Now that you've learned the plethora of set I and set II voicings, you can apply them to a jazz 12 bar blues. Matt will also teach you some solo ideas over this lick.
Taught by Matt Brown in Jazz Guitar with Matt seriesLength: 32:47Difficulty: 3.0 of 5
Bars 1-4: I7B. 12 Bar Jazz Blues
Bars 5-6: IV7
Bars 7-8: I7
Bar 9: V7
Bar 10: IV7
Bar 12: I7
Bar 1: I7C. Playing a Jazz 12 Bar Blues
Bar 2: IV7
Bars 3-4: I7
Bars 5-6: IV7
Bar 7: I7
Bar 8: VI7
Bar 9: ii7
Bar 10: V7
Bar 11: I7
Bar 12: V7
As you can see, the jazz version is much busier as a result of more frequent chord changes.
Bars 7-11 form what is called a turnback progression, or I VI ii V I. This is the second most common chord progression in jazz next to the turnaround.
I. All of the musical examples presented in this lesson are in the key of Bb. Keys that contain flats are the most common keys used in jazz composition. Although these keys are more difficult for guitarists and pianists to play in, they are far easier for horns. Since horns are the most prevalent melodic instruments in the jazz genre, most compositions are written in flat keys. The most common keys are Bb, Eb, F, Ab, and Db. Consequently, these keys should receive more practice time than key signatures that contain multiple sharps.At this point, figure out all the options you have for each chord within the 12 bar form. Then play through the form using the Freddie Green rhythm. Once you are comfortable with us, play through the form using the Charleston. Be sure to utilize all available chord options learned in previous lessons. Chapter 2: (9:53) Melodies This scene will give you a quick introduction on how to properly interpret a jazz melody. More often than not the melody is referred to as the “head.” The head is usually played at the beginning of a tune. Then solo sections follow the head. Finally, after the solo sections, the tune ends with a final return to the head.
II. With the exception of the ii7 chord in bar 9, all of the chords in a jazz blues are written as Dom7. However, a plain old Dom7 chord is rarely played in the jazz genre. Lead sheets are written primarily in the interest of simplicity. When a jazz musician comes to a chord that is marked Dom7, it is implied that some sort of dominant chord is to be played. The choice of chord is up to the musician.
Here are the current options available for dominant chords. Review them if necessary:
Bb7, Bb9, Bb7(#9) Bb7(b9), Bb13, Bb7(#11), Bb7(#5)
1. Begin by playing arpeggios of the chords in one position. If you are playing in the key of Bb, 5th position is a good starting point, since the arpeggios for Bb and Eb lay nicely on the guitar in this position.B. Scale Theory
2. Learn how to play the arpeggios for Bb7, Eb7, G7, CMI7, and F7 in this position. These arpeggio shapes are moveable patterns that can be transposed to different keys. Consequently, they should be memorized and put into weekly technical practice.
Begin the 12 bar blues by ascending up a Bb7 arpeggio. Once you arrive at Eb7, change directions, and continue with an Eb arpeggio. Continue this process through the end of the form. Start this process at a slow tempo and gradually work your way up to the tempo indicated on the lead sheet.
3. Once you are comfortable with this, play through the form using arpeggios in all practical positions.
4. Jazz improvisation is very dependent upon your ability to think quickly. The better you have these arpeggio patterns memorized across the neck, the better your improvisation will sound.
Arpeggios are the basic building blocks of jazz improvisation, but how do you know which scales to use in order to create effective lines? The answer is actually quite simple. Due to the specific note orderings of scales, certain scales work better over certain chords.A. Dominant Chords
Since we are currently discussing the 12 bar blues, let’s examine which scales will work over DOM7 and MI7 chords.
The Mixolydian mode is an excellent scale choice for dominant chords. The major 3rd and flat 7th of the chord align with the 3rd and 7th of the chord. Analyze each chord tone to see how it functions in the context of Bb7:B. MI7 Chords
Bb Mixolydian: Bb (root), C (9th), D (3rd), Eb (11), F (5), G (6), Ab (b7), Bb (root)
All scale tones are consonant with Bb7 with the exception of the 4 or 11, Eb. The fourth is always considered to be a dissonant interval over chords that contain a major triad. It should be avoided on strong beats.
Note: Click the “Supplemental Content” tab for some Mixolydian scale patterns.
The Dorian mode is the best scale choice for MI7 chords. Take a look at how it works over CMI7.
C Dorian: C (root), D (9th), Eb (b3rd), F (4), G (5), A (6), Bb (b7), C (root) As you can see, the b3rd and b7 of the scale match up with these features of the scale.
In this lesson set, Matt will teach you everything you need to know to fluently play jazz guitar.
