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Thank you for this Scott and yes I agree with everything you have said here. There is a few videos on the Augmented Scale/Six Tone Symmetrical" scale coming that are a part of the series and the book so thank you as ever!!!!!

Thank you for this comment Reggie and I am glad you find the material of interest. Yes there will be at some point as I am working on it. I am not sure when but yes a print book with notation/tab is forthcoming. Much appreciated and let's stay in touch!

Looking forward to when you do

@@reggiereggie3481 👍

@@reggiereggie3481 TY and I am on it!!

Thank you very much Hiram and I am glad you found the material useful and of interest. Let's stay in touch!

Thank you very much and I am glad you found it of interest!!!!!

Yes indeed I would agree with all of that. Joe Pass was an absolute treasure and did so much for us. I transcribed so many of his things many years ago and I never tire of his work. Yes please write original material with anything you like here and add to your favourite chord solos as any melody note is of course available with all the examples. I know you are making great music!

Thank you Dean and I appreciate the kind words and the helpful feedback. I am working on a print version of all of these videos to make an "actual" book as well. Yes apologies for the light volume--we live in a nice but small flat in southern England so I have to be quiet and using Amplitube etc. I like for recording but I cannot seem to find the right feel for doing these sorts of things. Just my own preference so apologies. The series is all done like this so again apologies. I appreciate it Dean and I am glad you find these of interest and I hope we can stay in touch here. Much more to come!!!

TY--there is a very low amp on barely.

I appreciate it Gabriel and many thanks!!!!!

Merry Christmas my friend and these are great comments and ideas. You will pursue these and come up with excellent music I am sure. Yes pursue those scales and there is material on the "Augmented Scale" as part of this series coming up. Keep doing it!!!!!

augmented is a curious scale ive been messing around with a book titled the augmented scale in jazz by walt weiskopf and ramon ricker pretty interesting stuff

@@ziegunerweiser Yes indeed. Many greats such as Michael Brecker knew of its importance. I have been playing it on all my releases since the 1990's (Hand Farm, finneus gauge, MMS, JMD) and the great Arnold Schoenberg favoured it. He called it "The Miracle Set" and actually contemplated patenting it and it is the main set for his "Ode To Napoleon", the "Suite Op. 29", and part of his last works the Opus 50 vocal works as an example. His earlier works in the early part of the twentieth century contain elements of it as well such as the Op. 11. The hexachord is all combinatorial--two of them at a whole step distance either above or below or a tritone distance equals all twelve pitches.

@@ziegunerweiser You will do great things with that scale I am sure.

I confess I need to investigate schoenberg more thank you for pointing me in the right direction once again its so funny how I have no one to talk to and then I find you and how similar our interests are lol

You are very kind and many thanks for this. You are developing your own voice and I am sure you will continue to find new things and extend your own voice further and further!

I appreciate it and am glad you found it useful!

Thank you my friend--the Guitar is an unlimited source of great harmony

I try to make time to study ralph tpwner and ted greene, two of the few to translate bill evans style harmony to the guitar successfully recently have been checking out eric johnson chords holdsworth is obviously a unique vocabulary I will be chasing forever

@@ziegunerweiser just keep going!!!

Thank you very much Brad and you are very kind. Hugs to you and yours - Shalom!!!!!

Yes---The Guitar has so much to offer. Yes familiar with the band and used to love those albums. Bartok was brilliant...Strings Percussion and Celeste is amazing and the first section is a masterclass in contrapuntal writing that even the Second Viennese School were fond of. The violin is a fantastic instrument and love playing that literature on the Guitar.

Thank you Davey--It seems like a lifetime ago as the music was written in the early 90's recorded in the mid 90's released in 97'.

Apologies!! th-cam.com/video/LW11u7ubjdI/w-d-xo.html

Thank you for the kind words and I am glad you find the material useful and of interest.

I am sure you are doing great things with the material and naima and afro blue sound like fantastic places to showcase the concepts. Excellent!!!!!!!

another related afterthought will you be discussing concepts of chromatic harmony at some point?

