Jack Zucker's technique / lessons thread

[jzucker]

Legato 2-5-1 in F, jazz-archtop style with Lydian, altered Dom7 arpeggios


I'm demonstrating how to play a standard 2-5-1 progress in F (Gm7-C7-FMaj) here using some exotic and easy sounds. This example uses 1 bar of each chord.


IMPORTANT - You can use the jazz licks for fusion and the fusion licks for jazz. Just because the tone is one or the other does *NOT* preclude you using it for other stuff!


Gm7 - Gm11 arpeggio
C7 - DbmMaj9 arpeggio (Eb C Ab E), classic altered sound ala brecker. I add a Db at the end prior to resolving to the 1 chord. The Db is the b9. The whole thing over the C7 is part of the Db Melodic minor which is part of the tritone ii-v series.
FMaj7 - I'm using a CMaj9 arpeggio (lydian sound) and then an FMaj9 arpeggio


All played legato style 2-1-2 ala Tim Miller

#TimMiller #MikeBrecker
#sheetsofsound
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#GibsonArchtop #gibsonguitar #fusionguitar #altereddominant

[jzucker]

Fusion style Legato 2-1-2 style over a ii-v-1 progression v.3, altered dominant, lydian


This lick demonstrates a very important concept. You may remember from discussions on my dodecaphonics theory (see dodecaphonics on jackzucker.com/dodecaphonics) that you can layer dominant 7 chords in minor 3rds over top of each other.
What you may not know is you can use dom7 chords in minor 3rds against a Maj7 chord starting on the 7th of chord.


So against FMaj7, you can use E7, G7, Bb7 Db7. This works because these are based off the Fdim chord which is a temporary suspension of the FMaj7 chord.


So in this lick, we use the following arpeggios:


Over:
Gm7 we use Gm9 arpeggio
C7 we use DbMaj7#5 arpeggio
FMaj7 we use Db7#9 Bb7#9 G7#9 arpeggios


This suspended sound is similar to how you'd use a sus chord on a tonic but adds the #9, #4 and other alterations from the diminished scale.

#TimMiller
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#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#kieselguitar #fusionguitar #altereddominant

[jzucker]

playing over Maj7 chord using dom7 chords in minor 3rds, diminished, melodic minor


In my previous video "Fusion style Legato 2-1-2 style over a ii-v-1 progression v.3", i demonstrated playing over an FMaj7 chord with Dom7 chords moving in minor 3rds.


This lick and exercise demonstrates in more detail how you can use Dom7 chords in minor 3rds over a maj7 chord. In the
accompanying video, i play this up the neck in minor 3rds with an AMaj9 chord playing in the background.


So i'm playing over Ab7, B7, D7, F7 over the AMaj7 chord.


Each lick has a little trick in it where I play briefly over the next chord up in the minor 3rd sequence. For example, I briefly play over B7 during the Ab7 portion.


Note that while the lick is mostly dim7 licks, the G natural on the 2nd part of beat 2 is *NOT* from the
diminished scale. Instead it's from C melodic minor based on the b9 of the B7 chord and outlines a B7#5b9#9. The G# is *NOT* from the diminished scale. It would need to be a G# (13) to be part of the diminished series.
This demonstrates that you can play over the B7 in different ways, not just with the diminished scale


If you look at my discussion on dodecaphonics (jackzucker.com/dodecaphonics) you will see more detail on this type of chordal pluralism...

#johncoltrane
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#gibsonhollowbody #fusionguitar #altereddominant

[jzucker]

Fusion style Legato 2-1-2 style over a ii-v-1 progression v.4, altered dominant, lydian


This is version 4 of the legato ii-v-i series. Performed on a kiesel zeus with a fractal audio utilizing the ODS 100 amp model and the fractal AC Boost for drive


Gm7 we use BbMaj9 arpeggio
C7 we use Bb+ / Bb Wholetone arpeggio/scale
FMaj7 we use E/F tonality outlining an E7#9#11 (without the 7th). This is similar to the Dodecaphonics studies (jack zucker - Dodecaphonics) where we can subsitute E7/G7/Bb7/Db7 over an FMaj7 chord.

