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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
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
AGU Tunes
30 Day Challenge
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Jazz & More Guitar Lessons: Approaching Changes

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Jazz Basics, Approaching Changes Part 1.
Within this series of lessons, I'm gonna
show you how to approach changes and
reach that point where you can actually
play a solo, solo over any tune,
without any accompaniment.
And, still make it very clear
outline these changes so
anyone can hear what song you're playing.
This is something I practiced a lot and
I still do and I get
the question all the time, how do you
get to this point where you can do this?
I'm going to break it down
step by step for you.
So, the goal is,
we're gonna do Autumn Leaves now.
Just the A section.
C minor 7.
B flat major 7.
E flat major 7.
A, A minor 7 flat 5.
And, G minor.
So, the goal is to be able
to do something like this.
With the chorus.
But then, of course, playing without
the chords, but really outlining them.
So, step one is this.
Do the arpeggios.
Root, 3rd, 5th, and 7th.
So, that would be C, E flat, G, B flat.
Then, F,
A, C, and E flat.
B flat, B, F, A.
E flat, G, B flat, and D.
It's important that you
play the right notes,
you don't have to use the same fingering.
A, C, E flat, and G.
A minor 7 flat 5,
that's the flat 5, A flat, D7.
D, F sharp, A, and C, and G minor.
You can do G7 here, leading back to
C minor as a dominant, if you like.
And, you can replace, for
these dominants, if you like to,
you can replace the root with a flat 9.
So, you get a kind of
a diminished diminished arpeggio.
It's optional.
So, the first step would be to do.
Then, if you wanna replace the root for
these dominants.
Like that.
That's the first step.
That way you will really hear the changes.
Then the next step is actually to go
the closest way, instead of like,
Moving down to F, or moving up, or.
You can do.
Okay, now where to go?
For instance the closest way would,
would probably be to either go up to C
the 5fh of F or go down to
the 3rd A.
If you wanna do that.
A, 3rd, root, 7th, and 5th.
We wanna, gonna go up.
That works fine too.
And then, you can stay for
'cause that, the major 7th
7th, 5th.
And, you can stay on the 5th, 3rd,
root, and
major 7th of the E flat minor, major.
we can maybe go up
A minor 7th.
If you wanna do plain.
Root, 7th.
G7, if you wanna go down with
major 3rd, flat 9, F7 and 5th.
The goal here is to just play,
and play, and play, and
getting used to doing these all over
the neck, just these basic arpeggios, so.
Right, it's a really good exercise and
once you start hearing these it's
gonna be easy to connect them.
So, either go the closest way up,
the closest way down, or
stay on the same note is also
a possibility if you can.
So, work on Autumn Leaves or
any other song.
And, and a simple basic jazz standard.
And upload a video when you're
playing just eighth notes.
Or, or quarter notes over,
over the tune, and upload the video.
And, I'll review, review it for you.
But, don't skip this step.
It's really important to get these
basics down before you can move on.
You can also maybe start
even with triads if.
Before adding the, the 7th,
you can start with just root 3rd and 5th.
And then, add to the 7th notes over time,
if you feel more comfortable
starting more basic.
But otherwise, do this exercise, and
I'll promise you will learn a lot from it.
Jazz Basics, Approaching Changes Part 2.
The next step would be
to do it twice as fast.
So instead of doing quarter
notes you can start doing.
And, and so on, or if you want to or
to do it, these dominants.
Using the flat 9.
Instead of.
You have two
options, this sound
The flat 9 instead of root.
So, I have two options and
once you start feeling comfortable
with that now it's time to start
adding the surrounding scale tones.
And for this C Dorian, F Mixolydian,
B flat Ionian, E flat Lydian.
They all share the same set of notes.
But they have different chord tones.
So if you just think, like,
one major scale over all these chords is
not gonna sound good and
you're not gonna outline.
That changes properly, but if you know
these chord tones and then work around
adding some of the other scale tones,
it's gonna start sounding really good.
for, for
the A minor
7 flat 5.
I'm using the
Also that work,
that's the same set of notes exactly.
It's, 'cause it's the 7th
step of B flat major.
A Locrian.
But then for the D7,
I'm changing one note.
I'm, I'm changing this one.
The F into F sharp.
And then back for G minor.
Back to the B flat major scale or
G Aeolian if you wanna call it that.
And then for the G7,
you can use you can change this note.
The B flat up to a, a B.
And you'll get the G mixo flat 6th.
actually, for this whole progression
you only have to change two notes.
At, at the, one note in one place, and,
and one note that's another place.
That's basically adjusting, so
you get the major 3rd on D7,
and the major 3rd on G7.
So and then, we,
we don't have to play this straight and
boring now we can,
we can do it a little bit in swing.
And you can hear very clearly,
it's Autumn Leaves.
'Cause I'm,
I'm outlining the arpeggios together with
couple of of scale tones,
and mixing it up.
So that's the next step, and
we're getting closer and closer.
For the next lesson, we're gonna add
some chromatics to, and then we're,
it's really gonna start sounding jazzy.
But upload the video doing this,
the second step,
and looking forward to hearing it.
You can use Autumn Leaves, or any of the
other songs you have available on the site
Jazz Basics, Approaching Changes Part 3.
it's time for the third lesson
on how to approach changes and
we started basically with triads and
chord tones, arpeggios.
Then moved on into
adding some scale tones.
And now finally, we're gonna add chromatic
passing tones in-between the scale tones.
And I would say, if you're not familiar
with chromatic passing tones go to
a lesson called,
adding chromatics to your lines.
Put in jazz basics and
also another lesson that I just did
called the strong and weak beats.
So you know where to
place them rhythmically.
So check out those two lessons
if you haven't seen them.
Otherwise it's time to add
these chromatic passing tones.
And this is what really makes
it sound bebop or jazz.
Listen to the difference
with just arpeggio's scale.
One, two.
One, two, three, four.
All right and now listen with chromatics.
[SOUND] Right, and it gives a,
the better flow to the lines.
It's like you connect things
You're connecting your arpeggios on scale,
tones through the chromatic passing tones.
This is really the third step.
And what I'm doing,
instead of like going here.
I might go.
Or if I'm going.
F E Flat, D, I might do.
You can go up, too.
You don't have to just go, go down.
You can go upwards too.
Again, do some double time.
Same idea.
as a foundation I'm using these arpeggios.
And then.
Another good exercise is to do it like
a classical, instead of playing a swing,
you can do like a, pretend you're doing
a classical, or a fugue or a cadence.
or even within the gypsy
style it's the same idea.
[SOUND] This is what connects classical
music jazz, and, and, and the gypsy style.
That the melody's so
strong, the melody lines.
So just from a single melody line
you will kind of hear the chords and
the base line and everything.
So it, it's
pretty cool.
And, and, and and so on.
So the idea is the same.
So to be able to finish this lesson and
add these chromatic passing notes,
you need to check out the other
two lessons I mentioned.
And then trying to add this final element.
And once you do that,
it's gonna be really exciting for
your playing and I promise you.
This is, once you reach that level,
when you feel you can outline
the changes without any bass.
Without any hearing the chords.
It's a great feeling.
And it's gonna bring your,
your playing to the next level.
So send in a video when you
feel you are ready for it
outlining these changes of this song, or
any other song without any accompaniment.
But make sure to study those first
two parts of the series of lessons.
And then the adding chromatics
to your lines lesson.
And also the strong and weak beats lesson.
So thank you for watching and
looking forward to seeing and
hearing your video contributions,
thank you.