ALL BLUES (SOLOING STRATEGIES PART 2)

[@JazzStrat781]

Fantastic Chris! Always the best content 👍🎸 wish you and yours the best!

[@martinrhodes1619]

Just discovered this - great lesson, thank you!

[@chrisjuergensen]

@@martinrhodes1619 great! Make sure to check out part 1 too and the other standards

[@martinrhodes1619]

@@chrisjuergensen will do! Thanks!

[@martinrhodes1619]

Btw - just joined your Patreon. Question - what’s the best way to approach your Barry Harris series? Start from the earliest post and work through, or in any random order? Thank you

[@chrisjuergensen]

@ definitely start from the beginning. When you watch it, keep in mind that I had just started there too so try to keep up with me for each lesson and you’ll end up being able to do it like me in several months. It’s sort of a slow process but a do it everyday for a 20 minutes or a half hour and you’ll be playing bebop before you know it. Thanks for joining!!

[@martinrhodes1619]

@ thanks!

[@larsfocken3456]

Hey Chris, thank you very much for your Soloing Strategies videos. They are really helpful because as you said there is not enough time to play an entire 7 or 8 note scale in half a bar. The triad approach therefore is a great way to solve this problem and really nail the sound of the chords. I would love more videos like that about other tunes. How about Maiden Voyage? Quartal harmony is an interesting topic! With best regards Lars

[@stevealison9842]

Sounds great thanks for the ideas

[@chrisjuergensen]

You bet!

[@satchrules101]

Gold lesson! very well explained and shown ! Thank you . Subbed

[@chrisjuergensen]

Thanks!! Glad you like it.

[@DavidHendersonMusicChannel]

Nice job Chris!. Is there any other tune where this turnaround exists?

[@chrisjuergensen]

Not really but you sometimes see the opposite sort of thing in a minor blues. G minor blues for example: Eb7, D7, Gmin7. It’s different but you could probably still use similar ideas

[@DavidHendersonMusicChannel]

​@@chrisjuergensen Yep, but that is way way more common/normal being the tritone sub for V of V. The All Blues turn is unique. I like the way you cycled through the Diminished triads. Very Scott Henderson. Nice work!! Scott use to open his live set with All Blues all the time. Not sure if he still does.

[@chrisjuergensen]

@@DavidHendersonMusicChannel I didn’t know that but I studied with Scott in the mid 80s so that would explain the similarities (not to say I play anywhere as good as him obviously)

[@ksiazepaweek1064]

thats a great fucking lessons man!

[@chrisjuergensen]

Make sure you check out part one for the other stuff!

[@ksiazepaweek1064]

@@chrisjuergensen that's from where I came from! Good stuff

[@embreesmith7613]

Not seeing a lot if musicality here, but that can be typical of some jazz. 🙄

[@chrisjuergensen]

It’s probably because the lesson is focusing on bars 9-12, not the entire form of the song. You should check out part 1 where I play over the entire 12 measures. That should put this lesson into better perspective

[@embreesmith7613]

Will do. 🙂