Jazz Improvisation – Guide Tones

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Align:start hi guys so in this video I wanted to hi guys so in this video I wanted to hi guys so in this video I wanted to discuss guide tones and why they’re discuss guide tones and why they’re discuss guide tones and why they’re important now a guide tone is the 3rd important now a guide tone is the 3rd important now a guide tone is the 3rd and the 7th of any chord or the court and the 7th of any chord or the court and the 7th of any chord or the court that you currently on on a given song or that you currently on on a given song or that you currently on on a given song or chord progression so for example if chord progression so for example if chord progression so for example if you’re on the chord C major 7 your guide you’re on the chord C major 7 your guide you’re on the chord C major 7 your guide tones are E and B if you’re on the chord tones are E and B if you’re on the chord tones are E and B if you’re on the chord F minor 7 your guide tones are a flat F minor 7 your guide tones are a flat F minor 7 your guide tones are a flat and E flat now the reason they’re and E flat now the reason they’re and E flat now the reason they’re important is because the guide tones important is because the guide tones important is because the guide tones effectively give the chord that you’re effectively give the chord that you’re effectively give the chord that you’re playing it’s character that is if I play playing it’s character that is if I play playing it’s character that is if I play a C major 7 the third is the e that’s a a C major 7 the third is the e that’s a a C major 7 the third is the e that’s a major 3rd that’s the note that makes the major 3rd that’s the note that makes the major 3rd that’s the note that makes the chord a major chord if you were to play chord a major chord if you were to play chord a major chord if you were to play the E flat it would become a minor chord the E flat it would become a minor chord the E flat it would become a minor chord right so that’s why the 3rd is important right so that’s why the 3rd is important right so that’s why the 3rd is important similarly again if I play C major 7 if I similarly again if I play C major 7 if I similarly again if I play C major 7 if I play the B that’s the major 7th so that play the B that’s the major 7th so that play the B that’s the major 7th so that makes this chord a C major 7 chord if I makes this chord a C major 7 chord if I makes this chord a C major 7 chord if I play the flat 7 and there’s the B flat play the flat 7 and there’s the B flat play the flat 7 and there’s the B flat then suddenly it becomes a dominant then suddenly it becomes a dominant then suddenly it becomes a dominant chord so it’s really the 3rd and the 7th chord so it’s really the 3rd and the 7th chord so it’s really the 3rd and the 7th which are the most important notes in a which are the most important notes in a which are the most important notes in a chord and the notes that give the chord chord and the notes that give the chord chord and the notes that give the chord its type of character I changed it from its type of character I changed it from its type of character I changed it from this to this this to this this to this so quite interestingly the roots and the so quite interestingly the roots and the so quite interestingly the roots and the fifth but specifically the root is not fifth but specifically the root is not fifth but specifically the root is not actually important you don’t have to actually important you don’t have to actually important you don’t have to play the root in a given sort of chord play the root in a given sort of chord play the root in a given sort of chord progression or if you’re playing a chord progression or if you’re playing a chord progression or if you’re playing a chord you can skip it as long as you play the you can skip it as long as you play the you can skip it as long as you play the third and the seventh you’re fine third and the seventh you’re fine third and the seventh you’re fine now when this comes into play or becomes now when this comes into play or becomes now when this comes into play or becomes important is when you’re improvising or important is when you’re improvising or important is when you’re improvising or creating a melody over a certain chord creating a melody over a certain chord creating a melody over a certain chord progression so if you have a really progression so if you have a really progression so if you have a really simple melody just like a 251 the key of simple melody just like a 251 the key of simple melody just like a 251 the key of C so for example D minor 7 to g7 to C C so for example D minor 7 to g7 to C C so for example D minor 7 to g7 to C major 7 which is all in the key of C major 7 which is all in the key of C major 7 which is all in the key of C major and what if you’re improvising major and what if you’re improvising major and what if you’re improvising over that little chord progression you over that little chord progression you over that little chord progression you really want to focus on the guide tones really want to focus on the guide tones really want to focus on the guide tones so over the D minor 7 you focus on like so over the D minor 7 you focus on like so over the D minor 7 you focus on like the if or the C so then you can focus on the F of the B then you can focus on the F of the B then you can focus on the F of the B over your g7 and then again when you over your g7 and then again when you over your g7 and then again when you move to the C you focus on the E and the move to the C you focus on the E and the move to the C you focus on the E and the B the third and the seventh of that call B the third and the seventh of that call B the third and the seventh of that call when I say focus I mean you sort of um when I say focus I mean you sort of um when I say focus I mean you sort of um you don’t have to play that note you don’t have to play that note you don’t have to play that note exclusively but you sort of play around exclusively but you sort of play around exclusively but you sort of play around it or sort of focus in on us make that it or sort of focus in on us make that it