It's always about the groove!

Glad you enjoyed the video!

to be fair ... blues is the devils music... im informed the alternative is hymns ... eek !

as a bass player i find the low left hand on anything a pain

I don't know if you are aware now but F-C-G or G-C-F are neighbors in the circle of fifhts (or fourths), so they have a lot in common. If you take out Root (which bass always takes care about) and fifth (guitar surely is already taken care of that) you are left with 3rd and 7th of the chord. 7 always resolve to 3 and 3 to 7. That is. In piano there is something called drop voices that also use some of these concepts. 1 resolves to 5 (actually becomes) and 5 goes to 1.

@@jazzer84 I get the theory it just goes against all of common practice period theory.

It's not minor seven he's doing, it's dominant seventh. The minor of a chord is made by lowering the 3rd a half step. So, here the two notes he's using are the major 3rd and the dominant seventh. And when you get somewhat proficient with your major and minor scales, and couple that with developing your ear, there are times where you can actually blend the major and minor pentatonic scales together. After a while your ear sort of tells you when you can get away with doing that.

Steve Richard there is no sich thing as a dominant interval. There are only minor, major, perfect and a few augmented intervals. Speaking in chords you are right, but I think our boi Andy was speaking in intervals.

@@rolux4853 thank you for the correction, I was speaking in chords, but I definitely said it the wrong way, haha

Steve Richard no problem man and by no way I wanted to be rude! I just wanted to clarify that you guys are talking about two different musical concepts so no beginner musician gets it the wrong way when he’s reading through the comments in the everlasting search for musical wisdom.

@@rolux4853 No worries, I didn't take your comment as rude at all :)

_ s_p_a_r_k_e_s _ it definitely can be confusing. You are correct that the notes that make the key of C are the white keys. What Jack is doing here is playing some of the notes of some of the chords that are part of the key of C. So in the key of C, the fourth note would be F (white key). So the IV chord of C is the F-chord. Jack is choosing the 3 and 7 notes of the F chord here (outlining the F7 chord tehcnically). These notes are not necessarily in the key of C (but in the key of F), hence not necessarily white keys. Hope this helps.....for further reference, it would make sense to look into how chords are built from individual notes

@@sigaar109ahhh thank you, yes that does make perfect sense! I didn't realize he was playing a 7th chord, or part of a 7th chord.

@@Nic.Arreola No, he's playing C (major) dominant 7. No minors. You're correct that a perfect major C uses only the "white keys" but a dominant 7th chord (which is what all the chords in this example are, and most chords in a standard blues 12-bar) has a flattened (or "dominant") 7th. The 7th in C major is B, so flattening it gets you to B-flat. Same goes for the F and G chords in this example, with E-flat and F respectively.

@@Nic.Arreola it's called the "mixolydian mode," which is just the major scale with a flat 7

Probably your are aware of this by now but anyway, C Major is made only by white keys, you are right. BUT Blues sound is about something called modes, and that is the Mixolidian mode. If you go to the keys and play four note chords you'll see the following sequence over any Major Key: I-Maj7, II-min7, III-min7, IV-Maj7, V7, VI-min7, VII-half diminished or m7b5. If you take any of this chords's root as a root for a scale you'll find modes, that is, in C Major Key, playing from C to C in only white keys is Ionian, D to D is Dorian, E to E Prhrygian, F to F Lydian, G to G Mixolidian, A to A Aeolian and B to B Locrian. Notice how Mixolidian is the only scale that forms a Major chord with a Minor 7th. This is true for all V chords in any Major Key, so, that's why this chord quality is referred as Dominant Chords. Now, for the blues sound who is founded on a Mixolydian (Mixolidian? sorry, my spelling could be wrong with this words as I'm not native speaker) sound, you will use major chords with minor 7th even for other harmonic functions that shouldn't have it, that's why you are going to play I7, IV7 and V7 and in C Major, Bb is required as the minor 7th for the I chord and Eb as the 7th for the IV chord. This is something referred to as Dominant Chords in Non Dominant Functions, because you'll play Dominant Quality over Tonic and Subdominant functions. I hope this helps, at first it is not that easy but any book with harmony foundations could give you a more and extensive information and examples for this explanation.

