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Jazz & More Guitar Lessons: “Parenzo Summer”

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Tune-Based Instruction,
"Parenzo Summer" Performance 1.
It's time for an original AGU tune.
This is a song I've wrote last year and
released as a single on iTunes.
It's called Parenzo Summer.
I've wrote it and dedicated to a city in
Croatia called Porec or
Parenzo in Italian.
And here's the original backing track.
I'm gonna play along with it, play
the melody and improvise a little bit.
And then I'm gonna break it down for you
and show you guys how to play this song.
And thanks for requesting it.
I always have a good time playing it and
I hope you're gonna like it.
So here we go.
[MUSIC]
Tune-Based Instruction,
"Parenzo Summer" Melody.
It's time for the melody breakdown
on my song, Parenzo Summer.
And it's kind of a long track though but
there are just a few parts, actually.
So it's kind of a simple song.
And if you get the melody I
think many of you beginners and
intermediate players can
actually play it after a while
getting used to this, the,
the chords and, and the melody.
And it's not, not a, the tempo's kind of
fast, but it's still not too difficult.
So feel free to check it out, and
even though when I played my solo here,
I did a lot of faster stuff.
You don't have to do it.
You can keep it more blues based and,
and, and basic so.
But the melody starts like this.
[MUSIC]
That's the first phrase, so.
We have D [SOUND] I'm playing here.
4th position.
So the chord is B minor 7.
So, starting on the B [SOUND].
On the root.
B.
[SOUND] C sharp.
SOUND] D [SOUND].
C sharp [SOUND].
B.
[SOUND] A.
[SOUND].
[MUSIC]
F sharp,.
[SOUND] B.
[MUSIC]
A.
[SOUND] F sharp.
[SOUND] E.
[SOUND] D [SOUND], B.
[MUSIC]
A longer note here on F sharp
[MUSIC].
E.
[SOUND] D.
[SOUND] B.
[SOUND].
A.
[SOUND] G.
[SOUND] D.
[SOUND] F sharp.
[SOUND].
One, two, slow, three, four.
[MUSIC]
One, two, three, four.
[MUSIC]
So this D [SOUND], comes on the one,
this is like an upbeat to
[MUSIC],
eighth notes.
[MUSIC],
sorry I, I meant two sixteenth notes,
if you're counting one, two.
Double, double, double
[MUSIC].
Two sixteenth notes.
[MUSIC]
First one, second one.
[MUSIC]
So that the rhythm, rhythm is different.
First time it's,
[MUSIC].
And second time is
[MUSIC].
So listen the first time.
[MUSIC]
One, two, three, four.
One, two.
And here's a little bip, [SOUND].
Three notes, three sixteen notes.
F sharp [SOUND] B.
[SOUND], and C sharp [SOUND].
Wait a little longer.
[MUSIC]
Same thing one octave up,
going up to same notes, 7th position.
[MUSIC]
Now start the same.
One, two, three notes up beat.
[MUSIC]
I'm ending instead of
[MUSIC].
I'm ending G, [SOUND] D, [SOUND].
B, [SOUND] B.
[SOUND] C sharp, [SOUND].
B [SOUND] C sharp.
[SOUND] B, [SOUND].
A, [SOUND] F sharp, [SOUND].
B, [SOUND] A.
[MUSIC]
Yeah.
[MUSIC]
A.
[SOUND] F sharp, E.
[SOUND] D [SOUND].
F sharp.
[SOUND] E [SOUND].
D [SOUND] B.
[SOUND] A [SOUND].
G.
[SOUND] D.
[SOUND] First time, and section.
[MUSIC]
Right.
Then A [SOUND] Like when we were up here.
So A [SOUND] A flat [SOUND].
G [SOUND] F sharp.
[SOUND] Two times.
One, two.
One
[MUSIC].
Yeah.
[MUSIC]
Up on 9th position, F sharp E.
[SOUND] E.
[SOUND] A.
[SOUND] E.
[SOUND]
[MUSIC]
You can play it here in
the position if you like to.
[MUSIC]
I like to move around, as you can see.
