A Simple Way To Handle Minor7b5 Chords

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0:00 Intro
0:38 Chord Voicings
1:12 Theory Breakdown
2:17 Chord Progression Demo
3:03 Soloing Approach 1
4:00 Soloing Approach 2
6:18 Outro

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I've said this before, but it bears repeating. I seldom come across teachers as good as you are on these here interwebs, Jack. But as great a teacher as you are, I must say that I come just to listen to you play. You have that rare Larry Carlton-esque quality of making an example or an exercise sound like a song, and a song emote so beautifully. That, in and of itself, is a master class - two for one here!

srinip
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Thank you Jack. Love the chord changes put up on screen. Makes it so much easier to comprehend.

bozzy
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Jack, if I can be helpful, I can add that the C major scale can be used without problem even during the E9 (which contains an F#, instead of an F, and a G# instead of a G). Why? Simply because the F in the C maj scale, can be simply considered as a b9 of the E9, morphing the dominant E9 into a E7b9 chord. And the G can be considered as a #9 of the E9, morhing the dominant E9 into an E7#9. Then we have a D9 chord (which contains again an F#, instead of an F).

myuncle
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7ths are amazing chords, the beginning of the composition to E Dominant 7 exploded in my mind...it's marvellous.

idem-VIIjan
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Wow! That was fascinating as well as lovely to play. (Still having trouble with the G13th, but I "cheated" for now with a D shaped E chord, while I practice that one) and put it in my looper. But that's where it got really interesting. I was aware of the Dm Dorian/ A major note thing, but I never thought that focusing on it in one way vs the other would make a difference, but damned if it didn't and in a big way. It changed my "feel" to something along the lines of Still Got The Blues, rather than an awkward C Major approach. What is going on with that? Same notes, totally different results.
Thanks so much. I'm trying to keep up, but you are next level. Luckily your teaching style is great.
Peace, brother. - Jstn

jstnxprsn
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Beautiful Lesson Jack!! You da Man! Thanks!

JLSGuitars
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I really enjoy your lessons. Was wondering if you could let me know how you get your beautiful sound with just bit of overdrive in it.

ThomasOhara-vrds
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Aw yeah, that makes perfect sense Jack. Thank you!

Btw, your lines always mesmerise me.

You have such a smooth flow with a feather touch.

I'm jealous! 😉

thAMG
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Hey Jack. Love your lessons. I have also recently seen the 5th string root shape that you played, described as a 9th chord, and am wondering what the theory is behind this?

GingerLeftyGuitar
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I love it. That progression has legs. If it had some lyrics it would be a hit.

billywade
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Hey Jack, love your work.
I always find your 2nd Bm7b5 voicing a bit awkward - I like F B D A on middle 4 strings with b5 in bass on 5th string.

brucesstreet
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Immediately brings to mind “the champ” from robbens tiger walk

enricopallazzo
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Excellent! D Dorian over bmin7b5 is right out of Pat Martino. Also realize that bmin7b5 is the top 4 notes of G9, from whence you can conclude that D Dorian also works great over a G dominant chord (ie G7, G13),

bob
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Hi folks, Hoping someone can field a question. The m7b5 chord has a lowered 7th, so it can be considered a raised 6th (10 1/2 steps), hence the Bm7b5=Dm6 ? So what would a fully diminished chord be considered, which I believe has a "lowered" flat 7, i.e 9 1/2 steps ? Thank you.

wscott-lyrt
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When I play a minor seventh flat five, I think of a dominant ninth, thus b min 7 flat five, is G 9 which could be the dominant G 7 in the key of C

arsenioadriano
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The C major scale never sounded so tasty!

davidjohnmorse
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the visual is great .. the language better

paulpsathas