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Don't get too hung up on that. Peter is right: the concept of an inversion is the same regardless of the instrument. Essentially, the bass note defines what the inversion is, regardless of the ordering of the notes of the chord above that.
Originally Posted by magmaro
Jimmy might be referring to the fact that changing the bass note on guitar could require a position shift, depending on what you are trying to play. On piano, you *could* just pick a different bass note in your left hand without changing the right hand voicing at all. That's not always possible on guitar. Sometimes you might shift your hand position to grab the notes in a different place on the neck. More commonly, using a different finger to fret a different bass note might mean that all of the other fingers have to rearrange themselves to fret the remaining notes in the chord.
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07-02-2025 10:15 PM
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Oh yeah I didn’t see his response on that one. Originally Posted by starjasmine
That makes sense.
I believe Jimmy is very much a grips guy too. Not as interested in exhaustive chord voicings and stuff, so probably not terribly interested in systematic inversions that yield chords he doesn’t think are particularly practical.
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He’s trying to leap too far. Going from major scale to diatonic 7th arpeggios, and on top of it he’s confused arpeggios with chords and nobody caught it. So he’s getting chord advice when he should be getting arpeggio advice.
OP, watch the video I posted. You want
to go through scale, 3rds, triads, then 7th chords. Slowly and deliberately, metronome, this took me a few months to work it through 5 positions in 12 keys. I loved it. It’s deliberate practice you can see results in.
Jimmy doesn’t want you to start off with 100 inversions. He wants you to start by learning the fingerings and use 3 grips for all, literally ALL, the chords.
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The problem with the guitar is that the same series of notes can be played in a few different ways.
For example:
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Okay I mean …. You’d know the Jimmy Bruno thing better than I would. But I don’t think I was giving him chord advice was I? Originally Posted by AllanAllen
I was giving him arpeggio advice and I believe that’s what he took from
it.
Maybe it’s the wrong advice based on the Bruno method. Dunno.
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OP: that's the first time I've head of guitar 'ideology' but I like it and I think it fits lol.
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My bad, I thought I saw your Ed Bickert chord chart PDF in the thread as I skimmed it. Originally Posted by pamosmusic
I will say, it feels weird posting a Jens Larsen video to explain the Jimmy Bruno arpeggios. The cat is eating the dogs tail, or something.
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Yes, get it straight from the foal (sic) mouthed horse's mouth...... Originally Posted by AllanAllen
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But there's no diagrams on Jimmy's videos, he wants us to :gasp: use our ears.
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He demonstrates his five main scale positions in one video (not sure if it's the ones I posted), which illustrates where and how to finger chord arpeggios in each position. Originally Posted by AllanAllen
My guess would be that my C^7 chord arpeggio #2 would be his fingering of choice, he'd shift positions to play it an octave higher.
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You somehow captured exactly what was confusing me and what I needed! Thank you! That video has some good stuff, and I think is exactly how Jimmy would approach it.
>He wants you to start by learning the fingerings and use 3 grips for all, literally ALL, the chords.
what exactly are 3 grips? This means like finger positions I assume?
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He probably has a YouTube video that addresses any question you have.
Chords, chords, chords:
P.S. - Do you that suppose that Jimmy ever made a video in which he didn't use the F word?... I doubt it.
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If you watch his lesson 1 video he covers it, but the grips are, key of C. Originally Posted by magmaro
Cmajor7
x3x45x
Dminor7
x5x56x
Gdominant7 (G7)
3x34xx
Now, the Dminor7 will double as m7b5 since it cuts out the 5th tone. Also notice the grips for Dmin7 and G7 are almost the same, shell grips are powerful because of this.
You can play around with them a lot, chord inversions are kind of my thing lately, I think I comp more than I solo. Inspired by Ed Bickert, I've started to comp busier as part of a solo. Anyway, that's all for later, get your foundation together, you can't build anything on a weak foundation.
Also, if you want lessons with Jimmy, state the name of the notes as you play them, he's said on the channel over and over not to reach out for lessons unless you know the names of the notes on the neck.
Everything will come with time, if you keep working on it and keep yourself teetering the edge of understanding and confusion.
And lastly, get together with some friends, go to an open jam, record a little bit and post a clip! This is supposed to be social music and it's supposed to be fun
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appreciate all the tips thank you! Definitely will be jamming with friends and what not. How long u been playing btw ?
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On and off for 25 years. I got the Mickey Baker book in covid to keep myself busy and now I’m all in. Originally Posted by magmaro
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wow longer than I've been alive that's sick! I remember Jimmy talking about that mickey baker I book, is it worth looking at after i do all the work for the 5 fingerings in each key and what not?
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Yep yep yep. Originally Posted by magmaro
All keys for sure. Might not be as big a deal as on piano but it’ll get you if you’re only playing them in the familiar keys. Pick three or four common keys and get comfortable and then pick one more on either side of the circle of fifths or something, get comfortable etc.z
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i meant doing that mickey book(not even sure what the book is about tbh), im gonna do the fingerings in all keys and what not for sure lol no negotiation there
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Oh man I don’t know. You do you. I have the book and I don’t think I’ve used 80% of those voicings twice in my whole life
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If we’re talking chords, I’d do this stuff over a bunch of tunes backward and forward and blues in every key before I touch the Mickey Baker book. You can find their counterparts around the 8th/10th fret too. Originally Posted by AllanAllen
Those I’ve got here
jazz_basic-shell-voicings-dg.pdf - Google Drive
Even the fanciest chord I play comes out of these little shapes.
You’ll never need another chord in your life. And like Allan said, start with the Maj Min and Dominant
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I agree with Peter. You can do the book later, or not. The main thing is to keep learning a little every day.
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>blues in every key
the blues scale? Wdym
but anyways ill let yall know when the 12 keys shi is done
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The twelve bar blues: Originally Posted by magmaro
I IV I I
IV IV I VI
ii V I V
In Bb:
Play Official version of Tenor madness Sheet Music by Sonny Rollins for Piano, Vocals | MuseScore.com
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OP, you might consider lessons to Get you to the point where you can do lessons with Mr. Bruno.
Guys on The forum do video lessons if you’re not able to go to a music store. The stuff we are discussing here isn’t jazz, it’s basic musicianship. My point being, you don’t need a jazz teacher right now. Just a guitar teacher.
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It’s the most common chord progression in the standard jazz repertoire by a mile, once you know one or two simple variations.
Its close cousin is essentially the entire classic blues repertoire — or maybe 90% of it.
Its super common in rock, funk, and soul music.
By a very very very wide margin, learning to comp and solo over that blues progression in your horn keys (Eb, Bb, F, and C) and your guitar keys (G, D, A, and E) is the most efficient practice you’ll ever do.
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