How to Internalize Complex Tunes: A Case Study on "What Is This Thing Called Love"
What was the question?
Ozkan is currently working on the standard "What Is This Thing Called Love" using the 11-step learning process. He found that unlike "Fly Me to the Moon," this tune feels much less fluid because the melody and the harmonic movement seem to pull in different directions, often creating large jumps that make standard positions difficult.
(20:31)
The core idea (in plain English)
Simple tunes often move in Circle of Fifths motion with melodies that sit comfortably near the guide tones. However, tunes like "What Is This Thing Called Love" often feature melodies that jump octaves or sit high above the basic shell voicings.
To solve this without jumping around the neck frantically, you need to use the "12th Step." This advanced step involves taking your standard voicings (like Drop 2 chords) and extending them an octave higher. By visualizing the shape of the lower chord and projecting it to the upper register, you can support the high melody notes while keeping the voice leading smooth.
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Fretboard breakdown (what to play)
Here is how to navigate the jumps in the first few measures:
G minor 7 flat 5: The root position is often low, but the melody is high. Visualize the G minor 7 flat 5 shape diagonally. You can play this as a Bb minor 6 shape or related diminished shape.
(25:58)
The Diminished Connection: When the chord moves to C7b9, you are often dealing with diminished symmetry. Since the chord tones repeat every minor third, if the melody moves by a minor third, you can simply slide your diminished shape up the neck to match it.
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F Minor: When landing on F minor, realize that G minor 7b5 and F minor share similar visual shapes in the Drop 2 system. If you know the G minor shape, you can find the F minor shape nearby.
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The D minor 7 flat 5 trick: Instead of thinking of Dm7b5 as a new root, view it as an F minor triad with a D in the bass. If you play an F minor major 7 sound moving to the Dm7b5, it creates smoother voice leading than jumping to a standard minor 7 grip.
(29:27)
Common mistake to avoid
Don't get stuck playing only shell voicings (Root-3-7) on the lower strings when the melody is high on the E string. This creates a disconnect in your sound. You must be willing to abandon the root note and play upper structures (triads or Drop 2 inversions) on the top four strings to keep the melody and harmony cohesive.
A 10-minute practice assignment
Take the first four bars of "What Is This Thing Called Love."
Play the melody alone.
Instead of playing full chords, find the Guide Tones (3rd and 7th) for the chords (Gm7b5 - C7 - Fm7).
Try to play these guide tones on the D and G strings, or G and B strings, closest to where your melody is on the higher strings.
Do not play the bass notes. Let your ear hear the movement of the voices closer to the melody line.
(33:05)
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