What is the important to check out in Scales? Share great exercises and what you use them for! 0:00 Intro - Jazz and Scales 0:32 Playing the Scale 0:49 Positions and beyond 1:48 Make sure you know the notes 2:48 Diatonic 7th chords 3:34 A Step-wise method for learning the Arpeggios 4:08 Using Arpeggios in Solos 4:47 Example using arpeggios in a Lick 5:33 Triads (are also great in Jazz) 6:07 Example using triads in a Jazz Lick 6:50 Triad Patterns 315 and 513 7:32 Which scales to learn? 7:55 Chromaticism and Turning licks in to scale exercises 8:31 Exercise adding chromaticism to diatonic structures 8:43 Developing a Peter Bernstein Lick into an exercise 9:32 Like the video? Check out my Patreon Page!
This video is in my priority list. I think that the two natural fingering Major scales, the sixth and fifth string routes, are the most important. Other than that to target one area of the fretboard and as close to or open position. In closed position you need to keep in mind that there are two or three patterns. There are also numerous slide into notes perpendicular patterns. Some but not all of my practice and written home work is being devoted into working on this, also my own teaching curriculum. I'm also working on harmonic minor scales in the same manner. Harmonic minor scales work well in open position because they lend themselves to good rhythm flow like Spanish Classical Latin Jazz type music, also Heavy Metal. I sometimes wish I could play this scale more in a straight forward Jazz fashion. Do you have any ideas? I seem to be stuck playing out of it's MIXOLYDIAN mode. Non-diatonic [E∆] 1,3,5 in [C∆ scale] target 3rd is [A harmonic minor scale] I don't want to come off as sounding stupid, I was composing music with the Augmented and Diminished scales before I knew what they were called. I learned many years ago what the whole tone scale was. I may have worked with the melodic minor scale, I am not sure.
I just made a very exciting discovery: The secret to playing the Lydian mode is to hammer on as a sixteenth note value to the next highest minor second above the tritone of the pedal tone. Pedal tone [A] the Lydian scale is [E∆ scale:] The tritone of [A] is the Locrian of the [E∆ scale] The D Major scale is the MIXOLYDIAN of the [A:] If you drop the Major third of the [E∆ scale] a half step, you would have an E melodic minor scale, you could also move into the ionion mode and play an A Major scale. The A∆7 chord is not resolving, but is going some place else. In this case to [E:] finally resolving to [B:] This makes the [A∆7 chord] a Dominant Lydian:] So you can move from a ONE chord to a FIVE chord:) A, E, B would be a I, V, ii progression. Wow!!!
It is actually an eighth note value locrian which is the sharp 11 of the A∆7:) Like the harmonic minor scale, it has to have rhythm or it sounds weird. There is also the Classical movie score approach to Lydian as I have recently found out. I wonder what sort of different thing I will come up with when I explore that.
I totally agree with Marco Martino, You are without a doubt the best teacher on YT!!! No one explains it with more detail, or get this, with more feeling than you do. Hard to believe that you can make a lesson with so much feeling, then again , I am not surprised, your LOVE for music and Jazz is very evident. And I teach guitar, I know. The cool thing about this lesson is, the fact that this was the first stuff that I learned fifty years ago, I was obsessed with learning the major and minor scales in all the positions up and down the neck, vertical, horizontal and diagonal and I did, not so much with the altered scales, diminished, whole tone, and dominant because I figured out that all these other scales were just variations of the major and minor scales and they are. Thank you Jens for taking me back to the basics, I felt for a while that I was getting into a rut, but thanks to you I am revising all this helpful material.
Fantastic suggestions, Jens. Thank you very much. These are the sort of exercises needed to build vocabulary, without one we'll hardly sound purposeful nor jazzy. Happy 2020!
Happy New Year, Jens. Thanks again for such an excellent video. I think that this video landed in my inbox at just the right time to start the new year off right.
Great video Jens! It fits in nicely with your other videos on scales. The other things that these exercises do is help to promote finger dexterity/strength in the fretting hand and picking technique in the opposite hand. Thanks! Happy New Year! MB
As always, an excellent lesson! But there is 6 months of study here and the next lesson comes out next week! edit: I was only 1/3 through the video when I commented. Now there's 18 months of material.
Fantastic work Jens. I've just been learning the maj7 chords in the various positions and this has come at the perfect time. I must admit, I was confused by the C major scale shapes (at 2:20) as I was viewing the shapes like I was looking at you playing (with the thick strings at the top). I completely missed the thicker strings in the diagram being at the bottom (like normal tabs!). I was trying to figure out if this was some crazy Cmaj7 scale or something? No .. . Just me .. I add this comment in-case someone new hits the same problem (as I actually know all the major scale shapes and I still confused myself). Great work.
ive been implementing example 4 around the 1:54 mark, and playing the corresponding pentatonic, hopefully ill be able to do that for every mode and through the circle of 4ths under 30 min. and what do you use for the score, i've been getting Logic Pro "guitar mix 2" to do the job after rearranging some preferences Once i made logic set the note from the Pitch Bracket (according to midi channel),the Tablature then allows me to decide what string the note is played on vs the original setting, wasn't much tutorials out their so this goes out for anyone with Logic Pro and is trying to teach themself but never thought to utilize Logics tab library and Score notation
Excellent video. I was wondering if you felt up to the challenge of explaining the harmonic structure of Chick Corea’s Slippery When Wet. I can’t make any sense of it.
hey, ben ik weer. Ik ben bezig met bladmuziek op gitaar te leren. Doe nu Die walküre - wagner. Jouw belangrijkste arpeggio oefening komt wel van pas. Het is lastig om te lezen en adh daarvan te spelen, ik probeer het automatisch uit me hoofd te leren. Maar het is dus de bedoeling dat ik prima vista leer te spelen, omdat dat nuttig is.
Hi Jens, Do you ever recommend ascending with one scale and then descending with another? For example, ascending with position one of the Major scale and then descending with position two, all ending on G of the 6th string. This is an exercise purely for scale memorization. Is it a waste of time? Thanks!
For the exercise around 2:00, for the first six notes (C-E-G, D-F-A, ... ) , I find it really uncomfortable and weird to use my pinky to cover the 10th fret for both the 6th and 5th string: it's completely stretched to depress both strings sufficiently. Is this just a matter of getting used to it, or am I doing something wrong? I thought when playing guitar, you always really want your finger tips to depress the string, not the middle par of your finger (except for e.g. barre-chords such as the AMaj shape)?
Ok. I don't think that is that crazy, and most students get there with a little practice. It will however depend on how your posture and your hand is placed as well, so that may be something to look at for making it easier.
@@JensLarsen I found a great vid about it here :) it makes much more sense now. It is quite difficult at the 5th and 6th strings I must say. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-GmasCYBf64c.html
Overall a really really well organized lesson, Jens! When I have created something like this (I've only done it with pdfs so far, or by hand, no videos), I've always discovered errors and typos -- very frustrating, but very human! ; -)
