This is a public version of the members-only Jazz Improv Guitar with Chuck Loeb, 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 Jazz Improv Guitar with Chuck Loeb.
Join Now

Basic
 ≡ 
Intermediate
 ≡ 
Advanced
 ≡ 
30 Day Challenge
 ≡ 
+Music
 ≡ 
«Prev of Next»

Jazz Guitar Lessons: Stompin At The Savoy

Lesson Video Exchanges () submit video Submit a Video Lesson Study Materials () This lesson calls for a video submission
Study Materials Quizzes
information below Close
information below
Lesson Specific Downloads
Play Along Tracks
Backing Tracks +
Written Materials +

+Basic

+Intermediate

+Advanced

Additional Materials +
Close
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Jazz Guitar

This video lesson is available only to members of
Jazz Improv Guitar with Chuck Loeb.

Join Now

information below Close
Information
 ≡ 
Course Description
 ≡ 

This page contains a transcription of a video lesson from Jazz Improv Guitar with Chuck Loeb. This is only a preview of what you get when you take Jazz 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
[MUSIC]
That was Stompin At The Savoy.
Little, just a little fun romp.
I just wanna talk about a couple
things that I was doing in there.
One concept that we haven't really
talked about that much yet,
that I wanna touch on is, sometimes you
can be two things at once on a guitar.
You can be the piano player and
the soloist.
And that melody is, kinda, like that.
Because what I play is,
[MUSIC]
I play the chords as a set up for
the first part of the melody, and
then I answer it as a single line.
[MUSIC].
So it's like the first guy is the pianist,
and then here's the horn player
[MUSIC].
Piano, horn, piano, horn
[MUSIC]
And then you become the piano player and
the bass player,
when I'm walking the bass lines.
[MUSIC]
So those little jabs I'm putting in
is like the piano player.
[MUSIC].
[MUSIC]
What am
I doing there?
Remember when we talked about trips
stops and just three note chords?
A lot of what I'm doing there
are just broken chords, and
leaving enough room for my other
fingers to move the baseline around.
So I'm doing like
[MUSIC]
Just root seventh and third
[MUSIC]
Set root seventh and third again
[MUSIC]
There I'm taking just the root,
seventh and third moving up, up the scale.
[MUSIC]
Use a little diminished passing chord.
[MUSIC]
And here,
[MUSIC]
also just three note chords.
That's a minor 7.
A little dominant 7 inversion.
Or, or, a,
a you could use a diminished chord.
And then an inversion of the minor chord
[MUSIC],
and approach note dominant seventh
above the fifth and it creates a base line
[MUSIC]
with a chord on every base note.
Now I know that's a lot of concept
to think about right now, but
you can take it apart and
do it very slowly, for example.
Just take a simple blues.
[MUSIC]
And
instead of playing the full
cord just play 3 note cords.
Just the 7th, the 3rd, and the root.
So that's 1, 7, 3.
When I go to that string it's 1, 3, 7.
So that you get a little voice leading.
[MUSIC]
Let's do a two,
five to the four chord.
[MUSIC]
So
F minor seven,
[MUSIC]
really key
B flat
[MUSIC]
F minor seven, B flat seven, E flat seven.
So, little three note chord
on the F minor seven.
Root, third, seventh.
Root, seventh, third, on the five chord.
And then
[MUSIC]
root third seventh on the,
on the four chord.
So you would get something like this.
[MUSIC]
Now you see I'm just doing chromatic
notes on either side of the voicing.
[MUSIC]
There,
I walk down the scale.
[MUSIC]
So watch what I did there.
[MUSIC]
I went down to the fifth below.
That's the F minor.
Just moved my finger down
to the fifth below it.
It's almost like if you were
playing a country song.
Go down to the fifth.
[MUSIC]
Go to the, the B flat seven and
then play a chromatic approach
above the four chord,
which is a half step
above where you're going.
And you get a little base line, you could
also make that where I played the fifth.
[MUSIC]
You could also go.
[MUSIC]
And make it a half-step above the dominant
seven, so you get an approach.
[MUSIC]
So there's different ways you can do it.
Find the ones that sound good to you.
[MUSIC].
A lot of times
[MUSIC]
I'll just walk the bass line,
just find some notes to
connect to the next chord.
[MUSIC].
That's that fifth again.
Fifth again
[MUSIC].
Right there, all I did is one,
six, two, five, one.
I just put a chromatic
note above each one.
A chromatic note above the G
[MUSIC].
Chromatic note above the C
[MUSIC].
Two chord.
Chromatic note above the five chord,
chromatic note above the one.
Check it out.
[MUSIC].
And all I have on top of that
is the third and the seventh and
you hear the whole cord,
so, mess around with that.
[MUSIC].
Do some of it for
me on a video, send it in.
And I'll see if I can
learn something from you,
or maybe I can teach you
something that you didn't know.
[MUSIC].