[MUSIC]
So you might as well play here.
[MUSIC]
E.
[SOUND] A.
[SOUND] E.
[SOUND] C sharp.
[SOUND] D.
[SOUND]
[MUSIC]
That's next phrase.
[MUSIC]
C sharp.
[SOUND] F sharp.
[SOUND] C sharp and
then [SOUND] A [SOUND] and B.
[MUSIC]
If you wanna move it.
[MUSIC]
Sorry, the second time is.
[MUSIC]
A.
[MUSIC]
D.
[MUSIC]
I'm sorry.
A [SOUND] D.
[SOUND] A.
[SOUND] F sharp [SOUND] G.
[SOUND] Or here.
[MUSIC]
Same thing from beginning.
[MUSIC]
Then.
[MUSIC].
D [SOUND] C sharp.
[SOUND] B [SOUND] A.
[SOUND] F sharp.
[SOUND]
[MUSIC] B.
[MUSIC]
So that, that second section is like.
[MUSIC]
Or if you wanna play the other.
[MUSIC]
Right?
And after that, it's solo and then,
the melody comes once again, at the end.
So I will play it one time.
One, two, three.
[MUSIC]
Variation now up in.
[MUSIC]
One octave up.
[MUSIC]
Variation to it.
[MUSIC]
Right into the end then.
[MUSIC]
So that's it.
That's the melody.
[MUSIC]
Tune-Based Instruction,
"Parenzo Summer Chords.
Alright, I'm gonna show you the chords
of this song, Parenzo Summer.
The A section is kind of vamp
[MUSIC]
So, it's a B minor tonality.
And, B minor, the chord.
[MUSIC]
It's a nice chord voicing.
B minor 9.
[MUSIC]
You can have a, put the 11.
[MUSIC]
This is a minor 3rd.
[MUSIC]
D, 2nd position, B, D, A, C sharp.
[SOUND] And E.
And then for the C chord, you can kind of.
[MUSIC]
This could be a C major 9.
C, E, B, and D.
[MUSIC]
It could also
be C7 sharp 11th.
Depends on how you're looking at it,
what kind of sound you wanna
project when you're soloing, or
[MUSIC].
See what you like the most.
[MUSIC]
Somehow I often
use this dominant sound, 'cause that means
I could use dominant thing when soloing.
[MUSIC]
Using kind of a C,
a Lydian flat 7 scale leading back to,
[MUSIC]
But this major sound, major 7 sound.
[MUSIC]
Probably works too.
So those are just the chords for
the a section.
[MUSIC]
[MUSIC]
You can combine them if you.
[MUSIC]
And then.
[MUSIC]
Kind of a.
[MUSIC]
It's a chromatic movement,
ends on the E minor 9.
[MUSIC]
Or.
[MUSIC]
Depends here,
what sound you like to project.
If you wanna do
[MUSIC]
G minor 9, G flat minor 9, F minor 9, or
E minor 9.
Or if you wanna do.
[MUSIC]
So
that's more like a
[MUSIC]
13 sus.
For instance, then C.
C, B flat, F, and A.
[SOUND]
>> It's a nice voicing.
[MUSIC]
So I think that's the one I like the most.
[MUSIC]
Instead of.
[MUSIC]
You hear it.
So there's more like a dominant sus sound.
An F, F sharp 7 sharp 9.
[MUSIC]
You got this chord voicing,.
[MUSIC]
Ending on this A, G, D, and F sharp.
Then,
[MUSIC]
F se sharp, 7 sharp 9.
F sharp.
This is A sharp, this is E, and this is A.
[MUSIC]
To B minor 7.
[MUSIC]
This is kind of a B minor,
B flat minor 7 with a sharp 5.
[SOUND] Or flat 13.
It depends on how you want to look at it.
[MUSIC]
So,
[MUSIC]
G min, major 7.
[MUSIC]
G, F sharp, B, and D.
[MUSIC]
Same voicing as up here.
[MUSIC]
But at F sharp, minor 7, sharp 5.
