Brian Setzer Style Lick | Rockabilly Guitar Lesson Tutorial (with TAB)

[@MarkZabel]

More Rockabilly: kzbin.info/www/bejne/epWwZn6omrOAnck More Famous Player Lessons: kzbin.info/www/bejne/m5S4p5uDfr90oK8

[@paolocogo8232]

Great Lesson... thanks from Italy!

[@MarkZabel]

Glad you liked it!

[@mseabs741]

That's a tasty lick! Thanks Mark.

[@MarkZabel]

Glad you liked it Mark! Thanks for watching!

[@gioknows]

Great video as always. Cheers from Ottawa, Canada.

[@MarkZabel]

Thanks! Greetings from NY, USA!

[@johnsimmons6136]

I'm very happy I happen to come across your channel! You seem to play my era and style of music and songs. So, I subscribed to your channel. Thank you.

[@MarkZabel]

Thanks John. The sub is much appreciated!

[@davegibson4157]

Mark I LOVE YOUR CHANNEL! your such a cool person! Thanks for doing these great videos!

[@MarkZabel]

Thanks so much Dave!!

[@5150show]

Outstanding thank you

[@MarkZabel]

Glad you enjoyed it

[@TheElrondo]

Brian appears and Elrondo is back. What a coincidence 😆😆😆😆 Throw in some 6/9th with some wiggle stick at the end and it's going to sound more Setzerish 😅 Thank you Mark.

[@MarkZabel]

Thanks for your comments Elrondo. I was thinking this might "draw you out." :) Hope you're feeling better!

[@TheElrondo]

Mark Zabel Thanks Mark, I'm out of hospital since Wednesday. I hope i can stay home till the next interval in late summer.

[@MarkZabel]

@@TheElrondo I hope so too. I'm wishing the best for you.

[@sbardellajulio3114]

ROCKABILLY 😎🎸🤘👍🎼😎 Billy rock&roll 🤘🤓Style

[@MarkZabel]

Thanks brother!!

[@lafreeway]

Man, I love that. I think it would have been more authentic if you had spiked your hair and covered your body in tattoos. But, it was outstanding, anyway! Thanks for all the great videos.

[@MarkZabel]

LOL! Yeah, half (or more) of rock is the look. Something I never appreciated when I was younger and don't care to bother with as I get older! Thanks for watching!

[@andyboz4752]

Are the tabs still up?

[@andyboz4752]

Oh, found it! Tks

[@MarkZabel]

My pleasure. Thanks for watching!

[@rccarsandmusic2641]

Just like your Clapton crossroads lick, again the lost art of the soul scale, this scale is mostly 30-50's Jazz big bands. I came upon it while mixing the A minor pentatonic and the F# minor pentatonic, and some inspiration from Charlie Christian and Benny Goodman. This is my go to scale/arpeggio for Jazz and Blue's. You can search KZbin and the internet and you wont find it, you have to be in the Jazz club to be taught it.

[@MarkZabel]

It's a fun way to play.

[@greggnumme8644]

So if you're mixing those two scales then what is the key of the song that you're playing them over? I assume A? I always find these kind of things interesting because my father was a jazz piano player and I've been playing for 44 years and never stop learning but your comment intrigued me! So, while it intrigued me, you left me out in the cold a little bit as to how to put them together... CHEERS AND KEEP PICKING ✌️🙏🏼💖🤷‍♂️🎼🎵🎶🎶🎶🎶🎶🎶🎶

[@MarkZabel]

@@greggnumme8644 Hi Gregg. I would go with "C is the tonal center" (or A in robert's example) rather than "Key of C". It's really easy for people to get wrapped around the axle about "right" and "wrong" notes. And let's face it, jazz, rock, and American pop were largely derived from the blues and contain many of its elements and melodic and rhythmic ideas. One of the key melodic ideas in the blues (and one of the primary lyrical/subject ideas in blues) is the tension between minor (sad) and major (happy). This has implications in what's available to an improviser ... by "implications" I mean gives tons of options, which is a good thing. Here's some of the basic thinking taken maybe a bit further. Basic blues is a I, IV, V played over 12 bars with a syncopated beat. (Here it's in C) Using classical "triad theory" we have I=major, IV=major, V=major. So C, F, G. That's "key of C major". Play the notes of C major over that and it sounds fine. However, if we take one more step we see something else. Using classical "7th chord theory" we get I=maj7, IV=maj7, V=7 (dominant). In the blues that usually doesn't happen - usually we see something like C7, F7, G7 or another dominant like C7, F9, G7#5 ... dominant chords. So playing the C-major scale over "blues in C" usually sounds wrong to us and different approaches are usually taken. Here are a two of them. Sometimes they're basically the same, sometimes not. (Using example of C7, F7, G7) 1. Minor Pentatonic. Major Pentatonic. Minor/Major Pentatonic. People love pentatonic scales. One easy shape to learn. (4 more easy shapes to learn if you're ambitious.) Familiar riffs. Let's take the C7, F7, G7. Using C minor pentatonic we hit a bunch of chord tones over C7, F7, and G7. Taking C7 for a second, we hit C (the root), G (the 5th) and Bb (the flatted 7th) of C. That's great, but we're missing the 3rd (E). Missing the 3rd of C is a big hole. Plenty of rockers and blues players don't worry about that and ignore it. Using major pentatonic is also viable. It has similar deficits. No flatted 7th over C7. (Also it's missing F, so no root over F7 and so forth. You can carry out the same analysis for each chord/scale combination in the same way.) So some folks will combine or switch between the major and minor pentatonic scales. That way all the chord tones are covered. It helps immensely if you combine them in the same position. That means you'll need to know all 5 pentatonic scale shapes, but that's a small commitment. The "soul scales" I know do this. The simplest follows the famous "G Run" that you hear all the time in bluegrass music. 2. Non-scalar approach. In the early jazz days people like Louis Armstrong varied melodies of songs, going further and further away with each chorus they played. Eventually a structure of "following the chords" developed using primarily arpeggios and filling in chromatic spaces between them. That's still a totally viable way of approaching any jazz/rock/blues song; play the notes of the chord, and play chromatics to get from chord to chord. It's really easy conceptually, but takes a great deal of play to make interesting. (E.g. using "encapsulation" and chord substitution) 3. Modal approach. In some ways this is sort of a hybrid between 1 and 2. For example, for C7 we pick a mode to use. C-mixolydian is appropriate one. For F7 pick another mode ... F-mixolydian is good. Then on G pick a mode ... G-dorian works. There are shortcuts and tricks here that simplify the approach to make it usable. For example, C-mixolydian and G-dorian share the same parent scale - F major - and F-mixolydian is F-major with a flatted 7th. So you could play "in the key of F" but over F7 you avoid E and play Eb instead ... all the while keeping in mind that "home base" is a C7 chord. And there are many more approaches. Just so I'm clear, when I improvise I'm not "thinking" any of this. I'm letting my ears guide me. But when I practice I try to think of how I want to approach it, try it out, get my ears accustomed to sounds I can produce, etc. I hope you find these things as fun as I do! And this is just blues!!! :)

[@rccarsandmusic2641]

@@greggnumme8644 key of A, A m7 arpeggio, and F#m7 arpeggio, omit the D note. A rule of Jazz omit the 3rd.

[@Predney]

Lol. I used to play woody woodpecker all the time so I can relate to that.

[@MarkZabel]

Awesome!

[@gerardosaucedo1309]

I suggest "sexy and 17" and "Look at that Cadillac". Thank you.

[@MarkZabel]

Thanks - good suggestions!