Vic Juris All That Jazz Part 4 Video

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Vic Juris All That Jazz Part 4

Vic Juris All That Jazz Part 4 [Demonstration] What really got me into voice leading when I was in high school was Stairway To Heaven by Led Zeppelin. See this baseline on an Am, here’s a perfect example of voice leading. You’re starting at your Am, you're starting with the A which is the root and you’re dropping it to the major 7th which puts you in melodic minor and you should hear this over there, play your base A again, so there's the root. Now, minor-major meaning the minor 3rd and the major 7th to the minor 7th and then if you drop it again, that's the minor 6th. I think its Stairway to Heaven, they went to a D chord. And there's a lot of examples that the Beatles used that in a tune called Michelle. But they took it a step further and Paul McCartney probably did this on the piano. It’s a lot more visual on the piano, Dm triad down to the major 7th to the minor 7th to the 6th to the #5. S so if you're playing that D base, there's D and then it went to the five chord. And then at one point, at the end of the song to the major but that’s simple voice lead. One thing that’s really nice on the guitar and a lot of guitar players don’t do this, they don’t think of going the other direction. So, if it’s a Dm and this is a really nice thing and you take the root and move it up a whole step. It gives you the 9th of the chord. So, playing here in low D. You know, how nice that sounds over the base. So now, 9th down to the root, sometimes 9th down to the minor-major to the 7th, play your low D again. Here’s all the things that are possible and this is a triad that should be familiar to most people. So Dm, here’s the 9th when I raise the D, E back to the root, minor-major which is the melodic minor sound to the 7th minor 7th, to the 6th to the #5. And if you stretch that one more, you get the natural five. Now, you can take the triad change it to major. Now, drop the root one half step then you got a C# which is the major 7th of D. Here is the D major, now I change the note. Now, if I drop that note again, there is a C natural which is the dominant 7th. The Beatles used to do all kinds, even a song that—there’s a voice leading. Now, if you drop that dominant 7th again, there's the 6th of the chord. There's the #5, so this all. So in major, you would have major, major 7th, skip the dominant 7th, major 6th, #5. Now, if you wanted the dominant 7th, put the C natural in. Now, the 9th again here is very nice. It’s a real bright sound. Now, there are little devices like on the major—would do things where he would play two triads against the major chord. He had one composition he wrote which is a pretty one of his big hits. But you can see what he’s doing, he’s thinking of this over that root. I think the way the piece starts is everybody hits that, so hit that D. So, his thinking of that all in D major, so here’s D major root position. Now, here is A major which is first in version A major. So, the notes of A major, C# is the major 7th of a D chord, E is the 9th and A is the 5th. So that would work against that. And then I think what he did—he took the D and he also went to Dm. So, he adjusted the chords there, he had left chord against the Dm. But it’s super imposed in different triads. Now over a 251, if you do something like say Am7th, D7th, let’s do a little bit of voicing with our voice leading with the chords. Am7th, D7thb9 to GM7th, so E is the 5th of Am7th, Eb is the b9 of the D7th, and D of course is the 5th of GM7th. See what I would do is take, that's one thing, so I'm pivoting off. I could even hang onto this B. So, if I hang onto this, this B becomes the minor 9 here. It becomes the 13th of that chord, becomes the 3rd of G. Now, here’s another thing you could do. You could voice lead from the bottom. So, here’s that 9th minor of the root, minor-major to the 7th of Am and then this F# becomes the 3rd of D7th and if you want to keep your flat 9th. Now, you could stay for here for the GM or you could drop this down another whole step, so this E becomes the 6th of the G chord. [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, so all these clusters are D Dorian. Too many people just pay attention to what the scale is. They’ll have a scale written in a chord and they’re not really thinking about what the altered notes are. I may start here. That helps me to learn internalized the whole position. [Demonstration]

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Vic Juris All That Jazz Part 4

[Demonstration]

What really got me into voice leading when I was in high school was Stairway To Heaven by Led Zeppelin. See this baseline on an Am, here’s a perfect example of voice leading. You’re starting at your Am, you're starting with the A which is the root and you’re dropping it to the major 7th which puts you in melodic minor and you should hear this over there, play your base A again, so there's the root. Now, minor-major meaning the minor 3rd and the major 7th to the minor 7th and then if you drop it again, that's the minor 6th. I think its Stairway to Heaven, they went to a D chord.

And there's a lot of examples that the Beatles used that in a tune called Michelle. But they took it a step further and Paul McCartney probably did this on the piano. It’s a lot more visual on the piano, Dm triad down to the major 7th to the minor 7th to the 6th to the #5. S so if you're playing that D base, there's D and then it went to the five chord. And then at one point, at the end of the song to the major but that’s simple voice lead. One thing that’s really nice on the guitar and a lot of guitar players don’t do this, they don’t think of going the other direction.

So, if it’s a Dm and this is a really nice thing and you take the root and move it up a whole step. It gives you the 9th of the chord. So, playing here in low D. You know, how nice that sounds over the base. So now, 9th down to the root, sometimes 9th down to the minor-major to the 7th, play your low D again.

Here’s all the things that are possible and this is a triad that should be familiar to most people. So Dm, here’s the 9th when I raise the D, E back to the root, minor-major which is the melodic minor sound to the 7th minor 7th, to the 6th to the #5. And if you stretch that one more, you get the natural five.

Now, you can take the triad change it to major. Now, drop the root one half step then you got a C# which is the major 7th of D. Here is the D major, now I change the note. Now, if I drop that note again, there is a C natural which is the dominant 7th. The Beatles used to do all kinds, even a song that—there’s a voice leading. Now, if you drop that dominant 7th again, there's the 6th of the chord. There's the #5, so this all. So in major, you would have major, major 7th, skip the dominant 7th, major 6th, #5. Now, if you wanted the dominant 7th, put the C natural in.

Now, the 9th again here is very nice. It’s a real bright sound. Now, there are little devices like on the major—would do things where he would play two triads against the major chord. He had one composition he wrote which is a pretty one of his big hits. But you can see what he’s doing, he’s thinking of this over that root. I think the way the piece starts is everybody hits that, so hit that D. So, his thinking of that all in D major, so here’s D major root position. Now, here is A major which is first in version A major. So, the notes of A major, C# is the major 7th of a D chord, E is the 9th and A is the 5th. So that would work against that.

And then I think what he did—he took the D and he also went to Dm. So, he adjusted the chords there, he had left chord against the Dm. But it’s super imposed in different triads. Now over a 251, if you do something like say Am7th, D7th, let’s do a little bit of voicing with our voice leading with the chords. Am7th, D7thb9 to GM7th, so E is the 5th of Am7th, Eb is the b9 of the D7th, and D of course is the 5th of GM7th. See what I would do is take, that's one thing, so I'm pivoting off. I could even hang onto this B. So, if I hang onto this, this B becomes the minor 9 here. It becomes the 13th of that chord, becomes the 3rd of G.

Now, here’s another thing you could do. You could voice lead from the bottom. So, here’s that 9th minor of the root, minor-major to the 7th of Am and then this F# becomes the 3rd of D7th and if you want to keep your flat 9th. Now, you could stay for here for the GM or you could drop this down another whole step, so this E becomes the 6th of the G chord.

[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, so all these clusters are D Dorian. Too many people just pay attention to what the scale is. They’ll have a scale written in a chord and they’re not really thinking about what the altered notes are. I may start here. That helps me to learn internalized the whole position.

[Demonstration]

Transcription by: Scribe4you Transcription Services

Vic Juris All That Jazz Part 4

Vic Juris All That Jazz Part 4 -

Vic Juris All That Jazz Part 4 -