This is a public version of the members-only Gypsy Jazz & More with Andreas Oberg, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Gypsy Jazz & More with Andreas Oberg.
Join Now

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
 ≡ 
+Music
 ≡ 
«Prev of Next»

Jazz & More Guitar Lessons: "Oleo”

Lesson Video Exchanges () submit video Submit a Video Lesson Study Materials () This lesson calls for a video submission
Study Materials
information below
Lesson Specific Downloads
Play Along Tracks
Backing Tracks +
Additional Materials +
Close
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Jazz & More Guitar

This video lesson is available only to members of
Gypsy Jazz & More with Andreas Oberg.

Join Now

information below Close
Information
 ≡ 
Course Description
 ≡ 

This page contains a transcription of a video lesson from Gypsy Jazz & More with Andreas Oberg. This is only a preview of what you get when you take Jazz & More Guitar Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
X
X
X
Tune-Based Instruction "Oleo" Chords.
This song is based on an old tune
by Gershwin called, I Got Rhythm.
And the original chord progression for
I Got Rhythm was like, 1, 6, 2, 5.
B flat minor.
G minor.
C minor.
F7.
But over time,
this progression changed a bit.
And now, there's so many variations to it.
But the most common one is
actually to play B flat,
major 7, G7 like a 5 7 to 2.
And 2 minor 7, 5 7.
[MUSIC]
Like this.
[MUSIC]
And
then second time replacing B flat major,
so you go the notes here B flat A, D, F.
Basic one here.
[SOUND] G, B, and F.
C, B flat, and A flat and
F, A, and E flat.
So second time,
replacing this with D minor 7.
So D, C.
[MUSIC]
and F.
G7, C minor, F7.
[MUSIC]
So.
[MUSIC]
So one two three four.
[MUSIC]
Two beats each of a bar.
[MUSIC]
Then B flat major.
[MUSIC]
B flat 7.
[MUSIC]
E flat major,
I'm doing like a E flat 6 here.
E flat, G, C and F.
[MUSIC]
Then E diminished.
E, flat, B flat, D flat, G, and
if you want add a B flat on top,
I'm barring over here with my
third finger over the sixth fret.
So.
[MUSIC]
Then the same thing.
[MUSIC].
Start over
[MUSIC]
[SOUND] You could actually play the B,
B flat 7 like this.
Make it a 9.
And this D minor 7 flat 5 kind of voicing,
but
B flat in the bass, it's like a B flat 9.
[SOUND] And, after awhile,
you could start doing
variations to it if you wanna
go a little bit outside.
Do the tritone substitutions for instance.
[MUSIC]
So you just go, instead of.
[MUSIC]
G7 you go to D flat 7,
tritone substitutions.
And instead of minor, you can do a C7,
then substituting F7 with B7.
So.
[MUSIC]
Now I'm adding the 13th.
[MUSIC]
And I'm adding the 9th, as well.
[MUSIC]
And you could also do like, diminished.
[MUSIC]
B flat major,
D diminished.
B, A flat, D, and F.
[SOUND] D minor.
So.
[SOUND] And then I'm ending up on a B
flat with a D in the bass as the root.
[SOUND] Go back down, and F7.
There's also an option.
[MUSIC]
Then for
the bridge you can either do two 5s.
A minor 7, B7.
D minor 7, G7.
G minor 7, C7, C minor 7.
[MUSIC]
F7 and those will be the notes will be A,
G, C, D, F sharp, C.
[MUSIC]
D, F, C, G, F, B, G, F,
B flat, C, E, B flat, C E flat,
B flat, F, A, E flat, A.
That would be the most basic one.
[MUSIC]
Or even more basic would be to just to
do D7.
[MUSIC]
G7.
[MUSIC]
C7.
[MUSIC]
F7.
[MUSIC]
Then add 9.
[MUSIC]
After a while,
you could start doing maybe.
[MUSIC]
To find like a guideline on top.
This is the 13th, sus, sus.
[MUSIC]
13 to sharp 9, sharp 5 to 13, 13 flat 9.
[NOISE] Sus or even,
flat 9 sharp 11.
C, E, B flat, E flat, F sharp.
And then [SOUND] the sus, 9 sus.
[MUSIC]
Then a sharp 5, E flat,
A sharp 5 is D flat and F.
[MUSIC]
You can also do start with the sus chords
[MUSIC]
Sus 9.
[MUSIC]
Make it into a 9th chord.
[MUSIC]
Or go the other way.
Make it like this, add the sharp 11.