Quick intro to chord numbers: Consider Do-Re-Mi-Fa-So-La-Ti-Do and replace that with I-ii-iii-IV-V-vi-vii-VIII. In the key of C these correspond to the notes C-d-e-F-G-a-b-C. This means that in the key of C the common blues progression using I, IV, and V means you use the C (Do or I), F (Fa or IV), and G (So or V) chords. (This is supposed to be quick and very basic so some details are missing.)

@@ErikOosterwal Thanks. How do I tell which other notes make up each chord, besides the root? Also, what happens with a melodic minor scale, where the scale notes are different on the way up than on the way down? Do the numbers change with the context, or do they have a fixed meaning?

@@TooSlowTube - The initial building block for chords is the major chord; it's constructed from three notes that are separated by a "third". The first note is the "root note" and it gives the chord its name. For the C major chord this is the C note. To find the "third", start on C as 1, skip the D note, which is 2, and keep the E note, which is 3 - the "third". To find the third above the E note start on E as 1, skip the F note and keep the G note. The C major chord is built using C, E, and G. You can use the same process to find the F major chord (F, A, C) and the G major chord (G, B, D). This works without sharps and flats because we're using the key of C and we're sticking to the major chords of the I - IV - V. You may have noticed in my earlier response that I, IV, and V were in capital letters and ii, iii, vi, and vii used small letters. The reason for this becomes more clear after introducing minor chords. You can change a major chord into a minor chord by making the middle note of the three a flat. C major is C-E-G and C minor is C-Eb-G. If you wanted to play the Do-Re-Mi... progression in the key of C using chords you start on C using C-E-G, then play the D chord, then the E chord, etc. If you do this using only the major chords it will sound funny because the D major and E major chords have sharps, and there are no sharp or flat notes in the C major scale. So we have to fix the D chord from major (D-F#-A) to minor (D-F-A) and fix the E chord from major (E-G#-B) to minor (E-G-B). That way we get rid of all the sharps and flats and we recognize all the notes in those chords as notes that belong in the C major scale.

@@ErikOosterwal Thanks. Is the same chord naming/numbering used for minor scales too, or is this something that only gets used with major scales? In the simplest A minor scale, just sticking to the white notes, and keeping the notes of each chord to that scale, the first chord would be minor, and the second, then in the same order as for the C major scale, but with different numbers, so it would be i, ii, III (major), iv, and so on...

TooSlowTube dude you really should watch some music theory videos for a few hours on KZfaq. There are absolutely amazing ones out their that make it very clear. Basically the minor scales use the same number, which is capital and which not is defined by the key. I tell you a little secret: You mentioned the A minor scale and obviously you mentioned it because it has the same notes like the C minor scale. So if C major has A parallel minor of course every other major key has a parallel minor! Just look into the cycle of fiths, there you see every parallel minor key. That means if you learn all the major scales you are also able to play (and know) all the minor scales, they just start on a different note (it’s always the 6th note of the scale, which is the aeolian mode which is the minor key)(C1,D2,E3,F4,G5,A6,B7,C1;8) This is the concept of the modes! You really should invest these few hours of learning, you’ll beginn to see this musical thing as something totally logical, especially when you learned about all the modes and the „families“.

Earl Heath What’s your issue with that? 🙄

Dave It’s a joke dude.

Earl Heath hilarious

Dave which do you own? Hammond or Nord?

Ever heard of Stevie Ray Vaughan or Dr. John? Eric Clapton?

@@JamesDriver40 or indeed little boy blue famous for blowing sorry i had a moment i couldnt resist forgive me and move on