Great job! I have vivid memories of being a teenager in the 70s, teaching myself to play guitar by ear and constantly lifting the needle back on this tune trying to figure out what on earth he was playing. I had picked up the album Blue Benson in a second hand record shop and was captivated by it - Billie’s Bounce was my favourite track. I would have killed to have a teacher like you and resources like this back then. Bravo!
The Amaj7 came from the F#m relative. George Benson calls that the Secret of 2 chords. If you want to know more about that, check out Peter Farrell’s youtube channel
I really enjoyed it but it would be really useful if you played each complete lick slowly with a time reference so you know whether the first beat is on a downbeat or after the beat… Also play each phrase after the explanation of harmony, just so I can see how all the phrases connect… Sometimes it’s hard when you explain each phrase and then play the entire phrase at tempo because it’s tricky to see how the parts of phrases connect
tritone substitution of F7 is B7 (V degres of E majeur) Benson plays the IV degres of the E major scales (AM7 arpeggio wich is the diatonic substitution of F#-7)
14mn 40 Eb major triad and F major triad are in the tonalité of Bb major (F7 is the V) the F# major triad and the B major triad are the substitution of F#7 B7 wich resolve to Bb7
11mn56 Ab major triad and Db majeur triad are the V and the I of the Db major scale (Ab is the tritone substitution of D7) then it could be the G minor harmonic mélodic scale or the D altered scale with the D augmented triad wiche resolve to G-7
I might be wrong, not even being a musician, but phrase 2 sounds a lot like the guitar part at the start of Night in Tunisia as recorded by Charlie Parker. I never noticed that until now because it goes by so quickly in GB’s solo.
So glad you dug it! Wasn’t sure if the longer lesson format would go over with my audience. Do you prefer a longer analysis or more of a quick lesson video?
Had the opportunity to sit with George for a couple hours in the VIP lounge at the airport in SAINT Lucia. Shared some great stories about himself with Wes, Miles etc besides his phenomenal talent, he's such a nice human being . He was willing to send me one of his signature GB IBANEZ guitars. Keep doing your wonderful job unfolding these arpeggios and beautiful licks.
@@ChaseMaddox I thought of that, but didn’t want to seem pretentious. 😂 I enjoy your videos very much. Truth is keyboard is not my main instrument. I’m actually a bassist that also plays guitar haha. GB is one of my favorites. Cheers! 😎
Great lesson. That Cm thing he does in the #5 phrase seemed a little mysterious to me at first, but I guess it could be like going briefly back to F mixolydian/C dorian, even if he's playing over D7, just forcing that bluesy mixolydian vibe over it, or at least I can think about it that way.
I have a recording of that tune and it has a glitch in the middle of it somehow it sounded like somebody put their finger on the tape for like a millisecond or two I wonder what happened?
Thanks Nick! They’re all based around different sections in an F Blues. Could be used in multiple keys. The PDF for this lesson and the second part of the video will be in my upcoming Jazz Blues course 🤘
@@ChaseMaddox just an idea but a lesson on F blues and different scale options etc would be awesome to incorporate all these great lines. I'd love to see different chordal options for an F blues too. Thanks again man for these rad lessons! Take care!
One more question, would the melodic minor phrases and the secret jazz chord work in this F blues context? what would be the best root note for the jazz chord to get some killer melodic minor lines going on the F blues? Using on a C which would be the 5th sounds pretty good!
Great question! A few ways it can work but in general thinking of F7 as the secret jazz chord with a D melody note and the Bb7 as a G melody note works well. That gives you the dominant sound with a nice #11 sound. On the C7 or turnaround phrase you would think C7alt, so secret jazz chord with an Eb melody note. Merry Christmas! 🤘
@@ChaseMaddox cool. yeah i rack my brain trying to figure out what note you are counting up from to use the melody on D or G. Are you just counting a 6th up from the root F and C? That creates a Dom 13 type chord yeah? I always go back to your secret chord video and how create different chords. Love the concept. Thanks!
Ideally you would know every note on the fretboard, but I would start off simpler by focusing a single arpeggio type and learning which chord tone it is (root, 3rd, 5th, 7th) and the note name. If you’re focusing on blues, do that for dominant 7th chords only to start and maybe first from shapes rooted on the 6th string and then shapes rooted on the 5th string.
@@ChaseMaddox I have been playing for 55 years now. I play my share of stuff well, but just never learned music, I play all by ear and it makes learning new stuff a lot harder than it should be. Anyway love Benson and will slog on.
