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Jazz & More Guitar Lessons: “Body and Soul”

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Tune-Based Instruction, "Body and
Soul" Chords and Melody- Part 1.
Here's a little breakdown of the basic
chord melody arrangement I just did on
the spot.
So this means I'm gonna
show you the chords and
the melody kind of at the same time.
So the first chord is E flat minor 7,
but I used voicing like this.
This is the root, minor 3rd.The 6th and
the 13th, I'm sorry, the 9th.
6th could also be called 13th.
Depends on what you.
He would like to call it.
But if there's no 7th within the chord,
usually call it minor 6th.
And then if you have a 7th and
you add the 13 you,
you call it like
E minor, E flat minor 13.
So here's the 9 and the 6th,
so it's a minor 6, 9.
So like this, E flat.
You don't even have to play
the root in this case.
I just did like this.
These three notes.
A flat, C and F.
Next chord is a B flat 7.
And then I, I chose to play.
B flat 7 flat 9 chord.
Is the flat 9 on the fourth string 9th
[SOUND] And F.
Then I give this kind of chord.
So this is basically a E flat minor 9.
I'm borrowing over here with my
third finger on the sixth fret.
G flat, D flat, F flat, B flat.
And then for the next chord I either,
you can either do
A, here A, E, C, and G flat.
It would be like,
a A flat sharp 5 flat 9 chord.
And also
it is at one point,
Still the same top note,
same melody note, A.
But this is like a 13,
A flat, 13 flat 9 chord.
A flat, 13 flat 9.
[SOUND] To the top notes
of the melody if F, E flat.
F, E flat, F, E flat,
F, E flat, E flat, A.
Is a D.
B flat 3rd, 6th, 9th,
okay, so it's 6, 9 with A flat on top.
That's the melody note.
And the next chord is yeah,
it's, it's optional to use the,
the root if you want.
If you don't wanna do full chords.
[SOUND] Or if you just wanna do like this.
Let the bass play the root.
here we got the root, G flat 7th
and a 3rd.
Just like a 9.
G flat 9.
Then F minor 7 I'm barring over here.
You can if you want you can just give a
stacked fourth intervals or you can just.
Add that note too.
If you don't wanna have more like a
[SOUND] Minor 7 sounding chord with a 5th.
F, C, E flat, A flat, E flat.
[SOUND] Use a B flat for
the fourth string 8th position.
So melody.
E flat down to D flat.
This could be tricky to play
[LAUGH] in one chord.
Here I'm actually playing the diminished,
E diminished.
E, B flat, D flat, and
then I'm barring over here G and
C with a pinky finger on 8th position.
And then I just move that finger here.
Give an E, E diminished cord.
Then E flat minor with D flat
on top as the melody note.
Using a minor 7th here.
Fifth, root 3rd, and 7th.
Melody, like an E flat triad going down.
B flat, G flat, E flat, and B flat.
C minor 11th.
C, B flat, flat and F on top.
Just move these two fingers.
B, C turns to B and B flat turns to A.
And you've got a B
7 sharp 11.
B flat minor 7.
And D flat is the melody note.
D flat,
A flat, E flat.
Okay so, and the E flat 7th.
E flat, A, I'm sorry, G and A flat.
E flat and
F on top.
And I'm doing a E flat,
minor 11 chord again.
Barring over here with a,
first finger over the fourth fret.
So E flat on six fret, G flat,
B flat, F and A flat.
Then I'm doing this kind of chord.
A flat 7 sharp 5, and the 9 on top.
Then D flat major 7.
D flat, A flat, C, F.
Now I'm doing the F.
Same voicing as here.
E flat minor 9.
I'm doing it here.
And now here we got the 11th, 9, 11.
So, 9 and 11.
From F.
And I'm just moving these fingers here.
One half slip down, keeping that one,
moving that half a step down.
Half a step down and keeping that one, so.
E, E sharp, D.
F sharp.
B flat.
It's like a, 9 sharp 11, or flat 5 chord.
[SOUND] So I'll play it one more time.
Here I could actually do this, this cord,
I forgot the cord in-between if you
want to do to as a passing chord,
just an inversion.
The same.
B flat to minor 7th.
G sharp, G flat, B flat.
E flat, then B flat.
You wanna do that one, too.
E flat, B Flat, B flat, G flat.
Down to C, B, B flat, E flat.
And second time, instead of doing this.
You use this voicing, D flat 6.
D flat, F, D flat.
And D flat on top.
A flat,
F, and B flat.
Tune-Based Instruction, "Body and
Soul" Chords and Melody- Part 2.
And there's a key change,
that's a D major for the bridge.
It starts with
In E minor 7, A7, E, A.
D, A, G, C sharp.
then the same voicing we had there,
a half a step up.
Melody is D, E, F sharp.
A, there's the E minor 9 11 chord.
Here I'm doing F
sharp B and E.
A and D, some kind of F sharp minor
7 chord with the 11th and the sharp 5.
it's G minor 9,
same kind of voicing we had before and C7.
Just C, B flat, E, and G on top.
