I can't believe the comments in here. This is not a cheap parlor trick to avoid the heavy lifting... this is basic chord substitution ideas. Every single jazz musician you've ever listened to who was worth listening to is thinking of chord subs. Learn all the arpeggios... nothing wrong with that.. next, when you know something about music, apply those arpeggios as subs (which is basically what he's teaching you). If you know the Emin arpeggio, throw it over a Cmaj7 and see what happens... what? You got the M3, 5, and M7... whattya know... you just applied your arpeggio as a chord sub. Welcome back to music 101. This video is giving you some subbing ideas. Why would you be critical of that? Give the world free bananas, and they complain that there are too many spots!

This is a really nice little lesson. I wish Chris did more of them. Aside from being a fantastic guitar player, he's easy to listen to with that distinctive voice and he communicates clearly without any mumbo jumbo. I like his explanation of what he calls - "resolution points." As they say in the songwriting business, it's -- "Easy to remember and hard to forget."

I worked with a very good professional guitarist who used this substitutions all the time and it always seemed a little magic to me. All of us big band members loved what he did. This is really good explaned, many thanks. And what you say concerning these "meaningful notes" is totally true, if you find them, you can give your licks a deep musical sense (and of course, by avoiding "non meaningful notes", you avoid boringness).

Great lesson, Chris. Appreciate that you play the examples at a slow enough speed that us fumblers can actually get a feel for the fingering and the way the solo relates to the chords.

Great lesson!Instant jazz sound.Better than just blasting through arpeggios.I am a beginner at jazz and this definately helps me to outline the chords in a more interesting way.Cheers

Great lesson! The move up a minor 3rd is a wonderful technique that I learned many years ago but have not utilized it enough. You've given me a reason to work on it again!

Thinking resolution points and 3 positions on the fretboard ..."it's going to stand you in good stead." Great lesson, thx!

the best explanation on how to improvise over 2 5 1 thank you SIR

Great tip! "View everything as a minor chord" approach to improvising is used by Pat Martino and Scott Henderson...

I really appreciate this wonderful licks and secrets of Jazz improvisation and how to understand better and better the sequencial lines! God bless! I thank you very much and I can tell you sir, that I understood everything you showed here and taught me a lot! Greetings from Ukraine of a brazilian guitarist!

Brilliant! There is so much material here to work on, study and develop. Thank you, thank you, thank you!

Great tips that can be quickly put to use, great teacher, well explained, great player, beautiful guitar and tone!

Thanks Chris...The Best Lesson on Utube. I love Jazz Guitar and and your playing.

That was very helpful! Thank you for posting this. The simple way you explained it really glued that into my brain. Appreciate you!

Knee 90% of what you said, but the advice about playing C minor over D7 was BRILLIANT!!! Kudos.

This is really good, very helpful I already go through the changes pretty good but I really like the sound here

Playing over the front pickup is what gives that smooth thick tone , yea it sounds great ! Great info thanks !

Thanks Chris great Lesson lots of options Great watching you master the fretboard with your knowledge !

Awesome and helpful lesson! Thanks

Thanks! I think this is great. The minor down a step from a dom adds the extensions without racking my brain.

This has helped me more than you think. I never thought of playing an idea around the pentatonic, then just moving that idea to the next pentatonic position around the next chord. I've always been stuck on trying to go up and down the scales and kind of jumping around, but I would always have trouble trying to find the scale for the next change.

You so good, yet you keep it so simple. Beautiful.

Thank you. Priceless little tip and clearly explained.

Probably the best and the shortest illumination on ad lib .... Excellent Chris !!! hope more to come ..

So much fun to learn a quick little something from someone who really knows what they're doing. Wonderful, and thanks for the content.

I love this lesson and keep coming back

This is an awesome trick! it really helps for pattern phrasing ideas.

Good stuff, Chris. Thank you!

There is a wealth of info here !! Clever little bit of teaching indeed. Many thanks Chris...

Beautiful...

thank you! very great tips

Good stuff, Chris! Looking forward to a follow up lesson 🕶

Amazing lesson

Great demo! Thank you!

