I will keep reading and practising until I get this.❤ You are awesome to do this. A kid at school gave me live at the Regal in about 1967. My head spun around. Met BB 5 years after a show. He chatted for 2 Hours. A kind generous man. I did not understand when he explained his tone was in his fingers. I really miss him.
Jamey, you are genius! I’ve learnt more about the theory, the approach and playing the blues in an afternoon of watching you videos than I have in the last 5 years! Awesome 🤩 There’s hours of content here to digest and practice, in easily broken down bite sized sections. Thank you!
outstanding lesson! I think your triad lesson really helped me more than anything I've done in a long time. As you're going through all these different ways to play through the changes from the I to the IV really studying triads made it a lot more accessible.
Great lesson. I think your example 7 lick highlights the big problem I had learning jazz before the days of the internet. The full-speed lick sounded really great, just like the jazzy sound I was after, but when you slowed it down, it sounded nothing like the same, and not at all inspiring. The jazzy character just doesn't come through until it's played at speed. I read all sorts of books giving jazz licks, but playing them at learning speed they all sounded naff and I moved on before ever getting up to speed. I was convinced the books had just been thrown together with uninspiring licks. If I'd seen your example 7 written down and tried to learn it, I'd have probably passed on that too. Had I persevered, I would probably have learnt jazz much more easily. At least these days, with videos like this and tools like Guitar Pro, we can hear a lick at full speed, recognise that it's worth learning, then slow it down and gradually increase the tempo, safe in the knowledge that the end result will be worth it. We've also got tools like iRealPro, and looper pedals, which let us hear what we're playing against the chords, which was another problem I had - often it's the tension of the lick against the chord which gives the sound, but if you can't hear the lick against the chord, it's hard to know how it'll sound. With all the resources available today, it's a great time to learn guitar.
Jamey, great video! Packed with usable information and licks / chord ideas. You obviously have a gift for teaching… thank you. I’ma have a Tritone Sub for breakfast, another one for lunch, and then a sensible dinner. The Jamey diet…
Good joke! In case you, or anyone else, doesn’t understand what a “tritone sub” is, here goes. Say you’re going from a G7 to a C major, in that G7 chord B is the 3rd and F is the b7. That interval between B and F (or F and B) is a #4 or a b5. That interval is 2 notes separated by 3 whole steps, hence the term “tritone”. Now if you take the bass note of G and replace it with a note that’s a tritone away, C#, now instead of going G7-C, you can now go C#7-C. You have replaced that G7 chord with its TRITONE SUB (a chord that has the same tritone but a different bass note). That’s my best explanation of what it is. Cheers! (That’s because C#7 has F as it’s 3rd and B as it’s b7, the inversion of G7’s tritone also of F and B.)
Guru ! Great lesson... I have been doing Eb9-> D9 for ages due to T bone not even knowing it was, in reality, a A7#9#11b5xyz !! Joking apart, great lesson. 🖖🏻🎸
This is out of my pay grade...for now. I'm a Newbie and learning the fretboard, and just started playing double stops. I want to master my triads before I tackle sevenths or other fancy stuff. I'm just now practicing thirds, but also the 3 & 7 or 3 & b7. I was taking it through the Circle of Fourths, but now have to start thinking of two notes as being in two different chords. Food for thought, n'est-ce pas?
I’ve heard he didn’t read music. Many of our favorite players couldn’t read music or know the theory behind what they played, they just had amazing ears and practiced their instrument.
Great lesson for ALL instrumentalists....see this sort of II V I movement throughout jazz tunes .....also when playing blues i tend to think of F#7b9 in the 8th bar leading to B-7 E7 A7 E7 for remaining bars of tune ...a sort of Harm min turnaround to 9th bar....am defo checking out rest of vids ....brilliant stuff !!!!!
Nice lesson. But, it seems like many teachers on RU-vid are playing the same notes over the 2 5 1 progression. Apart from his timing ,Jack Ruch played the exact same licks.(coincidence?) I noticed that, when i was practicing these jazzy licks, It is almost impossible to divert from this form. It seems like every note has to resolve in a specific pattern to make it sound good. It feels almost a little bit robotic.
Thanks! Jack’s a great player but I’ve never seen his lesson video on this topic. These are stock ii-V-I phrases that are deeply embedded in the jazz language. For improvisers just beginning their journey into playing over ii-Vs, these types of lines are a great introduction in the way that they spell the ii chord, highlight altered tones over the V chord, and resolve on the I chord by highlighting chord tones, especially the third of the chord. Once you grasp the concept behind it, you can be more adventurous with both the rhythm and harmonic tension.
E Melodic Minor Would Work For Improvisation…Because A Lydian Dominant (Lydian b7) Is the 4th of E….The Altered Dominant is the 7 of E Melodic Minor (D#)…E F# G A B C# D#…Might Could Write the Progression In Mixolydian…B7-A7-D#7…OR I-VII-IV ETC…Great Technique Throughout the Lesson!
Thanks! For the rhythm examples I’m playing over a blues shuffle with a Charleston strumming rhythm. Check out my Blues Rhythm Guitar RU-vid lesson video for more on that. The lead examples are over more of a funky New Orleans inspired groove.
I've been playing blues & jazz/blues for ages, and while I've understood the theory that you describe here, any time I tried to add these techniques to my playing it always sounded forced and unnatural. Now I'm finally getting it! Your examples have really been the key to unlocking this style for me. I can't thank you enough. I'll definitely be checking out your other material. So happy!!
Awesome thank you for this lesson. I really enjoyed learning other ways of adding a little more tension in playing and getting listeners engaged. Again,thank you
Emin is the ii chord of D7. We're temporarily thinking of D (the IV chord of the blues) as our new key, so the ii-V-I taking us to D would make Emin the ii chord of D, A7 the V chord of D, and D7 our temporary new I chord for 2 measures.
The 2 (and 5) references the chord you are heading towards - Em7 is the 2 of D and A is the 5 of D. Therefore a 2-5 -1 Turnaround (where the 1 is D) is what Jamey is talking about. This confused me for a very long time...