And this is.
The melody goes F sharp, D,
E, C sharp, A.
And the chords I'm doing,
it's like A minor.
F sharp minor 7.
B minor 7.
You don't have to use the thumb.
You can do it like this if you want.
Same voicing for the E minor, E minor 7.
And I was changing that,
altering that 5th into a sharp 5.
To 6, sharp 5.
So let's see here from.
Back if you want.
Same voicing here from D minor.
E, F.
You can do a G9 13 here.
F, B, E and A.
Or even if you wanted to have a sharp 5.
Sounds good too.
Then we're up
here at 10th position with C as the root.
5th, G.
The 6th, A.
And a major 3rd.
On top.
It's a very, this is a A,
E flat diminished chord.
So you can.
Play it like that.
E flat.
C, G sharp, I'm sorry,
F sharp with G flat, A, and D on top.
I like that, I'm sorry.
Interesting chord.
And then.
It's like the E flat
diminished chord but a D major 7th on top.
That same inversion we used before for
the minor 7.
This time from D with C on top.
And we can do a G7 like this.
G, D, F, and B.
And then a 13.
F, B, E, G.
[SOUND] And then.
[SOUND] So I'm going down here.
I'm doing a C9, C9 chord.
C, B flat, D, and E.
Chromatic down to B.
To B flat.
This is a cool chord.
It's like a B, B flat major 3rd.
Sharp 9.
Sharp 5.
can even put an E as,
as the lowest note if you like.
And then you have the 7th.
The major 3rd.
The 6th and the 9th.
And the sharp 11th.
So that last part.
I think I did.
That's where I put C on top.
Just for some variation.
Then back.
Same thing.
If you can do this C minor 7 flat 5
if you want.
That's kind of voicing.
C, G flat, B flat, then F.
Instead of that 11 voicing.
It's optional.
[SOUND] What about that?
B triad over F.
That's pretty cool.
And for the last chord you can put,
start putting D, D flat as the root,
you can put 5th,
A flat that's pretty cool.
So try that, try to record a version
using the this chord melody arrangement.
And then, now I showed it really.
You know, it's a simple version of it.
But if you listen to my performance,
I did some.
I added more rhythm to it.
Adding more, like syncopation and
making it swing a bit more.
More freedom in my,
freedom for the performances.
And, you're gonna get that once
you get the basic chords down and
you find your way around the fret
board and feel secure with it.
Then you can start taking it
a little bit more outside.
Then the next step is probably to mix in
Mixing it up with single
string lines as well,
think we had a cool mix.
So upload a video for me to review, and
you can also feel free to make your own
record melody arrangement if you
want to in different voicings.
This is just a suggestion.
Thank you.
Tune-Based, "Body and
Soul" Performance- Solo.
Tune Based Instruction,
"Body and Soul" Solo- Part 1.
It's time to do a little breakdown
of the soloing devices for
this song, Body and Soul.
First chord here E flat minor 7.
E flat.
Aeolian would be the natural choice.
B flat, F, G flat, A flat,
B flat, B natural and
D flat and E flat.
But sometimes, you know,
I color the chord with this natural 6.
And then you can use Dorian as well.
So it's, it's optional.
But if you use Aeolian for the next chord,
you only have to change one note.
'Cause this is gonna be a B flat 7,
and we can use the B flat mixo,
flat 2, flat 6.
B flat, B natural, or C flat if you
wanna call it that, D, A, A flat,
F, G flat, A flat and B flat.
And this is an inversion
of E flat harmonic minor.
Starting from the 5th step.
So, for
the first chord you could as well use
If you wanna use that note.
The D natural, and
then you have the same set of notes for
both both scales.
if you start with Aeolian and
go into, then back.
Then for the next chord, A flat 7.
I would use the altered scale,
simple Locrian.
A flat, A, B natural, C,
D, E, G flat, A flat.
if you start that note that scale from D.
Same set of notes,
you'll get a D Lydian flat 7 scale.
So sometimes when playing this song,
you're substituting the,
that that A flat 7 for
D7, tritone substitution.
And then where it's finally Lydian flat 7.
Otherwise I would go for simple Locrian.
So it's like a 2, 5,
1 kinda progression order.
2 a sub 5.
So D flat major, D flat,
E flat, F, G flat, A flat,
B flat, C, and D flat.
then you just have to, hey,
hurry up to the next chord.
You just have to change one note again.
To make it into a G flat
Lydian flat 7 scale.
So it's that note, F that turns into a E.
All right?
And here's
F minor.
And that's the third step of D flat 7 so.
Using Phrygian would be the natural thing
It's the same notes as D flat major or
D flat Ionian 'cause it's a third
invention that starts on F.
Then it's E diminished.
And the most common thing would be to
play the whole step half step scale,
starting from E.
So first, a whole step,
And then a half step.
Then another whole step.
Another half step.
And now the whole step.
And then half step,.
whole step, half step.
All right?
And then, back to G, D, E flat.
Natural thing would be to go to
back to Aeolian.
Or in this case, let's see.
We're coming from this chord.
