If I understand what your are doing correctly, you are identifying the interval between the root and the melody note for reach chord, and then filling it in with a desired chord that covers it. This seems incredibly useful for those of us starting to study chord-melody.
- click - That’s the sound of something in my head finally clicking. This approach really opens it up for me. Keeping the same melody note, choosing a bass note and seeing the relationship between those two, then filling in the rest of the chord based on whatever type of color fits the mood.
Another lesson that fascinates me, also finding myself not quite understanding all of the possibilities. Thank you for sharing this Jared. Learning with each video.
You blew my mind that I am finally excited about the process of sitting with the guitar once again and being able to create interesting progressions/ chord melodies systematically! Thank you for your time and sharing your knowledge.
This is really helping me put meat around the bones in my journey to learn the fretboard; had a great time trying to figure where you were going next, and "seeing" all the possibilities along the way (and I'm only 6 minutes in as I type this, lol). Thanks
Yours is a very good approach for the fast paced YT viewer/student. Concise and plenty deep for me. It's a pleasure not to wade though a lot of irrelevant information. Why did you choose to name the F#dim7 as such. Isn't the b5 an important part of the name; why not call this voicing a F#minor 6?
Glad you liked the video, Tim! Good question. Because the "b5" is still there even though I'm not playing. Because I'm choosing to treat it that way, then when I improvise over it I'm thinking of it as diminished and it functions that way harmonically. Could definitely treat it as minor 6 instead since the b5 is not in the chord shape, but it wouldn't have the sound I wanted from it.
Wow, that was an awesome lesson. I've been wanting to learn how to come up with usable chords moving chromatically for a while now. I have seen a number of songs by STP and Led Zeppelin placing chords on top of a chromatic descending bass line. Now I get a better understanding of how they do it. They are probably not using just one melody note but it still makes sense now.
Cool idea. This is so … oh yes, „random“ was the word ;-))) Is this actually a method for composing? If you don’t want to be tied to one key but just any modulation would be too arbitrary, you might define a pivot note that your changes revolve around. Or one pivot note per section or … see, it’s really inspiring. Thanks!
kudos Jared you simultaneously provided discovery of a potentially great songwriting tool and renewed interest in printout of color with chords pdf again , blown wide open! if I can file this toolkit item under guitar moves to walk down the neck , what about kind of drone maybe on that first note and find the other chords at the root position, can it be done, or would some eliminate themselves and/or become more triad based or poppy perhaps?...of course a movable shape/s along the string multiplies value 12 fold, for each string and each idea !(since they may all be closed chords) -(variation I may now consider ,once I can play like your idea shows, off the top of my head) quick attempt at getting the intervals right pluck C major chord , then hold finger on C note and locate the other shapes in one position B chord with C as b9th degree Bb chord with C as 9th degree A chord with C as b3rd degree Ab chord with C as 3rd degree G chord with C as 4th degree **** Gb chord with C as b5th degree *** F chord with C as 5th degree E chord with C as b6th degree *** Eb chord with C as 6th degree *** D chord with C as b7th degree Db chord with C as 7th degree the asterisks ones are my need to learn better items
When I saw your latest video, I was wondering if I could make the notes of a chord 2, 4, 6 and 7 instead of just 1, 3 and 5. Does that mean that I can create countless chords from the notes of a triad that are interesting for a song?
Good question. Yes, it’s because dim7 naturally comes from being the 7th chord in the harmonic minor scale. So since I’m playing a chord off of the 7th of the previous chord, it’s sounds like it’s functionally targeting the chord it came from. It’s makes the first two chords very similar to playing the “I”chord then V7b9 of it. I’m thinking of the b5 as part of the chord even though it’s not played in the shape. I hope that helps. Thanks for asking!
That sounds like a 60s, sun soaked, French riviera, romantic, playful, pillowtalk movie! Magnifique. It just needs some soft male female bah bah bah dah vocal harmonies
Friend you have unlock some musical mysteries I've had for a long time.great contact,great playing. Billy kendrick Check out the billy kendrick channel.
This reminds me of the Beatle's Getting Better All the Time where I hear a constant high note through a lot of the song. I may be taking it to an extreme but like to play it with a high G note on every chord. Here is a link to a chart I made for that song: drive.google.com/file/d/1h0OHndfr9UFljGTtKVtTXZh6bvaU3Exo/view
→ Get my FREE amazing chord options chart called ‘Chords with Color’ → bit.ly/32UF6cQ
OH MY GOD !!!! THANK YOU JARED ! You're a blessing to all of us !!!!
Incredibly interesting, challenging and helpful ! Thank you for sharing !
If I understand what your are doing correctly, you are identifying the interval between the root and the melody note for reach chord, and then filling it in with a desired chord that covers it. This seems incredibly useful for those of us starting to study chord-melody.
One of THE BEST teachers
- click -
That’s the sound of something in my head finally clicking. This approach really opens it up for me.
Keeping the same melody note, choosing a bass note and seeing the relationship between those two, then filling in the rest of the chord based on whatever type of color fits the mood.