@@ziegunerweiser good question. the material is mainly based on voicings as a concept and not so much on progressions, substitutions, etc. as there is so much out there on that but there are some more chromatic elements coming as well.

TY and very much appreciated!!!!

Great comments and yes all true. Ravel and Debussy were visionaries and the works you mentioned are important works of art. We can see how diminished and augmented are very closely related as well as the resolution of these chords by a number of potential interval movements. The voicings transform easily back and forth from diminished to augmented as well in the examples. Thank you for these additions!

as an afterthought maybe augmented I think sort of gives you a feeling like you're floating away almost like a person is dreaming have you checked out sorabji yet ? that guy was from a different planet !

@@ziegunerweiser this could be true...

transforming between diminished and augmented another afterthought about a similar idea about nine years ago I wrote a small essay on scriabins mystic chord basically lydian dominant voiced in 4ths - I remember asking someone if they thought he chose this chord for its tonal ambiguity so he would be able to imply different tonalities by superimposing targeted intervals based on what ever tonality he wanted to imply and being able to change from one to another at will late scriabin, sorabji and messian are the three composers I think of as other worldly

@@ziegunerweiser the essay on the scriabin sounds great. i like his later work and i like roslavetz's work as well.

The 7/8 part with the fingers is fantastic and can really sound fantastic--good point. I tend to let them ring when I play it as a solo player but with another player the staccato/detached sound works well to help clarify the cross rhythms. All good observations.

Stay on it--sounds interesting!

Thank you very much BenignSoul and I am glad you find it useful. Much more to come!!

Thank you so much for the kind words and I am glad you find the material of interest and benefit. Much more to come on this material and my best to you and yours!!!!!

Thank you very much PostClarity6880 and I am glad you found it of interest and benefit--much more to come!!!

It is good to hear from you and that was some time ago and thank you! I don't have a Bass so apologies. The book will be the videos for now but I am working on the "print" version at present but it might take some time. Hope to stay in touch and many thanks again for reaching out!!!!

Thank you very much Wilton and much appreciated!!!

@@mtstyre7768 You bet. I don't know if you remember Ronnie Lee Hall but, I played with him off and on for years. I just never made it over to Bacliff to see ya'll play in the Geezers.

@@wiltonhudgens221 I think you might have me confused with another Scott McGill-a strong Guitarist from Texas who specialises in the Blues. My best and thank you for writing me here.

@@mtstyre7768 My mistake.

@@wiltonhudgens221 My best Wilton!!

Thank you for the interest Mikiyas. I am working on the print version at present which will include extras as well. Not there yet but coming and my thanks for your interest in the work-I appreciate it.

You are kind and thank you for posting these great observations and kind words. I appreciate it.

I am a lifelong student of improvisation my desire to be good fuels my obsession to understand the fluid legato of holdsworth the sheets of sound of coltrane and the other worldly harmony of mc coy tyner You have helped me understand so much already How I came to find you - when the internet first exploded in 1995 the first thing I did was look for people who trade mclaughlin and holdsworth bootleg recordings which led to the discovery of the holdsworth mailing list that later became a forum at yahoo groups known as fusenet people started to talk about a band called woompgnash, jac legreca, james muller, alex machacek, and you It's so surreal I am actually talking to you after buying hand farm in the late 90s, after all this time all these years later I'm curious about I think I saw a 30 watt soldano and 30/15 watt rivera, best amp I ever heard for distortion was boogie mark 3 and clean was a rivera - what are your favorite amps ?

Thank you Remo and much appreciated. Its a long ongoing series so plenty more to come.

these are good points and thank you for your contributions here. for me, the playing of an ad lib part or a solo passage has voice leading implications as you allude to and any one or combination of voices can be in motion at once with our chords. the resulting harmonic progressions can be fascinating and the stuff of good pieces or "tunes". much appreciated for the comment on this video.

so you can see there are many things about improvisation I am curious about, I certainly don't have all the answers and already you have helped me understand more than I did before but I I want to tell you something I was asking myself a few weeks ago about being melodic and that is ask yourself are you trying to play patterns or are you trying to sing ? Are you able to sing what you are playing ? Maybe by answering these two questions would force you to be more melodic ?

