Awesome lesson. Always helpful to address the full spectrum of difficulty when learning an idea. Wes has an amazing ability to make complex arpeggio ideas sound like they belong. Nothing sounds forced.
Absolutely awesome Chase 👍🎸 one of your best lessons! Would love to see a lesson in how Wes used arpeggios to embellish the melody, keep up the great work! You are knocking it out out of the park with your content! Best to you brother 😁
Love your lessons. I'm primarily a blues player but these lessons, depending on the landing note (s) can really add a lot to a blues player's repertoire. Thanks so much for your hard work and for explaining these in simple, theoretical terms. ✌❤🎸
hey Chase or Kevin, when you're writing music in notation form, it's customary to use #'s when ascending and b's when descending. it helps to keep the number of accidentals being read to a minimum; hence if you replace the Bb notes with A#s sliding into the B natural, the need for the natural sign in front of both B's disappears, making it much easier to read. We guitar players need all the help we can get when it comes to reading. Best Jamie
Hey Jamie, thanks for your comment. I understand the customary way the notation would be written. In most cases I never think of the note A# as A#, but as Bb since that’s way more common. So I find it easier to read as Bb’s not as A#s regardless of the custom. There are some exceptions, but overall I’d rather read the notes as I actually think of them on the fretboard.
I only just started going through your channel but this is my favorite video so far. Nice way to get some language under my fingers. You really do some phenomenal work and I'm pumped that I have so much more material to go through. Thanks! Also, it would be awesome if you made a video about how to use transcribed lines when you don't know what chords they were originally played over. I've not seen anyone on youtube address this. Thanks again!
Awesome! Thank you! I’m not sure if I’d have enough to say about that question. Essentially you would just need to know what chords those notes you transcribed would fit over. Or, look up some lead sheets for the song you transcribed.
@@ChaseMaddox where im at at the moment is combining the major and minor scales in all positions melodic minor, altered and diminished so i guess learning the appegios and intervals of these scales would be a good start to jazz improvisation? Any little clue you could give me to point me in the right direction would be much appreciated
I'd encourage you to think about this like learning a foreign language. The best things you can do to learn a foreign language are the same for music, namely you need to listen to the language a lot, practice speaking it, and keep learning new vocabulary and how to put them together into ideas and phrases. Focusing too much on the theory and scales will slow your progress down. What you want to do is learn a new piece of jazz "vocabulary" and then try to use it over and over in many situations and over different harmony. For example, you could take the first arpeggio example here and try to apply it over each chord of a jazz standard. You would have to change the starting point for it to work, but doing that will really make you able to hear the phrase and play it when improvising. Hope that helps! 🤘
Good question, he did VERY VERY occasionally use an upstroke with his thumb, but since those are incredibly rare (on footage of him playing), more likely he did it lengthwise with pull-offs/slurs between perhaps pairs of notes. Look at arpeggiated figures which he of course does frequently, he's usually moving laterally (not in a given position) across the neck. He clearly dragged his thumb when the phrase is ascending, but descending? Tough to figure out.
Will you ever be in one video the whole Chords progression then part2 The solos played over those chords??? That would be a great progressive project to immerse us into the jazz selection's instead of tidbits???
I don’t think that would make for a good RU-vid video. If you want to hear the whole solo, I would suggest listening to the original track. My point in these videos is to quickly analyze some of the best “tidbits” from the entire solo for my audience.
..nice and useful ideas Chase!..i see what you mean about Idea 7..very interesting triadic movement and proving that hanging on a Cmaj7, besides the usual suspects Amin 7 or D7 for 4 or more measures doesn’t have to sound too exercise like..harder than it seems for sure at first..thanks man..stay safe and stay strong..New York..June 12, 2022..
Glad you liked it! 🤘 Definitely is harder than it would seem, which is why I'm always interested in those small conceptual changes that give us more ideas to work with as improvisers.
I've been playing these using 1-2-3 left hand fingering sans the pinky to get more of that Wes feel (& MOSTLY because that's how I learned to play on the streets). Hope I'm not screwing up the point of the lesson. Great review of some great lines-you're an amazing teacher! Why is it that most of my favorite guitarists usually avoid using their pinky when playing single notes (Wes, Grant, Peter B, Ed C, often George but not always)? Do you think I should try to change to play these sort of lines more "in position"? It does lay much nicer when you use your pinky. Any thoughts on this?
I'm curious why you call the first arpeggio a Cmaj9. I understand that those are the notes of Cmaj9, but as it's played over Am7, shouldn't it be described as an Am11 arpeggio starting on the 3rd? Good stuff though, and thank you.