Jazz really comes from the blues.
This is really the, the roots of the
And as I mentioned earlier, I was talking
This sequence of one, four, and five,
That's really what they've
The Twelve Bar Blues is based on those,
those three three chords.
So, we've got.
One, four, five, but our other friend, the
two, five, one,
can be superimposed on, on top of this.
That's what I was doing there.
That's why when we played blues and
jazz we stray away from just the, the, the
We join a lot things up.
We superimpose two, five, one.
A lot of time on this.
So if we have the chord of G,
G, which would be another bar there.
But we would do a two five one D minor,
G to the C.
They are superimposed about two, five,
one on there.
Also, I played a, I played a piece there
where I was using tenths, as well.
So we could do.
Then bring our two five one in, in tenths.
And a little moving line in there.
So remember the, the walking baselines
that we have
Using chromatics to fill in the spaces.
So we can use chromatics in here as well
as the two five ones.
So we can get, we can have
Going to the C, we can do a C sharp.
Going down here.
These are these things that fill
everything out and
make it harmonically more interesting.
These are little devices that I'm using.
So I'm using the, the, the basis of the
blues, which is the one,
four, five sequence, but I'm also bringing
two, five, one's in.
I'm doing, I'm playing tenths.
I'm putting some of those little seventh
And a chromatic.
Now this is something we can do at this,
We can play we wanna get to an E.
There's our E.
But we can also that chromatically going
we're coming to the E but from another
We're, we're chromatically going down
to the E.
But we can do it this way.
So we're using all these devices that
we've, we've been going through the whole,
the whole time in playing the blues,
in what is essentially just a, a 1-4-5
Using a turn-around with tense.
Little fill with the seventh.
Chromatic going down.
And when we get to the D so I can,
come from the angle.
Off you go.
See I was really playing all of this so.
You know, you can go back and look at all
pick out little, little phrases that, that
And incorporate them in,
when you're trying to play this.
A very bluesy kind of phrases.
I mean when I was playing that blues
there, there was quite a lot going on.
So I don't want you to necessarily try and
copy that as a, like a performance piece.
But, but just take little pieces, in, in
Like I'm just, I'm just pointing a few of
those things out for you.
That's a device.
That's a way of finding your, finding your
way from G to E.
By the way, I'm playing this in G, not for
any particular reason,
except that as I've done with some of the
other things, it gives me a good run
at the fret board with out having to do
transitions too often, so.
Try it in lots of different keys too.
when you play it this, this is something
that's good to remember.
Sometimes when you're you're playing a
line over so
you say well that's a a g seventh you say
what also fits there is if you go from
the fifth which would be a
A D minor.
So you can play.
If I'm playing G.
you can actually play on a D minus
I use that a lot.
Instead of playing on the tonic.
See on g here.
I play on the fifth.
On the fifth minor.
If you listen to Wes Montgomery.
Wes Montgomery is a great example of, of
that playing on the,
the fifth minor over, over the tonic.
So, we got a G,
But I'm playing on a, a D, D minor.
But I've still got that, the G there.
And the same thing here.
Or on, when I'm in C.
I can play on the G minor.
While I got the c here,
you know, I can play a G minor.
this is just the very beginning of going
into kind of outside improvisation.
So we're breaking away if you say, right,
that's a G seventh.
Therefore I'm gonna play
Get in that little spot there, you know,
and, and find our little our little.
Four fret place.
Start to work out, and one of the ways to
work out, of that, is to, G,
start playing in a D-minor.
I'd like you to try that and really work
You'll find that's really interesting way
of breaking out of that four bar.
So coming back to this blues again.
All of this is a eh, a language,
and with jazz any any kind of music that
that we're we're trying to play,
we really just have to absorb ourselves
with with the music.
Sometimes guitarists will come to see me
and say they want to want to play jazz and
the first thing I say to them is what have
you been listening to.
And very often they say well I actually
haven't been listening to much jazz.
Well you have to absorb yourself in the
probably where I have advantage over a lot
Is that I grew up with this music, it was
the music in my house.
My dad was a jazz musician, my mother's
uncle was a.
Was a, was a jazz musician, was a
saxophone player in the, in the twenties
and very early, early days playing in, in
big bands in the, in the twenties,
so this was as a child, as I was at
the very same time I'm learning to tie my
shoelaces and brush my teeth.
And learning to speak I'm also learning
the language of music as well.
And, and, and in particular the jazz
So I was totally absorbed in it.
And one of my, one of the things that I
would say to you is that
to listen to as much as possible.
Listen to right back to the, the very
early days of, of jazz music.
There's in the world of guitar you've, you
can go right back to people like
Eddie Lang Eddie Lang and Joe Venuti and
of course Django Reinhardt.
Go back beyond that so the great delta
blues players like Big Bill Broonzy.
Who was absolutely a wonderful great,
For playing this kind of, this kind of
You get that really feel of of, of the
It's like, it's learning another language
doing, then you learn, learn how to
express yourself in, in that language.
And, as you learn a new language, you
become more and
more fluent in that language.
So these are just some, some devices that
I, I wanted to pass on to you of
how to play the, play on a blues, a jazz
blues, which is a little bit different.
We, we bring in some other things, we
bring in those two five ones, chromatics.
And we use the tenths and the sevenths and
so we kind of extend.
It's like an extended blues, but the basis
of it is exactly the same as,
as a blues and in the old fashion term of
blues and in, in rock and roll.
It's, it's just the same.
It's the, it's the three chord trick.
But extended considerably.
But you know you know, you don't have to
an awful lot to really change it, but what
it's, it changes the textures and it's
part of the storytelling.
Like, when we use chromatics.
One of the things that chromatics do is
they, they bring in a sense of tension.
So, if I play.
I play in G and I want to go into C, but
I bring in a C sharp, which is just just
above the C.
That's got to go somewhere.
So that adds.
And the release is.
Going to the C.
Tension and release.
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