Very pleasant to listen to.

awesome tip!!! thank you!!

Thanks for a great idea!

What a tone this guy has. Reminds me of Jimmy Rainey. Lovely..... and some nice theory also

Nice idea. Thanks for sharing

Fantastic! Thank you!

Wow ! I happened to feel like being stuck at some point, and this is a great breakthrough for me ! Thanks you Sire, have my like.

this helped greatly.

AWESOME! !

Very good! Thanks!

Very nice….a helpful tutorial ✨🙏

thank you so much! much clearer now.

Goddamn, that guitar sounds lovely!

very interesting. big help

Wow! You are a real Musician and Artist!

that tone is delicious

Helpful!

Good lesson..

Thanks, great lesson. You open the door, now is up to experimentation.

A little history lesson for you. Charlie Christian was the godfather of electric jazz guitar, and he used this "trick" about 80 years ago. He recorded Rose Room with Benny Goodman in 1939 and played Dbm over Eb7 (1/2 step up from Chris's example of Cm over D7). One of Charlie Christian's models for how to play jazz was tenor saxophonist Lester Young, who also uses this IV minor chord over the V7, and Young's model was jazz saxophonist Frankie Trumbauer, who was of white and Cherokee ancestry for those of you who still persist in believing jazz was solely a black American creation. But the main point is this "trick" has been around forever. It's also explained in Mickey Baker's Complete Course in Jazz Guitar: Book 1, which came out in the 1950s.

Very helpful...love that Cm over Gmaj7

for starters and much easier than what he is saying is simply play scale melodies (G Major scale based, not just the scale per se but melodies rooted in G Major with passing tones, accidentals etc) Much easier for starting and of course use your ear; sing or hum melodies over the progression then adapt them to the instrument.

Guitar Playing is fun!

I should pay you for this brillant lesson, 1000 likes!!

sounds lovelt..nice tip !

Thx!!!!!

I liked it, and it made sense Well done 😎

Nice. Very nice.

is it only my ear or that guitar really sounds so nice

Very Cool.....

Thanks..

Over D7alt I think the notes of C-7b5 will work better. Otherwise, you'll miss the 3rd of the D7 which is an important sound over that chord.

Cool!

Great way to look approach for ll-V-l... do you have a tip on how to approach a ll-V-l in a minor key???

Would concept work over a minor 251 as well? What scales would we use to resolve to the minor?

this 40th anniversary bene bambino is beautiful.

I gotta say this: thanks A LOT!

Hi guys, wonderful sound (guitar and melody) - and so "familiar" to the ear. But being a (mostly) rock-related player, only occasionally applying more jazzy stuff, I also have a hard time following. It´s the chords/ substitution particularly: Is it somewhat (!) compulsory here to substitute the V-chord (D7) with the Cm7 for a play along? I have tried it with several D7-voicing (including altered), but it never sounds as mellow and nice. But over a Am-Cm-Gmaj7-progression it is fine, of course. But then I do not have that straight II-V-I anymore... I´d be grateful for a hint on that.

nice

Hi Chris do you teach on line lesson?

Actually there're other (better?) choices for playing over D7 altered chord with minor pentatonic scale: The D altered scale looks like this: D - D# - F - F# - G# - A# - C 1 b9 #9 3 b5 b13 b7 The four altered notes are: "D#, F, G#, and A#", and if you look for a pentatonic scale that contains all the four notes, then you get "F minor pentatonic" and "Bb minor pentatonic", which looks like this: F minor pentatonic: F - Ab - Bb - C - Eb #9 b5 b13 b9 ("C" is the b7 of D altered scale, so every note from F minor pentatonic can be found in D altered scale) Bb minor pentatonic: Bb - Db - Eb - F - Ab b13 b9 #9 b5 ("Db" is a major 7th in D, so it's not included in D altered scale) C minor pentatonic, as introduced in this video, might also work, but it lacks the b5 sound. C minor pentatonic: C - Eb - F - G - Bb b9 #9 b13 (There's no "G" in D altered scale) So let's say if you play a D7(b9,b13) altered chord, I think C minor pentatonic will fit well, and so will the F minor and Bb minor pentatonic, but if your altered chord contains a b5, then C minor pentatonic is probably not a better choice. For example: D7(b9,b13): X54546 D7(b5 or #11): X5657X

great lesson - You have achieved a beautiful tone. PLEASE tell me what guitar is that you are playing, what amp are you going through.

