The amount of improvement you can book by transcribing guitar solos or Jazz Solos and learning to play them is quite amazing. In this video, I am going to talk about how you can use the solos you transcribe to improve your Phrasing, Learn New Vocabulary, Connect your phrases and add a better build up to your solo.
Making your own transcriptions is a huge part of learning jazz, but often it is not so much about writing down the solo and a lot more about playing them and figuring them out by ear!
8:37 Other things used in a larger form9:18 Like The Video? Check out My Patreon Page
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A few weeks ago I was talking to Claus Levin. We decided to work together on some guest lessons for each others channel.
I think it is a great way to meet other YouTube guitarists by having them do a guest lesson and get a small introduction.
Claus Levin – The Core Of Improvisation!
The videos Claus Levin makes are mostly focused on the psychological and technical aspects of learning the instrument and with some useful insights and philosophies there is a lot to learn from his videos.
His lesson on my channel is also taking a step back and then looking at what it actually is to improvise.
You can check out the Claus Levin YouTube channel here: Claus Levin
The videos
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Get the 3 Notes Per String Pentatonics PDF!
My lesson on the Claus Levin channel is on using 3 notes per string pentatonics and the PDF that you can download via that is available here: 3 NPS Pentatonic scales
Practice tempo is very important when it comes to how fast you will learn to play a difficult phrase or solo over a chord progression. A huge part of the time we spend on music is practice. So it’s important that you consider how you can do this in the most effective way.
In this video I will go over some of the things that you need to think about when you are practicing improvising over a progression and especially some thoughts on the tempo you play in.
Everybody find Diminished chords troublesome to play over, but actually it is not as difficult as you think. In this video I will go over how I improvise over a diminished chord and give you the tools and knowledge to add it to your guitar solos.
Three main types of Dim Chords
A diminished chord is a collection of notes that always want to resolve. They are never used as a tonic chord, but always as a means of tension towards or suspension of another chord. The first thing to notice is that diminished chords have different ways to resolve, in fact there are three main types of dim chords resolutions you will come across. These are shown in example 1 here below:
Dominant Diminished Chords
The first diminished chord is a G#dim resolving to an Am7. This Dim chord functions as a dominant and could easily be replaced with an E7.
I assume you know how to play a dominant resolving to a minor chord like E7(b9) to Am, so I won’t spend a lot of time on this type in this lesson.
Sub-Dominant Diminished Chords
The other two are #IV diminished chords. These are not dominants but are sub dominants and resolve in a different way. The easiest way to think of them is as #IV dim, but you are also (or most even) likely to come accross them in inversions (as you will see in the examples)
The two most common progressions where you will come across these are the #VI-I and #IV-IV. In the first case the Fdim to Fmaj7, where Fdim is an inversion of Bdim, which is #IV in F major.
The last part of example 1 is a #IV dim chord (Ab dim or Bdim/Ab in this case) resolving to a subdominant chord: Gm7. This is a very common dim chord to encounter in turnarounds and is also found in a lot of standards like The Song is You or Embraceable You.
So we have three types of progressions where one is easy to play because we can treat it as a V I progression.
How to not use the diminished scale
The scale that you need to use in a context not the diminished scale. Primarily because the diminished scale is a symetrical and synthetic construction and not really what fits any type of tonal song. Most jazz standard progressions, where we find the diminished chords, are tonal.
The best way to approach this is probably to take a look at the scale that is the key. In this case that is F major as shown in example 2. If we alter this scale to contain a Dim chord then we get either an A harmonic minor scale or you could also choose a C harmonic major scale.
In most cases the A harmonic minor scale is more familiar so for now we can just stick with that. The C harmonic major option only differs one note and the difference is not that big.
The Secret Trick to Dim Chords
The secret trick in this case is to use the target notes that we associate with the V I resolutions, so in this case we coud resolve the dim chord to an A or a C over the Fmaj7 or Gm7. In Example 3 I have written out some simple exercises so you can hear how it sounds.
It’s all about target notes
So instead of making lines that resolve to the basic chord tones of the chord you can make lines as if you are resolving a dom7th chord and get used to how they sound over the chord you want to resolve to.
Idim – Imaj7
This type of progression is fairly common in songs like “I Remember You” or “You Do Something To Me”
Using the target notes of A and C in this situation is not so difficult since the A and C are both chord tones on an Fmaj7: F A C E.
Below are to examples of simple lines resoving to first the C and then the A.
The material I am using on the Bdim is really spelling out an E7(b9). E7(b9) is of course also what you are left with if you take an A harmonic minor scale and leave out A and C.
The bIII dim resolving to IIm7.
This is usually the dim chord situation that is causing the most problems. It is also the example where you end up playing towards extensions over the II chord that you are maybe not as used to resolving to or hearing.
The first thing you want to be used to is the sound of the dim chord resolving to Gm7 as I wrote out in example 3.
For the bIII dim chord I have a few different examples. The first two are in the context of a III bIII II V I progression.
1st Turnaround example
The Am7 line is a basic Am triad which is followed by a dim arpeggio from B to Ab. The Ab is then resolved to A on the Gm7. The A is then used as a top note in an Bbmaj7 arpeggio.
2nd Turnaround example
The 2nd turnaround example is using the C over the Gm7 chord.
The line starts with a scale run from A to C on the Am7. The Abdim line is a descending arpeggio run from the 3rd(B). On the Gm7 the line first resolves to C, which is the target note, and from there continues with a Bb major triad played in a 153 pattern.
Longer bIIIdim lines
To help you get used to the sound I have also included two examples where you can hear the resolution and I am adding the chord under the target note so that you can easily hear how it resolves.