Check out this lesson to learn some basic jazz theory & chord voicings.Length: 31:36 Difficulty: 3.0 Members Only
Learn some more advanced chord voicings as well as the Charleston rhythm.Length: 19:13 Difficulty: 3.0 FREE
Learn a handful of Set II voicings & round out your knowledge of the basic jazz chords.Length: 27:08 Difficulty: 3.0 Members Only
Apply the chords you've learned & experiment with some solo ideas.Length: 32:47 Difficulty: 3.0 Members Only
Learn which scales work with which jazz chord voicings.Length: 43:00 Difficulty: 3.0 Members Only
Matt sheds some light on the circle of fifths.Length: 28:00 Difficulty: 3.0 Members Only
Learn how to get the most out of your time when practicing.Length: 31:00 Difficulty: 2.5 Members Only
Here's the second installment of Matt's proper practicing lesson.Length: 32:00 Difficulty: 3.0 Members Only
Learn how to avoid carpal tunnel and other hand injuries by using proper technique.Length: 46:19 Difficulty: 1.0 Members Only
Matt Brown teaches the jazz standard "All of Me."Length: 31:12 Difficulty: 2.0 Members Only
Matt Brown explains how to improvise over the changes to "All of Me."Length: 7:54 Difficulty: 2.0 Members Only
Matt Brown begins talking about solo arrangements in this lesson. He teaches Carcassi's "Estudio No. 1" as an introduction to this concept.Length: 18:10 Difficulty: 2.5 Members Only
Matt Brown returns to his Jazz series with a review lesson. He applies the standard ii V I progression to the circle of fifths.Length: 18:10 Difficulty: 2.0 Members Only
In lesson 14, Matt discusses the turnback progression in the jazz style.Length: 22:20 Difficulty: 1.5 Members Only
Matt brown discusses and demonstrates the set three voicings used in jazz guitar.Length: 25:42 Difficulty: 2.0 Members Only
In this lesson, Matt demonstrates how to practice jazz solo arrangements by taking a look at "Here's That Rainy Day."Length: 35:10 Difficulty: 2.0 Members Only
In lesson 17, Matt reviews and expands on the jazz version of the 12 bar blues form.Length: 23:20 Difficulty: 2.0 Members Only
In this lesson, Matt adds to your voicing repertoire while playing the Charleston rhythm.Length: 14:22 Difficulty: 2.0 Members Only
Matt Brown talks about lead options when playing a blues in B flat major.Length: 23:35 Difficulty: 2.0 Members Only
Matt Brown provides instruction and examples of playing jazz heads in the key of F. Once again, all examples follow the 12 bar blues form.Length: 18:22 Difficulty: 2.0 Members Only
Matt Brown takes another look at blues heads in the key of B flat. In this lesson, he covers a head by Thelonious Monk.Length: 10:03 Difficulty: 2.0 Members Only
Matt Brown takes a look at a solo arrangement and provides thoughts and tools necessary to complete this type of guitar playing.Length: 23:13 Difficulty: 2.0 Members Only
Matt Brown starts breaking down the rhythmic tendencies and patterns to the Brazilian Bossa Nova style of playing.Length: 17:56 Difficulty: 0.0 Members Only
In lesson 24 of his Jazz series, Matt takes a look at the melody to Blue Bossa.Length: 9:12 Difficulty: 0.0 Members Only
Matt Brown takes a look at the available chord voicings for Blue Bossa.Length: 10:39 Difficulty: 0.0 Members Only
About Matt Brown
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Matt Brown began playing the guitar at the age of 11. "It was a rule in my family to learn and play an instrument for at least two years. I had been introduced to a lot of great music at the time by friends and their older siblings. I was really into bands like Nirvana, Alice In Chains, and Smashing Pumpkins, so the decision to pick up the guitar came pretty easily."
Matt's musical training has always followed a very structured path. He began studying the guitar with Dayton, Ohio guitar great Danny Voris. I began learning scales, chords, and basic songs like any other guitarist. After breaking his left wrist after playing for only a year, Matt began to study music theory in great detail. I wanted to keep going with my lessons, but I obviously couldn't play at all. Danny basically gave me the equivalent of a freshman year music theory course in the span of two months. These months proved to have a huge impact on Brown's approach to the instrument.
Brown continued his music education at Capital University in Columbus, Ohio. He completed a degree in Classical Guitar Performance in 2002. While at Capital, he also studied jazz guitar and recording techniques in great detail. "I've never had any desire to perform jazz music. Its lack of relevance to modern culture has always turned me off. However, nothing will improve your chops more than studying this music."
Matt Brown currently resides in Dayton, Ohio. He teaches lessons locally as well as at Capital University's Community Music School. Matt's recent projects include writing and recording with his new, as of yet nameless band as well as the formation of a cover band called The Dirty Cunnies.
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