Chords for Rock to Jazz Guitar? Ticket To Improv
Tempo:
77.65 bpm
Chords used:
F#
C
F
A
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Welcome to the Ticket to Improv.
[E] I'm very excited [G#] about this DVD because it's going to give me an opportunity for the younger
guys to hopefully, I want to try and save you a lot of money and anxiety, especially
anxiety in accomplishing this goal of improvising.
I want to make it as easy as [E] possible and that's based on 45, 46 years of doing this
with [F] students, teaching [F#] and learning all the tricks and how to get information under your hand.
It's not important if I complain, I've got to get it under your hand.
[F] What I want to do [F#] is clear up a lot of false ideas, [N] misconceptions, preconceptions.
You know, guys start out and they get all caught up in all kinds of nonsense that's
meaningless and is non-productive.
And, you know, some of those things, you know, I've heard young guys say, well I've been
told there was a scale over every chord and when you improvise you have to think of the scale.
This is insanity.
The modes, the playing modes, I don't even know what they are, I still don't know what
they are after all these years.
And I don't care to know because it wasn't necessary for me to learn them.
And then there's the other thing about theory.
People think that, are told that you have theory.
You just can't imagine how many young guys I've seen through the years that, you know,
rock players and blues players with really good technique, you know, good command of [F#] the instrument.
And they say, gee, I'd like to, I really would have liked to learn to play jazz.
I say, well why didn't you?
They say, well I went to a teacher and this guy told me that I had to spend eight or nine
months learning all these scales and modes.
And it just, you know, it became more than I wanted to deal with so I just, you know,
I'm comfortable playing blues or rock.
And these are the things that I want to, hopefully, I don't know where you are skill-wise but
presumably since you bought this DVD, you're at a point where you're ready to start playing.
Jazz, bebop, improvising.
This is an art form that began in saloons, smoky back rooms, all kinds of unimaginable
places if you read the history.
You think these guys were talking about, well what mode did you play there?
Well did you have a scale?
Was that this?
Was that this?
Was that a minor, fragmented, bop bop bop bop?
Of course not.
These guys got their horns, their guitars, and they learned how to play.
They simply learned how to play by playing.
You know, old guys like me, we call it being in the [D#m] woodshed.
Shedding.
You [A] learn something, some piece of information and you get it [G] in the shed and you get it
under your hand.
So all you have to do is just watch the video and if you can't read music, you don't [G#] like
tablature, not a problem.
I'll show it to you, measure by measure.
You know, we record it with a rhythm section, then I'll come back and I'll break it down.
Two measures, one measure, whatever.
In small increments, [F#] get it under your hand.
I've set this DVD up in three projects.
The first three projects.
And there's always a method to my madness.
And the fourth project, you know I thought back when we were kids how we would go and
get some lines.
And for lack of a better definition or a better description, excuse me, I wanted to convey
some way for the young player watching this, or old player, it doesn't matter, to connect the dots.
Again, the scale ideas and the mode ideas, they're all abstract.
Here, learn this and then go make music.
Now, I'm going to show you how to make music, then I'm going to show you in that project
four how to connect the dots and take what I show you in the first three projects and
then take it to the [F] fourth project and show you how to re-employ these things.
[D] [C#] [C]
[D#] [G] [D]
Can I have a D7, Rob?
To a D flat [C#] major 7th?
That's all there is to it, to 5 and 6.
[C#m] And you [F#] can phrase this so many different ways.
What you want to get, you want to [G] get that nastiness to it.
[Am] [A] Put a little, put an attitude behind it.
[C] And you can phrase it, [A]
what's written there is 1, 2 is a, and then 8th notes.
[C] But [Gm] phrase it.
And what I mean is, [F#]
[Am] or, [C]
and there's lots of things you can do.
Do the way it's written.
[N]
[E] I'm very excited [G#] about this DVD because it's going to give me an opportunity for the younger
guys to hopefully, I want to try and save you a lot of money and anxiety, especially
anxiety in accomplishing this goal of improvising.
I want to make it as easy as [E] possible and that's based on 45, 46 years of doing this
with [F] students, teaching [F#] and learning all the tricks and how to get information under your hand.
It's not important if I complain, I've got to get it under your hand.
[F] What I want to do [F#] is clear up a lot of false ideas, [N] misconceptions, preconceptions.
You know, guys start out and they get all caught up in all kinds of nonsense that's
meaningless and is non-productive.
And, you know, some of those things, you know, I've heard young guys say, well I've been
told there was a scale over every chord and when you improvise you have to think of the scale.
This is insanity.
The modes, the playing modes, I don't even know what they are, I still don't know what
they are after all these years.
And I don't care to know because it wasn't necessary for me to learn them.
And then there's the other thing about theory.
People think that, are told that you have theory.
You just can't imagine how many young guys I've seen through the years that, you know,
rock players and blues players with really good technique, you know, good command of [F#] the instrument.
And they say, gee, I'd like to, I really would have liked to learn to play jazz.
I say, well why didn't you?
They say, well I went to a teacher and this guy told me that I had to spend eight or nine
months learning all these scales and modes.