[MUSIC]
You can finger it like this, or
with the thumb.
[MUSIC]
Down to E.
[MUSIC]
E minor.
[MUSIC]
E minor 9.
[MUSIC]
So
[MUSIC].
[MUSIC]
Here we go.
[MUSIC]
This is actually a chromatic movement.
Just E, E flat minor.
You can do it here.
But I do it up here most of the time.
E flat.
D flat.
And G flat.
Then the tritone
substitution of A flat 7 D7.
D, C, and F, F sharp.
So.
[SOUND] Same thing from
C sharp minor to C7.
[SOUND] So it's just a 2,
5 with a tritone substitution 2,
5 with the subs, tritone substitution.
Then down to same thing again.
So.
[MUSIC]
Then A7 after D flat 7,
A7, A flat 7.
[MUSIC]
G major 7 and then, an F sharp 7, sharp 5,
F sharp, E, A sharp, and D.
And then, instead of just going
back to, before the solos,
to going back to B minor 9,
it ends up on a A over B or a B9 sus 4.
[MUSIC]
And at the end, last time.
[MUSIC]
Dance back on the vamp again.
So,
[MUSIC]
If you wanna try the dominant sound,
see which one you like the best.
[MUSIC]
So if you wanna
comp it, maybe.
[MUSIC]
Or sometimes you can even just
stay on the D minor if you like.
Only have the bass walk up.
[MUSIC]
So, those are the chords for
Parenzo Summer.
[MUSIC]
Tune-Based Instruction
"Parenzo Summer" Solo Part 1.
All right.
I'm gonna teach you some basic ideas for
soloing over this song.
First part is the vamp.
[SOUND] D minor and I'm going up to C.
And then you have a few options.
Even if you want to stay basic and
play the pentatonic B minor.
B.
[MUSIC]
D.
[MUSIC]
E, F sharp.
[MUSIC]
A, B.
[MUSIC]
[MUSIC]
And that will work fine if you play a C
chord in.
[MUSIC]
'Cause it would be a Lydian,
kind of, sounding pentatonic.
B minor over C.
[MUSIC]
So I like for the first chord,
the pentatonic.
[SOUND] You can use the blues,
the blue notes too.
[SOUND] Like this.
[SOUND].
[SOUND] The F.
[MUSIC]
Or
if you wanna play a scale,
I would recommend maybe Aeolian.
[MUSIC]
And B.
C, sharp, D, F, E, F sharp, G.
A, and B.
[MUSIC]
So that, even if the C chord comes.
It works to just play.
[MUSIC]
Just play this scale over, over,
even over that chord.
Or that chord,
if you just do the dominant.
But, if you like to, you can play Aeolian.
[MUSIC]
[SOUND] And then play C Lydian.
Like,
[MUSIC]
You wanna accent that C major chord.
C, D, E, F sharp, G.
A and B.
[MUSIC]
Only one note changing.
[MUSIC]
Instead of that,
and we have a major kind of a minor
9 sound for the first chord.
That's why it doesn't sound so
good to use.
Otherwise, we could have used Phyrgian and
played the same set of notes for
both chords.
If you choose to do
the dominant afterwards
[MUSIC]
C7, we can do D, C.
So we, we replace this one,
C sharp with C.
And this one B with B flat.
Apart from that the notes
will be the same.
C7, C Lydian flat 7.
C, D, E, F Sharp, G, A, B Flat, C.
[SOUND].
That way it sounds like that.
Also are the same notes as F
sharp altered C Lydian flat 7.
Also for the first chord,
sometimes I like to do like,
a, [SOUND] a Dorian feel to it.
[SOUND] That works too.
B, C sharp, D, E,
F sharp, G sharp, and A.
And B.
[MUSIC]
Right.
So that's also an option.
And use this note, the B flat or
the A sharp to get that kind of Lydian,
I'm sorry, melodic minor sound.
[MUSIC]
And
then for the bridge, first chord there.
A7 sus.
[MUSIC]
A Mixolydian works fine.
And A Mixolydian share the same
set of notes as B Aeolian.