@@ziegunerweiser it is a good point--yes it is good to be able to sing it all and working on ear training/sight singing is a valuable thing. good point in my opinion.

at the time i thought of it - this was a revelation to me but just today I thought what if you asked coltrane he would say sometimes I like to play patterns and sometimes i like to sing the way coltrane sings on blue in green oh my but i love the sheets of sound on giant steps just as much im a student of holdsworth and coltrane like you so we have that in common my friend I have more than 150 cds coltrane played on

@@ziegunerweiser fantastic and that makes sense! Coltrane was a true force of nature.

Everything you said was right on. It's the family of chords with the double alteration of the 9th and 5th--for f#7 its "f# altered, f# super locrian, g melodic minor" . all terms for the same sound family. I go by the minor in the series but its all of those things-whatever works for the individual.

What a great tune-good reference for that sound!!!

a bit about me, mostly rambling about what makes me tick When I first started to play guitar I started playing blues learning to play mostly from live hendrix records later I started to figure out the progressive stuff like rush yes and king crimson - also been a bass player as long as ive been playing guitar since 83 I loved the progressive stuff and the sound of jazz and classical started to creep in with other players like randy rhoads, van halen, adrian vandenberg, michael schenker, uli jon roth, yngwie malmsteen, vinnie moore, paul gilbert, ritchie blackmoore, eric johnson, steve vai, joe satriani, george lynch, warren de martini, gary moore were all huge influences back then but in my late teens I completely lost interest in rock music and started studying jazz and classical music, I stopped paying attention to all the above players and started to study holdsworth, mclaughlin, coltrane, parker, brecker, dimeola, chick corea, scofield, mc coy tyner, bill evans, django, joe pass, george benson, bireli lagrene, shawn lane, ralph towner, ted greene... played guitar in several rock cover bands as a teenager, joined a friends band to help write songs in the alice in chains vein I was successful at but quit that and later played bass in a jazz band, after that at 27 I went back to finish college but always wanted to form a fusion band when I got out of college I bought a violin and some synthesizers and still learning to play those instruments so we can also talk about the violin and piano repertoire that has been a huge influence I love bach, chopin, schumann, rachmaninoff, brahms, the greig piano concerto gets me everytime so many others I could mention... I'm always thinking about music I want to write and think maybe the most modern music is modern jazz mixed with modern classical - both contemporary and progressive - suspended and altered sounds, polychords, odd meters and note groupings, avoiding the 3rd, voicings in 4ths, melodic patterns with 4ths, the sound of stacked 5ths 4ths and 5ths have such a modern sound, I think joe diorio had some interesting ideas am thinking maybe ill make some jam tracks with music i program using software known as "powertab" then play bass on top of the programmed chords that becomes a jam track to practice improvising over, would be interesting to hear other people play over and also possibly modify and have it mutate into something different like a collaboration its a bit of a challenge to find a series of interesting chords to play over maybe the hardset thing to do is find your own voice - throw everything out that sounds like someone else and try to develop your own vocabulary - this is what I seek to acheieve in my composition and improvisation is developing a personal sound

@@ziegunerweiser sounds like a fantastic journey and thank you for sharing and yes developing one's own "voice" and vocabulary is an excellent pursuit-agreed....

in hindsight i suspect page may have gotten that idea from mclaughlin as I once read page studied with him

@@ziegunerweiser that is a great point and many times forgotten!

Thank you for writing. Yes that is fine and I am glad you found the video of interest. Please let me know when it is finished as I would like to see it in its final form and thank you for crediting me in it. My best! Scott M.

@@mtstyre7768 will do!

@@SnackersPrime 👍

TY very much Dan and I appreciate it

You are absolutely right on. Well stated and illustrated and you have put your finger right on it.

