There Will Never Be Another You Jazz Guitar Lesson

[@MaestroRafaelRocha]

Bravo!!

[@brucegregori]

Thanks brother!

[@j.r.goldman3279]

It does sound better when not resolving back to One. Thats a trip TY .

[@waynehicks1969]

Very useful and well explained. Thank You.

[@brucegregori]

Sure thing.

[@kitsunepicard1111]

thank so much ! Nice inside

[@brucegregori]

Surhe thing!

[@cynthiaramos7393]

The audio quality of this video is amazing

[@brucegregori]

Well right on and thanks for the comment -@-@- !

[@brucegregori]

Check out There Will Never Be Another You Jazz Guitar Lesson which goes over some real fantastic strategies. If you dig this video or want to see others please make a comment below. How do you play over this tune?

[@LydianLunch]

Your choruses at the end of the video are incredible!

[@brucegregori]

Thanks very much!

[@LydianLunch]

@@brucegregori Hey man, I’m in NYC. I see a lot of your old videos are at clubs in the city. Are you gigging around? I’m looking at your website and it looks like no, but I just wanted to check since you’re on. Thanks.

[@brucegregori]

@@LydianLunch From time to time but I have been in the studio a lot.

[@localpm]

Great Lesson.

[@davidparra1612]

Amazing... Thank you so much!

[@brucegregori]

Thanks!

[@tommywakefield9514]

Great Lesson! Thank you!

[@cat3rpill3r]

The Db7 could be a backdoor dominant for the Eb major in measure 10, no? You can still play Lydian b7. I guess you'd have to reharmonize the Ab major to Fm7.

[@brucegregori]

Sort of. Basically this tune is a blues. Like a Bird’s Blues that uses back cycling to get from I-IV. The Db7 gives it more of a blues vibe like the IV of IV (Ab). In this case I think more as a dominant IV than a back door to I. But technically yes if the progression went right back to I. It’s good to make connections to see how all this relates. Good work!

[@salvadorgarcia8661]

Magnífico trabajo. Muchas gracias maestro.

[@brucegregori]

PEACE brother - thank you!

[@andylarkin100]

To clarify, is Augmented triad formula: First triad PLUS flat seven, THEN triad a whole step up from starting note? (I.e, CEG Bb, THEN DF#A) Extremely useful thank you!

[@brucegregori]

Correct- this basically from harmonizing a whole tone / augmented scale. Major triads are built on the root and a whole step up. And actually you can play a dominant 7th arpeggio and one a whole step up as well! So on that F7, I can play an F7 arp and connect it to a G7-why? Because the F (7th) degree of G7 is the root we are already starting on. There are lots of possibilities and that is why Lydian Dominate is such a cool sound and very useful. Peace

[@andylarkin100]

@@brucegregori Wow fielding questions on the 4th of July thanks! Just purchased your "There Will Never Be Another You Jazz Guitar Lesson" off your site (even though I secretly want to use it for my trumpet playing soloing techniques) Thanks!

[@brucegregori]

@@andylarkin100 ha ha always! Swing on!

[@j.r.goldman3279]

Lydian Flat 7 .............Lydian Dominant right ? Do you ever use it to resolve back to the one chord. BY the way Great stuff.

[@rrdwiki]

awesome stuff. Thanks

[@NeilKohlen]

this is so great and I really appreciate the hidden gem!! so thankful :)

[@brucegregori]

More than welcome. Thanks for the kind words!

[@smarfmart]

what guitar strap is that?

[@sturdychinfilms]

The algorithm is really not serving me well. How on earth did it take this long for me to find you!?

[@peterglover6302]

At 6:56 you said, “I’m going to play Ab Melodic minor.” You actually played a flat 6 note E rather than the F note. Small mistake but the theory and lesson is good.

[@brucegregori]

I usually go chromatic lol. But really what is happening there is using the #9 combined with a 9 or flat mine. Parker did it all the time. Sorry for the confusion. Sometimes I’m not so pure. Ha!

[@allenfarmer6491]

We used to call this song, which I dearly love to play, "the Sheep Hearders Song". Oh well, I'm sorry.