I totally agree. I feel like I’m a blues player that loves a jazzy feel, while Kenny and Grant are jazz players with a great blues feel. They add so much to my more straight ahead blues playing. I’ll be digging into Mule a bit more now
The Kansas City blues scale filled in a gap I was missing. Quite naturally, I added the parallel blues scale, but I wasn't thinking of it as the Kansas City blues scale starting on the b7th. I frequently play a double stop of the root with other blues scale notes, but you gave me some other double stop options I had played in different contexts (4ths and 3rds). Well presented!!!
I really like your format with the notation that includes the tabs for the guitar. I find it easier to follow and understand what is actually happening. Thank you, I am glad that I discovered your channel.
Thank you Nathan that was brilliant. Kenny is my favourite jazz guitarist. I was lucky to see him in a trio at Ronnie Scott's in the mid 1980s. Unbelievable. What tone, taste and time. Swing for days!
The pentatonic major and minor being mixed together is really nothing new , but Nathan's phrasing and dynamics are (to me) is what breathes life into their use.
Thank you very much. I found it one of the best ways to start with jazz-blues, especially since this minor scale is the first thing I learned in the guitar amoust 30 years ago.
I really do not know where that came from,but I've always used the minor scale over 7 chords, actually I've used both including both pentatonic, its funny how some over analyze so called "rules " if jazz/blues, Its about hearing what you know works for you, full stop
Just a word, the term wrong notes are none existent in this context because the A7 to the C7 are related the C is a #9th of the A7 and Eb Is the #4th of the A7 etc etc... but I think you're already aware of that so its just a word for the modern guitarist so 2 speak... Thanks for bringing this up Keep it coming. ..
Yes I apologize about that :/ as of right now that is the only guitar I own and I don’t want to buy fret stickers. I do provide tab and notation for most examples though so hopefully that helps! If I could find a way to digitally add them?
Thank you so much. This series is absolutely incredible for my playing. Would love to see these types mixed in with other content if you get tired of doing these. Again though, thank you
Thanks so much! I have a couple of ideas for video series that are not player focused, but seems like people like these! I’ll try some new stuff this year though, hope you enjoy this lesson :)
I loved the Kansas City blues scale. I believe you called it a "guitar form". I am curious. Are there other guitar forms? I apologize if I am asking a dumb question.
Wow, that was a real gem of a lesson! Learned so much. And I’ve been playing for 40 years. Subscribed. Interesting that there is no bending in his style but lots of hammer ons and slides. I was wondering why some of the passages ended in an A note then I realized it ends on a C13 chord. Interesting you play g, a, c, e flat, a, c over G7. I would never think to do that (landing on a sus4 of a dominant chord) but it seems to work.
Hello! Thanks so much for your comment, I appreciate the kindness :) That's a great idea for people who don't want to sign up for the Patreon (which I very highly appreciate) but want to leave a tip. I'll put a link in the video descriptions for my paypal in the meantime, thanks and hope the lesson helps you: paypal.me/nborton1
At 1:00 "music theory says it's wrong to play minor 3ed " Actually "Functional Harmony" says it's wrong Music Theory is ALL the possibilities. Where as Harmony is the blend of scales modes and keys used as options to get a sound to style a progression . Non Functional Harmony used to be called Modal Harmony but the word Modal had some confusion .The old Latin term mode means mesurement . So approaching a V7 chord in different mesurments in the blues ...makes sense
It’s more the shape on the guitar than the notes. Also for me boiling it down to 5 notes and allow for nice melodic content! Plus playing the same shape in multiple octaves is a great soloing tool (as well as mixing it with the one octave blues scale boxes like at the end of the lesson). Thanks for your comment!
Thank you for the response. I really appreciate knowing music roots. My first jazz experience was with French jazz from the 20's in 1958, I heard my first blues in 62 and the two genre are my favorites to listen to and play.
After 60 years of playing, here’s what I learned. Take the 5 CAGED positions but all Dominant 7 forms and start on E, so think EDCAG-7. Now, in the key of E to start, play that Minor Pentatonic box that we all know and love BUT slide EVERY G NOTE UP TO G# so that you are now playing both the Minor 3rd (G) AND the Major 3rd (G#). - ALWAYS slide or pick the G FIRST and then the G# (the chord tone). - NEVER go from G# to G! That’s sounds so wrong! - Get it so that you can ARPEGGIATE 1-b3/3-5-b7, the E7 chord in all 5 positions on the guitar neck. (Eventually do this in all keys, EADGCB first and then F-Bb-Eb-Ab-Db-Gb.) Now, to this “skeletal framework” of the E7 arpeggio of the “safe” chord tones, start adding 4-b5-6 and 2 (harder to do). So now within every Dominant 7 shape of E7, you can now find and play: 1-2-b3-3-4-b5-5-6-b7 (Mixolydian + b3 and b5 from the Blues scale). The only 3 notes left out of 12 are: b2, b6, and 7. You can also use those but as part of chromatic lines on your way to a “safe” chord tone. So now you can see/name/play all 12 notes within each of the EDCAG-7 shapes. Record an E7 backing chord, and start making up licks always being aware of EXACTLY what note you’re playing AND how that note is functioning against that chord (I’m playing Bb, the flat 5, and I’m resolving it to B, the 5 and a “safe” chord tone.) - Once you can do that in E, then do it in A7 (the IV chord) and B7 (the V chord). Now you can play a 3-chord Blues in all 5 positions (EDCAG-7). - GREAT! Now onto the other keys!
kenny burrell plays like django at half speed AND if you play notes THAT WORK, they are not "wrong" your MODE doesn't have the ability to EXPRESS "wrong" notes and that is the defect of your method
Im gonna go out on a limb here but in those guys days jazz was a language and they just spoke it with eloquence. Im pretty sure when it came to the blues they were not thinking about theory, lol.😮
Yep you’re right! And when I play/perform I don’t think about much of anything either. That’s the way it should be. However, when you’re practicing and learning things it’s important to understand how to create a certain sound… that could be done through theory or just learning the language. For some people lessons like this really help to understand how that sound happens… Everyone should however transcribe Kenny’s solo, it’s so good!
@@benkatof5852 they developed on completely different tracks in different places, the harmonies (chord progressions) are different, the scales are different, and the beats are different (swing vs shuffle). Please specify where blues are core to jazz. The channel now saying it's "core" to just improv, which means it's imported, not core. Still not buying it. For sure there is "jazzy blues" and "bluesy jazz", but they are two distinct genres in terms of origin and musical elements.
@@jjryan1352 read Moving to Higher Ground by Wynton Marsalis, chapter three, Everybody's Music: The Blues. Maybe read the whole book - i really liked it.
So if he stops "zooming" then it is just a matter of time for someone else to ask for some "zooming". Maybe you'd get what you want if you were more specific. Also think things through, please, and remember that you probably got this video for free. Nathan your videos are fine - no need to change.
This is perfectly good, but I think the 7th mode of the melodic minor scale, otherwise called the "altered scale" is cooler, because it has all the tensions, not just the #9, which is what I think it should be called when you add it to a dominant harmony. The altered scale does provide you with the #9, but it's just getting started; there's also b9, #4 or b5 or #11, and #5 or b13. Lots more flavors (3 of them to be exact) for the price of a powerhouse seven note scale!
