Welcome to my channel. I am the Guitarist for Progressive and Jazz/Fusion groups The Hand Farm, finneus gauge, McGill Manring Stevens (with Bassist Michael Manring), Jones McGill DeCarlo (with Bassist Percy Jones), and FreakZoid as well as a number of solo discs. I am also a guest on a number of discs as well.
My various recordings and teaching materials are here and I am now currently featuring my Guitar Chord series "The Chord Book" which is a comprehensive practical organised and logical approach to Chord Playing on the instrument. The approach is unlike other chord instruction books or videos and is organised around string groups and the video content for this will be ongoing. The material is for any player but it is generally geared towards Jazz, Fusion, Advanced Pop, and Classical musicians. If you like the material please subscribe and if you have a moment please spread the word to others who might be interested in the material on my channel. Thank you in advance. Scott M.
I just discovered you on youtube a few months ago and I have enjoyed your Slonimsky videos immensely. It took me about three days to get through this one and I am sure I will go through it again. Earlier this year I started going through the Slonimsky book on my own and I find the way you present the information to be very insightful and inspirational. Thank you for putting it out there!
Louis, thank you very much for the kind words and I am glad you found this of use. I will be doing a bit more of this material from the book in the not too distant future. I hope we can stay in touch.
Awesome sounds! I can't wait to see where you are going to take the Quartal Harmony down the road. Thanks again for the clear explanation of your approach to this group of sounds.
Thank you for the kind words and I am glad you found this useful. Yes you are right--there are so many great sounds in this common string group. Much more to come!
Not exactly on topic but i love that guitar. You rarely see Brian Moore’s. An old band mate had a really great one and I always thought it was like a particularly awesome Ibanez S series.
TY! I have had it since about 2000 and had a custom one since 1999 or so. I was with the company for a while and they are great. It is versatile and has its own sound and a flat radius etc which I seem to like. Its light as well and I have been using that one ever since and not interested in any other. TY for the comment on that and agreed!
@@mtstyre7768 I haven't found it super easy to find info on their different lines and models, but I THINK his was a custom. Nice quilted top, seymour duncan pickups of some kind, a wilkinsom trem, locking tuners, SUPER figured birdseye neck.
@@timeconsumer325 Yes that sounds excellent. I did have one too which was called a C-90. I ended up selling it as this Guitar (an i8) which was much cheaper had a sound I preferred. The C-90 was beautiful and they are great Guitars no doubt.
Maj7#11 generally means lydian to me but I heard holdsworth talking about lydian minor, some people like lydian dominant, I know Bartok used lydian especially his violin rhapsody No.1 3:36 When you started talking about different voices like tenor, etc it reminded me of an idea when I was watching your video about fusion chords - what if bach and holdsworth got together to write music for solo guitar ? holdsworth chords with bach polyphony and voice leading = 21st century classical guitar I keep thinking more and more how I can add counterpoint concepts to my improvising, like 3 independent voices - I'm especially attracted to the alto voice - have you heard the viola part of the Mozart Sinfonia Concertante? After I came up with the idea of improvising counterpoint I discovered a section in a book I bought a long time ago titled The Jazz Musician's Guide to Creative Practicing by David Berkman he talks about improvising on piano with independent voices
All of these things are exactly it. The movement and resolutions of voices with the chords is indicated and any voice can act melodically at any point and indeed "carry the melody", not just the top voice which is an understandable tradition. Voice motion is also of course part of embellishment when in an accompanying role and voices when "frozen" can create new discrete harmonies of course. And if one combines all this with a Bassist then many voices can now be in play. You have some great ideas and definitely see them through.
any voice can carry the melody is a concept but I'm thinking more like 3 independent melodies going at the same time have you ever considered writing music like this ? sort of like what would it sound like if holdsworth wrote a fugue
@@ziegunerweiser I have and done so. Its a concept that is embedded in my recorded work. It was also an integral part of my studies with Dennis Sandole who insisted on it with chord studies and work. I would love to hear you do your own thing with this. You must!
a long time ago I did a sketch of a fusion tune titled proglodyte that I programmed using power tab software and recorded my computer playing it back on my secret tribe channel the tune is only 2 min 55 seconds long right now but I know I want to have a solo section with chord sequences that modulate morphing into counterpoint as part of the structure but writing a modern fugue is a new idea i would love to write a suite that has polonaise bouree scherzo gigue sarabande and fugue, I'm starting to experiment with modern classical another thing ive been interested in is polychords and polytonal triad pairs, there is an interesting section in the book titled modern concepts in jazz improvisation by david baker about this but I would be curious about your interpretation - maybe you could do videos about that ? sometimes I hear this kind of sound coming from ralph towner
reminds me of an idea I came up with a long time ago - build a chord scale off a 6/9 chord I think it's the second chord from third stone from the sun by hendrix
Fantastic, as always. Thank you for all these great videos. Just please don't ever take them down as I am woefully behind because I find I have to sip ever so slowly. The info is so rich which requires a lot of thought on my end. And those stretches!! Oy Vey.....
