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Jazz & More Guitar Lessons: “Billie's Bounce”

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Tune-Based Instruction,
"Billie's Bounce" Chords.
This is twelve bar blues,
and it's time for
the chords and the chords are like this.
The, we'll start with the basic ones.
F7.
[SOUND] B flat 7.
[SOUND]
F7,
B flat 7.
[SOUND] Maybe like a B diminished.
[SOUND] F7, E7.
[SOUND] E7, C7, F7, B7.
[SOUND] G minor.
[SOUND] C7.
[SOUND] So I'm using these kinda shapes.
[SOUND] Root 3rd and 7th.
[SOUND].
[SOUND] F, A.
[SOUND] and E flat.
[SOUND].
[SOUND] Then B flat.
B Flat to D, [SOUND] B natural,
[SOUND] A flat, [SOUND] and
D [SOUND] Either you go down like this
[SOUND] or do A minor, [SOUND] D.
A minor 7, D7.
[SOUND] A.
G.
C.
that same voice again, same voicing
from G minor C and then the turn around.
F7, D7, G7.
[MUSIC]
And we can
expand the chords
a little bit,
do something
like this
[MUSIC]
Or.
[MUSIC]
This is an F.
13 chord.
You got the 7th.
[SOUND] 3rd.
[SOUND] 13th, root.
[MUSIC]
Here's a B flat.
The 9.
[SOUND] D, A flat, C, and F.
[MUSIC].
[MUSIC]
Here's that F7 sharp 5.
E flat, [SOUND] A.
E flat.
[SOUND] and F.
[MUSIC].
Diminished, D.
So like, an inversion of B
diminished starting with D.
[SOUND] D.
D, A flat,
B, and F.
Can do it like that, or you just.
A minor 7.
D7 sharp 9.
This voicing with a E flat on top.
[MUSIC] You can do a C7 sharp
nine if you want. [MUSIC]
Three frets up, and
then you go down chromatically.
So like F7.
[SOUND] A flat 7.
[SOUND] G7, G flat 7.
You can do.
If you wanna approach that chord
with a tritone substitution,
instead of playing F7, or F7 alternate,
you can play B7, B natural 7, so.
[MUSIC].
[MUSIC].
[MUSIC]
Maybe
sharp 11 too if you wanna have
that note on top, to B flat.
[MUSIC]
Here's some
variation, even more.
Then put the dim dim chord right there
if you want, diminished, you can even
add like, a,
[MUSIC]
F sharp minor 7.
I can make a 2 5 out of a F sharp minor
7 and a B7, leading chromatically to.
Then you can do minor, B flat minor.
[SOUND] 7, B flat 7.
[MUSIC].
A flat, A minor 7.
[SOUND] B7 A flat minor 7, B flat 7.
So this will sound.
[MUSIC]
2 5s it's going down, and then G minor.
G flat 7 or C7
[MUSIC].
[MUSIC]
I'm using a few
different inversions,
[SOUND] but basically
some of these chords but
I put another like
a high top note,
like an E, C, I mean.
[MUSIC]
Those are the basic chords.
Tune-Based Instruction
"Billie's Bounce" Melody.
All right.
It's time for the breakdown of
the melody of Billie's Bounce by
Charlie Parker, a blues in F major.
And, the melody starts.
I'm playing it here in the lower octave.
[MUSIC]
So, it starts 5th position.
Fifth string.
D, C, 8th position on the E string.
The back and then up to F.
I mean, you can use,
the fingering is optional, as always here,
but here I'm actually stretching,
I'm using the, the pinky here.
[MUSIC]
So,
D, C, D, F, and on to the fourth string.
A flat, A, F, D, F, D, F.
[MUSIC]
A flat,
A, to F, B, F,
G 5th position fourth string,
and then back to the F.
[MUSIC]
And you can also play, use some ornaments.
Like.
[MUSIC]
And, here I'm going up to 8th position.
And, I'm playing, [SOUND] like
a hammer-on, pull off F to G.
And then, hammer-on on D,
on the 10th position, on the E string.
[MUSIC]
And then.
[MUSIC]
I mean,
it's better to stay in that position.
So, on the B flat chord, A flat,
B flat, [SOUND] then, F and then back.
Third string, E flat, C,
F, E flat, F, C.
[MUSIC]
Right.
Then it's like an A minor triad going
down to the 7th and the 6th.
So, first finger here, 5th position.
E, C, G, A,
I'm sorry, G, F sharp,
E flat to flat 9 with D7.
C, C sharp, D.
[MUSIC]
Then G.
[MUSIC]
Like a minor major 7th.
G, F sharp, D B flat and G.
F, E, D, and C and then,
back to this string again.
So, [SOUND] you can do
like a hammer-on pull-off.
[SOUND] That's also another thing that
George Benson does when
he plays this song.
[SOUND]
Pull-off,
pull-off.
Hammer-on and pull-off.
[SOUND] Slowly.
[MUSIC]
With a variation.
I'm doing it using the minor 3rd here,
instead of I'm doing A flat, B flat, F.
[MUSIC]
And, that's the melody.
Tune-Based Instruction,
"Billie's Bounce" Solo.
