I like those dissonant close intervals, too (thank you Andy Summers and Alex Lifeson). I remember when I decided I was serious about guitar and started taking lessons from this guy who'd been in the One O'Clock Lab Band at North Texas State. He was a big deal player, who did all of the studio work in our area, eventually went to L.A and broke into studio work there. All that to say - credentials. So we were talking about chord voicings and harmony one day, via a chord melody he'd had me come up with on my own. I played a chord with those types of intervals in it, and he said something that stuck with me to this day. He said something about how could play voicings that most people found pleasing in order to have popular appeal, or I could sound like John Stowell. Jesus christ, what do even *say* to that?
You’ve quickly become one of my absolute favourite guitarists! I really appreciate all the lessons, and am very curious about your meditation exercises. Thank you for putting all of this out into the world.
Tim - I recently took a couple of your TrueFire courses. I highly recommend them if anyone is interested, especially the ‘Solo Jazz Pathways: Chordal Improv’ course. ( And no, unfortunately, I am not getting paid to say this.)
Hi, Tim. Is there a list of things you think students should already know when they start classes with you? Or, what knowledge you would like students to already have to help make it easier to get past the basic stuff faster?
Beautiful and moody sounding. Hard stretches for us mere mortals. Difficult for me to keep the chords sounding clean. Guess I need to practice more? Thanks. Shally
I'm by NO means at Tim's level or anywhere near, but I've found that for me a lot of those extremely wide shapes are actually fairly natural (relative to my arm physiology) with some practice when I wear a strap and keep it at a "classical" angle such as Tim in this video or Joe Pass in most footage and pictures of him.
@@PANDORAZTOYBOKZ no doubt you are correct. Keeping the neck vertical makes a big difference, even with my small, arthritic hands. As my teacher often said, Practice makes permanent, as in bad habits. Thanks for reminding me. Shally
Keep in mind these are some tricky voicings, but the actual chord itself can be played a few different ways. For the second example specifically, I’ll often play Gm6 for Em7b5 (3 note shell G on 10th fret of A string, E on 9th of G, Bb on 11th of B), up to Bbm6 (implying C7b9) and finally up to Dm6 all with that same shape and it sounds great!
I like those dissonant close intervals, too (thank you Andy Summers and Alex Lifeson). I remember when I decided I was serious about guitar and started taking lessons from this guy who'd been in the One O'Clock Lab Band at North Texas State. He was a big deal player, who did all of the studio work in our area, eventually went to L.A and broke into studio work there. All that to say - credentials. So we were talking about chord voicings and harmony one day, via a chord melody he'd had me come up with on my own. I played a chord with those types of intervals in it, and he said something that stuck with me to this day. He said something about how could play voicings that most people found pleasing in order to have popular appeal, or I could sound like John Stowell. Jesus christ, what do even *say* to that?
great music
So insteresting material! Thank you!
Beautiful harmony……
Thx! Very nice sound... Different sound...
That sounds AMAZING. Thanks for sharing!!
You’ve quickly become one of my absolute favourite guitarists! I really appreciate all the lessons, and am very curious about your meditation exercises. Thank you for putting all of this out into the world.
Very good
wonderful wonderful stuff. i use that first m9 voicing aaaall the time.
thanks for this amazing lesson.
Tim - I recently took a couple of your TrueFire courses. I highly recommend them if anyone is interested, especially the ‘Solo Jazz Pathways: Chordal Improv’ course. ( And no, unfortunately, I am not getting paid to say this.)
👏🏻👏🏻👏🏻 awesome as always. Thanks Tim!
Love this, thank you!
Thanks Tim!!
With only a smattering of jazz in my background, you got my brain all buzzin’ up in heah!
Glorious !
I like that idea! I'll have to try it out! Thank you Tim
Thank you Tim. You’re the best.
I often use the m7 up a b3 (in a maj 2-5-1), but never tried the m7 moving down a maj 3. Thanks!
Beautiful sounding shapes Tim. Thanks man! :)
I feel like the way you film your videos is exactly how your playing sounds
Nice
Beautiful and fascinating. But no way can my fingers cover that much real estate. But thanks for giving us something to aspire to.
Hi, Tim. Is there a list of things you think students should already know when they start classes with you? Or, what knowledge you would like students to already have to help make it easier to get past the basic stuff faster?
Knowing the names of the notes at every fret on the lowest 3 strings would be very helpful.
@@TimLerchGuitar what capacitors are in the neck and bridge PU?
0.2?
Greetings and thank you for your videos. All very helpfull.
Beautiful and moody sounding. Hard stretches for us mere mortals. Difficult for me to keep the chords sounding clean. Guess I need to practice more? Thanks. Shally
I'm by NO means at Tim's level or anywhere near, but I've found that for me a lot of those extremely wide shapes are actually fairly natural (relative to my arm physiology) with some practice when I wear a strap and keep it at a "classical" angle such as Tim in this video or Joe Pass in most footage and pictures of him.
@@PANDORAZTOYBOKZ no doubt you are correct. Keeping the neck vertical makes a big difference, even with my small, arthritic hands. As my teacher often said, Practice makes permanent, as in bad habits. Thanks for reminding me. Shally
Keep in mind these are some tricky voicings, but the actual chord itself can be played a few different ways. For the second example specifically, I’ll often play Gm6 for Em7b5 (3 note shell G on 10th fret of A string, E on 9th of G, Bb on 11th of B), up to Bbm6 (implying C7b9) and finally up to Dm6 all with that same shape and it sounds great!
With these chords the difference between mud and mellow is a hair's breadth.
Some of these positions/voicings are akin to The Humbler but I`ll persevere. Thsnks, Tim..
Whats the tuning?! I have no idea what 2 5 1 in the majors undies means
Standard tuning.
.... eventually, there is an upcoming sense in finger-streching - making the efforts worth its while ....