[MUSIC]
So, and then you can add a,
a tritone substitution.
A minor, A flat 7, G7, D flat 7.
[MUSIC]
G flat 7.
[MUSIC]
D7.
Or just D7.
[MUSIC]
D flat 7.
[MUSIC]
C7, B7.
[MUSIC]
And the end you can
just end with a C minor,
F7 or F7 plus, back to
B major, B flat major.
So those are the basic chords,
and then after a while,
you can start using these chords
using upper structures like
[MUSIC]
Tune based instruction, "Oleo" Melody.
Okay, it's time for the melody.
It starts on a B flat.
[SOUND].
I'm playing it here around 5th position,
so
I'm starting with [SOUND] On
the 8th position with my.
Either, I'm using the pinky finger.
You can use the third finger
as well if you like that more.
So the notes are like this,
it goes like this.
B flat, G, C, one, one and
two and three and four and one.
That's the first phrase.
B flat, G, C, B flat, G, B,
E flat, D, and B flat, 1.
[MUSIC]
Second phrase is.
3rd string,
7th position
[MUSIC]
D, E flat.
D, E flat, D, C,
B flat, G, G sharp and
a short one and.
A and B flat, G.
[MUSIC]
It continues C.
[MUSIC]
B flat, G, B flat.
B flat, G, B flat.
B flat, G, E flat, D, C.
So, so far it's going to be one.
[MUSIC]
Last phra, last phrase.
G, B flat, G, B,
C, B, C, A, F, right?
[MUSIC]
Then it
starts over,
same thing.
[MUSIC]
Then G,
B flat.
[MUSIC]
You can do the blues thing.
[MUSIC]
Either.
[MUSIC]
Or.
D flat.
[MUSIC]
Second time.
[MUSIC]
D flat.
[MUSIC]
[INAUDIBLE] flat.
A, E, C.
[MUSIC]
D flat C.
B flat, I'm sorry.
B flat, B flat, C and B flat.
And then for the bridge,
you just like improvise.
It's, it's one, two, three,
four, two, two, three, four.
[MUSIC]
It's eight, eight bars.
[MUSIC]
And then it's back to.
[MUSIC].
The second ending.
I'll play it more,
one more time a bit slower.
One and two and three and four and one.
[MUSIC]
Short.
[MUSIC]
Short.
[MUSIC]
Short.
[MUSIC]
Soloing.
[MUSIC]
And that's the melody.
Tune-Based Instruction,
"Oleo" Solo- Part 1.
You guys have requested a breakdown of
the I Got Rhythm chord progression, and
that's what I'm about to do right now.
Breaking down the different devices, and
scales, and ideas you can use for soloing.
The original chord progression for
I Got Rhythm was just like a 1, 3, 2, 5.
[MUSIC]
Dorian, I'm sorry, Ionian.
Aeolian, Dorian and Mixolydian.
[MUSIC]
They all, these all,
all these modes come from
the B flat major scale.
So, you could basically stay within that,
that set of notes.
[MUSIC]
As long as you outline the,
the chord chord tones of each chord and
not making it just sound like
everything is in B flat major.
And you can start in a similar
way when doing like this.
[MUSIC]
Using that B flat
major arpeggio.
[MUSIC]
G7 arpeggio.
C minor F7.
[MUSIC]
And then you can
actually start from the G.
[MUSIC]
Or, if you want to do diminish.
[MUSIC]
Pretty cool.
[MUSIC]
It makes the G7, flat 9.
[MUSIC]
You can even use that for that chord.
Instead of the F7, sometimes you
can replace that with a D flat or
C sharp diminished and
going up to that target chord.
[MUSIC]
Or.
[MUSIC]
'Cause when it comes to scales.
[MUSIC]
Of course,
B flat Ionian would be the start.
[MUSIC]
And the most inside sounding scale for
the second chord would be G7 flat 6,
'cause we're keeping all
the notes from B flat major, but
we're just adding the chord
tones of the new chord.
So it's basically a G7 arpeggio with
the remaining notes from B flat major.
I never really liked that sound.
I always prefer to use the flat 9.
And do it more like a.
[MUSIC]
Mixo flat 2 flat 6 scale.
[MUSIC]
Like.
[MUSIC]
And
of course,
it's also common to use the altered scale.
[MUSIC]
To use the G altered scale,
G super Locrian.
G, A flat, B flat, B.
D flat, E flat, F and G.
[MUSIC]
Important
thing is that that B note is so important.
[MUSIC]
The major 3rd, your outline that G.
[MUSIC]
And then C minor second step Dorian.
