Youtube daily Feb 7 2019

(jazz music)

- Hi everybody,

my name is Jens Larsen.

In this video I am going to take

a slightly different approach

from what I normally do,

because I'm going to focus on how

to play the example that you just

heard me play.

I think when it comes to soloing

in a chord/melody format,

so where you really have to play

an improvisation and harmonize it,

and also give some sort of bass line to it,

then there are a lot of things

that need to come together,

and the best way to illustrate

how this works is probably just to show you

an example of how I do it,

and also how I play it,

and in that way give you some materials.

You can of course learn to play

the example that I'm demonstrating here,

that's gonna give you a lot of vocabulary

and some ideas.

But you can also use the things

that I talk about here as a way

of creating your own improvisations,

and start working on improvising in this setting.

So I'm going to go over how I'm playing this,

in terms of which fingers I use,

and what the focus is while I'm playing it,

so am I thinking about the bass line

or am I thinking about the chords

and how this all comes together.

And also of course,

which fingers I'm using on my right hand

or on my left hand

because that is actually a huge part of this.

I think when it comes to

improvising in this setting,

a lot of it is really about

getting the technique to work together,

and usually I don't talk so much

about things like this,

but I think for this topic

that actually makes a lot of sense.

And of course I'm curious what you think

about this way of doing lessons,

so if you have an opinion on this,

if you want me to do more videos like this,

then leave a comment on this video.

If you wanna learn more about jazz guitar,

improve the way that you solo,

check out some interesting arpeggios or chord voicings

then subscribe to my channel.

If you want to make sure not to miss anything

then click the little bell notification icon

next to the subscribe button.

A huge part of the course that I'm using

when I'm improvising like this

is actually shell voicings

because there's no way I can lay down a complete chord

and another thing I'm using a lot

is sort of a call-response idea.

Of course with the Blues that works really well.

So here I'm starting with the first bar

with just playing the shell voicing of the C seven

and then moving straight into a melody. So --

(guitar melody)

and now I need to transition.

So really it's just playing the chord

(guitar melody)

and then a ghost note I'm using for a bass note here.

So sometimes you can play a complete bass note

and you just keep things moving by either

repeating notes or making a ghost note like this.

That's kind of what's happening here so--

(guitar demonstration)

Simple. This is really just a C6 arpeggio

this simple melody.

Of course, it's a Blues so you can

play simple melodies.

(guitar melody)

Down to another shell voicing that's the F7

and here I'm now moving into a harmonized melodic idea.

So what I'm doing is, I'm playing

first the shell voicing and then the melody part.

So again, call-response idea.

And that's really a similar idea to

(guitar melody)

in terms of melody to what I had on the C7

because it's still just a part of an F6 arpeggio

and then I'm adding.

So I'm playing this voicing

now I don't really have room for a bass note

but I'll just use the lowest note in the voicing

which in this case is the third,

as a sort of bass note in between

just to keep things moving

and add the feeling of groove.

(guitar demonstration)

Then we get a leading note now

I do the bass note and then moving up

I'm again playing the C7 as a shell voicing here.

But I'm splitting it up, so first the bass note

and then the high melody, repeating the bass note,

and then adding some melodies.

Now I already stated the chord and the bass

and then I can use the rest of the bar

just to play a melody.

And here we have a clear example

of where, very often when I'm improvising

in this setting I'll let the melody

be the most important thing.

The melody is actually the most important thing

that happens when you're playing

a harmonization of a standard

or something like that

but also in a solo.

So here,

the most important thing

is that we get that melody

to sit right here and then I add the chord later.

So here in bar four, now we get G minor seven to

C seven altered

and I come out on the A and then I play the chord

G minor under it,

moving onto C seven.

So the melody here is really

this simple.

Again when you're playing in this setting

you're not going to be playing

a lot of dense eight note lines

So it makes sense to really focus on

simple melodies that are usually

also pretty tied into the basic chord

of course with the Blues

that anyway works better

but also just because

that's easier to play.

And you can always add

you'll see examples also later

where I start adding more extensions

and of course you already have

alterations here.

But the important thing is that

you play a melody that really sounds like a melody

and that you don't sound like you're

just trying to put a bunch of chords

next to each other.

