This is a public version of the members-only Jazz Piano With George Whitty, 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 Piano With George Whitty.
Join Now

Level 1
 ≡ 
Level 2
 ≡ 
Level 3
 ≡ 
Level 4
 ≡ 
Level 5
 ≡ 
30 Day Challenge
 ≡ 
+Music
 ≡ 
Video Exchange Archive
 ≡ 
«Prev of Next»

Jazz Piano Lessons: Adding Guide Tones

Video Exchanges () Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory Quizzes
Lesson Specific Downloads
Play Along Tracks
Tools for All Lessons +
Metronome
Collaborations for
Submit a video for   

This video lesson is available only to members of
Jazz Piano With George Whitty.

Join Now

Information
 ≡ 
Course Description
 ≡ 

This page contains a transcription of a video lesson from Jazz Piano With George Whitty. This is only a preview of what you get when you take Jazz Piano 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
Log In
X
[MUSIC]
Last step as we put it together and
kinda complete everything
that we've worked on so
far on our F7 blues, we're just gonna
add a little support from the left hand.
And again, the guide tones, E flat and A.
Slide down to D and
A flat when we hit the B flat.
Back up to A and E flat, and
when we hit the G minor 7,
F and B flat, and for
the C7, E and B flat.
Again, these are the third and
seventh of the chord.
They give us the essential
quality of the chord.
The fifth isn't necessary to convey
the essential quality unless
we're doing a special kind of minor
chord that we're gonna discuss later.
So, let's roll a little track.
I'm gonna play this on the very slowest
blues, 80 beats per minute, which,
again, is a really slow tempo to be
swinging the way that we're doing it.
But it gives us a little bit more time to
think about where we want things to go.
So, just as a way of illustrating
how to work it and where kind of,
maybe, to put the time
on such a slow tempo.
I'm gonna do one on that slow one,
the 80 beats per minute F blues.
[SOUND] One, two, three, four.
[MUSIC]
And
there
it
is.
That's the stuff we've learned so far.
Again, I'm really quite
restricting myself by not going,
[MUSIC]
not going over and
under with the pentatonic.
But once you start getting into that and
you're not just playing in a scalar
fashion, the possibilities
are really limitless.
Especially with the pentatonics,
because they're all good on any,
be they on the beat or off the beat.
You can make a lot of really
interesting shapes out of them,
and just approach any of them.
[MUSIC]
So, that's
where we're
at right now.
Work out on the F7 blues.
Have fun with it.
And in our next few lessons, we're gonna
start to get into a couple more techniques
for playing on an F blues,
playing on anything.
And the first one of those
that we're gonna hit,
I believe,
is what's called motivic playing.
And we're gonna take an idea and
crank it open in a bunch of different
ways that are an excellent way to
kind of work your imagination, and
also, a really great way of finding
your own sound as you play.
So, I'll see you for that lesson.
And until then, have fun on our F7 blues.
[MUSIC]