guitar solo
The girl from Ipanema Lyrics
We have lyrics for 'guitar solo' by these artists:
Danny Brown My love nigger 14, got his hand on the forty…
Danny Brown ft. Rhadames My love nigger 14, got his hand on the forty…
Legs Diamond Shine bright like a diamond Shine bright like a diamond Fin…
Metallica Pretty fucking good huh? So we all still having some fun…
Ofln - Metallica Pretty fucking good huh? So we all still having some fun…
We have lyrics for these tracks by The girl from Ipanema:
Astrud Gilberto Olha que coisa mais linda, Mais cheia de gra?a. ? ela a…
frank sinatra Tall and tan and young and lovely The girl from Ipanema…
Garota De Ipanema Tall and tan and young and lovely The girl from Ipanema…
Lou Rawls Tom Jobim - The Girl From Ipanema by Antonio Carlos Jobim…
the girl from ipanema Tall and tan and young and lovely The girl from Ipanema…
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Zenzodiene
Heya,
Db Melodic Minor contains the same notes as Gb Lydian Dominant. Gb Lydian Dominant is a mode of Db Melodic Minor. Just like you can play C major over G7. G mixolydian and C major contain the same notes. Lydian dominant contains the following intervals:
1 2 3 #4 5 6 b7
So we can use it over a dominant chord. It is the same as mixolydian but instead of a 4 it contains a #4. Lydian Dominant is often used over non resolving dominants (dominants that don't resolve up a fourth like G7 to C) such as tritones, or the backdoor pattern (bVII to I (Bb7 to C in key of C)).
> I was always under the impression that one should play the scale of the actual chord.
Some people like to look at the parent scale while other like to look at the scale per chord, the mode. For example when playing over G7:
Parent scale: C major
Mode: G mixolydian
Both are the same thing as they contain the same notes. But stating the mode is more clear IMO.
Hope this helps!
Jazzerson
Eddie, this sort of lesson is extremely valuable to aspiring jazz guitarists such as myself. I'd love to see a similar sharing of ideas over as many standards as possible, your way of teaching is a superb way to learn.
Jazzerson
@Eddie Lastra The D flat melodic minor thing here over the G flat 7 #11 I've now applied to my playing. Earlier on the looper I was doing a C maj 7, C# dim, D min 7, E min 7, E flat 9 #11, D min 7, A flat 7 #11 and G 13, G 13 #5 and back. I was playing B flat melodic minor when it hits the E flat 9 #11 but I also discovered A whole tone works as the chord is a tritone sub for A alt isn't it. So technically here you could play C whole tone scale over it too. I do wish you'd put up some more lessons on playing exotically over moves like that.
Jazzerson
@Eddie Lastra
Yes, there's a lot of superfluous stuff in theory which in practice is rarely used! I think in a given key (ideally something other from C as most are in that key in instruction) giving examples of what arpeggios and scales etc to target for a 2-5-1 would be really good. For instance in the 2-5-1 in C Robert Conti basically showed that over D minor 7 you can start in A minor, D minor on the root, on the 9th E, F major arpeggio, B minor 7 flat 5 arpeggio starting on the 6th/13th, and even A flat major to bring out altered tones over the G 7 etc. Things like that really get you out of thinking restrictively that you have to start from the root. Especially for some of the altered chords, displaying some of the more exotic arpeggios and scale tones you can play over given chords to bring out some of the more radically altered notes away from the standard melodic minor a half step above or diminished arpeggio over the major third I think would go a long way to helping improve our improv skills and knowledge in practice!
Eddie Lastra
@James Anderson I've found that in jazz it's a lot of learning that you end up having to unlearn lol! It's part of the process. Thanks for the input, I'll consider those in the instructional videos I am in the process of developing. Stay tuned...
Jazzerson
@James Anderson
One of the things for me is getting away from thinking you have to play the root of the chord over a chord progression and really understanding how the melody actually works. I think most guitarists learning jazz initially have to overcome that obstacle. From Robert Conti I basically learned some interesting concepts like B minor 7 flat 5 arpeggio over D minor 7/G7 and F major 7 arpeggios with some chromatic notes leading down to the E in the G 13. Things like that are priceless in getting guitarists to get out of that restrictive way of thinking and find new places to launch solos from over given changes.Is it possible you could do some videos like this, say like a 2-5-1 in E flat or a 2-5-1 in C minor etc and demonstrate many of the different ways you can approach playing them in your soloing? Like D minor 7 flat 5, G alt, C minor, D minor 7 flat 5 arpeggio, B diminished arpeggio over G alt etc. Things like the D flat melodic minor over the G flat chord shown in this are really valuable I think.
Jazzerson
@Eddie Lastra
Thanks. One of the things which I find frustrating when learning jazz is that a lot of teachers give you the modes of the melodic minor, diminished scales etc but don't show you how to apply them or how to actually play jazz. So you're stuck with all this theory and little else. I've had to figure it out myself really. That's why I love it when jazz guitarists give you actual ideas like this in practice which you can then use to build upon. I bought a looper a few months ago and have been working out a mixture of scales I can use to improvise over given chords. Like I'll have a simple E7/E9 running for example and work out different scales which I can get to fit it like B minor, A melodic minor (the major 7th sounds great accented over the major third of the E7), G # minor 7 flat 5 etc (the flat 5 hits the D, the 7th of E etc) and figure out my own solos from a mixture of them. Sounds really good but I wish there was more material out there from guitarists such as yourself showing how to actually apply some of the more exotic scales in improvisation like in a basic 2-5-1 or simply what to play over what.
Jose Lopez
I've been playing guitar by ear for years and recently started to learn theory and I have to say you have a great method cause I always Loved and wanted to play this song. Thank you and I will be watching more of your lessons. Joe Lopez
Michael McKinney
Nice lesson, very practical application of all your solo construction materials. I like going through a tune where you get the over all flow, not just isolated ii V I stuff. I play along all the time!
fathand Robert
Hi Eddie,
Very informative lesson. Unfortunately it don't matter who you are on youtube, you're always gonna have naysayers who can't play shit but they certainly like bumpin' their gums about how you should have done this or they should have heard that. Please, forgive the naysayers and post more lessons for us players who are here to learn, period! Thanks a million!!
photogabi
Thanks for the lesson, Joe! Went through it a couple of times already. Just curious to know the theory behind coming up with those scales over those chords. I was always under the impression that one should play the scale of the actual chord. Clearly, that's not the case here and it still sounds amazing! Like that Db Melodic minor scale over that Gb7b5 chord.
Thanks!