So the important thing here

is really that we have

(guitar demonstration)

a melody that makes sense and then,

(guitar demonstration)

adding the rest afterwards.

It's really just an embellishment

and almost not necessary.

(guitar demonstration)

This would have worked too.

(guitar demonstration)

So if I play the first four bars slowly

it sounds like this.

(jazz music)

On the F seven I'm kinda starting with the same idea

as I did in the very first bar

because first I'm just playing the chord.

In this case it's just an F seven with a nine,

and then, that's just used as

laying down the harmony

it's not really a melodic chord there.

So sometimes you're gonna have chords where

the top note in the chord

is going to be a part of the melody that you're playing.

We had that with

the G minor seven but here

it's just that as a chord

and then the melody comes afterwards

and we're then using

this call-response

to first lay down the harmony

and then add the melody

(guitar demonstration)

and then

(guitar demonstration)

up to an F seven with a thirteen here.

And I'm using the same idea again

creating movement by just repeating

the lowest note in the chord.

It is a very simple chord tone

so it will work as a sort of bass note as well.

And it's not really perceived

as a walking bass anyway

because we don't really have time

to have a complete walking bass line

under our solo like this.

(guitar demonstration)

And then we get this melody.

(guitar demonstration)

On the F seven so

I'm harmonizing the top notes.

This is really also just working with

what's possible and what's easy to reach.

Of course if I'm playing this F seven

then this one is already associated with it.

So that's why I'm also easily going to that one.

(guitar demonstration)

And then I leave the basic part of this ringing, so.

(guitar demonstration)

And in that way just keep

the sound of the harmony there

while I'm playing the melody.

(guitar demonstration)

I guess, in terms of this,

I mean, I'm using,

most of the time I'm using

these four fingers on my right hand

and then I'm just switching it up.

There's no real system.

This is really something that

I'm not thinking about at all.

But I will play a lot of three note chords

where I kinda just use these three fingers

and then use my third finger for the melody.

And here, when I'm using four notes

it's usually just the thumb

and that's also one of the reasons

why I'm repeating that note here

because this is the finger that I'm using

for bass movement anyway.

And that's why I'm also sometimes

using the lowest note in a chord

as a bass even though it's not really

a note that's in a bass line.

And it doesn't really matter too much

because in a practical situation

it just keeps things moving.

And this is just about creating

some movement and some groove

and that soft note added here

will help with that.

(guitar demonstration)

And it doesn't interfere with the melody

as you can here.

(guitar demonstration)

Then we're moving to F sharp diminished.

And here again

(guitar demonstration)

This is the melody.

It's kinda like a Blues

and here, of course,

kept simple phrasing-wise

because that's what we can handle

in this setting.

But I'm really letting the melody rule here

and not adding anything under it.

And then, once the melody's played

I'm adding the rest of the diminished chord.

First, this inversion with an E flat in the bass

and then

(guitar demonstration)

moving up to the one with F sharp

in the bass.

And then we get a leading note

to take us back to C.

Shell voicing again.

And then moving up and taking the high C as a melody.

So here I'm really barring again

to get this and that's this idea of...

That's something that's also really useful

to check out. If you wanna make you're

own arrangements like this

or if you wanna improvise your own solos

then experiment with using

different fingerings for the shell voicings

because they're going to give you

different things that you can play.

And you wanna kinda be

really used to just switching

between them and use whatever

(guitar demonstration)

works in the situation.

That's a really important part of this also.

So it makes sense to actually go, even from

(guitar demonstration)

this,

to this,

to this,

and just really trying the different versions

and see what works.

If you have to play a flat five

then this one is better.

If you have to play the fifth

this one works.

There's not one version that's

gonna be better than the rest.

They all have different applications

and you kinda wanna have them

all in there because they're

gonna allow you to play different melodies.

So here I'm starting

just with the barre version of it.

Of course the problem with the barre version

is if you play with a pick

you can't play

this, this and this

and barre here because then

you're gonna get a lot of other notes

ringing that you don't wanna have ringing.

But in this case I'm play with fingers

so that works.

And it sounds kinda old fashioned Blues

to just repeat the bass note here.

