Mikko, great video and great book as are Micks other book The Advancing Guitarist and Tims other book 2-1-2 Arpeggio Technique. Another way to think of this book is, it's Triad Pairs but instead of just 3rds Triad Shapes it's also 2nds, 4ths, 5ths, 7ths etc. Triad Shapes buy Altering the notes of the Basic Major or Minor Triad. Jazz Pianists have been using this technique for a long time. Bill Evans. Lyle Mays. Sometimes Jazz Pianists will call it Shape Pairs or Shape Superimposing. Thanks.
Mikko, I want to say thank you. I love how you approach to music. Musician as artisan. It's a long work. The best of the trip is during the trip. Please don't let us alone :)) THANKS AGAIN
I found the sheer number of voicings pretty daunting. When I got the book I diagrammed all the voicings on the first 3 strings. Just that was a ton of material. I pretty much just ended up cherry-picking some pairs that I liked. Particularly the sus4 pairs because they added a “modern “ sound and are easy to play(unlike the cluster voicings)
I have the book and decided that I had to grasp the concept. The chart in the introduction has the entire technical breakdown of the pairs I memorised it and wrote my own charts. I write out charts for tunes that I'm working on. It is to me an outrageously generous offering of one is willing to work then it's a key to harmonic liberation in music. Thanks
Someone mentioned the difficulty of some of the book's cluster voicings. Some of them aren't just difficult, they're impossible to play on guitar. I asked Tim about this, and he acknowledged that some of the cluster voicings are impossible, and said that on the recordings they used overdubbing to be able to include them. He said they included them for the sake of completeness and because they are useful for writing even if they can't be played on one guitar alone.
I agree that it's well-worth buying the book, even after you know the underlying concept. The amount of raw material the concept makes available to you is massive, and internalizing it so that you can really use it improvisationally (for any type of scale in any key) requires a lot of work. What the book gives you will greatly help to facilitate that process. Just my experience with it...
Like everything from Mick this is a fantastic book. I tried all the combinations in all modes of Harmonic and Melodic Major and Minor scales and I found out what I prefer is the couple number 9: cluster/7no3. Lot of work. ❤
Great book! First thing that helped me understand approaching this book and it's concepts was reading the section on how Mick Goodrick came up with this system.... which is in the back of the book! IMHO it should be the first chapter rather than in the appendix. Also think that playing all of these exercises over Stella is a little much. What you're doing with Canteloupe Island makes total sense. Thanks for some ideas and approaches to working with this book. Cheers! BTW I went to the link and found this... "Currently unavailable. We don't know when or if this item will be back in stock." Glad I already have 2 copies of this book!!!
I've found the book intriguing and lots of different sounds in there. I find it more useful for composing than I do for improvising to be honest but that's me, not the method! The dominating sound of the technique is the 4th, which can be too much of an 'out' sound- I can recommend experimenting with taking out the fourth and bringing the root back into it instead.
@@Mikkokosmos The whole fourth thing since Micks blue book is totally anti diatonic, first a diatonic version then something outside, but I still wouldnt use the 4th, Working musicians ( not like holdsworth or abercrombie) that have to earn aliving playing and teaching diatonic styles (95% of music we listen to is diatonic) need material usable over diatonic circunstances, not just outside jazz stuff. Also especially guitarists have a hard time developing a diatonic ear to guide them (I call it auditive logical coherence), this study would come after obtaining it, or there r gonna be a lotta confused ears, which is what we have now among many students, cause they get to study "outside " before having a solid auditive knowledge and recognition of diatonic sounds and principals. My opinion.
2:14 of course theres also a root inversion G major possible from that group of 6 notes, 4:05 Worth noting that anything built on a 2nd and a 4th is an inversion of a Diatonic Quartal triad. "do both' is great advice. Yeah, Stella is a poor choice, too complex. Autumn leaves? Your modal choice also cool. thanks for an insightful review!
@Mikko Hilden. I actually bought the book before "stumbling" onto your channel and have now subscribed. Great stuff. I presume the 5 families/10 voice pairing groups would apply to other scales outside of Major, correct? For example, Melodic Minor. TIA
Great book, just the first two/three pages offered me enough to a whole year of practivce, I notice some examples are like subsets of other voicing or shapes I'd heard in arrangements of other, non-jazz styles Brazilian-Guitar music. The clusters are pretty well impossible, because of the sheer stretching involved, one can play maybe 2 notes of of the 3, but I found some unique voicings nevertheless. Once I found just a sequence of pair of 'shapes' that implied' either a Tonic or a Dominant function and as such could be navigated throughout in a repeating V--.> I progression or vice versa. Amazing...
