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Jazz Guitar Lessons: Stompin At The Savoy

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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,
I play the chords as a set up for
the first part of the melody, and
then I answer it as a single line.
So it's like the first guy is the pianist,
and then here's the horn player
Piano, horn, piano, horn
And then you become the piano player and
the bass player,
when I'm walking the bass lines.
So those little jabs I'm putting in
is like the piano player.
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
Just root seventh and third
Set root seventh and third again
There I'm taking just the root,
seventh and third moving up, up the scale.
Use a little diminished passing chord.
And here,
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
and approach note dominant seventh
above the fifth and it creates a base line
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.
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.
Let's do a two,
five to the four chord.
F minor seven,
really key
B flat
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
root third seventh on the,
on the four chord.
So you would get something like this.
Now you see I'm just doing chromatic
notes on either side of the voicing.
I walk down the scale.
So watch what I did there.
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.
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.
You could also go.
And make it a half-step above the dominant
seven, so you get an approach.
So there's different ways you can do it.
Find the ones that sound good to you.
A lot of times
I'll just walk the bass line,
just find some notes to
connect to the next chord.
That's that fifth again.
Fifth again
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
Chromatic note above the C
Two chord.
Chromatic note above the five chord,
chromatic note above the one.
Check it out.
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.
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.