But it does, I think for this it

just kinda works to just

(guitar demonstration)

to just have that movement in there so...

(guitar demonstration)

And again this is just really about

what is possible, what is practical

and repeating the bass note like this

is not really an issue.

And if I have to change it then

that would require me to

either give up the barre here that I'm using

or to use another finger and that

gets tricky quite quickly so...

(guitar demonstration)

And that's also what I'm doing later in this example.

So if we first get this melody, so...

(guitar demonstration)

And it's almost as if I'm quickly

implying an F seven here. At least that's in the bass.

Moving down to this E half diminished

I'm not playing a complete E half diminished

I'm playing an E minor without a fifth.

And here, I'm adding a little more bass line.

There's a bit of a curious thing happening

because I think what I hear

is that when I let go here of the E

you can hear the A and that actually gives

me a bassline that sounds like this.

(guitar demonstration)

So we kinda get a leading note up to the B flat

here on the one end.

And then the B flat is

leading you down to the A seven.

Shell voicing again,

adding the flat thirteen as melody. So...

(guitar demonstration)

and then repeating the bass note.

The second four bars played slowly sound like this.

(jazz music)

The reason that I can keep on

publishing videos every week

is that there is a community

of people over on Patreon that are supporting the channel.

I'm very grateful for their support

and it's because of them that I can

keep on making all these

jazz guitar and music theory videos.

If you wanna help me keep making videos

Then check out my Patreon page.

And if you join us over on Patreon

I can also give you something

in return for your support.

The last four bars here

are really demonstrating how a more pop line would sound

in a setting like this

because here we have a longer two, five, one

and it really lends itself a lot better

to playing that type of melody.

And also it is really a place where

the Jazz/Blues is sounding

less like the Blues.

And so we have a bar of D minor

and a bar of G seven.

The line I'm playing here is,

if you watched some of the videos that I made

on how to solo in a chord/melody setting

already I've made a few of those,

then you will see that I talk about

different positions.

And here I'm actually shifting

from one position to the next.

This is something that I didn't cover in those lessons.

I might make some exercises on doing this

because that's something you run into really fast.

If you have to play a chord

under the melody that your playing,

that means you wanna keep your

melody on the higher strings.

And if you have a melody that moves a lot

you don't have as much of a range

if you're only using like two maybe three strings

to play the melody.

But if you wanna play something

that has like a range where you

need a seventh chord arpeggio, then

you kinda need an octave. And that,

most of the time, means

that you have to shift position.

That's what I'm doing here on the

D minor sevenths.

I'm starting with just really

a basic drop two, D minor seven

complete voicing

and then, using what's practical here

you can play a melody where you're just using

(guitar demonstration)

one note here, and I can harmonize the whole thing.

Because all I do is just repeat the chord.

And play the three middle strings.

Then I'm moving up to this note, the C

which is still within this chord,

or the range of this chord at least.

And then I shift position up to...

actually, I think I play all three strings here

(guitar demonstration)

shift up to the next position

which is around this D minor chord

and play the D minor nine, running down the scale.

And of course

I can do this while the chord is still ringing so...

(guitar demonstration)

And then transitioning into G seven.

The G seven I'm starting with just playing

two notes from the chord; first the root,

just to state what the root of the five is,

adding the third, and it's really just like

filling up the gap here so I don't have

any melody for the first beat,

that's on beat two.

(guitar demonstration)

adding the bass note again in between.

(guitar demonstration)

And then the melody becomes:

(guitar demonstration)

And then, adding the D to take us back

to the C for the final turnaround.

Going down to C seven shell voicing.

(guitar demonstration)

So first, just a shell voicing,

With, now the melody is the E,

Adding more melody with the G and the A.

(guitar demonstration)

Bass note, to take us up to A seven

and then the focus here is really

going back and forth between

the melody and the bass line. So...

(guitar demonstration)

and I'm really only adding chords

if it fits with what I'm doing with the melody.

And that's kinda easy for the first one

because that's really just A seven sharp nine. So...

Then focus back to the bass line.

(guitar demonstration)

So what we have here for the D minor

is first the bass note, chord and then

really just a simple scale melody

up to the G seven altered.