Great video as always, Im currently reviewing this book, in the past I was not ready for the stream of information it comes with... Are you using the POG3 to get the attack-less effect? Is there any effect out there that does that only thing? I don't really want the octaver and those things by the price... Thank you so much in advance
Mine is called Pog2 I think. There might be something called the minipog but I'm not sure it can do the Rosenwinkel trick. I don't know a lot about pedals 😐
Amazing explanation!!! Congrats and now I am following you on here!!! I just have a question. I've just bought the book and received it and I read the appendix and all explanations about GMC. But on page 2 example 6 (Sus4/7th no 3) the pairings should have been written one Sus4 and the other a 7th no 3 but instead of it the 7th no 3 has a 3rd in all cases. I think that I might not understand this example. The others are ok but this one I have some doubts. Could you help me? Thanks for your videos!!! You are amazing!!!
I came up with that for the purpose of this video. To distinguish "normal" triads based on thirds, major, minor, dim etc from other three note voicings. For example C G B. I fifth plus a third. What do you call that chord? It's not really a triad but rather a four part chord with one voice omitted. Like a Cmaj7omit3. All these can be derived from diatonic scales so they can all be diatonic, right? All the examples in the book are diatonic. Diatonic just means belonging to a key (or a scale).
Thanks for your reply. Yes this is a tricky subject. Chords in thirds are called Tertian chords, they constructed by stacking notes in intervals of thirds. Chords made of 4ths are called quartal, Quintal are in 5ths and clusters more or less are of 2nds. Not sure how to call/categorize Tertian with omitted notes. Thanks again for your reply and posting your lesson. Would be good to see diagrams of what you were playing in the video. @@Mikkokosmos
Mick Goodrick has clearly turned you to drink - the Bourbon has gone to be replaced by Wine … ? 😂 Not sure if I want this book as there’s TOO much material in it!?!? 😂
I bought this book because of your recommendation. The book and your youtube presentations are wonderful! Best regards!
Mikko, great video and great book as are Micks other book The Advancing Guitarist and Tims other book 2-1-2 Arpeggio Technique. Another way to think of this book is, it's Triad Pairs but instead of just 3rds Triad Shapes it's also 2nds, 4ths, 5ths, 7ths etc. Triad Shapes buy Altering the notes of the Basic Major or Minor Triad. Jazz Pianists have been using this technique for a long time. Bill Evans. Lyle Mays. Sometimes Jazz Pianists will call it Shape Pairs or Shape Superimposing. Thanks.
Shape Pairs! I like it! 😀👍
Mikko, I want to say thank you. I love how you approach to music. Musician as artisan. It's a long work. The best of the trip is during the trip. Please don't let us alone :)) THANKS AGAIN
Thank you. 😀 yes it's a long journey indeed 🤓
I found the sheer number of voicings pretty daunting. When I got the book I diagrammed all the voicings on the first 3 strings. Just that was a ton of material. I pretty much just ended up cherry-picking some pairs that I liked. Particularly the sus4 pairs because they added a “modern “ sound and are easy to play(unlike the cluster voicings)
Very interesting, thanks for sharing. But the best part is your giving away the exact POG settings to get that nice Rosenwinkel tone with no attack!!
I have the book and decided that I had to grasp the concept.
The chart in the introduction has the entire technical breakdown of the pairs
I memorised it and wrote my own charts. I write out charts for tunes that I'm working on. It is to me an outrageously generous offering of one is willing to work then it's a key to harmonic liberation in music.
Thanks
Someone mentioned the difficulty of some of the book's cluster voicings. Some of them aren't just difficult, they're impossible to play on guitar. I asked Tim about this, and he acknowledged that some of the cluster voicings are impossible, and said that on the recordings they used overdubbing to be able to include them. He said they included them for the sake of completeness and because they are useful for writing even if they can't be played on one guitar alone.
I really like your lessons, you are not trying to show off or demonstrate skills. All ideas sound very strong and musical. Thank you!
I agree that it's well-worth buying the book, even after you know the underlying concept. The amount of raw material the concept makes available to you is massive, and internalizing it so that you can really use it improvisationally (for any type of scale in any key) requires a lot of work. What the book gives you will greatly help to facilitate that process. Just my experience with it...
Like everything from Mick this is a fantastic book. I tried all the combinations in all modes of Harmonic and Melodic Major and Minor scales and I found out what I prefer is the couple number 9: cluster/7no3. Lot of work. ❤
This is a truly brilliant explanation and soooooooo helpful, cheers!
Great book! First thing that helped me understand approaching this book and it's concepts was reading the section on how Mick Goodrick came up with this system.... which is in the back of the book! IMHO it should be the first chapter rather than in the appendix. Also think that playing all of these exercises over Stella is a little much. What you're doing with Canteloupe Island makes total sense. Thanks for some ideas and approaches to working with this book. Cheers! BTW I went to the link and found this...
"Currently unavailable.
We don't know when or if this item will be back in stock."
Glad I already have 2 copies of this book!!!
Oh it's unavailable on Amazon? I'm pretty sure it's available in other stores?
GMC is a wonderful idea ... but in addition to the book, your explanation is indispensable
Beautiful tones mate !
I dont have the book but your explanation of the concept was very clear! Great video!!
I've found the book intriguing and lots of different sounds in there. I find it more useful for composing than I do for improvising to be honest but that's me, not the method! The dominating sound of the technique is the 4th, which can be too much of an 'out' sound- I can recommend experimenting with taking out the fourth and bringing the root back into it instead.
