I studied with Lage in Oslo last year for a semester. He is a wonderful person and a super chilled guy. His internal pulse is brilliant, absolutely brilliant. For me his comping is on another level. He told me he actually thinks of drummers with regards to comping...and not necessarily voicings. The way he comps for himself is amazing too, its always nice hearing how he has 2 even 3 voices interacting with one a another when playing alone, its just mindblowing that he makes it look so easy.
Great video man, love it! And laughed at 0:5, didn't see it coming but great dig. 😂 To be fair, it was covid lockdown that enabled that unhinged idea. And it was mine, Jorre's ( the saxplayer) so Timothy who's responsible for the guitar transcriptions just got dragged along with it. So rather Covid than jazz school, we're not young anymore now since our 30s, so jazz school can't be to blame anymore I'm afraid
Great stuff! Re: the "funny notes" -- I almost hear that Bbmaj7#9 as a nod to the idea of subbing a diminished chord for a tonic major. I usually do one or the other, or resolve the dim substitution to the actual tonic chord, but... playing both at once is definitely a sound, too :)
Indeed, but by the same token is not the cadential Idim7 or Idim(maj7) not a combination of appoggiatura lower neighbour tones? It’s almost like there’s more theres one way of looking at the same thing. Bloomin’ eck, did I say that?
Wonderful video. Just getting into Lage Lund, and it's funny to me how much he has in common with Julian Lage given the common name. Both take a more pianistic approach to guitar, to borrow your phrase. Anyway, I have been transcribing lines from his "Chords = Lines" video (a free sample from his Chordal Vocabulary course), and your lesson will surely help me understand what's going on. Thanks so much!
Thanks! I have several of Lage (Lunds) MyMusicMasterclass vids and quite honestly there’s enough info in one of them to keep me going for years. But it’s nice to look at some actual playing of his in the wild and see how he applies things.
Very interesting video and I'll study it, but I think it's even easier to think of those first chords as weaving in and out of their corresponding dominant chords. Instead of Am7b7 - B+ it's easier to think Cm - G7alt and instead of Gm - F#+ it's more logical to think Gm - D7alt. Or...?
Had been listening to him this week. Nice stuff, great play but maybe a bit "etudey" for my taste. - Rocking that The Loar - custom pickup? Piezo on the bridge?
It’s the Krivo Micro Manouche which just records beautifully mixed in with the mic. That guitar is no joke btw! I need to get a Krivo that’s nearer the strings. A little bit feedbacky live.
Well that's my practice for the next month sorted, thanks! Can I ask a question - for the past months I have been working on another concept I got from Lage where he creates lines using two octave triads built from the target notes of chords (for example, you can build triads of different inversions that include the 9th of a minor chord). Have you ever worked on this? I am struggling to get it to sound cohesive if I play it over a set of changes. Maybe just needs more time!
I’m not 100% sure what you mean? Is the thing where you take a note from the chord, like an F# on a Em9 and build a triad on it (such as, say F#, D#m or D) and then weave from Em to that triad?
@@JazzGuitarScrapbook It is hard to explain! Haha. Yes, so with the F# on Em9 you can see that F# as part of three different minor and three major triads and you can use those triads to solo over that chord, which gives you the 9th as well as different chord tones and levels of dissonance. Lage talked about it in a video. I've been working on it a lot but not really able to use it in playing yet.
@@mitrovicmarkoo Here it is! I've been working on these concepts for a while and it opens some interesting doors. th-cam.com/video/DwVIW0voVmc/w-d-xo.html
I studied with Lage in Oslo last year for a semester. He is a wonderful person and a super chilled guy. His internal pulse is brilliant, absolutely brilliant. For me his comping is on another level. He told me he actually thinks of drummers with regards to comping...and not necessarily voicings. The way he comps for himself is amazing too, its always nice hearing how he has 2 even 3 voices interacting with one a another when playing alone, its just mindblowing that he makes it look so easy.
I like the whipped cream bit.
I love your video! Had fun learning tons of information and study about this. Kudos!
Thank you so much. I'm dying to know how Lund does it. I learned a lot from this video.
Always the best content. I emailed you for a lesson, but I did not here back. Thank you, from Brooklyn, NYC.
Oh - sorry about that. Try again - I'll check my spam folder
Super funny Lage's harmony máster class, gracias!!
