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!
Absolutely. When getting into these really tough changes there is no other way of thinking about it other than using note names for me. Cheers for taking the time to comment!
Love your videos!!!!!! this style of analysing music is great for "learning how to learn" I appreciate that so much! If you could do more videos in this fashion I'd be delighted. ESPESIALLY Night Dreamer omg no clue how to decode those chords.... have a nice day bro!
Thanks for taking the time to say so. I believe this approach cuts to the intent of the composer rather than a generic scalular approach. I will certainly keep going with these ideas of course! Cheers
I will do night dreamer in depth but for now the A section just alternates between G major and Eb major, don't get distracted by the beat 3 chords (F-7 D7)! The B section is E mixolydian (A major) and Fmixo. (Bb major). Hope that gets you started. Cheers
Hi Skafiiphantom, just letting you know you can sign up for an upcoming free two week course which I'll be launching around the end of May. It'll be focused on all the things which I believe to be important but are often overlooked in super flashy guitar magazines and websites. I hope to see you over there, cheers! My FREE 'Rethinking Jazz Guitar' course: bit.ly/RethinkingJazzGuitar
Great lesson - thanks Charles! How would you approach improvising over the turnaround when alternative chords are used (D7, Dbmaj7)? I know these are not the correct changes but it seems that many people play it this way?
Hi Barbara, you're absolutely right, this turnaround is often played differently. Firstly, as a soloist you could still play the realbook changes over the rhythm sections alternative harmony. However if you know that the band are going to be using different changes simply follow the same approach I used in the video: 1.) What are the chord tones? 2.) What are the melody notes? 3.) Combine them! I hope that's clear and thank you so much for taking the time to comment. Charles
Jeff Berlin call the name of each triad's notes for triad in relation at chords building, for example E/G/Bb/D the Right chord form not E/G/A#/D ... tnx for the video.
Absolutely right! This is called spelling and it is based on the number construction of each chord. You'll notice I refer to a B# in this video rather than a C because it is the correct numerical spelling. Thanks for your insight!
The choice of voicings can be a bit overwhelming when we’re trying to factor in how each voicing may or may not lead well into the next. And then there’s the issue of clashing with the melody 😳. Nice minor chord at 7:30
I think that stuff is of course very important but can be experimented on in the practice room to find the right balance. On stage in the heat of the moment sometimes a juicy voicing can cover a multitude of sins!!! Of course the long term goal is to nail both. Doable but certainly long term. Cheers!
Simply because everyone has access to it. It is riddled with issues but it remains the most widely accessible version of the standards. I have made videos without it in the past and the comments are filled with comments telling me I'm 'wrong' i.e. different from the book!! In my private teaching I avoid using it for anything other than total beginners and teach my students to rely instead on transcribing. Thanks for taking the time to comment 💪
