I'm a jazz pianist but of course jazz is jazz and there is just something really pleasant about your videos that I can't help but watch when you put out a new video. You teach as if we are on the same team and are trying to learn these concepts together even though a lot of this stuff is fairly advanced and probably many of us viewers aren't quite as caught up as you are.
The close grouping of notes with a division in scale for harmony, is very popular for jazz guitar technique where you are using a pick and not finger picking like in the classical guitar style. This is actually a very popular approach for many older jazz guitar instructors who are trying to teach jazz arrangements for tonal quality (passing chords per the circle of 5ths, picking certain notes from a scale) for jazz picking style where you are trying to keep all of the note voicings as close together as possible so as to not have unused or muted strings between the triad base chord note strings. I am glad to see this formalized in a book. However, if we extend the thinking to jazz arrangements for guitar, you will see adjacent string voicings for 2, 3, 4, 5, and 6 chord types, for players using a guitar pick. The groupings are easily moved up and down on the fingerboard to give harmony while keeping a recognizable melody when arranging for guitar. The obvious different sound for jazz is when we play the melody using octaves where we have muted strings as part of the strumming or picking style. My personal opinion is the melodic close groupings always sound more emotional, and for a triad we can easily add another note which follows the melody. In classical guitar with two lines of voicings (Bach counterpoint) the most interesting portions to me are when the two lines are adjacent on the fretboard forming a kind of harmony.
"...never going to play this chord..." XD These dissonant sounding clusters are especially hard to implement. Thank you for the video Tina. I hope you are keeping well in these trying times.
I did a jazz gig nextdoor to where Mick was playing. On his break i saw dome chords i heard Friseell playing im like hey that second w a fourth voicing i love that..i hear jim hall and bill doing that too and Mick said yeah that ones hundreds of yrs old ..hed always make me feel kinda dumb but he was right 😂 the master
The shapes are new for many, but that also gets at what Goodrick was trying to do. He found a way of teaching disparate harmonic concepts together, bringing lots into focus that otherwise get taught separately. I observe he’s trimming a lot of fat from other “list books.” I’m enjoying analyzing Tim Miller’s work since! Fun seeing you dive in with the book! Best, Daniel
Better you than me! There’s something so maddeningly reductive about this. Hurts my head. Funny because Mr. Goodrick’s masterpiece, The Advancing Guitarist, is such a joy to embrace. Thanks for going where angles fear to tread
This is excellent, thank you! I bought this text months ago but have had some difficulty finding a way into it. Your exploration here has really helped me, first of all, to begin to find a way in, but also to realise that this is a lifelong study. There's so much material here that can't all be grasped and magically implemented at once. Great video, cheers!
The TH-cam algorithm suggested this video to me and I wanted to say it was really good! Really worked for me how you explained everything and also, cant quantify how, but whatever you did with the visuals made it clearer what is happening than a lot of jazz guitar videos. I like your presentation style. I am Scottish but you, Jens Larsen and some other people from "the Continent" are making the clearest content even for English speakers like me, in my opinion!
I have this book but have yet to go through it, this will give me a head start I have Mick's book the advancing guitarist very interesting i have the weiskoff intervallic book too very interesting only recently i saw tim miller play donna lee I didn't know he was that good
Your videos are always so informative! Thank you! I really dig how you say:"Warte ma', warte ma'…" when you think about something.😂 My first guitar teacher used to do that too.