Just so, you know, so
you can stay within that.
[MUSIC]
And then for the next chord,
F sharp 7, sharp 9.
You could either choose
to play the Mixo flat 2,
flat 6 scale, and
then just change one note.
[MUSIC]
[SOUND] So
raise this one, the A, to A sharp.
[MUSIC]
F sharp Mixo flat 2 6.
So that's an option.
Or if you wanna choose
to do the altered scale.
[SOUND] From F sharp.
And those will be the same notes as.
That C Lydian flat 7 scale I just showed
you, just starting from a different root.
[MUSIC]
That's also an option for
more more advanced players to do that.
[SOUND] So, for
the next chord, this one.
[MUSIC]
B flat.
You can, Aeolian works works fine.
[MUSIC]
That sounds great.
Then this chord the B flat or
A sharp minor 7 sharp 5.
[SOUND] You can try, I think the, if
the scales choice that would sound best.
[MUSIC]
Is probably Phrygian.
[SOUND] A sharp, B,
C sharp, D sharp,
F, and F sharp.
[SOUND] Like.
[MUSIC]
And
it plays very, it sounds very
good to play around the triad.
[MUSIC]
Like, G-flat triad.
Because this chord somehow
is like a G flat or
F sharp add nine with a,
a 3rd as the root.
[SOUND] Then G minor G major 7.
[NOISE] And then you could actually do
Lydian there, 'cause G Lydian.
[MUSIC]
It's
the same as share the same
set of notes as B Aeolian.
So once again
[MUSIC]
G, A, B, C sharp.
[MUSIC]
F, E, F sharp, E.
If you start that scale from B,
you will get Aeolian end.
Again, we don't have to change that much.
Back to that original scale, just
remember that G has these chord tones,
G, B, C, and
F sharp to be able to outline the chord.
Well, it's important to know that, just
not know the scale tones, but also know
the important notes of
the arpeggio chord tones.
So.
[MUSIC]
Yeah, that's interesting
'cause in the melody,
actually shows [SOUND] an A.
So that doesn't really fit into the chord,
but somehow it's kind of
that G major sound come in later proceeded
[MUSIC]
By that, note the A.
[MUSIC]
Here we can stay on the same set of notes.
[MUSIC]
And play F sharp Phrygian over this chord.
[MUSIC]
Same set of notes as G Lydian.
[MUSIC]
Do you see how all these chords
belong together?
It's basically, it's the D Major scale, or
B Minor, natural minor, Aeolian.
The relative key.
[MUSIC]
Tune-Based Instruction,
"Parenzo Summer" Solo Part 2.
So most of these chords can be
found within that chord scale and
then a few other chords outside.
So.
[MUSIC]
E minor.
[MUSIC]
Here you can do E Dorian again.
Not again, but it's again
the same set of notes as before.
[MUSIC]
You start that from E.
[MUSIC]
E.
[MUSIC]
F sharp.
[MUSIC]
G.
[MUSIC]
A.
[MUSIC]
B.
[MUSIC]
C sharp.
[MUSIC] D. [MUSIC]
And E.
[MUSIC]
Learn that Dorian.
And E Dorian.
[MUSIC]
Same set of notes as G Lydian.
[MUSIC]
F Phrygian.
[MUSIC]
B Aeolian.
[MUSIC]
D major.
[MUSIC]
And so on.
And then second time that's
the same melody but.
[MUSIC]
I'm doing this series of, of.
[MUSIC].
[MUSIC]
Or.
[MUSIC]
It's a 2, 5.
[MUSIC]
D sharp major, D sharp mi, minor 7th,
sorry.
[MUSIC]
D7 and D7 is the tritone for.
[MUSIC]
The same thing.
[MUSIC]
It's the same thing there.
[MUSIC]
So how do I improvise
over these 2 5s?
Well.
[MUSIC]
The easiest thing is they're
moving really fast.
[MUSIC]
So you can do these kind, kind of.
[MUSIC]
Sequences.
I, I was doing one like this.
[MUSIC]
And so on.
[MUSIC]
It's actually Dorian.
