A music teacher doing my best to make music lessons easy! Jazz guitar, piano, classical music theory and music production all simplified and concentrated to their essential elements and philosophies. I really hope you benefit from my content! Charles
Yes! This is absolutely the way to internalize the sounds of a progression to be able to intentionally express yourself the way that you would like to. 👍
Great video that encapsulates the main idea well. I'm sure it's hard to articulate this stuff over written pages, but I was struggling to understand all of this through reading the beginning of chapter 2, alone. This helped a ton
@@CharlesHarrisonMusicTuition It's a definite difference. The ontological thing, regardless of what one thinks its stems from, is a concrete feeling like the forward motion thing. And that feeling of being "possessed" for lack of better terms, only happens if you're in a perfect polymetric time flow. Without it, you're just screwing around. I'm curious, have you studied Mike Longo material? I'm a big fan
@@npnaia I understand what you're saying however I've found that this is the sort of conversation which can put beginners to these topics off, feeling like it's only available to advanced students which I would hate to contribute to. Working through Longo's materials is going to continue to inform the ontological approach but I don't think Longo would want this experience to be limited only to those who have worked through his content. This feeling can be drawn from extensive listening to records with great feel for example, it doesn't have to be studied through Longo. Or by playing with other fantastic players (such as Dizzy in Mike's case). I'm a huge fan of Mike's work and I have all of his books and videos. I have yet to read the new book released by his wife but I bet much look forward to doing so. Thanks for your comment!
@@CharlesHarrisonMusicTuition Nice point of view! I also understand where you're coming from. However, i don't feel that is an advanced thing per se. There are a lot of non-musician people that you can observe their bodies feeling the groove, either trough dance or head bobbing right on the pocket! And you don't need to even study a lot of fancy scales and chord-scales relationships, you can do it with a simple blues pentatonic improvisation in a 16th note groove. I think what I'm afraid is that the magic of that experience is not emphasized if you leave the groove part of it out, which is the key into going that ontological state.
Brilliant!!! Really clean and beautiful tone! Reminiscent of Allan Holdsworth, and when one transcribes saxophone solos on guitar, you'll notice where Allan got most of his influence.
@@EulerAngles922 It's the only guitar I have nowadays I'm afraid (although I had others at the time of this video) so it's 7 strings or nothing at all I'm afraid 😅
@@jerembismuth8200 You only 'need' the major scale. The melodic minor scale and harmonic minor scale are nice, but not essential, additions once you have mastered the major scale. Cheers
Wayne marsh is a big advocate of “slow” improvising where essentially you’re playing a continuous line over standards. Usually at a very slow tempo. Not the same in terms of continuous scale but it’s similar in concept.
@@CharlesHarrisonMusicTuition ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-BsNgsFO6X4Y.htmlsi=FNQnzsWY0QSX-7ZV&t=2791 Some similar phrasing and choices can be heard when the trio are doing some solos at this point in the show
It's a parts-o-caster. Body from Warmoth. Gotoh hardware. No longer have it. Served me well but wasn't the best, should have researched the parts better before purchasing!!
Thanks wassergrund! I don't have any pedals. This is plugged straight into my audio interface and then most likely into guitar rig for the tone. There's probably a splash of ping pong delay and spring from guitar rig and then for reverb I usually use a plate from Arturia which was a Xmas freebie once upon a time. This was a while ago now so not certain but that was most likely the setup back then. Nothing flashy!! Most of the tone comes from the strings (Optima) and by using the back (rounded corner) of my pick (purple Petrucci Dunlop) instead of the point. Hope that helps!
Hello Nice lesson! However, I find myself a little lost after going through all the video, so many things were mentionned ;) could you visually recap (in description or comment) which SCALE to use on every bar? Example : bar 1-2 = G maj bar 3-6 = F maj, ... after that is where i'm lost (bar 7-8= Eb maj? or Gmin harmonic? if you could continue the recap here that be very helpful! Thanks
I am currently working on a project to collate these ideas into sheets. I'm hoping to have the first one up in the next week or two and will link that below here
@@CharlesHarrisonMusicTuition I have no idea why the youtube algo decided to hide your videos from me for a bit. I see I've missed on a ton of fantastic content ;-)