Thank you for your tremendous work! 💯 Very good video explaining and showing this. What I have done is transpose the chord pairs (row 1 & some of row 2), _down_ one string. * From strings 4-3-2, down to strings 5-4-3. The main reason for this, is when comping with another comping instrument (ie: Piano). My comping line clashes/collides less with whatever else may be going on. It sounds better overall to my ear when the tones are more towards the "Tenor" voice of the guitar. It's also where the roots/lower notes of my drop-chords tend to be. *Strings 5 or 6. So I can use the method you presented here _or_ use drop-chords to change things up! It is liberating. Thank you, again! 😊
wow it's crazy but your comment here actually just made me have such an aha moment about piano comping and just so many things clicked into place about thinking about guitar harmony played on piano and vis versa.... crazy how stuff like that can come out nowhere! Thanks for this comment lol l'm sure you didn't mean it to be so instructive but l randomly got so much out of it
Hi Tina There a lot of harmony, theory, rhythm, sight Reading and study, duets, lead guitar Books publshed n'y Berklee Presse on Boston, Il vé started Learning, classical, modern jazz and contemporary guitar with them in 1981, si a Long Time ago
Thére are plenty such as Thé Adnanced Guitariste writte. by Mike GOODRICK Thé king of guitarist teachers, thé Chord Factory, thé contemporary rhythms, Country and Rock guitar by Mike INHDEe, phase 1,2,3 by William LEAVTT etc... Because i' m a versatile guitarist and a composer, arranger and orchestrator. In May 2021 I created m'y own firm, a fundation for musical création to help artists and develop some musical projects . I become a Musical Director who work as a Chief of project. Actually, I work on a musical spécial command. An French artist asked for me to compose and arrange a Gospel song from his lyrics in guitar church tradition. Here thre are a lot opportunites when You are a prolific,musician appreciaced for your creativity. M'y firm Is called LGP CO'LAB PARTNER I compose all kind of music averts, music for films, songs, jazz standards thèmes, music for church, make some guitar arrangements, transcriptions , write manuscrits instructional Books, Methods for guitarists, I write lyrics , novels, Romans, poems, musical article on varied topics. I know a youn'g film realisator, je proposed me to work on a future musical collaboration, videos etc... etc... Without love neither créativity there isn't progressive music, that why m'y job as a composer and guitarist multi cards Is important, i'.m.a Key and Central character in music, m'y job and m'y contribution are essential lll Hervé The Gentleman Performer from France.
In vé studied with q lot guitare Books méthodes, theric Berklee presse and more, si, I Knox this work and research to cet more knowledge. Hervé Thé Gentleman Performer.
Interesting! But I can’t help to view this as the ‘borrowed notes’ concept from Barry Harris. I like Barry’s system so much because it has captured all other concepts in only one system for me. Thank you for your video!
This vid is advanced stuff! I bought this book to challenge myself got lost and luckily you got me back into it. Nevertheless I wonder why you interpret GAE as A7 and not Am7 since this example started out as Cmajor scale without root... however, great content!
hi Lee i think it helped me to know the drop2 voicings pretty well- in the end every scale/chord/arpeggio i know ( and with to know something i mean: i know the name of the notes and the name of the intervals) well helps me understand the architecture of the fretboard. and then i can sort of make connections to the shapes/diagrams that i already know …. if that makes any sense
I'm a jazz pianist but of course jazz is jazz and there is just something really pleasant about your videos that I can't help but watch when you put out a new video. You teach as if we are on the same team and are trying to learn these concepts together even though a lot of this stuff is fairly advanced and probably many of us viewers aren't quite as caught up as you are.
thank you so much! i am happy to discover new material while recording myself😊 and it’s cool if it’s also useful for my viewers!!
Thank you for covering this book. Its been on my shelf for years collecting dust.
mine too
The close grouping of notes with a division in scale for harmony, is very popular for jazz guitar technique where you are using a pick and not finger picking like in the classical guitar style. This is actually a very popular approach for many older jazz guitar instructors who are trying to teach jazz arrangements for tonal quality (passing chords per the circle of 5ths, picking certain notes from a scale) for jazz picking style where you are trying to keep all of the note voicings as close together as possible so as to not have unused or muted strings between the triad base chord note strings. I am glad to see this formalized in a book. However, if we extend the thinking to jazz arrangements for guitar, you will see adjacent string voicings for 2, 3, 4, 5, and 6 chord types, for players using a guitar pick. The groupings are easily moved up and down on the fingerboard to give harmony while keeping a recognizable melody when arranging for guitar. The obvious different sound for jazz is when we play the melody using octaves where we have muted strings as part of the strumming or picking style. My personal opinion is the melodic close groupings always sound more emotional, and for a triad we can easily add another note which follows the melody. In classical guitar with two lines of voicings (Bach counterpoint) the most interesting portions to me are when the two lines are adjacent on the fretboard forming a kind of harmony.