And really just using the B flat, A flat,

so the sharp nine, flat nine.

And again, this is something that's

included in the voicing

if you have this one,

this one is really close by

and it's just very practical to play.

That is the reason why you wanna use that.

(guitar demonstration)

And then moving the bass here.

The idea here is really just to have...

(guitar demonstration)

so the conversation happening

so you have the bass line moving

and then you put the melody in between that,

and then at the very end on the G seven

it kinda comes together

where you have bass line and melody at the same time.

And then the coda to this one

which is just B flat seven to B seven

up to C seven and ending the fifth as the final melody.

(jazz music)

Of course, I'm curious what you think

about this format and if you would

like to see more videos like this one

then leave a comment on this video

and of course you can also let me know

if you have an idea for a form

or a song that I should work with

when it comes to this kinda topic.

If you wanna check out some more videos

on chord soloing in this setting

or in other settings, then check out

a video in this playlist.

And of course, if you wanna learn

more about jazz guitar and it's the first time

you've seen one of my videos then

subscribe to my channel.

You wanna help me keep making videos?

Then check out my Patreon page.

That's about it for this time.

Thank you for watching. Until next time.

For more infomation >> Learn A Jazz Blues Chord Melody - How to play Solo Guitar - Duration: 19:03.

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Constant Spring Road Improvement Project update 5 - Duration: 17:58.

Driving north on Eastwood Park Road

West Kings House Road >>>

Traffic from Constant Spring going to Half Way Tree >>>

Crossing the Sand Gully

<<< CVM TV Ltd

Gore Terrace >>>

Gore Terrace >>>

<<< Dunrobin Avenue

Springvale Avenue >>>

<<< Central Avenue | Shortwood Road >>>

Grants Pen Road >>>

Oaklands Apartment Complex >>>

<<< West Avenue | Oleander Avenue >>>

<<< McKenzie Close

<<< Grove Manor Drive

<<< Mannings Hill Road

Constant Spring Road continues

Charlton Road >>>

<<< Saxthorpe Avenue

<<< Hopeton Avenue

<<< Constant Spring Terrace | Hillman Road >>>

<<< Constant Spring Grove

<<< Constant Spring Tax Office

Immaculate Conception High School >>>

<<< Constant Spring Police Station

<<< Cassava Piece Road

Constant Spring Golf Club >>>

<<< Manor Park Centre

Olivier Road >>>

<<< Constant Spring Market

<<< Newly Built Bridge

<<< Grosvenor Terrace

<<< To St Mary | Portland

<<< Norbrook Drive

For more infomation >> Constant Spring Road Improvement Project update 5 - Duration: 17:58.

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🔴নারায়ণগঞ্জে দুই বোন গণধর্ষণের মামলায় ৫ জনের যাবজ্জীবন - Duration: 3:01.

Five people sentenced to life imprisonment in Narayanganj two sisters gang-rape case

For more infomation >> 🔴নারায়ণগঞ্জে দুই বোন গণধর্ষণের মামলায় ৫ জনের যাবজ্জীবন - Duration: 3:01.

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Friedlieb Ferdinand Runge Biography - Duration: 4:49.

Friedlieb Ferdinand Runge, a German analytical chemist best known for identifying the active

ingredient caffeine, is being remembered with a Google Doodle on what would have been his

225th birthday.

Runge, who was born outside of Hamburg, Germany on 8 February 1795, began to show an interest

in experimenting when he was just a teenager - which eventually led to a lifetime of achievements

in the field.

One of Runge's findings - the dilating effects that extract from the plant belladonna has

on pupils - was fascinating enough that it captured the attention of Johann Wolfgang

von Goethe, a well-known writer and polymath from Germany.

Intrigued by what else Runge could do at such a young age, Goethe tasked the chemist with

identifying the chemical makeup of coffee beans.

Runge was born as the third child of the pastor Johann Gerhardt Runge.

For financial reasons, Runge was initially only able to attend elementary school and

from 1810 to 1816 was a apprentice apprentice pharmacist at the Ratsapotheke and the Löwen

Pharmacy in Lübeck.

