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Love this! So simple and so deep. Thanks for sharing!!

Nice man! Valuable stuff to think of

hi ronan

Nice one mate this sounds great!

well done.

excellent simple lesson. well taught in a comprehensive manner. priceless

Yeh mannnn sick vid! How do you get that envelope filter sound? I hear Kreisberg (however you spell) use it but this sounds amazing too!

thanks man this was really helpful and a great reminder ! and that melody in the intro was melting like butter , beautiful stuff 🙏🙏🙏

I am pretty certain, that over the course of my 40+ years long guitar journey there was no single day, that saw me practicing mode, at least not in a concious way. Sure enough i am using them, but i never really tried to explicitly study them. Of course i've been trying absorb the philosophy behind them by watching hours of youtube videos and reading up on the matter. Never before i seem to really have heard someone explaing it anywhere near you do hear where the "distinctive note, the characteristic interval" is key to understanding it , this wording really emphasizing the principle. And i realize now, that playing the modes as scale patterns up and down is one thing, but a single chord almost gets us in the mood, but my prime takewaway ... it cannot be a conventional triad anymore really, because it may not have the "distinctive note/intervall" on board. Maybe the diminished triad is the exception. But here you demonstrate it by at least slashy chords, which here are not just triad inversions, or by more complex other four note chord voicings Great video you gave us here, thank you. I guess i need to repeat following through it for some time and extract my 20% off of it

09:15 " did you pratice your moods today ? .... Ppl tell me I am moody. Now you can take this for a compliment. " PS: maybe not always... imagine your most significant other asking/telling you this, bc they feel a bit neglected by yourself today ... they may not mean it really as a compliment then ;-)

This is great! FWIW, I think of this sort of counterpoint as having four levels, with this being level four. If this is intimidating to some of your viewers (and it is to me too, tbqh), they might try the earlier levels first to ease into it. First, purely diatonic counterpoint. Walk a scale up and down, simultaneously. Second, Barry Harris stuff: alternate a chord (eg, major sixth, minor sixth) with its dominant diminished chord (viio, aka iio, aka rootless V7b9). This is a very structured approach that is (relatively) easy to get under your fingers. Third, mostly diatonic counterpoint with some secondary dominants. In terms of chromaticism, you mostly need the #1, #4, and #5 for VI7, II7, and III7 respectively. This sounds like Bach when done well. Fourth, as you're doing here, come up with any progression you want and turn it into counterpoint. At least for me, I am learning to get the first three levels under my fingers while improvising by bringing forth certain movements I've practiced. This fourth level is something I can really only do with careful planning in my arrangements, but maybe I'll get there eventually. In theory, enough practice with level three while gradually adding new movements (e.g., I7 to IV) should lead to level four.

Great little lesson. Subscribed.

Just subscribed without hesitating right after listening to your intro. Thank you for your beautiful videos!

Do you have more videos or materials on the passing chords? I really like the way this sounds.

Not just great lessons but so relaxing and calm to listen to. Gonna use this with some piano students!

beauty is all around us; one need only see. --- Thanks for the music presentation. Excellent.

Great tips thanks !

Great lesson. Thanks. Also, I have an identical late 40s Triumph. I've not found a floating pickup that is thin enough to fit between the strings and sound board.. What are you using? It sounds fantastic. They're terrific guitars.

I love being able to hear the triads against the drone!

Cool stuff

You’re making great videos man And beautiful playing Thankyou :)

beautiful!! i didn't know it was possible to get such a spread in independent lines like that

Thank you for the great video. I’m a beginner that played guitar 30 years ago and I’m starting to learn again. I was playing the major scale like this so I feel good knowing I’m on the right track. I also just ordered that book on Amazon.

Thanks, this was helpful

lol idk if I’ve ever seen someone look so self impressed. I bet you think the reason jazz doesn’t have lyrics is cuz the musicians intended for YOU to fill that space with trite ass explanations of derivative, lifeless riffs.

