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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
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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: Strong and Weak Beats

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Jazz Basics, Strong and Weak Beats.
Hi, I've been teaching online for
quite a while a now.
And many different styles, but a lot
of jazz, and I've noticed that many of
you students I would interested in how
to add chromatics to your lines, and
that's really important to make it sound
jazz and to get that bebop vocabulary.
And to be in order to do this correctly
you need to know where to put
the chromatic passing tones, it's not just
that you add chromatic passing
tones anywhere and it sounds good.
You need to know where to add them and
we're gonna talk a little bit
about strong and weak beats.
Usually you know,
in jazz and swing music you talk about
the two and four as the strong beats.
Like one, two, three, four,
one, two, three, four.
Two and four instead of one,
two, three, four.
Like or, or, when, when playing funk,
or, or music with a straight beat.
So that's why I tell you sometimes
to put the metronome on two and
four while practicing to get that feel of.
[SOUND] Instead of [SOUND] Get the feel
of, of playing with a swing drummer.
But now when we're gonna talk
about strong and weak beats,
I'm just dividing on each beat.
Let, let's talk about eighth notes.
So if we have one bar of eighth notes,
that's eight notes.
And if we start with a down stroke,
and do alternate picking,
start with a down stroke on the one,
that would be the strong.
So, strong and up stroke on the weak.
So, strong, weak, strong, weak,
strong, weak, strong, weak.
That's a bar, so if we have a line,
for instance, if we have a C7 chord.
And, and I'm gonna use a, a mix Cs,
Mixolydian scale C, D, E,
F, G, A, B flat, and C.
To make this sound more jazzy, we need
to add some chromatic passing tones, and
chromatic passing tones, those
are notes in between the scale tones.
Instan, for instance,.
[SOUND] If you're gonna go here,
you can go.
[SOUND] Or if you wanna go the other way.
this is really the way of,
of making it sound jazzy.
these chromatic passing tones
in between the scale tones.
So, for instance,
if we have a phrase starting on the one.
Just with alternate picking.
E, E flat, so down up, strong,
weak, strong, down stroke D,
weak, upstroke D flat, strong C.
Then upstroke,
weak on the G on second string,
A fret, strong on F.
On the third,
the third string 10th transposition.
Weak on, on E flat [SOUND]
8th position, strong on on the E,
9th position and, and
then finally, a G, second string.
So, the phrase sounds like this.
And why does this sound so good.
Yeah, because all these chromatic passing
tones, they're put on, on the weak beats.
So, this is a scale tone, strong.
[SOUND] Chromatic passing tone, weak.
Strong, weak, so one, and two,
and three, and four, and one.
now I'm gonna show you what it's gonna
sound like if we move this phrase and
start on the offbeat instead.
So then, the scale tones and the core
tones will end up on the weak beat, and
these chromatic passing tones
will end up on the strong beat.
And then, it's gonna sound really strange.
'Cause if this chromatic passing tones end
up on the strong beat, it's gonna inter,
interfere with the sound of the mode.
It's not gonna sound like
C Mixolydian anymore.
But, if you put them on the weak beats,
they're just like a passing tone,
going from connecting
one point with another.
So if we start for instance, I'm still
gonna start with a, a down stroke.
Even it, if it's on a, an offbeat, so
we can keep the picking pattern and
the phrase the same.
But instead of one, two,
three, and four, and.
It's gonna be one,
and three, and four, one and
two, and three, and four.
So you hear.
It sounded pretty pretty strange.
'cause it,
it's interfering with the chord.
And same if we, we start on one and
for instance, one and two, and
three, and four, and one.
So remember this,
it's important to put the chromatic
passing tones on, on the weak beats.
For instance, if we're gonna go here,
for instance a C major chord.
It's a B,
B flat, A, A flat,
G, E, B, C, B.
One, two, three, four.
[SOUND] One, two, and three,
and four, and strong, weak,
strong, weak, strong,
weak, strong, weak, strong.
For instance, if we start on four and
one, and two, and three, and four.
As you can hear,
and it's gonna start inferring
with the sound of the mode.
So the exception is when you, if there's
a certain note you wanna point out.
For instance, if you wanna create
the lydian feel of a C major.
It sounds good to put it on,
on the strong beat and, and accentuate,
accentuate it, 'cause when I'm
talking about strong and weak beats in
this case, it's the strong beats are,
are the down strokes with the eighth note,
and the weak beats are the upstrokes.
And if you would play a phrase of,
of quarter notes it would be the same
each and every second one would strong,
weak, and when playing sixteenthth notes,
the idea is the same.
It's just that then you'd think strong,
weak, strong, weak, strong weak.
But, but twice as fast,
to keep the same pattern.
So if you wanna like accentuate.
Or on the C7 or the blues note.
The sharp 9.
Then it's fine.
It's also fine if you wanna do a chromatic
enclosure to start with chromatic passing,
or chromatic note on, on the strong beat.
For instance, if you wanna do C sharp.
B and enclosing a C.
'Cause then it's kind of an effect.
Enclosing a G chromatically.
An A, as you can hear.
Then, it's fine.
If you wanna.
Then you just have to know where to end.
But in the middle of a phrase.
It always
sounds the best to pu, pu,
put these on there weak beats.
So let me play along with a blues
backing track in the key of E.
And I'm gonna play couple of
nice lines with chromatic
passing tones in there, so
you can hear what I'm doing.
And feel free to upload a video to this
backing track or to another backing track.
Where you're trying to play, create lines
using these chromatic passing tones.
And there's also a lesson called adding
chromatics to your lines where I'm
teaching a little bit more about these
chromatic enclosures and other ideas.
So here's a blues in E, here we go.