He studied medicine from 1816 to 1822 at the universities of Berlin, Göttingen and Jena,

then chemistry at the University of Jena.

He received his doctorate in 1819 to Dr. Ing. med. and 1822 in Berlin to the doctor of philosophy

with a thesis on the economically significant indigo.

In 1826 Runge became a lecturer and in 1828 an associate professor of technology at the

University of Wroclaw.

In 1832 he finished his university career and moved to Oranienburg, where he lived until

his death, to work in the Chemical Establishment.

Hempel, later Chemical Products Factory Oranienburg, to work as an industrial chemist.

Runge is known for his work on the technical utilization of coal tar, which was obtained

in large quantities in the coal gas and coke production from hard coal and had to be disposed

of as waste.

He isolated, characterized and named substances from coal tar, the most important ones being:

kyanol (aniline), pyrrole, leucole (quinoline), carbolic acid (phenol), rosin acid (aurin)

- basic building blocks for numerous products of the chemical industry from the second half

of the 19th century.

century.

In 1843, more detailed investigations were carried out by August Wilhelm von Hofmann

of Kyanol and Leukol.

Auguste Laurent analyzed the elemental composition of carbolic acid.

It was found that Kyanols was identical to aniline, which forms according to Carl Julius

Fritzsche in the heating of anthranilic acid.

Runge performed various experiments with aniline.

When mixed with chloral solution, it assumed a violet color.

This reaction is still used today as Runge's chlorinated lime reaction for the detection

of aniline.

When mixed with oxygen, acids or bases, aniline forms red dyes.

With this Runge had first produced tar dyes, which at that time had no economic significance.

The beating mercury heart in the form known today was first described by Runge in 1829.

Other important substances he first described are thymol and the alkaloids hyoscyamine and

caffeine (on the advice of Johann Wolfgang von Goethe, who suspected in coffee beans

an antidote to atropine).

In schools, chemistry lessons produce "pictures that paint themselves", based on their findings.

These pattern images, also known as "Runge images", are regarded as precursors of paper

chromatography.

Ruecke's work became popular through Anilin, a biographical novel by the National Socialist

author Karl Aloys Schenzinger published in 1936, which reached a circulation of 920,000

copies during the National Socialist era and was successful even in the post-war period.

Since 1994, there has been the Friedlieb-Ferdinand-Runge Prize for unconventional art education.

On the occasion of the 150th anniversary of the death of Runge, a festive event was held

in March 2017 at the pharmaceutical manufacturer Takeda in Oranienburg.

At this ceremony, the work of Runge and his work for the pharmacy location Oranienburg

was honored in a keynote speech by the Berlin pharmacologist Peter Oehme.

At the same time, the Takeda Runge Student Prize was awarded.

This was awarded for the first time in September 2017 for outstanding achievements in the MINT

subjects.

For more infomation >> Friedlieb Ferdinand Runge Biography - Duration: 4:49.

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InfoSec Overnights 07 February 2019 - Duration: 3:07.

Hi, I'm Paul Torgersen, it's Thursday, February 7th, 2019, and this is a look at

the information security news from overnight.

From SCMagazine.com: The Chinese state-sponsored threat actor APT10,

also known as Stone Panda, used stolen remote access credentials to infiltrate the network

of Norwegian managed services provider Visma, likely in an effort to launch secondary attacks

against the MSP's clients.

Similar attacks were used on an international apparel retailer and a U.S.-based law firm

specializing in intellectual property law.

Recorded Future and Rapid 7 co-wrote a report you can link to in the SC Magazine article.

From ThreatPost.com: A recently-discovered two-stage phishing email

hunting for Google and Facebook credentials hides its malicious landing page behind Google

Translate.

That means victims will see a legitimate Google domain and are more likely to key in their

information.

From ZDNet.com: Security vulnerabilities in some connected

video conferencing products from Lifesize could allow hackers to remotely gain control

of equipment and use it as a snooping tool.

Exploiting the vulnerability requires access to the firmware of the product and knowing

the serial number of the device.

But once you have that, the rest is a breeze.

From TechCrunch.com: Many major companies are recording every tap

and swipe you make on their iPhone apps.

In most cases you won't even realize it and they didn't have to ask for permission.

