Hey bro, I’m so grateful for you. I can’t even thank you enough... I am very new to your channel, so I don’t know all of what you have posted but what i am most interested in is your technique, tone, and gear, and maybe even your background so I can learn more about you and and where you came from, studied and what your current aspirations are. I would feel very blessed to see/hear you elaborate on these things. Thank you so kindly...
Thank you for the lesson Rotem, this is eye opening for me. I'm stuck playing same stuff over and over mostly pentatonic. But this is a whole new level, thank you 100 times Rotem!!!
Thanks for this. While no C7 I’ve been working on coming up with a lead part that has a few 7 chords in a rhythm progression I want to write over without it just being pentatonic. This gives me a good start of how to take these ideas and apply them to what I have now.
My mans. You're doing God's work. My whole life I played guitar without expression and connection to the notes. I learned all the theory. Now you are helping me so much! to connect it all to saying something on guitar
Absolutely brilliant stuff, I love how you show how these choices and tensions canbe dipped into and can create such wonderful moods. Plus love your guitar what is it?????
Level 1: you can find these notes in F as well Me: nice, only now I start to understand that version of the scale I was playing this afternoon Level 8: let's play F# Me:☠️ Jokes aside, as a beginner in the jazz world this video is extremely helpful. I was like 'let's start first with dominants then let's find a video for dimished' and I can already see why having a decent scale vocabulary is necessary. The more I understand the complex the less scary and much funny are those 'many' scales, seen that I can now experiment them definitely on another level of consciousness. Thanks!
Cool ideas like alwayd Rotem! Few other scales comes to my mind. -mixolydian b6 = fifth of melodic minor. -phrygian dominant= fifth of harmonic minor. -minorpentatonic wit fourth lovered to major third= some call it Hendrix scale Nitpicking here, but level 7 is not mixolydian b5 but #4. I prefer to call it lydian dominant and it does the job when that C7 chord is not going to one chord. Im 100% sure you know this already😁
This was a GREAT video. Players should only think scales when in practice mode, and even then, like you've said, they should be translating these scales into lines, and sounds, that they will use to express their solo's. They should be able, eventually, to grab/form any chord, at any time while they're playing these lines. And as the student may know, the chord you grab is NOT set in stone, meaning, your choice that you grab must make harmonic sense, whether it be the original dominant or any of its alterations, or substitution. The singing that you do in your head is SO important, cause WE ALL wanna play what we're hearing in real time. We don't have to sing great, but should know what it would sound like great.. And even hearing lines in your head is great, its better in my opinion. Thx again.
Such a great informative video. If you are mixing and matching all these scales, could I just play random notes around the chord tones, that way my pea brain is not on overdrive.
Very informative ! can i play all these scales/modes on all 7th chords regardless of its position in the original key ? what i mean is does this work only if the 7th chords is the 5 of the key scale ? what if this 7th chords is the 2 or the 6 ? and/or if there is no obivous key to the progression should i deal with each chord the same way you are showing here? thanks.
In a way, I can hear the loss of tonality with the string around the top of the neck.. Losing alot of natural guitar tone. But absolutely great theory 👌 and great playing. Lovely lines aswell thanks! Trying to straighten out my understanding too
Do you have an videos on bebop /hard bop? I’m trying ti get closer to that sound. I though learning a million scales would help but once I get to level 7 or 8 I’m wondering if I’m taking the wrong route
I just came back from something similar with my guitar teacher and it's a great complement since until this video I failed to capture what and how "colors" could be realized by combining scales this way. I liked when you said "using some chromatic" to connect them, maybe you could develop that concept?
Judging by the look of this guitar and fret markers, it may have been a Howard Roberts model with the oval soundhole. Looks like he's done his own customizing ,extreme.
Eventually you realize you can play any of the 12 notes over a dominant chord. Then you realize you can play any of the 12 notes over any chord. Then you'll realize you can play anything. Then you become ostracized by society.