And it just, you know, it became more than I wanted to deal with so I just, you know,
I'm comfortable playing blues or rock.
And these are the things that I want to, hopefully, I don't know where you are skill-wise but
presumably since you bought this DVD, you're at a point where you're ready to start playing.
Jazz, bebop, improvising.
This is an art form that began in saloons, smoky back rooms, all kinds of unimaginable
places if you read the history.
You think these guys were talking about, well what mode did you play there?
Well did you have a scale?
Was that this?
Was that this?
Was that a minor, fragmented, bop bop bop bop?
Of course not.
These guys got their horns, their guitars, and they learned how to play.
They simply learned how to play by playing.
You know, old guys like me, we call it being in the [D#m] woodshed.
Shedding.
You [A] learn something, some piece of information and you get it [G] in the shed and you get it
under your hand.
So all you have to do is just watch the video and if you can't read music, you don't [G#] like
tablature, not a problem.
I'll show it to you, measure by measure.
You know, we record it with a rhythm section, then I'll come back and I'll break it down.
Two measures, one measure, whatever.
In small increments, [F#] get it under your hand.
I've set this DVD up in three projects.
The first three projects.
And there's always a method to my madness.
And the fourth project, you know I thought back when we were kids how we would go and
get some lines.
And for lack of a better definition or a better description, excuse me, I wanted to convey
some way for the young player watching this, or old player, it doesn't matter, to connect the dots.
Again, the scale ideas and the mode ideas, they're all abstract.
Here, learn this and then go make music.
Now, I'm going to show you how to make music, then I'm going to show you in that project
four how to connect the dots and take what I show you in the first three projects and
then take it to the [F] fourth project and show you how to re-employ these things.
[D] [C#] [C]
[D#] [G] [D]
Can I have a D7, Rob?
To a D flat [C#] major 7th?
That's all there is to it, to 5 and 6.
[C#m] And you [F#] can phrase this so many different ways.
What you want to get, you want to [G] get that nastiness to it.
[Am] [A] Put a little, put an attitude behind it.
[C] And you can phrase it, [A]
what's written there is 1, 2 is a, and then 8th notes.
[C] But [Gm] phrase it.
And what I mean is, [F#]
[Am] or, [C]
and there's lots of things you can do.
Do the way it's written.
[N]
Key:
F#
C
F
A
G
F#
C
F
_ _ _ _ Welcome to the Ticket to Improv.
[E] I'm very excited [G#] about this DVD because it's going to give me an opportunity for the younger
guys to hopefully, I want to try and save you a lot of money and anxiety, especially
anxiety in accomplishing this goal of improvising.
I want to make it as easy as [E] possible and that's based on 45, 46 years of doing this
with [F] students, teaching [F#] and learning all the tricks and how to get information under your hand.
It's not important if I complain, I've got to get it under your hand.
[F] What I want to do [F#] is clear up a lot of false ideas, [N] misconceptions, preconceptions.
_ You know, guys start out and they get all caught up in all kinds of nonsense that's
meaningless and is non-productive.
_ _ _ And, you know, some of those things, you know, I've heard young guys say, well I've been
told there was a scale over every chord and when you improvise you have to think of the scale.
This is insanity.
_ _ The modes, _ the playing modes, I don't even know what they are, I still don't know what
they are after all these years.
And I don't care to know because it wasn't necessary for me to learn them.
_ And then there's the other thing about theory.
People think that, are told that you have theory.
You just can't imagine how many young guys I've seen through the years that, you know,
rock players and blues players with really good technique, you know, good command of [F#] the instrument.
And they say, gee, I'd like to, I really would have liked to learn to play jazz.
I say, well why didn't you?
They say, well I went to a teacher and this guy told me that I had to spend eight or nine
months learning all these scales and modes.
And it just, you know, it became more than I wanted to deal with so I just, you know,
I'm comfortable playing blues or rock.
And these are the things that I want to, hopefully, I don't know where you are skill-wise but
presumably since you bought this DVD, you're at a point where you're ready to start playing.
Jazz, bebop, improvising.
This is an art form that began in saloons, smoky back rooms, all kinds of unimaginable
places if you read the history.
You think these guys were talking about, well what mode did you play there?
Well did you have a scale?
Was that this?
Was that this?
Was that a minor, fragmented, bop bop bop bop?
Of course not.
These guys got their horns, their guitars, and they learned how to play.
They simply learned how to play by playing.
You know, old guys like me, we call it being in the [D#m] woodshed.
Shedding.
You [A] learn something, some piece of information and you get it [G] in the shed and you get it
under your hand.
So all you have to do is just watch the video and if you can't read music, you don't [G#] like
tablature, not a problem.
I'll show it to you, measure by measure.
_ You know, we record it with a rhythm section, then I'll come back and I'll break it down.
Two measures, one measure, whatever.
In small increments, [F#] get it under your hand.
I've set this DVD up in three projects.
The first three projects.
And there's always a method to my madness.
And the fourth project, you know I thought back when we were kids how we would go and
get some lines.