"...never going to play this chord..." XD These dissonant sounding clusters are especially hard to implement. Thank you for the video Tina. I hope you are keeping well in these trying times.
yes i´m doing fine! best wishes to you!
I did a jazz gig nextdoor to where Mick was playing. On his break i saw dome chords i heard Friseell playing im like hey that second w a fourth voicing i love that..i hear jim hall and bill doing that too and Mick said yeah that ones hundreds of yrs old ..hed always make me feel kinda dumb but he was right 😂 the master
haha! great story! i can relate
The shapes are new for many, but that also gets at what Goodrick was trying to do. He found a way of teaching disparate harmonic concepts together, bringing lots into focus that otherwise get taught separately. I observe he’s trimming a lot of fat from other “list books.”
I’m enjoying analyzing Tim Miller’s work since! Fun seeing you dive in with the book!
Best,
Daniel
thank you for your comment!
I enjoyed seeing you interpret this book, I’ve had it a while but only dipped in, I’ll give it another look :)
cool!
Better you than me! There’s something so maddeningly reductive about this. Hurts my head. Funny because Mr. Goodrick’s masterpiece, The Advancing Guitarist, is such a joy to embrace. Thanks for going where angles fear to tread
This is excellent, thank you! I bought this text months ago but have had some difficulty finding a way into it. Your exploration here has really helped me, first of all, to begin to find a way in, but also to realise that this is a lifelong study. There's so much material here that can't all be grasped and magically implemented at once. Great video, cheers!
The TH-cam algorithm suggested this video to me and I wanted to say it was really good! Really worked for me how you explained everything and also, cant quantify how, but whatever you did with the visuals made it clearer what is happening than a lot of jazz guitar videos. I like your presentation style. I am Scottish but you, Jens Larsen and some other people from "the Continent" are making the clearest content even for English speakers like me, in my opinion!
thank you very much!! i am happy that i could make stuff clear 😊
Stoked! And the video editing is 💯 so boss
I love the videos of Goodrick and Miller improvising together, wow! Thanks for explanations.
Rootless jazz and roll!
thank you so much!
Such a nice and enthusiastic exploration of a cool topic!! Thank you :)
it’s a pleasure!
I have this book but have yet to go through it, this will give me a head start
I have Mick's book the advancing guitarist very interesting
i have the weiskoff intervallic book too very interesting
only recently i saw tim miller play donna lee I didn't know he was that good
Your videos are always so informative! Thank you! I really dig how you say:"Warte ma', warte ma'…" when you think about something.😂 My first guitar teacher used to do that too.
hahahah!! thank you so much!
Thanks SO MUCH Tina
i was a pleasure!
Thanks for sharing
You are awesome 👍🏼 👍🏼🥇🎶🎵🎶🎵
your welcome!
Thank you for your tremendous work! 💯
Very good video explaining and showing this.
What I have done is transpose the chord pairs (row 1 & some of row 2), _down_ one string.
* From strings 4-3-2, down to strings 5-4-3.
The main reason for this, is when comping with another comping instrument (ie: Piano).
My comping line clashes/collides less with whatever else may be going on.
It sounds better overall to my ear when the tones are more towards the "Tenor" voice of the guitar.
It's also where the roots/lower notes of my drop-chords tend to be. *Strings 5 or 6.
So I can use the method you presented here _or_ use drop-chords to change things up!
It is liberating.