or sort of focus in on us make that sort of the central idea of your phrase right so I saw there’s sort of just right so I saw there’s sort of just right so I saw there’s sort of just repeating the f note again and again I repeating the f note again and again I repeating the f note again and again I was played a little arpeggio down to it was played a little arpeggio down to it was played a little arpeggio down to it you can circle this right and in that way you’re sort of right and in that way you’re sort of right and in that way you’re sort of drawing the listeners attention to it drawing the listeners attention to it drawing the listeners attention to it now in a past video I covered the cycle now in a past video I covered the cycle now in a past video I covered the cycle of fifths and where each chord in a of fifths and where each chord in a of fifths and where each chord in a chord progression moves down by a fifth chord progression moves down by a fifth chord progression moves down by a fifth so from the a down to the D from the D so from the a down to the D from the D so from the a down to the D from the D down to the G and so on and I said that down to the G and so on and I said that down to the G and so on and I said that that’s a really really widely used and that’s a really really widely used and that’s a really really widely used and common and nice sounding chord common and nice sounding chord common and nice sounding chord progression and there is a reason for progression and there is a reason for progression and there is a reason for that that that and the reason is because of its guide and the reason is because of its guide and the reason is because of its guide tones so if we play a – M the third of tones so if we play a – M the third of tones so if we play a – M the third of that chord is C if we then move to D that chord is C if we then move to D that chord is C if we then move to D minor 7 the sort of next chord in the minor 7 the sort of next chord in the minor 7 the sort of next chord in the cycle of fifths then the 7th of that cycle of fifths then the 7th of that cycle of fifths then the 7th of that chord is C so the guide tone they’re in chord is C so the guide tone they’re in chord is C so the guide tone they’re in for both those chords one of the guide for both those chords one of the guide for both those chords one of the guide tones is C then let’s move to the next tones is C then let’s move to the next tones is C then let’s move to the next chord down the G the third day is the chord down the G the third day is the chord down the G the third day is the beam beam beam then you then you then you to the sea when the seventh is B so to the sea when the seventh is B so to the sea when the seventh is B so again you move you’ve just moved down again you move you’ve just moved down again you move you’ve just moved down one note a semitone and the guide tone one note a semitone and the guide tone one note a semitone and the guide tone is there still there for the seventh is there still there for the seventh is there still there for the seventh move down again it’s the seventh of the B and that’s the third of Isa today that’s the third of Isa today that’s the third of Isa today and you can do a similar exercise with and you can do a similar exercise with and you can do a similar exercise with the seventh of like the other way so for the seventh of like the other way so for the seventh of like the other way so for example the seventh of a minor seven G example the seventh of a minor seven G example the seventh of a minor seven G you have to D where the third is F then you have to D where the third is F then you have to D where the third is F then to dream where the seventh is then to to dream where the seventh is then to to dream where the seventh is then to see II D for the third D for the third the II D for the third D for the third the II D for the third D for the third the seventh sorry seventh sorry seventh sorry see for the third see for the third see for the third so the guy turns there in that cycle of so the guy turns there in that cycle of so the guy turns there in that cycle of fifths progression just either stay the fifths progression just either stay the fifths progression just either stay the same or move down one note diatonically same or move down one note diatonically same or move down one note diatonically in the scale and that’s why the cycle of in the scale and that’s why the cycle of in the scale and that’s why the cycle of fifths chord progression sits together fifths chord progression sits together fifths chord progression sits together well and sounds Pleasant to the ER well and sounds Pleasant to the ER well and sounds Pleasant to the ER because essentially each chord change because essentially each chord change because essentially each chord change only changes one a guide turn so if you are improvising over that you so if you are improvising over that you so if you are improvising over that you would follow the guide tones as they would follow the guide tones as they would follow the guide tones as they sort of move down right or something like that or the very right or something like that or the very right or something like that or the very least it’s a good way to practice and least it’s a good way to practice and least it’s a good way to practice and target the guide tones like fast when target the guide tones like fast when target the guide tones like fast when you’re learning how to improvise over a you’re learning how to improvise over a you’re learning how to improvise over a new song now I said earlier that you use new song now I said earlier that you use new song now I said earlier that you use guide tones to improvise and to create guide tones to improvise and to create guide tones to improvise and to create melodies so if you take any sort of melodies so if you take any sort of melodies so if you take any sort of well-known jazz standard you’ll find well-known jazz standard you’ll find well-known jazz standard you’ll find that the the melody of that song that the the melody of that song that the the melody of that song generally uses that type of idea already generally uses that type of idea already generally uses that type of idea already