In this case, it's actually,
'cause we're in the key of D flat major.
So I think it would sound even better
with Dorian here in this case,
actually, 'cause now we established
that D flat major tonality.
D flat Dorian.
The natural 6.
Then C.
Minor 7, flat 5.
That's the 7th step of D 5 major.
And this tune is in the key of D 5 major,
Locrian scale, starting from the 7th.
set of notes as D flat major,
just starting from the seventh step.
You could also use
a natural 9 if you like.
Wanna use that D instead of D flat.
Then for the F7, you can choose if you
wanna use E flat mixo flat 2 flat 6.
E altered, E simple Locrian.
And we
add a series of 2 5 chords here.
And B flat is to 6th step of D flat major,
so it would've been a separate chord,
would've been natural to use Aeolian,
but here since it's followed
by a E flat 7, like a 2, 5.
Sounds better to use Dorian for
the natural 6.
And then just mixolydian.
Same set of notes, starting from E flat.
And then E flat Dorian.
A flat Mixolydian.
Or here, if you wanna go outside and
use the altered simple Locrian
scale back to D flat major.
So if we start for instance with,
with Dorian here for the first chord.
Simple Locrian.
Lydian flat 7 for G flat.
Somehow with this F chord.
Sounds good with a G as well so,
you don't have to use Phrygian.
You can actually.
See what scale we,
we also could use here.
On the F minor, you could actually try,
you can try either Phrygian, you can try
Aeolian, or even would work with Dorian.
If you want.
Then there's diminished scale.
Then back
to E flat Dorian.
Locrian, or Locrian natural 9.
And then back to the tonic chord.
Tune-Based Instruction "Body and
Soul" Solo- Part 2.
So, when practicing you
can also practice like.
Do these arpeggios so
you really learn how to outline
the chords and the changes.
It's good to know these scales.
You will have more devices,
more notes to choose from.
But it's also easy to get
lost when in these scales and
start thinking too much of it.
So it's important that you
really hear the chord tones.
And so on.
So to be able to make good melodies
that outlines the changes.
Okay, and then it's time for the bridge.
It's the 2 5 going to key of D major.
So, E Dorian.
E, F sharp, G,
A, B, C sharp, D and E.
And now for the next series of chords,
just an inv, these are inversions
of D flat major, of D major.
So Ionian for the first chord.
Dorian for the next one, for E minor.
Phrygian for the next one.
[SOUND] So, but it's,
it's not the same scale.
It's a start from different
steps on the scale.
And each scale and each sound,
each chord has a different sound.
Different chord tones.
But it's still good to know that
it's the same set of notes.
I have to use the notes slightly
different for each chor, each chord.
And we have a G minor, C7.
either use, use Dorian and
Mixolydian as before.
Or use melodic minor G,
A, B flat, C, D, and
the E and the F sharp.
And that same set of notes starting
from C would be C Lydian flat 7.
then we have a F
sharp minor 7
to a B minor 7.
And there you can use the, the Phrygian.
It's the third step of D.
And this is B flat,
B minor is the sixth step.
So the same set of notes just starting
from B instead of F sharp and
then you get the B Aeolian scale.
Then same set of notes starting from E.
That's E Dorian and
from A that's A Mixolydian.
So basically what we have here is
the same set of notes for, for
these five different chords.
And so, so
if you haven't studied the modes,
it's really good to do it, and, and
learn how they're all connected, so you
can see the full picture, the big picture.
You can see that all
these chords are related,
they just have different chord tones.
And the set of notes are the same, but
you start on different steps, and you
have different avoid notes, and different
notes are important on each chord.
So down to D minor.
[SOUND] It's a 2, 5,
1 in the key of C major.
So I would just do Dorian,
Mixolydian, and Ionian.
Or if, or
if you wanna do the altered scale on G.
G, A flat, B flat, B, B flat,
C flat, F, and G, if you want.
Then it's E flat diminished.
And then you can do the same thing as
we did before with the whole step.
In whole step half step scale from,
but this time from.
This time from E flat.
Then D minor again.
Mixolydian for G7.
Then we have this
descending line of dominant chords.
C7, B,
B flat.
So here you can choose if you
wanna play just Mixolydian.
Or if you choose to play
the Lydian flat 7 for
these chords that works as well.
And for the.
This chord, the B flat 7,
I used to play the E altered,
because that leads back,
I am sorry, B flat altered.
Same as B flat super Locrian.
That leads back to E flat minor, and if
you choose to have this one, it's not E.
[SOUND] That's the bass note.
[SOUND] That's the root.
[SOUND] That will, the same set of notes
starting from E will be E Lydian flat 7.
[SOUND] 'Cause that's
an inversion of B melodic minor.
Where both of these
chords are derived from.
But you're just starting from
the seventh step, and here you're
starting from the fourth step, then back.
So then I'm com, combining all
the arpeggios with scales then
a few chromatic pass and go.
So send in your performances of Body and
Soul with a chord melody or
just a melody and then some soloing.
Looking forward to hearing that.
I'll give you feedback as always.