Thank you very much Mike and I am glad you are finding these useful. Much more to come so here they will stay. Yes keep the stretches for Ballads Only! LOL!! Let's stay in touch!!
@@jabbo312 Indeed-I agree!!! The interesting thing is that the voicings can be very rich and resonant and really exploit the instrument's potential for colour and linear motion within chords. Keep the ones that work physically and sonically and discard the rest.
probly my favorite example of a triad is built into the melody of the greig piano concerto followed that a fast and quieter apreggio - similarities to that elp song welcome back my friends to the show that never ends or whatever - i think a very cool idea a person can use as a motif to be modulated and build variations on ps i paid money for hand farm in the late 90s and got addition by subtraction almost as soon as it came out
Thank you very much and I am glad you found the music and the video of interest Scott. Yes good point and example about the triads and their development. I hope we can stay in touch!
Come on folks. 116 views and only 11 likes? We're guitarists for F's sake!😘 A like is the effort of playing one note. Surely we can all do that for learning such awesome material. Or even just to help out a fellow Earthling. ❤🌍🌎🌏🌐 And I promise to not call people Shirley.
Yes indeed and I agree 100%-a sound that sometimes gets forgotten--very melodic due to the voice leading. I am very glad you find the material useful for your music!
Hey Scott hope you’re doing well, I’m an ex student of yours from acm. Is there any way I can get in touch with you? I have some questions about guitar I’d like to ask you about. I’m glad I found this channel, it reminds me a lot of my studies at acm
Thank you Fabien and I hope all is going well for you. Yes you can contact me at my work address which is the same, or on Facebook or Instagram as well and we can discuss what you would like OK.
jeez. youtube sucks. it hasn't notified me of ANY of your videos until now. at least i have a huge backlog of your videos to explore and entertain myself with. thanks. hope you are well, jimmy.
Cool concept, Scott, thanks for highlighting it! I've been playing with triads more lately and this will be fun to incorporate this technique on top of them!!!
TY Remo and I am glad this is of interest to you. It does give a very specific sound and I will be doing another one soon that expands on this as it can make chords a bit more "melodic" in a sense and doublings can have real melodic purpose. I would look forward to seeing and hearing what you are doing with the material.
Thank you Gabriel and you are so correct. I have a few extras coming on this and the Chord Book sections on Whole Tone #5 b5 Dominant type voicings helps to round that out as well..
Love this sounding harmony and beautiful voicing, I remember really feeling the sound on Sting's "Seven Days" in the chorus on "Saturday can wait.. Sunday be too late..", I love the fact to can make a iv minor sound much more interesting - instead of just Fminor to C major (Nothing wrong with that of course) but this gives such a board colour palette. Amazing lesson Scott =)
Thank you Jimmy and that is it-the voice motion can behave as multiple suspensions with multiple resolution tendencies. I know you are making excellent music from it all.
TY my man!! Good chord set--has the attributes of straight up and down voicing (r357) and becomes the adjacent voicing (r573) when you swap the notes on the high e strings/string transference as a starting point.
HI Gabriel, Good to hear from you and thank you--hoping you are well too! Yes I think there will be but there is not one as of yet. I will have one at some point and thank you for the interest in this series!!
Keith, this tune, in particular, is based on that string set I believe--the melody is "inside" the chord much of the time and there is a good bit of the 1256 chords from what I remember in addition to similar sets: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-6ajgaReeGrE.html
Hi Rick and thank you-I am glad you find the content of interest and its greatly appreciated. I've always admired John McLaughlin. I did a lot of Violin studies, Piano transcriptions, and listened to a lot of the faster stuff to get it in my ear. I work on it daily and try to push it hard. Listening to the greats and trying to get my own vocabulary near as I can to that level I suppose.