like for example fly me to the moon is like for example fly me to the moon is like for example fly me to the moon is the song that I’ve sort of been using the song that I’ve sort of been using the song that I’ve sort of been using that goes like this so now if we slow that down and break it so now if we slow that down and break it so now if we slow that down and break it down and look at that closely we’ll down and look at that closely we’ll down and look at that closely we’ll notice something interesting the first notice something interesting the first notice something interesting the first chord is a minor 7 and the melody begins chord is a minor 7 and the melody begins chord is a minor 7 and the melody begins on the C then it goes to F just as the on the C then it goes to F just as the on the C then it goes to F just as the chord changes to D minor 7 where the chord changes to D minor 7 where the chord changes to D minor 7 where the third was the half that’s another guide third was the half that’s another guide third was the half that’s another guide time so we’ve gone from the third of the time so we’ve gone from the third of the time so we’ve gone from the third of the a minor 7 to the 3rd of the D – oh then moved g7 and the melodies on the 3rd of moved g7 and the melodies on the 3rd of moved g7 and the melodies on the 3rd of G so then we moved to see major 7th and G so then we moved to see major 7th and G so then we moved to see major 7th and the melody comes down to the 3rd of C the melody comes down to the 3rd of C the melody comes down to the 3rd of C major 7 then we move to the F major 7 major 7 then we move to the F major 7 major 7 then we move to the F major 7 and the melody goes to the 8th which and the melody goes to the 8th which and the melody goes to the 8th which again is the third melody goes down to again is the third melody goes down to again is the third melody goes down to the D chord moves to B half diminished the D chord moves to B half diminished the D chord moves to B half diminished where the third is the D again we’re on where the third is the D again we’re on where the third is the D again we’re on the team as melody goes up to the G shop and we as melody goes up to the G shop and we as melody goes up to the G shop and we move to the e7 chord where the third is move to the e7 chord where the third is move to the e7 chord where the third is the G sharp and then we move back down to the a and then we move back down to the a and then we move back down to the a minus seven and the melody goes to the minus seven and the melody goes to the minus seven and the melody goes to the third again at the C so the melody of third again at the C so the melody of third again at the C so the melody of fly me to the moon fly me to the moon fly me to the moon quite literally targets the third of quite literally targets the third of quite literally targets the third of every single chord that it plays in the every single chord that it plays in the every single chord that it plays in the through the cycle of fifths and it just through the cycle of fifths and it just through the cycle of fifths and it just sort of takes the closest route or the sort of takes the closest route or the sort of takes the closest route or the easiest route to each sort of third each easiest route to each sort of third each easiest route to each sort of third each note so we start on the a and we walk note so we start on the a and we walk note so we start on the a and we walk down to the third of the next chord right so that melody is literally just right so that melody is literally just right so that melody is literally just targeting the guide tone of each court targeting the guide tone of each court targeting the guide tone of each court as it goes down another song that uses as it goes down another song that uses as it goes down another song that uses the cycle of fifths chord progression is the cycle of fifths chord progression is the cycle of fifths chord progression is autumn leaves and that goes like this so that’s a great little tune and if you that’s a great little tune and if you that’s a great little tune and if you are watching what I was playing are watching what I was playing are watching what I was playing essentially we go sit on the scene while essentially we go sit on the scene while essentially we go sit on the scene while we play a minor 7 2 D so now the C is we play a minor 7 2 D so now the C is we play a minor 7 2 D so now the C is the third of a minor 7 and the 7th of the third of a minor 7 and the 7th of the third of a minor 7 and the 7th of decent both guide tones then we go to decent both guide tones then we go to decent both guide tones then we go to the B and we play G major 7 to C major 7 the B and we play G major 7 to C major 7 the B and we play G major 7 to C major 7 and again that B is the 3rd of G major 7 and again that B is the 3rd of G major 7 and again that B is the 3rd of G major 7 and the 7th of C major 7 if you work for that same ideal we’re if you work for that same ideal we’re if you work for that same ideal we’re playing the third of the F sharp to the playing the third of the F sharp to the playing the third of the F sharp to the b7 which is a seventh to the email right so already you’ll to the email right so already you’ll to the email right so already you’ll find that a lot of melodies in a London find that a lot of melodies in a London find that a lot of melodies in a London jazz songs already use this guide tone jazz songs already use this guide tone jazz songs already use this guide tone idea and already targeted and for that idea and already targeted and for that idea and already targeted and for that reason you really should target the reason you really should target the reason you really should target the guide tones when you’re improvising as guide tones when you’re improvising as guide tones when you’re improvising as well at least to begin with so you know well at least to begin with so you know well at least to begin with so you know sort of where the guy turns up as you sort of where the guy turns up as you sort of where the guy turns up as you get better improvising or playing over a get better improvising or playing over a get better improvising