It's time for
a breakdown of the scales and
devices that I use for
soloing over these blues.
The basic, most basic thing would be to
just use pentatonic scale of course the F.
[MUSIC].
Minor pentatonic with a Blues note,
little note a sharp 11, flat 5.
[MUSIC]
The major 3rd.
And then for the B flat 7.
[MUSIC]
That would work for the beginners and
the basic level players,
it's a good cool device.
I can maybe let me just
play chords when I'm just
using the pentatonic over this,
this blues, and
you can hear like how pretty good it
sounds with just, just a pentatonic.
Changing the A into A flat.
[MUSIC]
And that blue note.
That's how it,
it can sound with,
with just using
the pentatonic.
Still doing a little jazzy,
jazz bluesy touch to it.
The next step is using the more
regular kind of scales, like for
instance, over the F7.
[MUSIC]
Use the F Mixolydian scale.
F, G, A, B flat, C,
D, E flat, and F.
[MUSIC]
And that's kind of.
[MUSIC]
Plain sounding but, but, but nice.
[MUSIC]
And
then you can also change that, that one.
[MUSIC]
Change to natural 11 into sharp 11, so.
With a B instead of B flat
that's called Lydian flat 7.
[MUSIC]
That works too if you like, and then.
Then I play B flat 7,
B Mixolydian, B flat Mixolydian.
[MUSIC]
And
even add that sharp 11 if you like,
as an approach note, it works fine too.
So.
I'm back to the Mixolydian and
here I like to do go into the altered
scale, the F altered scale.
F, G flat, A flat, A, B,
D flat, and E flat and F.
If you start that from B7,
it's the same set of notes,
and it's called B Mixolydian sharp 11 or
a Lydian flat 7.
These, both, both these scales
are borrowed from G sharp melodic minor.
And then back to B flat Mixolydian.
[MUSIC].
Or Lydian 5, 7 if you like.
And then.
[MUSIC]
Over the diminished chord, and
do the whole step,
half step diminished scale from D.
I'm sorry, from B.
You can also start from D, you can start
from F, you can start from A flat.
But here I'm starting from B natural.
[SOUND] So first a half step, I'm sorry,
first a whole step, then a half step.
A whole step, step, whole step,
half step, whole step, half step.
I'm sorry, you would go from the B7.
[MUSIC]
So there you can either do.
F Mixolydian again or go from
the Lydian flat 7, starting on the B.
And then after the F chord,
I like to go sometimes both to A,
A Dorian, but
you don't have that much time.
You could do A minor, D7.
So most of the time I just go to D,
mixo flat, 2 flat 6.
D, E flat, F sharp, G, A, B flat.
[MUSIC]
Like that, so.
[MUSIC]
Right.
You could also use D altered,
Superlocrian if you'd like to.
D, E flat, F, G flat,
A flat, B flat, C, and D.
[MUSIC]
These move so fast, so if you wanna.
You just follow the chord tones,
or have a line that you move like.
Then over the G minor 7, I play G Dorian.
G, A, B flat, C, D, E, F, or G.
And then over the C I
could either do yeah,
I could either do make Superlocrian.
[MUSIC]
That's pretty cool.
You can even try the half, half half
step whole step diminished scale if.
[MUSIC]
If you like.
Then back to F and that turn around.
[MUSIC]
D7, G minor.
[MUSIC]
So let me play again,
just one, two chords this with D scale,
so you'll hear what it sounds like.
[MUSIC]
Here's the next step.
[MUSIC]
So yeah,
I, what I was doing
there was actually,
I was actually
superimposing a few
different chords.
I started the same way, except for
the second time when I started
half step up was like.
F sharp 7.
[SOUND] Mixolydian needs a little,
little approach like this.
But it, it wasn't, wasn't a big thing.
But here.
Can actually do it 2, 5.
F sharp, minor 7 to B7, so.
[MUSIC]
Leading really well, and
then instead of diminished
chord I just did from B flat 7,
B flat minor, E flat 7, A minor.
[SOUND] D7, A flat minor, D flat 7, G.
So that sounded.
[MUSIC]
Three, four, one, two, three.
So the scales actually
were from that B flat 7.
I went into B flat minor Dorian,
E flat Mixolydian,
A minor Dorian, D Mixolydian,
A flat Dorian, D flat, D flat Mixolydian,
yeah, and then into G like Dorian.
And you could also play
the melodic minor scale With
that A note, and
that will be Lydian flat 7.
Same scale,
same set of notes over E flat, so.
[MUSIC]
So I will play slowly.
[MUSIC]
One more time.
Then using C altered,
over the,
the C7 chord back to F.
So those are a few pretty cool devices.
You can do lots of different things
with the blues, but these are a few,
superimposed chords and
changes that will take you pretty far.
So looking forward to hearing and
seeing your versions of the song,
Billie's Bounce by Charlie Parker.
I get back to you with feedback as always.
[MUSIC]
Tune-Based Instruction,
"Billie's Bounce" Performance 2.
Here comes the solo number two where
I'm gonna play more laid back,
and more of a intermediate
than basic level.
I hope you find some cool lines in here.
[MUSIC]