since you are playing the minor IV7 in G [namely, the C min7], you could also use the relative major to C min, ie, Eb maj: so you can play in arpeggios, A-7 - Eb maj7 - Cmaj7, of course with proper voice leading to the tonic. but you probably this is already obvious to you...thanks I really enjoyed the mini lesson

This was a massive lightbulb moment for me! I think this works because playing Cm over the D7 is the same as playing D locrian which is a diminished scale, and diminished are great for passing from one chord to another. Then you move down a semitone to Bmin pentatonic over the D7 which is the same as playing Dmaj pent over the D7. This is correct isn’t it? Thanks a lot!

that was helpful. Thanks! "Know what I mean?"

Tri tone sub at 3:20, if I'm correct.

3:25 I still have no idea what "thematic information" means and how that relates to the shared scale he played over Am7 Cm7 and Bm7. Subscribed.

Deep note Cris

It's a handy concept. All in all you superimpose ii7 - bVII7 - I over ii7 - V7 - I and that's why it sounds altered.

why does he go to c minor pentatonic over the d7 chord, is it because c minor pentatonic contains notes from d altered scale. so he could also play d altered over d 7???

I call it a target chord....yeah, I love this.

always love a lesson on guitar without fret markers very helpful

on the 5 it seems like its more pin pointed on what to play the same riff works like u show IF the first riff is the right riff hehe

Nagyon sokat beszél!!!!!!!!!!!!!!!!!!!!!!!! Inkáb lesson!!!!!!!!

Gday, Nicest tone on the entire world wide inter Google! May I please ask what amplification you are using here? Well projected lesson as well I must say, cheers

You know what I mean?

Cool. #rockdellura

Can someone explain how is it that the C minor scale works over the D chord? I just don't get the theory behind it

FALA MUITO.

I understand a minor 3rd up from Am is Cm, but I don't follow why the notes in the Cm pentatonic scale substitute for a D7, especially since the 3rd of D7 is F# rather than F?

umm but this only works if the D7 has a flat 9 right?

3:47

4:25

"Nope" is not the answer and this is not a "shortcut." It's a substitution principle and a good one. However, I agree, it's being advertised as an "easy way" and therein lies the problem. Learn the fundamentals first, which is how Chris began, and then look into these kinds of things. Once you know the scales, triads and arpeggios in all keys and positions this is indeed a simple way to spice things up a bit. It could also function as a nice little detour from the monotony of the seven notes in a G scale. In keeping with vecernicek2's theme of being thorough, try playing the triads of these three chords in closed voicing in direction on each of the four string sets, then combine the sets. Bottom 3 strings: A, C, E, then A, D, F#, then B, D & G. The next sequence would begin with Am in the 2nd inversion, C, E & A, and so on. Apply that to a standard like All The Things You Are which move through six keys, not just one as here. Back to this sub principle, instead of ending with Gmaj7, follow the G with E7 to get back to the Am7, ii - v - I - vi7 and use Fm over the E7. Here you'll need to be more careful because the Eb isn't going to work. Simply raise it to E. You'll have an E flat scale with a raised root which is F melodic or jazz minor. A different thought or perspective will invariably lead to a different result and help break you out of a rut. That's what I believe Chris was offering. Thanks Chris!

Simple. That's what I like about it. Repeat on Cm (or Cm7) what you played on Am (or Am7) - then from Cm step it down to Bm /G (or Bm7/G)! ---Am7-Cm7(b5?)-Bm7 This is new.

love the "colour ".. got some practicing to do..🎸