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Don Mock >> Jazz Connection >>

Support: Michael Johnson is today's instructor, next Monday will be Don Mock

Michael: yes, I'm covering jazz guitar basics tonight

Michael: kind of a jazz guitar primer for Don's lessons

Michael: here's an example of a I - VI - II - V progression

Michael: or other words: 1, 6, 2, 5 progression

Michael: notice the chords of the progression

Michael: you also move the scales as you play

Michael: our scale for tonight is G Major (Ionian) ...

Michael: G, A, B, C, D, E, F#

guitarguy: should you start in 3rd position teacher?

Michael: yes, the tab shows the 3rd position

Chris: ouch...s t r e t c h !!

Michael: Chris I'll send the tab showing the fingers

Michael: here's the same scale showing the 1, 2, 5, and 6 notes

Support: you will see the 1, 2, 5, and 6th notes highlighted on the guitar neck when you play back the tab (if you haven't figured that out already)

Tom: what is the trick in a good clean electric guitar "jazz" sound..neck pickup?

Michael: yes tom that's right

Michael: and you can roll the treble down on the tone knob

Michael: see how the highlighted notes show the main notes of the progression?

Michael: now for a common jazz progression you play it in this order

torr71: are we just working major scales

Michael: I - VI - II - V

Michael: we'll use the modes in a minute

Michael: can you tell me what the notes of that progression would be?

Patty: G A D E

torr71: g c am d

Tom: gead

Michael: good patty, but in the order I just showed you

Michael: correct tom

Michael: here's our jam track you play over

Michael: I'll send you phrases you can practice over it

pam: G Am D Em

Smitty: Are the E and A minor chords in this progression?

Michael: yes Smitty

pam: G em am D

Michael: basically the last progression is based on G maj7, Em7, Am7 & D9

Michael: I'll send you the chords

torr71: e blues scale works

Michael: that works

Michael: notice I subtly change the 2nd chord

Michael: I'll send you the pictures

guitarguy: teacher, in the 1st wave file, are you using the G maj scale as a solo?

Michael: guitarguy I use the G major and a few other modes

Patty: ugh... D9 is tough

Michael: that one is a bit of a stretch

Michael: ok you can play the related modes for each of the key tones of that progression

Michael: here's the tab for each of the scale patterns

torr71: em gmaj am

torr71: throw in a gmaj7 arpeg...

Michael: do you have questions on those scales

Chris: is that GMaj7 chord using a Bar with the middle finger?

Michael: yes Chris you barre the middle two strings witht the second finger

torr71: one scale four modes

guitarguy: what of scale is the d mixolydian?

Michael: all related modes

torr71: g maj

Michael: the Mixolydian is the 5th mode of the G major scale

Michael: notice all these scales consist of the same notes

Michael: in otherwords they are "related"

fergy: so each of these "modes" is just a different position of a scale?

Michael: yes fergy

Michael: ok now you can break each of these modes into triads or arpeggios

Michael: here's an example

fergy: it really doesn't look like any of th 5 positions I know...confusing

fergy: 5 positions of the same scale?

Michael: it's playing the patterns on the 5th string

Michael: but starting on a different note, which within the context of the scale pattern has a different sound or mood

Michael: mode = mood

wg99nyr99: i use triads to improve my speed and dexterity

Michael: they are great exercises

Smitty: Pretty cool how each note fits along as you play notes that are in the G scale...

Michael: yes for each mode or scale

torr71: pick an arpeg and run it up and dn the neck

Michael: do you understand the formula of a triad?

Michael: I'll send the arps next

torr71: 1 3 5

Smitty: I III V

Michael: do you know the pattern for an arpeggio?

Bill: g b d

Michael: by the way you can play the triads in rhythm

torr71: add the f#

Michael: here's an example

Bill: f # to g b d is a major 7th

Michael: here's an example of the arpeggio

Michael: the patterns can be a challenge to some

Michael: see how the triads, arpeggios, chords are all related to the scales

Michael: it's a series of specific patterns

torr71: repeat and moveable

Michael: even the various chords voicings relate

Michael: I'll send you some chord examples

Michael: here's how the G maj7 chord is constructed

Bill: G B D F#

Michael: so you have the : G, A, B, C, D, E, F#

Michael: the pattern is 1, 3, 5, 7 for the maj7

Michael: now you can use the same formula with the other chords


Michael: yes Bill

Michael: here's the minor scale

Tom: this is great stuff, filling in some gaps I had in my theory!

Groy: the lead note are played to the chords?

Michael: yes Gory

Bill: teacher , if you get rid of the F# note aren't you playing the C Major scale

Michael: in theory yes, because you have no flat or sharp notes

Bill: I thought so

Michael: well it's time to go

Michael: I'm glad it helps you to understand the theory better

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