Thank you, again! 😊
your welcome
Very nice, might be something very easy on the piano and indeed sounds like piano comping.
wow it's crazy but your comment here actually just made me have such an aha moment about piano comping and just so many things clicked into place about thinking about guitar harmony played on piano and vis versa.... crazy how stuff like that can come out nowhere! Thanks for this comment lol l'm sure you didn't mean it to be so instructive but l randomly got so much out of it
right? so pianistic! i love this approach
A wee nugget of information 👍
great video! I super dig the sound!!!
thank you!
Thank you very, very much! 🙏🏿
your welcome!
well done- ive been deep into van eps stuff lately related to this book in your video- thinking out loud dig your style- very honest-keep on T!
thank you!
Good job! I have had this book for years! Need to get into it.
'c-something.' & ' its a serious problem that it sounds so good'. 😅 i have that book somewhere and im gonna find it. Thank you Tina
have fun!!
Sweet. Love your stuff
thank you!
Hi Tina
There a lot of harmony, theory, rhythm, sight Reading and study, duets, lead guitar Books publshed n'y Berklee Presse on Boston, Il vé started Learning, classical, modern jazz and contemporary guitar with them in 1981, si a Long Time ago
yes ! which one is your favorite?
Thére are plenty such as Thé Adnanced Guitariste writte. by Mike GOODRICK Thé king of guitarist teachers, thé Chord Factory, thé contemporary rhythms, Country and Rock guitar by Mike INHDEe, phase 1,2,3 by William LEAVTT etc... Because i' m a versatile guitarist and a composer, arranger and orchestrator.
In May 2021 I created m'y own firm, a fundation for musical création to help artists and develop some musical projects .
I become a Musical Director who work as a Chief of project.
Actually, I work on a musical spécial command.
An French artist asked for me to compose and arrange a Gospel song from his lyrics in guitar church tradition.
Here thre are a lot opportunites when You are a prolific,musician appreciaced for your creativity.
M'y firm Is called LGP CO'LAB PARTNER I compose all kind of music averts, music for films, songs, jazz standards thèmes, music for church, make some guitar arrangements, transcriptions , write manuscrits instructional Books, Methods for guitarists, I write lyrics , novels, Romans, poems, musical article on varied topics.
I know a youn'g film realisator, je proposed me to work on a future musical collaboration, videos etc...
etc...
Without love neither créativity there isn't progressive music, that why m'y job as a composer and guitarist multi cards Is important, i'.m.a Key and Central character in music, m'y job and m'y contribution are essential lll
Hervé The Gentleman Performer from France.
Hi Tina
Howard ROBERTS and Andy SUMMERS practice thèse harmonicc texture chordal in their music.
Hervé, Thé Gentleman Performer from France
thenk you! that´s very interesting!
In vé studied with q lot guitare Books méthodes, theric Berklee presse and more, si, I Knox this work and research to cet more knowledge.
Hervé Thé Gentleman Performer.
Interesting! But I can’t help to view this as the ‘borrowed notes’ concept from Barry Harris. I like Barry’s system so much because it has captured all other concepts in only one system for me. Thank you for your video!
your welcome!
This vid is advanced stuff! I bought this book to challenge myself got lost and luckily you got me back into it. Nevertheless I wonder why you interpret GAE as A7 and not Am7 since this example started out as Cmajor scale without root... however, great content!
thank you Oli! of course it´s an Am7!! thank you for pointing that out!
Hi Tina, would you say it is an advantage knowing drop voicing (2 + 4) etc..to start to learn these voicings from this book?
hi Lee i think it helped me to know the drop2 voicings pretty well- in the end every scale/chord/arpeggio i know ( and with to know something i mean: i know the name of the notes and the name of the intervals) well helps me understand the architecture of the fretboard. and then i can sort of make connections to the shapes/diagrams that i already know …. if that makes any sense
@@tinajackel it does make sense, thank you for the reply and happy practicing 🙂
what is cluster?
two notes either a whole-tone or a half-tone apart played at the same time
thanks
The a7 without third would be am7 I think.
yes absolutely right!
sounds cool. thanks.
your welcome!