or playing over a certain song you can start like avoiding certain song you can start like avoiding certain song you can start like avoiding the guide tones and playing more the guide tones and playing more the guide tones and playing more interesting notes and chromatic notes interesting notes and chromatic notes interesting notes and chromatic notes and using weird scales and doing other and using weird scales and doing other and using weird scales and doing other strange things but to begin with it’s strange things but to begin with it’s strange things but to begin with it’s good to target the guide tones because good to target the guide tones because good to target the guide tones because that sort of grounds the whole piece that sort of grounds the whole piece that sort of grounds the whole piece makes it pleasant to the ear and if you makes it pleasant to the ear and if you makes it pleasant to the ear and if you know how to target the guide tones well know how to target the guide tones well know how to target the guide tones well you can almost literally play whatever you can almost literally play whatever you can almost literally play whatever else you like like as long as you sort of resolve it back as long as you sort of resolve it back as long as you sort of resolve it back to a guide tone or take it back into the to a guide tone or take it back into the to a guide tone or take it back into the key that you’re playing in then it key that you’re playing in then it key that you’re playing in then it actually sounds fine and I’ll go over actually sounds fine and I’ll go over actually sounds fine and I’ll go over that in the next video where I explain that in the next video where I explain that in the next video where I explain some improvising ideas that one being some improvising ideas that one being some improvising ideas that one being sort of a stress and release but really sort of a stress and release but really sort of a stress and release but really targeting guide tones is jazz 101 you targeting guide tones is jazz 101 you targeting guide tones is jazz 101 you really need to learn it anytime you sit really need to learn it anytime you sit really need to learn it anytime you sit down with a new piece of music write down with a new piece of music write down with a new piece of music write down each of the guide turn the 3rd and down each of the guide turn the 3rd and down each of the guide turn the 3rd and the 7th of every single chord and play the 7th of every single chord and play the 7th of every single chord and play them the other thing you can do when them the other thing you can do when them the other thing you can do when improvising is some target altered notes improvising is some target altered notes improvising is some target altered notes in a chord or extended notes in a chord in a chord or extended notes in a chord in a chord or extended notes in a chord and that also sounds good so for example and that also sounds good so for example and that also sounds good so for example if you’re you’ve got um a two five one if you’re you’ve got um a two five one if you’re you’ve got um a two five one but a slightly modified one so D minor but a slightly modified one so D minor but a slightly modified one so D minor seven flat five going to a G 13 going to seven flat five going to a G 13 going to seven flat five going to a G 13 going to a C major seven right the altered notes there are the a right the altered notes there are the a right the altered notes there are the a flat instead of the a for the D minor flat instead of the a for the D minor flat instead of the a for the D minor seven flat five and then the G thirteen seven flat five and then the G thirteen seven flat five and then the G thirteen has the e in there then to the C major has the e in there then to the C major has the e in there then to the C major seven so you can target that a flat and seven so you can target that a flat and seven so you can target that a flat and that me when you’re improvising so that me when you’re improvising so that me when you’re improvising so something like write or something along something like write or something along something like write or something along those lines so really when you’re first those lines so really when you’re first those lines so really when you’re first beginning to improvise over a new song beginning to improvise over a new song beginning to improvise over a new song remember guide tones write them down for remember guide tones write them down for remember guide tones write them down for the whole chord progression the third the whole chord progression the third the whole chord progression the third and the seventh of every single chord and the seventh of every single chord and the seventh of every single chord and any altered or extended notes within and any altered or extended notes within and any altered or extended notes within the chord and you can sort of move the chord and you can sort of move the chord and you can sort of move around between them target them try stay around between them target them try stay around between them target them try stay close like cycle if it’s the third close like cycle if it’s the third close like cycle if it’s the third becomes the seventh of the next chord becomes the seventh of the next chord becomes the seventh of the next chord and so on and so on and so on and using that you can sort of come up and using that you can sort of come up and using that you can sort of come up with a lot of nice sounding simple with a lot of nice sounding simple with a lot of nice sounding simple melodies and then sort of from there melodies and then sort of from there melodies and then sort of from there grow your improvisation around those grow your improvisation around those grow your improvisation around those guide tones anyway hope that made sense guide tones anyway hope that made sense guide tones anyway hope that made sense feel free to ask any questions or ask me feel free to ask any questions or ask me feel free to ask any questions or ask me to clarify anything I hope that helped to clarify anything I hope that helped to clarify anything I hope that helped see you guys you

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