You can assume that most apps are collecting data on you.

Even as you key in passport numbers and credit cards.

Now, these fields are supposed to be masked, but it doesn't always quite work that way.

Be aware.

And last today from ThreatPost.com: A researcher claims to have found a new Apple

zero-day impacting macOS that could allow an attacker to extract passwords from a Mac's

users keychain password management system.

However, the researcher refuses to disclose details about the vulnerability because Apple's

bug bounty program only covers iOS, not Mac.

Well Apple?

That's all for me today.

Have a great rest of your day and until tomorrow, be safe out there.

For more infomation >> InfoSec Overnights 07 February 2019 - Duration: 3:07.

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Народное творчество - Duration: 5:13.

Probably, in every region, any kind of folk art developed over the centuries and decades, which fed the local population and allowed the region to develop economically. If earlier in the promotion of such creativity on large and international markets, artels and merchants were engaged (forgive me for my Nizhny Novgorod), today everyone is for himself (with rare exceptions). Perhaps globally, I am mistaken, but in my neighboring village of Voznesensky (which is famous for the production of matryoshka) it happened this way: in the 90s of the last century, the artel collapsed, the people earn themselves, making and painting matryoshka dolls at home and trying to find their own sales for their work. 25 of them registered at the Fair of Masters (despite the fact that, according to statistics from the local administration, more than 4,500 home-craftsmen work in the village). At Etsy, I haven't found a single handicraftsman from this village. And the same thing you find in other locations. Handicraftsmen and age-old traditions are there, but they are not on Etsy. Western people know too little about the folk art of the Russian people. On the one hand, this is bad - he will not know how to look for these handicrafts. On the other hand, good. Because, looking at these products for the first time, he gasps in surprise and may want to purchase these items. Because, for example, such Western birch bark boxes do not. And Western customers will be able to purchase them only from Russian masters. And they buy them. I found some of our craftsmen from Siberia who successfully sell such items. For example, Veronika from the Altai Territory (her store - etsy.com/shop/BirchBarkEco). And how can you not buy such things, if they are created from natural material (which is now fashionable in the West), are practically applicable, beautiful, and even inexpensive? I do not know, Veronica herself does such things or she buys them from someone, but they are obviously hand-made, the Chinese will not be able to forge them - and this means that its business is out of danger. Look around, perhaps there are craftsmen living next to you who make a unique exclusive product that the West is not yet known. Or known, but in the West there are no manufacturers of such goods. Or known and similar manufacturers in the West already have, but buyers will prefer to buy this product from sellers from the country of origin of the product. How today they are happy to buy kilim carpets (folk art of Turkish people) and pillows from them from the Turks (these are the pillows below, from the page of the Turkish seller etsy.com/shop/DECOLICKILIMPILLOWS). At Etsy there are not many beautiful products that Russian craftsmen make. If you take on the role of a "merchant" (you will buy them from your craftsmen and sell them on Etsy), then this can be your profitable business. Thus, you will solve the huge social problem of the lack of employment of Russian citizens and raise the economy of your region a little.

For more infomation >> Народное творчество - Duration: 5:13.

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Maneno ya Roho Mtakatifu kwa makanisa | "Njia ya Huduma ya Kidini lazima Ipigwe Marufuku" - Duration: 14:48.

For more infomation >> Maneno ya Roho Mtakatifu kwa makanisa | "Njia ya Huduma ya Kidini lazima Ipigwe Marufuku" - Duration: 14:48.

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SEO Strategies that Drive Profitability with Benj Arriola - Duration: 1:09.

Hi I'm Benj Arriola, I'll be teaching the SEO elective here at SDSU in the College

of Extended Studies. The beauty of SEO if you're going to compare it to

traditional marketing is your customers are searching for you. The fact that

they're searching for you instead of you reaching out for them, half of the sales

process is already there. You just have to appear in search engines. There's more

of the technical side which deals closely to web design and web

development, there's also the marketing side where you're trying to promote

things and there's also the content writing side where you get the talents

of journalists and writers. In this course, we will go in all those areas. If

you want to learn more about SEO, this course would definitely help you and I

would be excited to see you there in my class.