The first example is using a dim arpeggio pattern followed by an E7 arpeggio that resolves to 9th(A) over Gm7.
The second example uses a similar arpeggio pattern that is followed by an E7(b9) fragment. This resolves to the 11th(C) on the Gm7 where I again have added the chord under the target note.
How to work on this material
The important thing is that you train yourself to hear how these target notes work and sound over the chords and in that way get the lines that you already have in your system as dominant lines to work in this other context.
Adding the chords under the target notes or just sitting down to voicelead chords towards with the target notes in the melody can be very useful besides all the exercises I covered in this lesson!
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You can also download the PDF of my examples here:
If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.
Most guitarists learn the Pentatonic Scale as one of the first things they ever learn on the guitar, and most of the time it is not a scale that we think too much about when we use it. It’s just the pentatonic scale and it’s something that is in our ears and fingers for years. And that is even if we are already for the rest playing music with extended chords, altered dominants etc.
In this lesson I am going to take apart the pentatonic scale and look at some of the things that you can find in there since that might yield some new ways of using it by combining what you know of the pentatonic scale and what you know about improvising with chords and arpeggios.
The Pentatonic Scale
The pentatonic scale that I will spend time on in this lesson is this D minor pentatonic scale:
If you try to remember all the exercises you have done in a pentatonic scale you will probably find that they are all sequences and groups of notes (3 and 4 are very common) more than they are praciticing specific structures that could be seen as a chord.
Diatonic chords in the Pentatonic scale
In a major scale we create chords by stacking diatonic 3rds. A diatonic third is basically a just a note followed by the note 2 steps higher in the scale. If we build chords in the scale like this we get this scale exercise:
To get a better overview of what these arpeggios are you can play them as chords (the pentatonic scale is very forgiving with it’s 2 note per string fingerings) and that will give us the following set of chords that are “diatonic triads” in the pentatonic scale.
As you can see the “triads” that we build are almost never consisiting of actuall 3rd intervals and especially the 4th is much more present in the chords which is why we get stacks of 4ths (the sus chord inversions).
The chords we have are then Dm, F, Gsus4, Csus4, Dsus4 which you could consider the diatonic triads in the scale.
Even if it is possible to play this in a position like I did in example 3 it is very useful both for comping and for using them as arpeggios to practice these on a string set like shown in example 4:
It is worth while to keep in mind that if you can use the pentatonic scale to play a solo over a chord then probably the chords in example 4 are good for comping over that chord. Maybe try out example 4 over a Bb bass note to get a Bbmaj7 sound.
Open voiced diatonic chords
Now that we have 3 different types of chords: major, minor and sus4. We can start getting more out of the chords by playing them as open voiced triads. The easiest place to start with making open voiced triads is to take example 4 and then lower the 2nd note an octave. If you do that you will get the following chords:
With open voiced triads you get a lot out of inverting them, because they contain a lot of quite large intervals. To just cover that I’ve written out a set of inversions for each type of the open voiced triads:
Practicing these open voiced triad inversions is a great thing to put to use with pentatonic scales and they are also great for right hand accuracy and technique since they contian a lot of irregular string skips.
If you want to check out open voiced triads in more detail you can also have a look at this lesson: Open Triads in Solos
Shell voicings in the pentatonic scale
One way to think of the D minor pentatonic scale is to think of it as a Dm7 arpeggio with an added G. Since the Dm7 chord is to be found in the scale we can of course also use a Dm7 shell voicing and try to play that through the scale.
I have written this out in example 9. The most logical starting point seemed to be the standard Dm7 shell voicing in the 5th fret. From There I take it through all 5 degrees of the scale to get some other voicings. Some of the voicings have nice seconds in them and can be put to good use in any situation where Dm pentatonic is an option.
If you want to know more about using shell voicings as arpeggios you can also check out my lesson on this subject: Shell Voicings as Arpeggios
A few examples
All three examples are basic II V I progressions in the key of C, so Dm7, G7alt and Cmaj7. They should illustrate how you can use some of the arpeggios and structures cover in the first part of this article.
The first example is using the open voiced triads, and more or less just playing the first two arpeggios from example 5, which are a Dm and then an inversion of a Csus4 (or an open voiced Fsus2 if you will). From there the line descends down the scale and continues to a G7 alt line that is based around an AbmMaj7(9) arpeggio that then is resolved via the Ab to the 5th(G) of C.
Using the “diatonic triads” from example 2 in a similar basic way is also a very useful. In the 2nd line I start of with an A and then go into the F major 2nd inversion and G sus 4 triads from example 2. On the G7alt the line is using the Bb min pentatonic scale. First a stack of 4ths from Bb, which would be the same as the Dsus4 triad in example 2. Fromt here it descends down the scale and resolves to the 7th of Cmaj7
The third example is mixing up the open voiced triads and stacks of 4ths. First an open voiced Csus4 triad followed by a Gsus4 triad. From there it continues with a basic line on G7alt that is build around an AbmMaj7 arpeggio that via an chromatic approach resolves to the 5th(G) of Cmaj7
Some of the chord names that I end up using in this lesson like the Gsus4 and the Dsus4 are maybe not the best names to describe the sound that you have at your disposal with these arpeggios, but it is still very worth while to use this approach to get some new arpeggios and melodic structures out of the pentatonic scale. By looking at it in the same way we would the major or melodic minor scale.
I hope that you can use the material that I went over here to get some new ideas and make some good surprising lines using pentatonic scales.
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If you want to study the examples away from the video or article you can download a pdf here:
If you have any questions, comments or suggestions for topics or how I can make the lessons better then please feel free to leave on the video or send me an e-mail. That is the best way for me to improve my lessons and make thme fit what you want to hear.
