Vic Juris All That Jazz Part 2

Vic Juris All That Jazz Part 2 [Demonstration] So, the whole thing with the Tritone Sub, first of all, understanding that this substitute comes from the five chord. So, you’re thinking of that as a b5 interval away from the five chord. The easiest way to think about it in the 251 is just the chromatic descending baseline of Dm7, here’s your Db7 to a C. [Demonstration] Now, there is a lot of approaches for this. An easy one, the West Montgomery approach is a really beautiful one because he would improvise of the two chord and then instead of going direct to the five chord, he would put a two chord infront of it. So, a lot of times, you’ll hear west play like, that kind of sound. It’s really beautiful so he would take the Abm. And that’s all that goes, so here I played Dm7, you want to play that. And just go to Db7 with a regular ninth. There, I'm playing an Ab Dorian scale. So, eventhough you’re playing that Db7 with the ninth which has elements of the Abm7. I'm thinking of this Ab. This is real west thing. [Demonstration] Like one thing I was doing was I was taking the Dm like top ends of the last thing actually was this Dm7, which is just verbatim is a Dbm7. Now, if I go up a half step, Ebm7 against the Db7 or G7 chord, this is part of the Ab Dorian scale or Db myxolidian scale. So, this Ebm7 lives inside that scale. So, I'm able to get away with that as a connection, exactly. Then if I move up another half step against C-major 7th, I've got a D, B, G, and E. Okay. Here is the first one. [Demonstration] So here, I've got a Eb so against the G7th, that would be a #5 where the Eb would be the ninth on a Db7. Then what have we got? Now, I got an F# which is kind of an outside note. Because it’s a transitory note that’s kind of going off to the next note with the Bb which is the #9th or 13th, so the ear is accepting that because it is a transitory. We’re not stopping on. If we just stop on that note, it’s not going to sound very good. And if we go up to the C-major 7th of course we've got the E which is the third, G is the fifth, B is of course the Major 7th and the 9th. So, we've kind of get a little outside note in there, don’t we? Most guitar players like that kind of sound anyway. It’s like good strength sentence structure too because it’s part of your story. And if you’re standing behind the notes that you play in, it’s going to come across that way. [Demonstration] We’ll talk a little bit about modal playing. One of the best modes to start on when you’re first getting involved in this is the Dorian mode. Too many people just pay attention to what the scale is. They’ll have a scale written in a chord and then they’re not really thinking about what the altered notes are. I may start here. That helps me to learn and internalize the whole position. [Demonstration]