Thank you! That's quite a compliment!

Thank you very much MQ B! 🙂

Thanks Justin! That is really great to hear! I hope you find what you are looking for and otherwise feel free to ask on a video, then I can (hopefully) help you!

+MrJoeyBoombotz Thank you Joey! I am glad you like the video. There's a ton of free stuff on the channel so all of that you can easily afford! If you want to help me just share the lessons on Facebook, twitter or something similar, that way you help me spread the word!

Thank you very much! I am glad you found it useful! If you have any suggestions for topics or things you are looking for the feel free to let me know 👍

Really happy to hear that Raffaele! 🙂

+Charles Proulx Thank you Charles! You know where to find me if you have any questions!

+Jens Larsen Thanks -- that's very thoughtful

Glad it was helpful!

Glad you liked it!

+Richard Sorice You are very welcome Richard ☺️

Thank you, Tom 🙂

Cool, thanks!

Thank you! It's great to hear that it works for someone! I just try to make the lesson and pick the topic so that it fits the video and the way I can demonstrate it. If you want to help me spread the word then share one of my videos on Faebook or Twitter!

+Muzika Thank you. Great to hear that you found it useful!

Thansk Ted! Yes the B minor pentatonic is a great way to get a lydian sound, a very nice device 🙂

Gonna try that. I got myself thinking about the F#, then I guess it can be used as a transition to II (Dm).

Glad to hear that

+Don Fox Great that you can use them Don! Thanks for checking it out!

Thank you Francinni! Keep at it!

That's great! Always happy when it also works for other instruments! 😃

+ikamran134 Thanks man! Glad to hear you like it!

It is a place to start if you already know the pentatonic scale. You can always expand later!

+Jens Larsen Yes, I know pentatonic. So I will try to learn more and also read. If I wouldn't read the title on pentatonic and only listen this short jazz solos, I wouldn't suppose that it's played using pentatonic. It's very interesting question for me.

Glad you like it Cesare! 😀

That's great Donald! Did you see the video on using pentatonics on Lady Bird? (You might have commented on it already, but then I forgot :)

Jens Larsen yes I did, I watched them together, a real eye opener. I never considered taking pentatonic that deep, I always thought they were a “cheat”. How wrong...! Thank You so much!

Thank you! 😃

+Peter Tinning Not lydic, off course, lydian....

Thanks Peter! Yes I did cover that in one if the other lessons on pentatonic scales ☺

+Jens Larsen Oh... Sorry - didn't watch them all;-)

+Peter Tinning I think I saw it long ago in a Scot Henderson instruction video..

Peter Tinning Didn't think you did, but consider it homework! :D

+Gérard Létang You're very welcome Gerard!

Yes on the last II V I in a Bb Blues it will work really well :)

+Jens Larsen Thanks!It kind of reminds of Scott Hendersons playing but without the whammy bar.

Eyeball Gaming Guitars He does seem to do a lot of stuff with pentatonics!

That's great Ron! I am actually quite happy with this one even if it is a bit old 🙂

sounds great to me

you got me thinking....is this old .....does it change with time.....so I should only learn new stuff?

No the info is ok, mostly it is me thinking about how good I was at making videos compared to now

Got it ...thanks

You're very welcome! I am glad you like it!

Hi Anwyll, I am not a doctor so I can't really post medical advice. However I do talk about this in this Q&A video and there's a link to a video in the description that you will get a lot from! kzfaq.info/get/bejne/btOdi7mIsr66mKM.html

Jens Larsen Thanks Jens. Watching Jake's video also!

Good luck with it! I hope you can find some help if you have problems, it really sucks to be unable to play.

Jens Larsen Thanks. Will continue researching. For the most part, it is probably bad technique...with guitar and away from guitar. For instance, typing on a computer I am leaning on my arms, where if i practice proper posture...that takes pressure off. Veel dank!

+Bradley Carter Glad you like it!

+rexbravo83 I know, but then it would take me too long to make the videos. Maybe in the future :)

+Jens Larsen Ok - thanks anyway, and keep it up! :)

rexbravo83 I will do my best!

Thank you Stefano!

Thank you Paul!

Thank you Rosco, of course you can use Bm pentatonic but keep in mind that you are changing the sound of the chord when you do so 🙂

yes but im choosing the B note thats the essence of the maj7 chord. in the Dminor pent sound the F ( the F# is an extension )

rosko trincheri I don't say to play Dm on the C chord 🙂

you said 3.58 D- E and A minor pent i prefer E-A:B minor pent

And what do I say 2 seconds after that?