#TimMiller
#sheetsofsound
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#kieselguitar #fusionguitar #altereddominant

[jzucker]

Frank Gambale style Fusion / archtop ii-v-1 progression v.5, triad pairs, dodecaphonics


This is a cool 2-5-1 lick that uses polychords.


Over Gm7 - Standard Gm7 arpeggios
Over C7 - A triad pair of A and Gb. The A/C gives you a C13b9 and the Gb/C gives you C7b9#11
Over FMaj7 - E triad - this gives you an FMaj7#9#11 or E/F which you can also think of as Fdim7, a suspension of the FMaj7

#FrankGambale
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#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#kieselguitar #fusionguitar #altereddominant #dodecaphonics

[medblues]

Frank Gambale style Fusion / archtop ii-v-1 progression v.5, triad pairs, dodecaphonics


This is a cool 2-5-1 lick that uses polychords.


Over Gm7 - Standard Gm7 arpeggios
Over C7 - A triad pair of A and Gb. The A/C gives you a C13b9 and the Gb/C gives you C7b9#11
Over FMaj7 - E triad - this gives you an FMaj7#9#11 or E/F which you can also think of as Fdim7, a suspension of the FMaj7

#FrankGambale
#sheetsofsound
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#kieselguitar #fusionguitar #altereddominant #dodecaphonics

Awesome! Thanks!

[jzucker]

Awesome! Thanks!

You're welcome and I appreciate your commenting!

[jzucker]

G7b9 Pentatonic scale and some 2-1-2 legato variations over G7 and AbMaj7!


This scale was featured in my first book, Sheets of Sound for Guitar. In recent years, I have modified it to work with the 2-1-2 legato fingering pattern.


This works obviously over G7b9/G7Alt but you can also use it over
G7, Bb7, Db7, E7 and
Abdim7, Bdim7, Ddim7, Fdim7 and
AbMaj7, BMaj7, DMaj7, FMaj7.


HOW CAN YOU USE A LINE OVER BOTH DIM7 AND MAJ7 using the same root?


see my article on dodecaphonics at jack zucker


Remember, I give private lessons so hmu if you're interested. More info on my website.

#TimMillerGuitar
#sheetsofsound
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#IbanezGuitars #IbanezBenson #altereddominant

[jzucker]

Shawn Lane inspired 7/8 diminished scale pattern using hybrid picking, G713b9, GibsonArchtop...


This comes from Sheets of Sound Vol 2. It's a really cool lick that can be played on one set of strings or over the entire fingerboard as demonstrated (both ways) here.


It uses hybrid picking and something I call hybrid economy where I use the same finger moving descending over the fingerboard...


Remember, I give private lessons so hmu if you're interested. More info on my website.

#shawnlane
#sheetsofsound
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#GibsonArchtop #altereddominant

[jzucker]

Modern triad pair E/G, symetrical diminished pattern over G7 or AbMaj7, really cool sound.


This is a semetrical pattern based on an E triad over a G triad using the diminished scale to introduce chromatic approach tones.


Because it's symetrical you can move it around in minor 3rds against not only AbMaj7 and G7 as I demonstrate in the demo but also against


G7, Bb7, Db7, E7
and
AbMaj7, BMaj7, DMaj7, FMaj7


For more information about why this works, check jack zucker - Dodecaphonics

#sheetsofsound #fractalaudio
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#IbanezArchtop #ibanezgb10 #altereddominant

[jzucker]

Herbie Hancock inspired - playing over Maj7 chord using dom7 chords in minor 3rds, diminished, Part 2


In my previous video i demonstrated playing over an AMaj7 chord with Dom7 chords moving in minor 3rds.


These were based on the 7, 2, 4 and 6th of the key. (Ab7, B7, D7, F7) over the AMaj7.


In this video, I'm demonstrating something similar but based on the 3, 5, b7 and b9 of the key. (We're in Eb this time) so G7, Bb7, Db7, E7.

This lick and exercise demonstrates in more detail how you can use Dom7 chords in minor 3rds over a maj7 chord. In the
accompanying video, i play this up the neck in minor 3rds with an EbMaj9 chord playing in the background.


In the last 2 sequences over the EbMaj7, I alter the "rest" note to be a chord tone.