And for lack of a better definition or a better description, excuse me, I wanted to convey
some way for the young player watching this, or old player, it doesn't matter, to connect the dots.
Again, the scale ideas and the mode ideas, they're all abstract.
Here, learn this and then go make music.
Now, I'm going to show you how to make music, then I'm going to show you in that project
four how to connect the dots and take what I show you in the first three projects and
then take it to the [F] fourth project and show you how to re-employ these things. _ _ _ _ _
_ _ [D] _ _ _ [C#] _ _ [C] _
_ _ [D#] _ _ [G] _ _ [D] _ _
_ _ Can I have a D7, Rob? _ _ _
To a D flat [C#] major 7th?
_ That's all there is to it, to 5 and 6.
[C#m] And you [F#] can phrase this so many different ways.
What you want to get, you want to [G] get that nastiness to it.
[Am] _ _ [A] _ Put a little, put an attitude behind it.
_ [C] _ _ And you can phrase it, [A]
what's written there is 1, 2 is a, _ _ and then 8th notes.
_ [C] _ But [Gm] phrase it.
And what I mean is, [F#] _
[Am] or, _ _ [C] _ _ _
and there's lots of things you can do.
Do the way it's written. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _
[E] I'm very excited [G#] about this DVD because it's going to give me an opportunity for the younger
guys to hopefully, I want to try and save you a lot of money and anxiety, especially
anxiety in accomplishing this goal of improvising.
I want to make it as easy as [E] possible and that's based on 45, 46 years of doing this
with [F] students, teaching [F#] and learning all the tricks and how to get information under your hand.
It's not important if I complain, I've got to get it under your hand.
[F] What I want to do [F#] is clear up a lot of false ideas, [N] misconceptions, preconceptions.
_ You know, guys start out and they get all caught up in all kinds of nonsense that's
meaningless and is non-productive.
_ _ _ And, you know, some of those things, you know, I've heard young guys say, well I've been
told there was a scale over every chord and when you improvise you have to think of the scale.
This is insanity.
_ _ The modes, _ the playing modes, I don't even know what they are, I still don't know what
they are after all these years.
And I don't care to know because it wasn't necessary for me to learn them.
_ And then there's the other thing about theory.
People think that, are told that you have theory.
You just can't imagine how many young guys I've seen through the years that, you know,
rock players and blues players with really good technique, you know, good command of [F#] the instrument.
And they say, gee, I'd like to, I really would have liked to learn to play jazz.
I say, well why didn't you?
They say, well I went to a teacher and this guy told me that I had to spend eight or nine
months learning all these scales and modes.
And it just, you know, it became more than I wanted to deal with so I just, you know,
I'm comfortable playing blues or rock.
And these are the things that I want to, hopefully, I don't know where you are skill-wise but
presumably since you bought this DVD, you're at a point where you're ready to start playing.
Jazz, bebop, improvising.
This is an art form that began in saloons, smoky back rooms, all kinds of unimaginable
places if you read the history.
You think these guys were talking about, well what mode did you play there?
Well did you have a scale?
Was that this?
Was that this?
Was that a minor, fragmented, bop bop bop bop?
Of course not.
These guys got their horns, their guitars, and they learned how to play.
They simply learned how to play by playing.
You know, old guys like me, we call it being in the [D#m] woodshed.
Shedding.
You [A] learn something, some piece of information and you get it [G] in the shed and you get it
under your hand.
So all you have to do is just watch the video and if you can't read music, you don't [G#] like
tablature, not a problem.
I'll show it to you, measure by measure.
_ You know, we record it with a rhythm section, then I'll come back and I'll break it down.
Two measures, one measure, whatever.
In small increments, [F#] get it under your hand.
I've set this DVD up in three projects.
The first three projects.
And there's always a method to my madness.
And the fourth project, you know I thought back when we were kids how we would go and
get some lines.
And for lack of a better definition or a better description, excuse me, I wanted to convey
some way for the young player watching this, or old player, it doesn't matter, to connect the dots.
Again, the scale ideas and the mode ideas, they're all abstract.
Here, learn this and then go make music.
Now, I'm going to show you how to make music, then I'm going to show you in that project
four how to connect the dots and take what I show you in the first three projects and
then take it to the [F] fourth project and show you how to re-employ these things. _ _ _ _ _
_ _ [D] _ _ _ [C#] _ _ [C] _
_ _ [D#] _ _ [G] _ _ [D] _ _
_ _ Can I have a D7, Rob? _ _ _
To a D flat [C#] major 7th?
_ That's all there is to it, to 5 and 6.
[C#m] And you [F#] can phrase this so many different ways.
What you want to get, you want to [G] get that nastiness to it.
[Am] _ _ [A] _ Put a little, put an attitude behind it.
_ [C] _ _ And you can phrase it, [A]
what's written there is 1, 2 is a, _ _ and then 8th notes.
_ [C] _ But [Gm] phrase it.
And what I mean is, [F#] _
[Am] or, _ _ [C] _ _ _
and there's lots of things you can do.
Do the way it's written. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _