Ultimately, it’s a numbers game, the more jazz standards we learn, the easier it becomes to learn new ones as they are very similar in their structure and harmonies.įirstly, I’d recommend that you learn the jazz standard arrangements in this course.Īnd then watch the following 2 lessons in the Extended Harmony Course. My main recommendation Rishi is to aim to build a repertoire of 20 or so jazz standards, and at that point I guarantee that you will be much more comfortable reading an interpreting lead sheets. I would say a metronome would be more suitable for you here than iRealPro. Using a simple metronome beat can be useful to work on your sense of time, however, when I play ballads I do pull and push on the time a little which I like to do to add more feeling and emotion. In this lesson we are playing the bass notes in our voicings and so we would not need the bass in the backing track. Yes playing along with iRealPro can be useful, but it is more used when we are playing with rootless voicings and often with faster tunes where we are trying to replicate a jazz band with bass player and drummer. We will explore these different options and apply them throughout the lesson. We can add notes in, take notes out, change the rhythm of the melody, change the placement of the melody, and add ornamentation such as trills, turns, and grace notes. We will discuss some simple ways to rephrase the melody to add interest and variety to the otherwise repetitive melody line.Īs jazz musicians we have the creative freedom to rephrase the melody in many different ways. The A section of the tune repeats 3 times which means that we have a repetitive melody for much of the form. We then analyse the chord changes and identify any common progressions such as 25s and 251s. We start this tutorial by discussing the form of the tune and how recognising the AABA form can help to speed up the memorisation process of the chords and melody. The form is mostly comprised of 25s and 251s which makes it a great tune for beginners so that we can isolate the voice leading in these common progressions. “When Sunny Get’s Blue” follows a 32 bar AABA form and is commonly played in the key of F Major. We will be sticking to simple voicings containing the root, 3rd, and 7th of each chord and then the melody on top. Turn Track 1 or 2 on or off by clicking the small green rectangle above the 1 and 2.Welcome to this beginner focused lesson on the tune “When Sunny Gets Blue”. View Track 1 or 2 by clicking on the 1 or 2 on the top right of the page. As with the melody part, learn the Ab section first before learning the other keys. Remember as you play higher on the neck, the spacing between the finger positions becomes smaller! Once you master this, you can play this song in all 12 keys AND in different octaves very easily! Just change the starting note and use the same fingerings from this tutorial! Track 2 has the fiddle harmony. Notes: This tutorial is not necessarily for You Are My Sunshine, but rather a tutorial for playing up the neck in 5 different keys AND HARMONIES! Master the 1st section in Ab before advancing to the other sections, and use the exact same fingerings in every key regardless of what the tablature notation says. You Are My Sunshine "Up the Fretboard" Tutorial
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