Except for altering the last tone in sequence 3 & 4, all other notes are part of the Diminished scale that is up a half step from the Dominant 7th chord. So Abdim, Bdim, Ddim and FDim - ALL OVER EbMaj7.


If you want to know more about why these work, check out my article jack zucker - Dodecaphonics

#herbiehancock
#sheetsofsound
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#gibsonhollowbody #fusionguitar #altereddominant

[jzucker]

John Coltrane / Charlie Parker inspired, Dodecaphonics 2-5-1 Legato lick in F


After all the controversy with the last 2 dodecaphonics lessons, I decided to demonstrate a simple example over a 2-5-1 in F.


This is a Gm7-C7-FMaj7


But i'm using A Dbdim7 scale (with one chromatic) over the Gm7-C7,
But during the last of the C7, I play an E7b9 arpeggio. This actually harkens all the way back to 1948 when charlie parker utilized this sound over a ii-5-1. He was probably thinking Gm7 G#dim7 Fmaj7/A (Am7).


I take it a little further by thinking of an E7b9 for the first few beats of the FMaj7 before resolving to a more diatonic resolution. The last few notes are compatible with the E7b9/#9 and the FMaj9.


If you listen to this, I think you can agree that it does *NOT* sound dissonant. It shouldn't. These sounds have been around for 75 years!


Let's not argue. If you don't like these sounds, post an example of sounds you *DO* like in your own thread.

#JohnColtrane #charlieparker
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#jazzguitar #modernjazzguitar #jazzguitarriffs
#gibsonhollowbody #dodecaphonics #altereddominant

[jzucker]

Pat Martino style, altered chord turnaround in G


This is a cool turnaround done in Pat Martino style. Even though it's written with Alt chords (#5#9 typically),
Pat would play something like this over Bm7 | E7 | Am7 | D7 |.
When you play a line like this with intent and authority, the logic of the line will overrule what the rhythm
section is playing. Coltrane did a lot of stuff like this starting with the Lush Life album and Pat stole liberally
from that particular album of Coltrane's.


Each of the Alt chords is based off of Melodic Minor but with Pat's inimitable chromatics as passing tones.
This was also borrowed from Coltrane and the idea is that the chromatics appear in between notes in the
diatonic scale with whole steps in them such that the chromatic is on the off beat and the strong juice notes
are on the downbeat.


On an altered chord, the juice notes would be the b9, #9, b7, 3rd.


NOTE - Any of the lines that have 3 consecutive strings on 3 notes, are done using economy picking.

#Pat Martino
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#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#GibsonArchtop #altereddominant

[jzucker]

Asymetrical Pentatonic based off F melodic Minor and used over E7Alt


What is an asymetrical pentatonic?
It's a pentatonic that changes as it ascends or descends. In this case, we are taking a fragment
of F Melodic minor and using it as the basis for our pentatonic. Ab C D E G. I sometimes refer
to this as Maj7#5 pentatonic. However, when it gets to the top string, I change the notes which
would normally be Ab and C and instead play Bb and C. I have highlighted the notes that are
not part of the AbMaj7#5 pentatonic. Note that it *IS* part of the F Melodic minor scale!


WHY Asymetrical Pentatonic?!?


For a couple reasons.
1) The sudden, unexpected change to the harmonic palette is a pleasant shock to the ears
2) It makes sequential patterns easier to finger on the instrument.


The latter issue is generally frowned upon in pedagogy circles, as most of the melodic material
was gleaned from piano and horn parts.


But it's useful to embrace the characteristics of the instrument ala Allan Holdsworth and
take advantage of the instrument's strengths.


In this example, we are using the AbMaj7#5 asymetrical pentatonic over E7Alt. The Bb is part
of F Melodic minor but outside the AbMaj7#5 pentatonic.


Remember, I give private lessons so hmu if you're interested. More info on my website.

#sheetsofsound
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#IbanezGuitars #IbanezBenson #altereddominant

[jzucker]

allan holdsworth / tim miller inspired, legato wholetone/augmented arpeggio scales


https://youtube.com/watch?v=juxEic1PyQE

[jzucker]

How to play over Min7b5 (half diminished) chords, Gibson 175, FractalAudio

here's a link to the corrected tabs as a free download on my patreon. Sorry about that.




