Tag Archives: jazz guitar theory

That is not a Musical Exercise, I don’t like it!

You hear exercises being described as unmusical very often. But how much sense does it make to label a jazz guitar exercise as unmusical? When we practice then it is maybe more about looking at the skill we are improving than whether an exercise is musical or not?

In this video, I am discussing this and also going over some common misconceptions about different types of guitar practice like metronome practice.

Content:

0:00 Intro

0:19 Avoid Un-musical exercises?

1:05  Unmusical Exercise  Exercise #1

1:20 Unmusical like Pat Metheny

1:51 The Musical Exercise in a “Facebook video”

2:38 Skills involved

2:53 What is the point of an Exercise?

3:47  Unmusical Exercise #2

4:07 Benefits of Robotic Exercises

4:56  Unmusical Exercise  #3

5:07 How It sounds and What it is

5:40 What you learn!

6:57 Unmusical Exercise #4

7:08 Innovation is the tradition in Jazz

7:26 Just Try something!

8:01 What Is Your Opinion on Musical/unmusical exercises?

8:21 Like the video? Check out my Patreon Page!

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Music Theory – The 3 things you want to Know

A thing that is never mentioned when it comes to Music Theory is that there is a basic knowledge you want to obtain and then the rest gets easier. There are things that you need to know and work on that will make the rest very simple when combining Music Theory, Jazz Guitar and Practice.

In this video I am going to talk about three things you can learn or train for your music theory that will help you build a foundation to have an easier time understanding chord progressions, extensions and voice-leading. I am also going to relate this to what you need if you are improvising over chords, since that is what I am using the theory for.

Instead of looking at voice-leading upper-structure triad pairs in Utopian b7 minor then you can easily build the basic knowledge to make all the other stuff easy to understand.

Table of Contents

0:05 Intro

0:45 #1 – Learn Your Scales

1:09 Why we use scales in improvisation

2:11 Learning the Scales – What to learn

2:58 How To Practice

3:31 #2 – Diatonic Chords and Harmony

4:04 Building Chords in a Major Scale

4:52 Diatonic chords makes it easier to Learn Songs

5:33 What You Want to Learn

6:10 Practice Tips

6:22 How To Play Changes (in 30 seconds)

7:10 #3 Relating Notes To The Root

7:42 Adding Extensions to an Ebmaj7

8:36 Why You Want to know the Extensions in the Scale

9:06 Extensions for another Chord – How it Sounds

9:56 Putting the 3 Things together in one overview

10:30 Like the Video? Check out my Patreon Page

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Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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If you have any questions, comments or suggestions for topics 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.

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This Is Not Bebop, But It Is A Great Coltrane Solo

It is not surprising that a Coltrane solo isn’t bebop, but it is interesting to figure out why that is the case. Understanding what types of licks or melodies are typical for a style of music is a really good description of what is going on.

The solo that I am talking about in this video is John Coltrane’s solo on the F blues – Take the Coltrane off the Coltrane/Ellington album from 1963.

In the video I am presenting an analysis of the solo with a focus on the melodies, there placement and function in the form and not only the notes that are being used. I find that it takes a more detailed view to understand a solo than just what scales are being used.

Let me know what you think?

A few thoughts on this Coltrane solo Analysis

As always music is not an exact science so this solo has a lot of traits that are really not bebop sounding but it still contains examples of normal bop lines and chromatic passing notes etc. So clearly Coltrane is rooted in that tradition even if he is moving away from it.

I am going to talk about this using three examples from the solo but it can be a good idea to check out the whole solo. There are a lot of transcriptions online so you can easily find that and listen to the solo.

Some of the things that are different are about the choice of sounds, but in my opinion it is more about how the sounds are used and the melodies than what scale. I am curious what you think?

Melodies without direction and not playing blues

What is interesting about this first part of the solo: He doesn’t play the 3rd of the chord at all for the first 8 bars, that is very different from bebop where everything is tied much more closely to the chord. Here the melodic statement is very strong and fairly long but it is intentionally vague. If you play the melody it could fit on a Cm blues just as easily as a F blues which is not really going to be the case for a Parker or Stitt solo. There is a Wes solo that does this as well and Wes would often sit heavily on the “II” sound on a V chord.

The 2nd 4 bars is a development of the first 4 but then moving with the chords, still not playing the 3rd of the chords.

So this is really about what note he isn’t playing and it becomes even more clear when we don’t have the piano comping.

Unresolving Tensions and Angular melodies

This example illustrates how the approach is much more modal. Coltrane is very often playing melodies that fit the chord but are not really functional and moving forward towards the next chord.

This is clear in the first bars where there is first an angular statement just using an F7 arpeggio. In fact using the 2nd inversion F major triad which Coltrane seems obsessed with in this solo.