Thanks Jay! I'll fix it!😀

Fixed :)

+easy bake evan Thank you! My tone in my Fractal Audio AxeFx direct into my PC and in the lesson it's the AxeFx into my QSC K10 speaker recorded with a microphone connected to the camera.

G7 altered is Ab melodic minor. You can maybe search for altered scale lessons on my channel. I have a few talking about that. And then you are completely right that Bb is the pentatonic scale you have in Ab melodic minor.

+Richard Sorice Of course, but I would consider that a reharmonization ☺️

Glad you like it! 🙂

No, Bmin is a scale that spells out a Gmaj7 not a G7. You'd have to try Em or maybe Dm6 pentatonic?

I probably could, but you are better off learning for yourself 🙂

Really? :) Are there pentatonics in that too? I managed to forget in the meantime...

@@JensLarsen the first lick, and there was a reference link to this video :D

You're very welcome! I am glad you found it useful 👍🙂

True! It is about the melodies not the notes when you play 🙂

That's a great tune, but then again anything from Nat King Cole is good! :) I guess you should work on having enough scale positions to cover the neck and then try to learn the diatonic arpeggios of that. From there I'd suggest trying to improvise over simple progressions or very simple songs using the arpeggios of the chords.

Thanks! Did you check out the lesson I made on melodic minor tonic chords? That is what I'd suggest that you use. There are other options but that one is by far the most common. I will probably make a lesson auggesting arpeggios over a chord like that in the future but I don't know when ☺

It is from the Altered scale

Sure! that works as well, though it isn't a pentatonic scale (since it has 6 notes) I have some lessons on chord melody stuff on my channel. There is a playlist somewhere, and I also have some of my own chord melody arrangements available for purchase: kzfaq.info/get/bejne/ityldrCfyKyZcZ8.html

touché ;) and thank you very much!!

If it is not a G altered then you would use another pentatonic scale, most likely G major.

That may sound a little strange, but if whoever is comping you is a little awake then they should follow you 🙂

@@JensLarsen ok, thanks for all, your videos are very good ( sry for My English)

+nikki sam You are very welcome! Glad you can use it!

Tus videos me han sido de gran ayuda,soy una chica guitarrista de rock y estoy comenzando a entrar a este mundo de la guitarra jazz si pudieras recomendarme algun estudio para principiantes de la guitarra jazz te lo agradeceria.

Maybe try this video and have a look at the list to see if you feel like working on some of the other videos: kzfaq.info/get/bejne/ht94i7Fku97Mqmg.html

No I don't, it's a better strategy to think about the notes you want to play than the notes you don't want to play 🙂

Thank you! There are a lot of melodies that you can only make if you follow the changes. If you don't like those then don't work on them. If you do you like them then you need to work on following the changes. In that way it is subjective. Compared to a 12 bar blues or most rock pieces the amount of information in a jazz standard is much higher. You can't ignore the changes because you can't play the same notes over the whole song so you have to be aware of where you are in the song. I think the expression is outline the changes btw?

quote "I think the expression is outline the changes btw?" well , yes and no, I mean, I do follow the changes when I want to, because this is my jazz practice, however, unless I do doing interesting chord substitutions (which I am not very good at yet) I would not say that an 'arpeggios' approach is necessarily more interesting than a 'scale approach'. If I play a standard such as AUTUMN LEAVES using scales (let's say, mainly bebop scale, minor pentatonic blues and harmonic scale) I don't underline chord changes as much as I do with the ARPEGGIOS approach, I don't necessarily target the third and the fifth, or I don't necessarily use chromatic notes that anticipate the new chord, to me this approach is not necessarily worse than the arpeggios approach where you DO REALLY underline all the chord changes. I also find that if you stick to one scale, a pentatonic for example, you kind of play modally and that is interesting too. I am just saying that in general I don't value targeting chord notes more than not doing it...I am just saying that playing arpeggios to highlight changes is just an approach but I don't see why some people (pure jazz players) tend to value it more that any other technique, in the end what matters is the result. It is true that the less ideas (arpeggios, scales, substitutions) you use the more boring you get (and you run out of ideas after a while) but still, better being repetitive that sometimes using many ideas without being very good at that (not your case, but may not very tasteful or experiences jazz players). In the end some of my favourite solos are just basic (harmonically) some very complex solos sound uninteresting...just opinions, obviously. Anyway, love your lessons and your solos.

