Posted by Greg Romano | Nov 14, 2017 | 14 |
April 23, 2017
March 3, 2017
May 11, 2017
September 26, 2017
Hi Jens,In your last example starting at 4:16, I also hear the line as working very well for the progression Em7b5 – A7#5 – Dm9 (relative minor and tritone substitutes for the original progression).
Awesome lesson and information, as always. Now going into this arpeggio exploring adventure. Thank you very much Jens.
plz read both , original and reply (by mistake i have replied to my own comment , instead of a single comment ) , looking forward for your opinion thank you
hi jens! thanks for the list of the songs i have to ask rather a personal question – I am very much interested in guitar playing but my family sees it as a hobby although i have gotten my accounts degree they want me to get a job ,i am 25 now here's the things some of the complex stuff which i didn't used to get earlier i am starting to understand , and i am enjoying playing even though i play in my room along with backing tracks (even its a hobby its serious to me) , the thing is here in India its not a 9 TO 5 JOB , it may 10 or 12 hours that you reach home , because i will be a fresher i don't know about the weekends also , so i am afraid i will lose my time which i am spending on guitar , which in turn will lessen my speed of learning on guitar(thats what i am afraid of most). I understand why my parents want to get a job , but i am afraid of losing my time , my hobby which i am loving the most now. what should i do . in essence (LESS PLAYING GUITAR = SAD :(( ) . Plz give your opinion
Jens I am totally lost in this lesson. 0:47 A7#5 is found in two different MELODIC MINOR SCALE; D Mel. mi (III) & Bb Mel. mi. (VII). But for me is B/Cb. I will send you an email.
Thanks Jens! Most of this is over my head, but I figure if I keep trying that it will eventually become easier.
Why isn't there a melodic major scale? Since Harmonic Minor and Hungarian Minor have major versions? Maybe that's a silly question?
hey jens, i'm having trouble predicting what sounds will come out when I use inversions of 7th chords while improvising. I find that when they aren't in first inversion, it is hard to hear them as the chord they are, versus what chord they are in relation to the root. do you have any system to identifying chords as first inversion chords, when they are not in first inversion? for example, a cmaj7 sounds very close to a c major 6 chord to me, and almost interchangeable, even though a c major 6 chord is actually an A minor chord just in a different inversion. Is that just because they are relative of each other? are the inversions supposed to be treated according to their roots or is there a way to connect them besides just memorizing shapes? any tips? thanks again, love your videos, have been very helpful!!
Just found your channel and I have to ask, what is the purpose of the blue fluff at the nut?
Major triad on the Sharp 4 of a dominant chord has a great sound
I've been experimenting with this idea too. I find the dom7#5 has a movable sound similar to the diminished 7th chord/arpeggio. great way to break through to "outside" ideas
Do you have a favourite non diatonic arpeggio? Greetings from Leeuwarden where I am playing a gig ☺️ Hope you like the lesson!
come on jens i have work to do. im addicted
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