Just a moment...



I get asked about this all the time. My answer is to think about them as minor chord up a minor
3rd from the root.


So for Dm7b5, think of Fminor.
The second question I get is "which minor scale".
The two that I use most often are:
FMelodic minor (F G Ab Bb C D E) and
F Dorian (F G Ab Bb C D Eb).


Notice that Melodic minor has the E natural which is the natural 9 on the Dm7b5 chord.
If the Dm7b5 is going to Cmin, you will need to carefully voice-lead your lines since that
note is the major 3rd of the key.


If you listen to Coltrane on the Lush Life album, he uses this technique all over "I love you".
Pat Martino also uses it and borrowed much of his language from that recording.


This example uses legato techniques over F Melodic minor material over a Dm7b5 chord.
Note - I notated this using economy picking but for the 2nd and 3rd downstrokes in each
phrase you can also use hybrid picking and i and m for those 2 notes.


https://youtube.com/watch?v=xB2OWhgvmes


#sheetsofsound #halfdiminished #min7b5
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#IbanezGuitars #IbanezBenson #altereddominant

[jzucker]

asymetrical pentatonics over F Melodic Minor again Altered chords


I know this is a lot of information. Let me know if you have any questions. I also teach so feel free to HMU for private lessons.


This is a synthetic pentatonic based off Ab Melodic minor. Ab Melodic minor starting on
G is the altered dominant tonality and gives you
the b9, #9, #11 and #5
so it's very cool sounding. Pat Martino used this a lot and of course,
he borrowed this from
John Coltrane.




I like to think of BMaj7#5 as mode 3 which outlines a G7#5#9 chord. The fact that it leaves
out certain notes of the Ab Melodic minor makes it sound exotic and different than what you
"normally hear".


The BMaj7#5 pentatonic is B D# F E A#. Some folks see this is an Eb Pentatonic b6.


The basic scale is cool though some of the fingerings as you move up the neck become difficult.
This is a Synthetic\Symetrical pentatonic scale. I am spelling this with #s because i'm
thinking of it as BMaj7-centric...




The 2nd example is the sequenced version of the scale. If you do not barre adjacent strings with the left hand
(which you should not be doing) there are some really uncomfortable stretches.


The 3rd example is the asymetrical version of the scale. Instead of adhering strictly to the BMaj7#5, it adjusts
to adjacent tones in the Ab Melodic Minor. I'm going to spell this one with flats since we are
going to be borrowing tones from the Ab Melodic minor series.


The 4th example is the sequential version of the asymetrical scale. Notice that the finger busters are gone
because I changed the notes of the pentatonic in accordance with the Ab Melodic Minor to
make the fingerings "easier". It still retains the flavor of exoticness and in some ways is more
so because it it's not a straight diatonic scale and changes it's flavor periodically throughout
the pattern.

#sheetsofsound #halfdiminished #altereddominant
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs

[jzucker]

Part 2 - How to play over Min7b5 (half diminished), Ibanez Benson, FractalAudio


Part 1 of this series discussed using minor, up a minor 3rd from the root (Fm over Dm7b5). You can find this on my youtube channel or on my website.


Part 2 uses something different and interesting.


Another way to play over min7b5 chords when they are used in a 2-5-1 is to play over them with melodic minor
up a 1/2 step.


YES.YOU.READ.THAT.RIGHT


The melodic minor up a 1/2 step outlines an altered ii chord. So in the key of C (or Cmin) if we have
| Dm7b5 G7 | Cmaj or CMin)


The EbMelodic minor over the Dm7b5 overlays a D7b9#9#4#5 chord. In other words, it's the V of V since we
are going to a G7 chord.


This is one of those things which sound weird when you explain it but when you hear it, it will sound familiar.
Everyone from Bird to Trane, from Wes to Martino used these sounds. And of course you can use Ab Melodic
minor over the G7 which gives you the G7b9#9#4#5 chord...

#sheetsofsound #halfdiminished #min7b5
#jazzguitarlessons #guitarlessons
#jazzguitar #modernjazzguitar #jazzguitarriffs
#IbanezGuitars #IbanezBenson #altereddominant