Struggling to Improvise over II-V-I's? 

Thank you kindly Scott, much appreciated!

Clearly, how whole demeanor invites you in and welcomes you.

Glad to hear that, thanks!

Thanks Robert, much appreciated!

Thanks for your feedback John, it is much appreciated!

Glad it was helpful ☺️

You're very welcome...glad to be of help!

Thanks Matthew, glad to be of help and above all happy to hear that unlike many out there, you understand that to play jazz it takes more than just being told to place your fingers in a certain place and produce a sound! :)

My pleasure!

Thanks Russell, much appreciated!

Thanks William, glad you enjoyed it!

Happy to hear that!

Thanks Chris, glad it was helpful!

Awesome, thank you!

Glad it was helpful!

Gracias!

Thanks, you should have jammed with us! Next time...enjoy the books!

Thanks Charlie!

Thanks!

Just play the V7...

it was really useful, btw

La verdad es que lo hice con sub-titulos hace un tiempo pero no tuvo mucha acogida y no me justifico la inversión de tiempo y $. Ojala que en un futuro haya mas interes...Gracias!

Thanks for watching! In this video I am using a Peerless Jazz City which I have customized with a Lollar humbucker.

Which one?

In a few words, some chords have the same essential notes as a the one they are replacing. For instance, in the key of C, a Cmaj can be substituted for an Emin or Amin. Even though they will sound different, both will continue to work in place of the Cmaj in the original progression as well as retain the identity of the tonality. Sorry if it's not easy to understand without getting deeper into a breakdown of the theory!

@@RichieZellon oh so I think I got it, if you take Dm7 and Fmaj7 they overlap almost perfectly, leaving out only the root of Dm7 and the 7th of Fmaj7. So by that reasoning you could choose also an Am7 in place of the 4th (VI V I) to have a similar effect?

Good question, here's an idea that might offer a different perspective: Many chord spellings are almost indistinguishable from one another Am7 = D9sus (no root) Am9 = D13sus (no root) Am11= D13sus/A Am6 = D9 (no root) Am6/9 = D13 (no root) Ao7 = D7(b9) (no root) Am7(b5) = D7sus(b9)(no root) All of those "ii" Chords could function or ("substitute") as the V going to I (Gmajor) Many of them could also be perceived as a substitute for the IV chord as well.

Sorry but in all honesty, no single video is going to teach you that and you are not going to attain that after playing guitar for 2 years. You need a good teacher to help you understand the finer details. Also knowing where all the notes are on the fretboard isn't going to make you a great player. You need to understand jazz harmony and other aspects.

@@RichieZellon Hmm.... That's a good point but I'm from India and good teachers are not here. There are great classical musicians but western especially jazz musicians there aren't many of. And since I'm in india, paying $100 per hour for lessons also won't make much economic sense. Isn't there any way to get there on my own like the way Wes Montgomery did? I'll try to find a teacher. The thing is, good musicians don't teach here. Maybe the pandemic has changed that, I'll have to see. But please do give me some ponters if you can. Also a video series on how to get there step by step would be greatly appreciated. Even if it's paid I shall buy it. Thanks for the great work. Also can you explain a reasonable timeline to get to a good level of jazz playing highlighting some milestones on the way?

Any time :)

What is the LICC ???

The Jazz Guitar Channel ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-krDxhnaKD7Q.html

Sorry, I'm not sure I understand what you mean by that.

@@RichieZellon can I connect any 2 chords in music using a 2-5-1 turnaround?

Give me an example

@@RichieZellon of I'm in G & I wanted to go to A. Could I just use the 2 & the 5 of G to connect to A?

@@MAP448 No, you would have to use the II-V of A.