😎 🎺

Well, for those arpeggios I must first invest in bigger hands :)

Yeah, you can run the audio through Audacity to get rid of the buzz for that video and repost it. I would definitely eliminate that immediately though. It is really distracting to your absolutely beautiful guitar playing.

Hi, hate to be “that guy” but suggestions, could you put your name somewhere in the post, be nice to know who you are…. And more importantly you need to sort out the buzzing problem ( either an earth problem, 50 cycle hum, or something in your rig has the gain set incredibly high ) cheers Kudos for the vid 👏👏👏

"... everything that comes through you, inevitably will sound like you ..." very true, and goes way beyond jazz

subscribed ... will unsubscribe one other channel ... here it is really worthy

Thanks for outlining this. I’ve been hearing (mostly jazz guitarists?) talk about “Segovia scales” for years without really knowing what they are. These seem similar to the fingerings taught on the UK ABRSM (Classical) guitar syllabus.

Excellent

Why Segovia scales. Important guitar dude but Not the greatest player. Not even close

Great info,thanks.

Segovia is now a blacklisted name in guitar history. No guitar player today should play Segovia scales. If they do they are ignoring history. Segovia was a Fascist supporter of Franco during the Spanish Civl War, and afterwards. Franco's Fascists, with the support of Adolf Hitler and Benito Mussolini, murdered hundreds of thousands of Republican Spaniards who fought for their freedom from evil Fascist dictatorship. Segovia threw away his reputation forever by supporting the Fascists.

First encountered Segovia fingerings studying classical guitar with Brian Johns around 45 years ago. Those, and later Bobby Ferrazza's scalar approach, heavily influenced my FordScales II system. Nice to see them covered. Cheers, Daniel

Great! Sir, which two fingers to use in fingerstyle? Once you suddenly played chords while playing scales. How to practice that?

Metronome. After being a musician for twenty years and absolutely hating metronomes my perspective was reversed by Carol Kaye. Theres a long interview with her here on YT. She says that you know you're doing it right when "that thing (the metronome) syarts to swing". As soon as i heard that i dug out a dusty metronome and started playing. She's was absolutely correct. 100%. If the metronome sounds bad it's your playing. Once you're wanting the next click of the metronome because it sounds as good as your favourite snare teack, budda-bing. You're in the pocket. Yearn for the click. Dance around it.

How about a pdf ?

Didnt know about Segovia scales but i use C to A shape and the major scale to connect. Imo the A shape is the most useful one as a flat first finger covers the 3 notes which leaves lots of space f the others..

James Chirillo had me practice these Segovia Scales, as well as the George Van Eps Guitar Method (the smaller book before all the Harmonic Mechanisms) back when I was living in NYC. The scale fingerings worked with Johnny Smith's extended arpeggio fingerings as well. Each note played slowly--ensuring that the notes sounded connected and sustained (easier said than done--especially with those shifts involved). Even though there are MANY naysayers to using the fingerings for both classical and jazz guitar, I still learned A LOT--more than if I restricted my scale studies to strictly in position. Learning how to navigate multiple octaves helped me play lines with leaps and feel the distance between the octaves. The strictness of the fingering wasn't as important as learning how to shift on single strings. Cool to see more people using Segovia Scales for jazz application. Btw, you look like a young Larry Koonse--another amazing jazz musician and improviser.

Not bad, a little technical for my liking, but i follow

Worth watching. Good approach. Thanks

First time watching your channel. Please, do more videos like this!

improviser’s OS seems really interesting so far! thanks for these

There´s some great words of advice here. Thanks for the video

I love this video! Some of your ideas reminded me of some things I’ve heard cj the x talk about except you said them at an audible speed. (cj the x speaks very fast lol) I can relate so much as an artist it’s always really cool to hear what other artist are doing and how they feel about it in such a good format like this.

I like that although these advises are not particularly new for me, as I struggle on this topic a lot, the way you elaborate and bring your personal context in makes me believe and commit more