Yup good idea. And this is actually what happens in the book Line Games which I'm going to cover next 😎👍
@@Mikkokosmos The whole fourth thing since Micks blue book is totally anti diatonic, first a diatonic version then something outside, but I still wouldnt use the 4th, Working musicians ( not like holdsworth or abercrombie) that have to earn aliving playing and teaching diatonic styles (95% of music we listen to is diatonic) need material usable over diatonic circunstances, not just outside jazz stuff. Also especially guitarists have a hard time developing a diatonic ear to guide them (I call it auditive logical coherence), this study would come after obtaining it, or there r gonna be a lotta confused ears, which is what we have now among many students, cause they get to study "outside " before having a solid auditive knowledge and recognition of diatonic sounds and principals. My opinion.
@@rubendez I hear ya
2:14 of course theres also a root inversion G major possible from that group of 6 notes, 4:05 Worth noting that anything built on a 2nd and a 4th is an inversion of a Diatonic Quartal triad. "do both' is great advice. Yeah, Stella is a poor choice, too complex. Autumn leaves? Your modal choice also cool. thanks for an insightful review!
Greetings from a little place in the western U.S…..California. Land of flower children and Ted Greene. Mikko, I love love love your stuff!
I love California 😎 lived there in the early 90s
Such a great lesson , thanks man really good!
@Mikko Hilden. I actually bought the book before "stumbling" onto your channel and have now subscribed. Great stuff. I presume the 5 families/10 voice pairing groups would apply to other scales outside of Major, correct? For example, Melodic Minor. TIA
Hi Mikko. I bought this book several years ago and I found it too complex for me. Maybe it's an occasion to dig in it again. Let's pray.
Great video !!!!
Great book, just the first two/three pages offered me enough to a whole year of practivce, I notice some examples are like subsets of other voicing or shapes I'd heard in arrangements of other, non-jazz styles Brazilian-Guitar music. The clusters are pretty well impossible, because of the sheer stretching involved, one can play maybe 2 notes of of the 3, but I found some unique voicings nevertheless. Once I found just a sequence of pair of 'shapes' that implied' either a Tonic or a Dominant function and as such could be navigated throughout in a repeating V--.> I progression or vice versa. Amazing...
Great video as always, Im currently reviewing this book, in the past I was not ready for the stream of information it comes with...
Are you using the POG3 to get the attack-less effect? Is there any effect out there that does that only thing? I don't really want the octaver and those things by the price...
Thank you so much in advance
Mine is called Pog2 I think. There might be something called the minipog but I'm not sure it can do the Rosenwinkel trick. I don't know a lot about pedals 😐
Thanks man ♥️
Just look at a few measures at a time...my teacher spent a year each on the first,second and third, four measures of the blues.
Amazing explanation!!! Congrats and now I am following you on here!!! I just have a question. I've just bought the book and received it and I read the appendix and all explanations about GMC. But on page 2 example 6 (Sus4/7th no 3) the pairings should have been written one Sus4 and the other a 7th no 3 but instead of it the 7th no 3 has a 3rd in all cases. I think that I might not understand this example. The others are ok but this one I have some doubts. Could you help me? Thanks for your videos!!! You are amazing!!!
Thanks. I don't have that error in my book. Do you have an old edition? in mine example 6 is like a Esus4 and a G7 no 3rd. Checking it now
@@Mikkokosmos I will take a look at the edition. See you soon! Thanks 👍🏾🎼👍🏾
thanks for explanation, it's very helpfull. can you review book from tony decaprio - gateway to guitar improvisation. thanks
For one awful moment, Mikko, I actually thought you were touting a book I don't already own.
😆
What is a generic triad? I never heard that term. Do you mean diatonic triad?
I came up with that for the purpose of this video. To distinguish "normal" triads based on thirds, major, minor, dim etc from other three note voicings. For example C G B. I fifth plus a third. What do you call that chord? It's not really a triad but rather a four part chord with one voice omitted. Like a Cmaj7omit3. All these can be derived from diatonic scales so they can all be diatonic, right? All the examples in the book are diatonic. Diatonic just means belonging to a key (or a scale).
Thanks for your reply. Yes this is a tricky subject. Chords in thirds are called Tertian chords, they constructed by stacking notes in intervals of thirds. Chords made of 4ths are called quartal, Quintal are in 5ths and clusters more or less are of 2nds. Not sure how to call/categorize Tertian with omitted notes.
Thanks again for your reply and posting your lesson.
Would be good to see diagrams of what you were playing in the video.
@@Mikkokosmos
Thank you
Mick Goodrick has clearly turned you to drink - the Bourbon has gone to be replaced by Wine … ? 😂
Not sure if I want this book as there’s TOO much material in it!?!? 😂
That bourbon is long gone 😋😋😋
@@Mikkokosmos I still bought the book - you just have to be aware of Mick Goodrick’s stuff!!!
Silly Wabbit
?