Thank you Omar and much appreciated! Yes that is it--Em and Cm. Its almost like the semitone relationship is minor to major (Emin to Ebmaj) and keeping the "third" of the first pentatonic (the "G" in E min pent) and moving all of the other tones up a semitone (E to F, A to Bb, B to C, D to Eb) and you have the next pentatonic. Thank you again and let's stay in touch!

Thank you so much Vanni and it is very much appreciated. Restiamo in contatto.

Certo! 🐻😉👍e, ancora, grazie per il tuo lavoro fine ed accurato

@@vannigio6234 Molte Grazie mille!

Some good points here and agreed across all of them. Each chord set has so much to offer and the voicings make the Guitar resonate in unique ways.

was listening to tea in the sahara today floating on a cloud - the mysterious atmospheric quality of suspended chords is so alluring is your cup still full of sand ?

@@ziegunerweiser right on!!!

Louis, thank you very much for the kind words and I am glad you found this of use. I will be doing a bit more of this material from the book in the not too distant future. I hope we can stay in touch.

Thank you very much Immanuel and I hope you found it of interest. Hope to stay in touch!

LOL!!! It's 12:00 here in the UK so all good to go!!

TY very much and more coming on this topic!!

Thank you for the kind words and I am glad you found this useful. Yes you are right--there are so many great sounds in this common string group. Much more to come!

@@mtstyre7768 This group of chords felt really nice under my fingers too. Thanks for your painstaking work creating these videos!

@@WhiteNoise-b1n TY and I am glad you feel this material is of interest. Onwards!!

TY! I have had it since about 2000 and had a custom one since 1999 or so. I was with the company for a while and they are great. It is versatile and has its own sound and a flat radius etc which I seem to like. Its light as well and I have been using that one ever since and not interested in any other. TY for the comment on that and agreed!

@@mtstyre7768 I haven't found it super easy to find info on their different lines and models, but I THINK his was a custom. Nice quilted top, seymour duncan pickups of some kind, a wilkinsom trem, locking tuners, SUPER figured birdseye neck.

@@timeconsumer325 Yes that sounds excellent. I did have one too which was called a C-90. I ended up selling it as this Guitar (an i8) which was much cheaper had a sound I preferred. The C-90 was beautiful and they are great Guitars no doubt.

All of these things are exactly it. The movement and resolutions of voices with the chords is indicated and any voice can act melodically at any point and indeed "carry the melody", not just the top voice which is an understandable tradition. Voice motion is also of course part of embellishment when in an accompanying role and voices when "frozen" can create new discrete harmonies of course. And if one combines all this with a Bassist then many voices can now be in play. You have some great ideas and definitely see them through.

any voice can carry the melody is a concept but I'm thinking more like 3 independent melodies going at the same time have you ever considered writing music like this ? sort of like what would it sound like if holdsworth wrote a fugue

@@ziegunerweiser I have and done so. Its a concept that is embedded in my recorded work. It was also an integral part of my studies with Dennis Sandole who insisted on it with chord studies and work. I would love to hear you do your own thing with this. You must!

a long time ago I did a sketch of a fusion tune titled proglodyte that I programmed using power tab software and recorded my computer playing it back on my secret tribe channel the tune is only 2 min 55 seconds long right now but I know I want to have a solo section with chord sequences that modulate morphing into counterpoint as part of the structure but writing a modern fugue is a new idea i would love to write a suite that has polonaise bouree scherzo gigue sarabande and fugue, I'm starting to experiment with modern classical another thing ive been interested in is polychords and polytonal triad pairs, there is an interesting section in the book titled modern concepts in jazz improvisation by david baker about this but I would be curious about your interpretation - maybe you could do videos about that ? sometimes I hear this kind of sound coming from ralph towner

@@ziegunerweiser go for it!! Yes that sort of chordal thing will be in the "Pt II" of the series.

Thank you Celso and I hope the material is of interest

That's a good point-That works!

TY My friend!!!!!!!!