Great video man, love it! And laughed at 0:5, didn't see it coming but great dig. 😂
To be fair, it was covid lockdown that enabled that unhinged idea. And it was mine, Jorre's ( the saxplayer) so Timothy who's responsible for the guitar transcriptions just got dragged along with it. So rather Covid than jazz school, we're not young anymore now since our 30s, so jazz school can't be to blame anymore I'm afraid
Actually that makes a lot of sense
Thanks for all the transcriptions btw - I don’t know how you keep it up, but thanks for doing it. Great channel!
Dank aan U allen en met name aan Tim!
this is very cool, great playing and explanation, greetings from poland!
Thank you heaps. Really great ideas.
Great stuff!
Re: the "funny notes" -- I almost hear that Bbmaj7#9 as a nod to the idea of subbing a diminished chord for a tonic major. I usually do one or the other, or resolve the dim substitution to the actual tonic chord, but... playing both at once is definitely a sound, too :)
Indeed, but by the same token is not the cadential Idim7 or Idim(maj7) not a combination of appoggiatura lower neighbour tones? It’s almost like there’s more theres one way of looking at the same thing. Bloomin’ eck, did I say that?
@@JazzGuitarScrapbook Sorry, sir, you can't say things like that here -- TH-cam comments are for petty bickering only.
@@AaronHipple quite right, my mistake
@@user-zx5gg8od6l there will be an incoming vid in the maj7#9 chord which certainly connects with that world
Wonderful video. Just getting into Lage Lund, and it's funny to me how much he has in common with Julian Lage given the common name. Both take a more pianistic approach to guitar, to borrow your phrase. Anyway, I have been transcribing lines from his "Chords = Lines" video (a free sample from his Chordal Vocabulary course), and your lesson will surely help me understand what's going on. Thanks so much!
Thanks! I have several of Lage (Lunds) MyMusicMasterclass vids and quite honestly there’s enough info in one of them to keep me going for years. But it’s nice to look at some actual playing of his in the wild and see how he applies things.
Also - Julian Lage Lund would be the final boss of contemporary jazz guitar
Very interesting video and I'll study it, but I think it's even easier to think of those first chords as weaving in and out of their corresponding dominant chords. Instead of Am7b7 - B+ it's easier to think Cm - G7alt and instead of Gm - F#+ it's more logical to think Gm - D7alt. Or...?
Then it wouldn’t be a triad? I mean really it’s Cm(maj7) and Gm(maj7) but the triad thing seems to me to give a different effect
@@JazzGuitarScrapbook Yes, that's a valid point
Cool & THX! What PU do you have on your Loar guitar? Sounds open 🙂
Krivo micro manouche
@@JazzGuitarScrapbook THX!!
Had been listening to him this week. Nice stuff, great play but maybe a bit "etudey" for my taste. - Rocking that The Loar - custom pickup? Piezo on the bridge?
It’s the Krivo Micro Manouche which just records beautifully mixed in with the mic. That guitar is no joke btw! I need to get a Krivo that’s nearer the strings. A little bit feedbacky live.
@@JazzGuitarScrapbook Sounds great. I just bought a nice The Loar copy of a Gibson 125.
Well that's my practice for the next month sorted, thanks! Can I ask a question - for the past months I have been working on another concept I got from Lage where he creates lines using two octave triads built from the target notes of chords (for example, you can build triads of different inversions that include the 9th of a minor chord). Have you ever worked on this? I am struggling to get it to sound cohesive if I play it over a set of changes. Maybe just needs more time!
I’m not 100% sure what you mean? Is the thing where you take a note from the chord, like an F# on a Em9 and build a triad on it (such as, say F#, D#m or D) and then weave from Em to that triad?
@@JazzGuitarScrapbook It is hard to explain! Haha. Yes, so with the F# on Em9 you can see that F# as part of three different minor and three major triads and you can use those triads to solo over that chord, which gives you the 9th as well as different chord tones and levels of dissonance. Lage talked about it in a video. I've been working on it a lot but not really able to use it in playing yet.
@@jsb1181 I’ve played with it a bit. Not sure if I have enough to make a video on though at least not yet.
@@jsb1181 Where can I find that video? 😄
@@mitrovicmarkoo Here it is! I've been working on these concepts for a while and it opens some interesting doors. th-cam.com/video/DwVIW0voVmc/w-d-xo.html
Wrong is Mixlydian b9 scale ？
Eh?
C# ---- Who the hell needs micro-tonality?