Thanks!

I believe you are misunderstanding what I said and thinking in a totally different context. To summarize, I explained how to determine the scale, arpeggio and approach notes of a non diatonic chord (Eb7) when using it in the key of G. Eb arpeggio doesn't occur in a G major scale, nor did I say that. I'm not talking about what chord precedes or follows Eb7 in the key of G. I'm isolating it and demonstrating how the notes of its scale (the lydian b7) are derived when it is used in the key of G. That said, the same Eb7 will not necessarily employ a lydian b7 in the context of a different key.

Thanks, so glad you enjoyed it!

Thanks, glad to hear it!

The tabs are included in the download

@@RichieZellonhahah ,see lazy idiots like me !

Thank you kindly Jane for your comments! True, I should have taken Jim up on the invitation but I was a young, shy student at the time. :) By the way, I want to mention that I recall your beautiful duet with Jim on "When I Fall in Love". Also love your song, O Gato! Finally, I should add that I recently discovered your duet album with Ed Bickert which I believe is a hidden gem deserving more exposure.

Thanks, glad to hear it was useful!

Thank you kindly, you're very welcome!

Glad you enjoyed it!

Sorry, but you're absolutely wrong! Pianists do not think this way. In jazz when playing over changes, you can't play 3 modes containing the same notes in the same way. You have to treat and understand them independently. Each one has different upper extensions, its unique chord tones and occasionally 1 note that will clash with the related chord if not used properly. Every jazz school teaches this...

@@RichieZellon I think you are missing my point entirely. I see from other comments made that you don’t like this mindset of seeing a scale in a global way. Lines could flow better if not being reset as every chord appears. Piano players see it linearly compared to guitar which is vertically across the neck, I don’t care what you say. The details come later, but I guess that’s what jazz school is for…

@@stemajor7 You're entitled to your opinion! But I never said lines are reset as every chord appears. They should voice lead properly and the mind needs to be aware of how the notes relate to the new chord. If not my question to you is...how do you deal with specifically playing the arpeggio if needed, playing upper extensions, chromatic approaches and all the intricate bebop concepts? This is not possible if you think of the same scale for different chords. I've played and studied with some great jazz pianists and they differentiate the use of what notes to play according to the scale they are on. Again, that is only possible if you differentiate with each scale. I realize that the mindset you are referring to works for rock and blues, but it is a recipe for disaster in jazz when playing over changes.

@@RichieZellon I do think this knowledge is essential, I’m not saying it’s useless, more it comes in time. It’s a lot of information for a beginner. Personally I’ve been mapping out the neck over time using chords and arpeggios mostly. I’m aware of all these details but I got bogged down in the beginning with modes.

I would love to but that's a tall order and unfortunately an advanced and unpopular topic. Guitar and piano in a montuno setting are very rare. I suggest laying out or possibly playing clave using diads to avoid getting in the way. I touched on this in my previous Afro-Cuban guitar 101 lesson.

thanks Richie for your answer, appreciate it 🙏🏼

Thank you kindly, glad to be of help!

Thanks, happy economy picking! :)

It's the other way around...scales dictate the chord shapes...and if you can use any fingering for any chord, what purpose does C-A-G-E-D serve?

@@RichieZellon To see chord tones mapped out across a position of the neck within scale patterns. I never said you can use any fingering for any chord. I said you can use alternate scale fingerings around a CAGED chord shape. This includes scale patterns with either two or three notes per string. The way you explain it, it sounds like you're saying scales are taught a specific way around a CAGED chord shape. I see the underlying scale patterns in the CAGED chord shapes but no one is tied to that.

@vvblues If you're using alternate fingerings that don't generate the actual chord shape, I think it's pointless, at least from a jazz guitar perspective, especially when mapping chords to scales when playing chord melody.

@@RichieZellon I appreciate you getting back to me. I guess we're looking at the fret board differently. For single note soloing and improvisation I'm looking at the CAGED shapes as the most important notes within any scale pattern I decide upon. I never feel beholden to one pattern. I switch between CAGED scale shapes and three-note-per-string patterns while always having a chord shape available. Thanks again. Love your channel.

Thanks, glad it was helpful!

Glad to hear that...it's just common sense!

All 5 fingerings are usually CAGED. Don't know if Bruno teaches something different.

The "heptatonic" 7 shapes gives a clear image of the entire fretboard. No matter where you are, you know everything that's next door, to everything that's all of the way down the road. If someone learns that with 3 note scales (in 7 positions), that can work too. But it doesn't help us learn to easily transition from 3 notes to 2 notes per sting. Regardless, a 5 position system for a 7 note scale leaves 2 blind spots. Hope that helps.😊

Jimmy Bruno is very adamant about calling his fingering system “Pitch Collections” even though it is CAGED based, and the exact same five fingerings Howard Roberts mapped out in his Guitar Compendium. These days JB pointedly dismisses an academic approach to teaching jazz guitar, as it wasn’t the way he and other jazz guitar greats learned their craft. He was more restrained when he had a master class at Musicians Institute years ago. Regardless, he’s a great jazz guitar player. I’ve assimilated Richie’s Heptatonic Fingering System, and I find it not only expands CAGED, but also encompasses the elements of 3NPS. It basically combines the extended CAGED version with 3NPS system. I highly recommend it.

I think Jimmy Bruno's 5 fingerings differs from CAGED in that it's not based on open chord shapes even if there is a correlation. Positions start from scale degrees which relate well to chord inversions 7(1*), 2, 3*, and 5*. He includes a version of economy picking as well. When practiced as he shows, in all 12 keys back cycling through in 5ths it covers and connects every note. One benefit here it that you aren't thinking open chord shapes, but scale degree. So instead of "I'll play Bb major in the open G shape", it's "Bb from the 5th position, which is F". Big difference my opinion.

Some notes overlap but they are different. Mode 5 is written an 8ve lower there just for convenience. This is just for starters . I normally teach 7 fingerings for the dorian or any 7 note scale. Watch my video on fingerings kzbin.info/www/bejne/ZnO9poGrfdSheaM

😁 Thanks!

Are you with the jazz guitar police? 🤣 I think it sounds and plays great!

Muito obrigado! A propósito, se você estiver interessado, tenho vários livros em português. Você pode obtê-los em freenote.com.br

Thanks, glad it was helpful!

Unfortunately there are no published Ed Bickert solo transcriptions that I know of, just what you find scattered online.