A great example of how the emphasis is on sound rather than function is the Altered dominant in bars 3 and 4 of this example. Here there is a clear altered or tritone sound and the b5 is really at the center of the line, but the line is not resolved. It stops before changing and the statement on the Bb7 is unrelated to the altered line.

The last part of this example is demonstrating how the chords are interpreted. The statement on the Bb7 is turned into a motief that is moved down in half steps to give us an Am7 Abm7 Gm7 progression.

Another thing that shows how this is less functional is that the final II V is replaced with C7 Bb7 in the song taking away the main cadence of the Jazz Blues.

Super-imposed Pentatonic Scales

Coltrane doesn’t really use normal blues phrasing a lot in this solo and here he does use Fm pentatonic in a way that is really typical for everybody who came after him. I think it is important to notice that using Fm pentatonic on a Blues in F is something that is quite rare with the bop guys. Pentatonic scales are not really a part of bebop in the way they are used as a sound here.
The blues phrases of Joe Pass and Charlie Parker are quite different and much more a mix of major and minor.

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Get the PDF!

You can also download the PDF of my examples here:

Why Coltrane is not bebop

If you have any questions, comments or suggestions for topics 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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Favourite Chord in the key of C Major?

A chord that isn’t in the key isn’t always a modulation. There are many chords that you will come across in songs that music theory does not describe as a modulation.

In this video I talk a bit about some of those progressions of chords. Show an example of something that is a modulation and a few progressions that are not modulations but still contain chords that are not found in the scale.

The way I view music theory is that it is a description of the music that I play that helps me understand and hear what is going on. In most genres of music you will find a lot of chords that are maybe not diatonic to the scale but are still in the key. Examples of this are found as secondary dominants, modal interchange or borrowed chords from the parallel key.

Content of the video

0:00 Intro and a bit of heated discussion

1:09 Diatonic Chords

1:37 Modulation or not?

2:00 Progressions with non diatonic chord in the key

2:39 A progression that modulates

3:26 What can you come across? Secondary dominants

4:06 Modal Interchange/Borrowing from minor

4:25 Overview of the 21 chords in C minor.

4:55 Song examples with borrowed chords

5:25 My favorite chord and a little solo with it!

5:55 Like the video? Check out my Patreon Page!

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3 Music Theory Mistakes You Want To Avoid (Jazz Rant)

Besides my rant on how people get things wrong with Music Theory this video is also on some of the things that you are missing if you don’t use music theory right or forget to check out important parts. When you study Jazz or Jazz Guitar then music theory is a part of what you need and what you want to learn, but you want to go about it the right way.

Most of the things I talk about in here are mistakes or problems that you run into if your approach to music theory is very superficial. Hopefully I also manage to give some pointers to a better approach to learn and use music theory so that it is actually useful for you.

Do you make these mistakes? Do you know other things that mistakes that are common?

the 3 jazz scales you need to know

Jazz Scales! The 3 You Need to practice and How You apply them to Jazz Chords

Jazz Scales can seem like a million options that you all need to learn in all positions and all chords, but there is a way to approach this that is a little easier than trying to learn all jazz scales in all modes. After all the Dorian mode is not as important as the Major or Minor key.

My Approach to Jazz Scales – Learn from the songs you play

In this video I am going to take a practical look at the chord progressions you will encounter and what scales over what chords you are going to need. I am also going to discuss how you apply the scales to the chords and practice in a more general way towards being able to use a scale over any of it’s diatonic chords.
 
Hope you like it!

List of content: 

0:00 Intro — a myriad of Jazz Scales

0:20 Practice efficiently

0:50 Finding the scales by looking at the progressions

0:59 The Major II V I Cadence: Dm7 G7 Cmaj7

1:15 The II V I and the other diatonic chords

1:44 The Major scale it’s all you need from So What to Giant Steps.

1:57 The Minor II V I Cadence: Bø E7(b9) Am6

2:09 Adding Harmonic minor and Melodic minor

2:34 Secondary dominants and cadences

2:51 Secondary cadence to IV in C major

3:07 Secondary cadence to III in C major

3:27 IV minor variations

4:26 Diminished Chords the two types

4:40 Dominant diminished chord

5:04 Subdominant diminished chord

5:44 What is covered so far

6:06 The tritone substitute: Dm7 Db7 Cmaj7

6:23 The Backdoor dominant: Fmaj7 Bb7 Cmaj7

6:48 Double diminished or German Augmented 6th: Fmaj7 Ab7 Cmaj7

7:23 Cadences with other dominant choices: Altered and Harmonic minor

8:11 The three scales and where we need them — cutting away what we don’t need.

8:55 Getting this into your practice routine!

9:12 Scale practice suggestions and knowing the scales

9:40 Example of what works and what doesn’t work when improvising over an Fmaj7 in C major

10:59 The Bonus from practicing like this!

11:20 Learning the rest of the scales

11:58 Do you work with this system or do you have a better one?

12:36 Like the video? Check out my Patreon Page!