[MUSIC]
For the first chord.
[MUSIC]
And then for the second one.
[MUSIC]
Lydian flat 7 from D.
[MUSIC]
D.
[MUSIC] E. [MUSIC]
F sharp.
[MUSIC]
G sharp.
[MUSIC]
A.
[MUSIC] B. [MUSIC]
C.
[MUSIC]
D.
[MUSIC]
But since it's moving, moving really fast.
[MUSIC]
It's good to do these.
[MUSIC]
Kind of sequences.
[MUSIC]
'Cause then this is for
this next chord, it's the same thing.
[MUSIC]
Dorian from C sharp.
[MUSIC]
And then.
[MUSIC]
For the C7, it's Lydian flat 7.
[MUSIC]
Then Dorian for.
[MUSIC]
For this one too.
[MUSIC]
Because.
[MUSIC]
When B minor.
[MUSIC]
You could play Aeolian, I guess.
But when it's followed by a dominant.
[MUSIC]
It sounds better to consider it as
a related to.
[MUSIC]
Minor chord.
And then play a Dorian scale.
[MUSIC]
When it's related to a.
[MUSIC]
Dominant like that.
[MUSIC]
And then, B flat, Lydian flat 7 again.
[MUSIC]
And then for these chords.
[MUSIC]
It kind of depends on what you wanna do.
You could do mixolydian.
[MUSIC]
Mixolydian sounds pretty good for
this one from A.
[MUSIC]
Once again, same set of notes as, as B.
Natural minor, three back to that.
[MUSIC]
Original scale,
if you wanna use it or set of notes.
And then.
[MUSIC]
For the A flat 7.
This is moving really fast, but
if you have time, use the A flat.
[MUSIC]
Lydian flat 7.
[MUSIC]
A flat.
[MUSIC]
B flat.
[MUSIC]
C.
[MUSIC]
D.
[MUSIC]
E flat.
[MUSIC]
F.
[MUSIC]
E flat.
[MUSIC]
And then G.
[MUSIC]
You can use.
[MUSIC]
Lydian again.
And then the altered scale here.
[MUSIC]
Over F sharp.
[MUSIC]
7 sharp 5.
[MUSIC]
Same note as C Lydian flat 7.
[MUSIC]
But starting from F sharp.
[MUSIC]
And, and then.
[MUSIC]
First time before solos,
it's gonna be a B7.
[MUSIC]
Sus.
[MUSIC]
And then you can do mixolydian.
[MUSIC]
Mixolydian from B.
B.
[MUSIC]
C sharp.
[MUSIC] D sharp. [MUSIC]
E.
[MUSIC]
F sharp.
[MUSIC]
G sharp.
[MUSIC]
A.
[MUSIC]
and B.
[MUSIC]
And second time after solo.
[MUSIC]
It's back to the vamp.
[MUSIC]
So I'm gonna play one more time and
improvise a little bit around it and, and,
and you can hear what I'm doing here.
I'm trying to explain it meanwhile so.
Let's put on the track again.
[MUSIC]
First I'm pentatonic.
[MUSIC]
Now going to the major and altered.
[MUSIC]
C7.
[MUSIC]
Aeolian.
[MUSIC]
Major.
[MUSIC]
Dominant.
[MUSIC]
Bridge.
[MUSIC].
Lisa [LAUGH].
[MUSIC]
Mixo.
[MUSIC]
And break.
[MUSIC]
A minor.
[MUSIC]
Aeolian.
[MUSIC]
Works for all of the vamp, as you can see.
[MUSIC]
Dorian, maybe.
[MUSIC]
Going to major.
[MUSIC]
C major.
[MUSIC]
C altered or C Lydian flat 7.
[MUSIC]
Pentatonic.
[MUSIC]
Back to minor.
[MUSIC]
Aeolian.
[MUSIC]
C major.
[MUSIC]
C7 dominant.
[MUSIC]
Bridge.
[MUSIC]
Mixo.
[MUSIC]
Tune-Based
Instruction,
"Parenzo
Summer"
Performance
2