Yay! Awesome. Thanks for sharing, Brandon. I LOVE hearing that click sound!! :)) ~~ cheers, Jared
Another lesson that fascinates me, also finding myself not quite understanding all of the possibilities. Thank you for sharing this Jared. Learning with each video.
OMG! What a godsend! This is EXACTLY what I have been looking for years! THANK YOU!
Woohoo! Glad to hear that! :) **
Excellent class!! You are a fantastic teacher. Thank you for sharing your knowledge with us.
You’re very welcome, Luis! Thanks for watching :)
You blew my mind that I am finally excited about the process of sitting with the guitar once again and being able to create interesting progressions/ chord melodies systematically! Thank you for your time and sharing your knowledge.
men…you are amazing. thank you
Demonstration, explanation and notations extraordinarily inspiring in this video! Thank you :)
Thanks, Stuart!! :) **
This is really helping me put meat around the bones in my journey to learn the fretboard; had a great time trying to figure where you were going next, and "seeing" all the possibilities along the way (and I'm only 6 minutes in as I type this, lol). Thanks
Yours is a very good approach for the fast paced YT viewer/student. Concise and plenty deep for me. It's a pleasure not to wade though a lot of irrelevant information. Why did you choose to name the F#dim7 as such. Isn't the b5 an important part of the name; why not call this voicing a F#minor 6?
Glad you liked the video, Tim! Good question. Because the "b5" is still there even though I'm not playing. Because I'm choosing to treat it that way, then when I improvise over it I'm thinking of it as diminished and it functions that way harmonically. Could definitely treat it as minor 6 instead since the b5 is not in the chord shape, but it wouldn't have the sound I wanted from it.
Great explanation! I will try this.
Jared, you’re the best!
Thanks a bunch!
What an interesting and powerful lesson. Thank you!
Thanks! Very Useful...
Glad it was helpful! :)
This is a great lesson. Thank you
Glad you liked it! Thanks, Don :)
Wow, that was an awesome lesson. I've been wanting to learn how to come up with usable chords moving chromatically for a while now. I have seen a number of songs by STP and Led Zeppelin placing chords on top of a chromatic descending bass line. Now I get a better understanding of how they do it. They are probably not using just one melody note but it still makes sense now.
Cool idea. This is so … oh yes, „random“ was the word ;-)))
Is this actually a method for composing? If you don’t want to be tied to one key but just any modulation would be too arbitrary, you might define a pivot note that your changes revolve around. Or one pivot note per section or … see, it’s really inspiring. Thanks!
I'm glad to hear it's inspiring! "Random" is a great way to get unblocked sometimes :)
kudos Jared you simultaneously provided discovery of a potentially great songwriting tool and renewed interest in printout of color with chords pdf again , blown wide open! if I can file this toolkit item under guitar moves to walk down the neck ,
what about kind of drone maybe on that first note and find the other chords at the root position, can it be done, or would some eliminate themselves and/or become more triad based or poppy perhaps?...of course a movable shape/s along the string multiplies value 12 fold, for each string and each idea !(since they may all be closed chords)
-(variation I may now consider ,once I can play like your idea shows, off the top of my head)
quick attempt at getting the intervals right
pluck C major chord , then hold finger on C note and locate the other shapes in one position
B chord with C as b9th degree
Bb chord with C as 9th degree
A chord with C as b3rd degree
Ab chord with C as 3rd degree
G chord with C as 4th degree ****
Gb chord with C as b5th degree ***
F chord with C as 5th degree
E chord with C as b6th degree ***
Eb chord with C as 6th degree ***
D chord with C as b7th degree
Db chord with C as 7th degree
the asterisks ones are my need to learn better items
this one I loved
Thanks!
When I saw your latest video, I was wondering if I could make the notes of a chord 2, 4, 6 and 7 instead of just 1, 3 and 5. Does that mean that I can create countless chords from the notes of a triad that are interesting for a song?
That was very interesting
Superb........👍
Thanks! :)
Is there a reason you think of the second chord you played, (around 2:18) as Fdim7 and not Fm6?
Good question. Yes, it’s because dim7 naturally comes from being the 7th chord in the harmonic minor scale. So since I’m playing a chord off of the 7th of the previous chord, it’s sounds like it’s functionally targeting the chord it came from. It’s makes the first two chords very similar to playing the “I”chord then V7b9 of it. I’m thinking of the b5 as part of the chord even though it’s not played in the shape. I hope that helps. Thanks for asking!
Next do
harmonized chromatic contrary movement
That sounds like a 60s, sun soaked, French riviera, romantic, playful, pillowtalk movie! Magnifique. It just needs some soft male female bah bah bah dah vocal harmonies
Seems pretty simple.🤪
Friend you have unlock some musical mysteries I've had for a long time.great contact,great playing.
Billy kendrick
Check out the billy kendrick channel.
Thanks so much, Billy! :)
You are confusing me with musical terminology!!!
This reminds me of the Beatle's Getting Better All the Time where I hear a constant high note through a lot of the song. I may be taking it to an extreme but like to play it with a high G note on every chord. Here is a link to a chart I made for that song:
drive.google.com/file/d/1h0OHndfr9UFljGTtKVtTXZh6bvaU3Exo/view