quote "I think the expression is outline the changes btw?" well , yes and no, I mean, I do follow the changes when I want to, because this is my jazz practice, however, unless I do interesting chord substitutions (which I am not very good at yet) I would not say that an 'arpeggios' approach is necessarily more interesting than a 'scale approach'. If I play a standard such as AUTUMN LEAVES using scales (let's say, mainly bebop scale, minor pentatonic blues and harmonic scale) I don't underline chord changes as much as I do with the ARPEGGIOS approach, I don't necessarily target the third and the fifth, or I don't necessarily use chromatic notes that anticipate the new chord, to me this approach is not necessarily worse than the arpeggios approach where you DO REALLY underline all the chord changes. I also find that if you stick to one scale, a pentatonic for example, you kind of play modally and that is interesting too. I am just saying that in general I don't value targeting chord notes more than not doing it...playing arpeggios to highlight changes is just an approach but I would not value it more that any other technique, in the end what matters is the result. It is true that the less ideas (arpeggios, scales, substitutions) you use the more boring you get (and you run out of ideas after a while) but still, it is better being repetitive than using many ideas without being very good at that (not your case, but may not very tasteful or experiences jazz players). Sometimes, players who are not real masters, tend to sound very scholastic, applying rules and chord substitutions...but it does not sound like improvisation, it sounds like an exercise and the reality is that there is very little improvisation. obviously that is not the case when it comes to master jazz players (especially if I think of Bill Frisell and people like that. In the end some of my favourite solos are just basic (harmonically) some very complex solos sound uninteresting...just opinions, obviously. Anyway, love your lessons and your solos.

The substitutions won't be the thing making the difference. Autumn Leaves is not the best song to demonstrate why you need to follow the changes, but it is a good place to start studying it. To be honest I suspect that the fact that you can't tell the difference between following the chords or just using a scale says more about your ears and abilities with improvising with them. I am also not sure you are aware that practicing playing a solo with arpeggios doesn't mean that you should end up playing or thinking only with arpeggios. It's just one of many skills needed. If you want to understand this better you should maybe try to analyze some transcriptions of solos that you like?

YES, I KNOW WHAT YOU MEAN. I am not an experienced jazz player. However, I was just saying that more in general, I think it is a good idea to practice soloing just with arpeggios do develop a certain type of melodic taste, but I do enjoy playing jazz standards thinking of which scale fits with each chord and as I mentioned before, this approach creates different melodic lines that I believe are not worse than the ones you create with an approach based on arpeggios. A few guitar methods I have e.g. Mimi Fox arpeggios for jazz standard are great, but tend to focus a lot on arpeggios more than on scales. Very useful, but as I said, I don't think it is the best in terms of the results. Autumn Leaves, well, a simple one, as I said before I mainly play it with G maj scale, blues minor pentatonic, e minor harmonic and passage notes...I am not great, but I am happy with the result. In the Mimi Fox book actually there are interesting chord substitution also for Autumn LEaves.

+jorda san Thx!

+jorda san Thx!

Thanks! I'm not sure if you are asking or what you are asking?

I think he said an Ab melodic minor over the G alt

Minor II V I progressions don't lend themselves to pentatonics as well as the major counterpart. You could use m6 pentatonic scales, but you might as well just learn the arpeggios in my opinion 🙂

Because it is more practical to describe the sound and not the specific chord 🙂

@@JensLarsen but how would you know what to play if you are reading it?

@@lukesymmons A G7 voicing using extensions from the altered scale

@@JensLarsen ok thank you very much for the help!

I give melody prioroty because I find that it is an important part of the music, and I miss it when it isn't there. I don't worry about computers, that is not really a problem or anything I can do something about 🙂

I don't speak German, sorry. When I learned Dutch my German disappeared 🙂

ioi..sorry. Do you would recommend to use in General Pentatonic-Scales cause its less difficult in a technical Aprouch? in the Meening, "keep it simple", for better Expression? Do you use also the whole alt Scale to improve?

@@CreateArtRecords If you only know pentatonic scales then you can start there, but if you really want to sound right and hear altered scale and altered dominants then learn the whole scale (you will need melodic minor in tons of places anyway.... :) ) hope that helps!

@@JensLarsen Yes that helps. In the Case of me, i know all the Common Scales in Therie. But for me its the Challange to use this Knowledge in practical on the Instrument. I learn the Therie mostly on the Keys. Thats why your Video helps me, cause i can now imagine how to manage the Scales on th Instrument. I think the Importend is to change the Scales on the Beat where the Chords changes are. And to do smooth Connections between them.(?) Thx a lot. I will Subscribe your Channel!

+siglo 21 Thx!

Then you guys will never learn to hear the chords.. 🙂

but we will get the chance to hear (atleast once) both the arpeggios and the chords working together

I am sure you can play the chords right? Or loop the chords yourself and add the examples 🙂 Obviously I am half joking, because it is production time that doesn't allow me to do that. At the same time you are seriously better off trying to be able to hear stuff like that against the chords in your head. It is essential if you ever want to play it with any conviction.