[MUSIC]
C, D, E flat, G.
[MUSIC]
G, I'm sorry F, G, A, G flat.
[MUSIC]
Then F7,
Mixolydian same set of notes,
just starting from F instead.
But here you can also use the altered
scale from F, F super Locrian if you want.
[MUSIC]
So
the difference will be if I just
played within the same key.
[MUSIC]
And then I start using the G7.
[MUSIC]
Now the diminished would sound like that,
and then with some of the scales.
[MUSIC]
So I like that.
There's more of a variation
to it that way.
[MUSIC]
Tune-Based Instruction,
"Oleo" Solo.
And then it continues.
[MUSIC]
From B flat major to B flat 7.
[MUSIC]
And then it's, of course,
you change that note.
[MUSIC]
From major 7 to 7th and
you get the Mixolydian scale.
[MUSIC]
Leading to E flat major.
[MUSIC]
Maybe you can either choose if you,
[MUSIC]
if you wanna use the Ionian, but
I prefer to,
[MUSIC]
Use the A.
You get that Lydian sound
'cause E-flat is the 4th.
Step up, B flat.
So.
[MUSIC]
I think that sounds better with, to me.
With a E flat, F, G, A, E flat.
After the E flat 7,
we go straight up to E diminished.
And the scale's gonna be whole tone,
I mean whole step, half step.
[MUSIC]
Whole step, half step all the time.
[MUSIC]
You can also just do,
[MUSIC]
Do the D,
diminished arpeggio if you'd like to.
It's pretty cool.
[MUSIC]
I'm sorry,.
[MUSIC]
And that leads into.
[MUSIC]
Back to either the tonic chord.
[MUSIC]
For the turn around, or the D minor.
[MUSIC]
And
then it's the same thing for the D minor.
[MUSIC]
I will play.
[MUSIC]
Same set of notes as over B5 major,
Phrygian.
[MUSIC]
B, E flat.
F, G, A, B flat.
Unless you wanna make an effect of it and
do a natural 9 and do a Dorian thing, or.
[MUSIC]
And
really put the emphasis on that natural 9.
[MUSIC]
Then you go a little bit
outside of the B flat major tonality,
but that's cool too.
So you have those options.
[MUSIC]
And then for the bridge.
You could just do D Mixolydian.
[MUSIC]
G Mixolydian
[MUSIC].
C Mixolydian
[MUSIC]
F Mixolydian.
[MUSIC]
Or
you could put it together with a 2 5,
A minor.
[MUSIC]
To E7.
[MUSIC]
E mixo.
[MUSIC]
D minor, Dorian.
[MUSIC]
Mixolydian for G.
[MUSIC]
G minor.
[MUSIC]
Dorian.
[MUSIC]
C Mixolydian.
[MUSIC]
C Dorian.
[MUSIC]
And F Mixolydian.
[MUSIC]
Like that.
Or you could just do the Mixolydian.
The, the whole like D Mixolydian,
G Mixolydian, C Mixolydian, F Mixolydian.
Next step would be trying to alter these
chords a bit and use the altered scale.
[MUSIC]
D.
[MUSIC]
E flat.
[MUSIC].
F,
[MUSIC]
G flat.
[MUSIC]
A flat.
[MUSIC]
B flat.
[MUSIC]
and C.
[MUSIC]
and D.
[MUSIC]
But I prefer to just.
One, two.
For the first bar play inside like Mixo.
[SOUND]
Then use the altered scale.
[MUSIC]
Same goes for all those chords.
I'm using the D Mixo, then the D altered.
The G mixo, G altered, C mixo,
C altered, F mixo, F altered and back.
Or if you wanna look at it
as tritone substitutions.
[SOUND] D7, A flat 7, E7,
G flat 7, C7, G flat 7, F7.
[MUSIC]
And B7.
Then, starting from,
using the notes of the D altered scale,
starting from A flat,
would be A flat, Lydian flat 7.
Those two are related.
[MUSIC]
And D flat 7,
D flat Lydian, flat 7.
[MUSIC]
G flat, Lydian flat 7.
[MUSIC]
And B.
Lydian flat 7.
[MUSIC]
And then back to the.
[MUSIC]
Or you could just use the.
[MUSIC]
Tritone substitution.
A flat 7.
[MUSIC]
To E flat 7.
[MUSIC]
G flat 7
[MUSIC].
and B7.
[MUSIC].
That works too.
There's so many options.
[MUSIC]
And possibilities here.
So, I will,
[MUSIC]
will play a little, and,
you're gonna hear how it could sound.
[MUSIC]
And it's always,.
[MUSIC]
The blues scale is always useful.
[MUSIC]
With these blues notes.
[MUSIC]
So I'm using that a lot as well.
That was the breakdown of the devices for
soloing.
So send in a video of this song.
With or without the melody and
I'll get back to you with some feedback.
[MUSIC]