same set of notes, so.
They just have different chord tones and,
and they, the,
they start on different notes,
going to different notes but the actual.
Group of notes are, are the same,
they're just starting from different.
Roots, as you can hear.
So it's from,
from F it would be F, G, A flat,
B flat, C, D, E flat and F.
And B Flat, C, D,
E Flat, F, G, A Flat, and B.
Then A, E Flat, F, G, A Flat, B Flat,
C, and D, and E Flat, same notes.
So you see from, from,
from playing that first scale.
you just have to change one note,
this one A flat.
And then over the E flat chord,
if you wanna point out kind of accentuate
that you're still in the key of B flat,
if you, if you, if you like you
can play the E flat Lydian scale.
The same as B flat major.
Is to get that kind of Lydian feel.
You will hear the difference.
That's the,
it's the 2, 5, 1 in E flat.
That's Lydian.
E flat Lydian same as B flat Ionian.
So you have that option as well.
And for all these dominants within
this song you have other options,
instead of playing
mixolydian you could do for
instance altered scale, B flat altered,
this is more advanced, super Locrian
B flat, C flat or B natural,
you can call this D flat and
D, E, G flat or F sharp.
Better to call it flat when we,
in a flat key.
Or a lower flat chord.
So G Flat, A Flat, and B Flat.
So you can hear what that sounds like.
That's the altered scale.
Still altered scale, that's fine too.
Then for the next chord it's an A flat
13 or A flat sharp 11 and.
I recommend you to use this scale,
Lydian flat 7 from A flat.
A flat, B, C,
the sharp 11 here,
the Lydian note.
Then E flat,
F, G flat and A flat.
So as you can see, compared to
the original B flat major scale there
are two notes that are different.
This one A is A flat.
And we got this one too.
Instead of, of G we got G flat.
So two notes changing.
It's good to know sometimes that
you only have to adjust one or
two notes instead of just rethinking
another scale or a whole new.
There are many different
ways of approaching this.
You'll do what you find most
convenient and, and, and best.
I'm just giving you different options.
Then the 2 5 G
minor and C7.
So, Dorian.
from G.
I mean, if we're in the key of B flat so
if this chord would have been like only,
but only had G minor.
It would have sounded more inside to play
G Aeolian.
And G Aeolian is the same as B flat major.
I, I, Ionian,
just starting from a different scale.
G Aeolian is related to B Flat Ionian.
But since the G7 is fol,
G minor 7 is followed by a C7 here,
it sounds better to consider it as a 2, 5.
And then you play Dorian over it,
G minor, and mixolydian over C7.
The same set of notes,
you're starting from different roots.
You can hear it, right?
Along with C7,
you could actually use the sharp 11 too if
you wanna play the Lydian flat 7 scale.
Works fine.
Then a 2, 5 C minor 7.
Sorry, we're going to G, C minor 7,
to G7, to C minor 7, to F7.
So it's like 2 and a 5, 7, 2,
2 a dominant chord
approaching the second step.
And for that chord the most inside scale
choice would be to use the chord tones.
G, B, D, and F and
then fill it out with scale
tones from B flat major.
The surrounding key and
then you would get a scale called G.
Mixolydian flat 6, but
I prefer to play the altered scale,
G super Locrian here.
G, A flat, B flat, B, D flat,
E flat, F and G.
And, and then on the F,
the 5 you can choose if you want
to play F mixolydian, or
if you want play F super Locrian altered.
Leading back to the first section,
yeah again.
Then there is the 2,
5, second time the A section comes.
C minor, F7,
back to the B Flat tonic chord.
And then it's time for the bridge and
that's just a group of,
of 2 5 1s in different keys.
Starting on C sharp minor 7, F sharp 7,
B major 7, D minor 7, E7, A major 7.
They just move down like a whole step for
each time, A minor 7,
D7, G major 7 again.
G minor 7.
C minor 7 and F7.
Just that same kind of ending
we had on the A part there.
So for each and every of these 2 5
1s I would recommend to play Dorian.
C sharp, mixolydian.
Same set of notes starting from F
sharp and then.
B major Ionian.
So all these three chords belong together
and you use the same set of notes,
but remember they have
different chord tones so
when soloing it's always good to
outline parts of the arpeggios, like.
So, you can hear the actual
progression instead of just playing
a scale and I will change for each and
every chord and of course, for the
dominant, works fine to do altered too.
Then the next B minor 7,
E7, A major.
Same thing, just a whole step down.
Same thing again,
A minor 7, D7,
G a whole step down.
Altered scale if you wanna use that,
or Mixolydian, and G minor.
G Dorian, C mixolydian, as I explained
before, C Dorian and F mixolydian,
or F altered, leading back.
So the bridge would sound
something like this.
Alter the scale a little bit.
Back to the A section.
flat 7.
those are a few scale options,
the basic ones.
Feel free to send in a video
of yourself playing this song.
We're gonna have two backing tracks,
the fast tempo, and
then we're gonna slow it down a little
bit for those of you who find it fast.
And it is really fast though.
It's challenging.
So looking forward to hearing any
of these two versions from you.
Thank you.
Tune-Based Instruction
"Cherokee" Performance 2.