Great lines. Hey. Mike love this Channel and your gift of sharing your mad skills. Please slow down your teaching a beat for us intermediate players coming from blues and incorporating your jazz style licks. Thanks heaps!
I got hip to this concept a while back and I deduced that the thinking is Am is the 2 chord of a 2-5-1 in G. Therefore Eb melodic minor would be the altered 5 of G. Jazzers thinking 2-5-1 so that’s my rational. Whatever the case, sounds pretty hip and I use it to go “outside” sometimes.
I'm looking at the PDF arrangements, and I think I noticed a rendering error: the chord names on 1st page of All The Things You Are were replaced with some other letters/words -- the chord symbols in the rest of the arrangement look fine, though. Just wanted to give a heads up, everything else looks great so far!
Thanks so much for purchasing the album and digging into the transcriptions! I noticed that error yesterday, and it happened when I merged the pdf files of each tune into one larger pdf. I tried again, and the same thing happened again. It replaces the chord symbols with the words “all the things you are,” and I have no idea why that would happen! The chords on that first page are just the chords from the standard(Fm7, Bbm7, etc), but I’m going to try and fix it this week and see if I can get a revision out to everyone.
I hope you can grab a few things out of this. Even just taking the Jimmy Wyble chordal idea or the Van Eps interval idea and running that around the fingerboard can give you a years worth of material!
Superb! For me, you have the best channel for (1) studying the musical techniques of late, great guitar players (I've watched your videos on Jimmy, GVE, Lenny, Johnny Smith, Ted Greene, etc.) and (2) getting them into our playing via exercises (your "Building Technique through Vocabulary" ideas). It's a great next step for intermediate guitarists who are beyond the basics of jazz guitar, but need guidance on arranging. I love that jazz revolves around standards because of the variety of arrangements: any single standard has been covered countless times with various approaches to the harmony. So, standards and their arrangements become a bank of techniques that we can apply elsewhere. Very cool, I support you on Patreon and have purchased your album. I look forward to (1) hearing your performances and (2) analyzing your approaches to these tunes 🙏 Also, the "standard deviation" title is clever. Throwback to the experiences w/statistics we had in school + it makes sense b/c you're performing standards and "deviating" by applying the techniques you've learned
Thanks so much for the kind words Anton! I’m glad you’re enjoying the lessons, and are able to get stuff out of them. I always check out any version of a standard I know done in a solo guitar setting because every player will approach it differently, and each approach can give me inspiration to do something new!
Di Meola was one of the 70s players who redefined what was possible on the instrument. That said, I wonder how far his technique dictated and limited the music he played: ideally, it should be the other way around. For example, the 'alternate-pick everything' approach: the 'strings of 16th notes played very evenly'; and the 'one finger per fret no stretches' fingering that the lines you illustrate here suggest. I remember listening to the famous 'One Night in San Francisco' album, and thinking that in spite of his obvious accuracy and speed, Di Meola's phrasing sounded stiff and mechanical by contrast with McLaughlin and de Lucia.
Great video Mike 👍🎸 Al Di Meola was so influential to me too and like you sent me in many new directions artiist wise. Best to you brother, keep up the great work!
Saw Al last week from very close. What surprised me was his right hand work. Great writing and playing but, unlike you, he moves his whole forarm( rigid) and seems to be picking from the shoulder. At the time he developed his technique there was no Cracking the code lol Great content btw. I appreciate your approad!
I have yet to see him live. One day, I hope to! Al just goes to show that there is no one perfect way to pick, since every single person is different. While I could never pick using his technique, we can’t argue that it doesn’t work for him! He’s one of the best out there!
His picking looks bit different now, 70s - early 80s, it looks more wrist action. Now days its more whole arm along with wrist when playing fast. Anyways he really can hit those strings hard and precise. Other players seem bit weak compared to, especially on acoustic guitar.
Using 4ths like this is a glorious cheat code for that "contemporary" jazz sound. Kurt Rosenwinkel is also big on playing 4ths like this and has a similar exercise on his channel. Love it
Yes, it’s a very easy way to get a modern sound. Sid Jacobs showed me the same concept Kurt talks about in his video, and I’ve had a lot of fun messing around with that. I did a lesson on it previously!
Cool! I subscribed. Funny that right before you mentioned melodic minor, I was thinking the same thing. I've always had trouble memorizing those modes and this should help.
Love the variety of ideas you expose us to; I appreciate how you stick with one idea, presented in a no nonsense or fluff way. I don't think this is something I would readily use. It feels too advanced and outside for what I do now. That said, I like be exposed to new ideas (new for me); and you never know when one these ideas will hatch later into something interesting.
Thanks for the kind words! Ideas like this are definitely different from typical vocabulary, but I think it’s good to explore because it exposes your ear to new sounds. Also, you don’t have to play the entire six string shape, you know? You could mess with 2 or 3 strings at a time, and that may help it sound more palatable for your ears!
I wouldn't recommend rolling. You just don't get the same sound. Go with Mike's technique here. Personally though, I like to do wide reaches + string skips on the higher frets.
Thanks for the endorsement! While I agree with you, I will say that Joe himself would play stuff like this with rolling. I physically can’t do it and make it done clean, but he definitely could!
@@mbacarellaguitar Any of his tunes, Mike. Would love to see your first reaction ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-FxQirt705gc.htmlsi=GIyfgUiOQPpa68I9
Herb was the jazz musician who finally “sold” me on jazz. When I first heard Oscar Peterson’s “Hello Herbie” album I immediately became obsessed with jazz. Hearing someone play guitar like that really changed me!
I’m working on ways to try and make it easier for me to include a backing track with what I’m playing! Hopefully I can figure it all out and start including them in my play through of the lines!
Zemaitis is the company. They are out of Japan. I briefly had an artist deal with them, and that’s where I got this guitar. I don’t think they make this particular model anymore, but everything they make plays great!
@@mbacarellaguitar I am trying to send the links the third time. But can't see them I apologize if I am sending too many. I just can't see them here and I would like you to have some fun tonight listening and probably playing ) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-FxQirt705gc.html
