That is awesome. I have always seen this with the pros but I never truly knew what it was or what to call it. Thank you for sharing. That is the type of learning that really does change how you look at music. It is like learning to read, you cant unlearn this....thanks again.
@@MrGuitarplayer53 The coolest lessons are concepts like this - I agree. Lessons with Longo were like this week after week, he knew the basic building blocks of music and could articulate them perfectly. Glad it hit the spot.
Wow - To AWESOME, and Beyond! I'm so excited about this... once again I learn more in a few minutes with A.R., than in years with other teachers! The one and only thing I would suggest, is that when making instructional videos - for your instrument choice - ALWAYS choose a guitar that has the fret markers on the neck! And not something with a custom design, but just the simple single dot at frets 3-5-7-9, and the double-dots at fret 12. With that, my eye will just naturally tune-into what fret your fingers are at. Without the dots, I have to spend extra time pausing to figure-out what fret we're on here... But again, this is just an off-the-charts fantastic VID!!!
That’s what distinguishes Adam from so many others - He is a MUSICIAN who plays music! His guitar is an expressive tool, like a painter who uses different brushes, or writer who knows the nuances of words.
This is a brilliant video Adam! So clear and concise, and great examples used too, great production overall. I'm going to share this with my followers - it's excellent!
I love this lesson. Very nice continuation after trying to solo over Autumn Leaves from one of your other video's. :-) I love the podcasts you have as well. Thank you! I'm thinking about taking lessons for learning how to improvise.
Adam, god bless you. It’s such a privilege to have such an incredible teacher open up such deep ‘musical Illuminati’ wisdom, for free. Really appreciate what you do.
Another HUGE lesson in musical expression! Now that you describe it, I know I hear this all the time, and it always makes a solo, or even a melody, both more enjoyable and much more memorable. We should all learn this stuff in musical kindergarten, but we all seem to give our time to bouncing around the internet looking for the musical quick hit. Most of us don't have the tools to understand WHY we're enjoying certain pieces. Thank you Adam, for teaching us how to understand the music that washes over us. Your videos are unique, and always clear, concise, and fascinating.
Witaj ADAM...Twoje filmy są bardzo wartościowe, wprowadzają mnie w zupełnie inny wymiar muzyki. Bardzo mi pomagają w nauce gry na gitarze. Bardzo dziękuję i Pozdrawiam :-) Hello ADAM ... Your films are very valuable, they introduce me to a completely different dimension of music. They help me a lot in learning to play the guitar. Thank you very much and regards :-)
Great video! I loved that you used so many well known examples from different genres. I was thinking at first “isn’t this just call and response” then your last example actually used c and r in both statements.
Neil it's not exactly call and response - but you are on the right track. They are very similar. Allow me to illustrate the difference. Call and response is like this as I understand it: Singer: Hey Everyone have you heard the news? Backup singers: Hey Everyone have you heard the news? Singer: Neil's gonna sing a 12 bar blues... Backup singers: Neil's gonna sing a 12 bar blues... See how the backup singers are "responding" to the single singer "calls?" ---- Opening & corroberating are more like Opening: "Twas the night before Christmas when all through the house...." Corroberating: "Not a creature was stirring not even a mouse." What's different? Well, it's ONE voice - not a "call" or a single voice and a response of another voice. Also, the statements are ever so slightly slightly varied - second phrase corroberates the first - which happens most of the time.
Hi Adam, thanks a lot for this tutorial! A question: can one apply this generally to and solo opening or does it somehow depend on the underlying chord progression?! Meaning: maybe some chord progressions don‘t allow you to place the/a corroberating phrase?! Thanks again, Jürgen
gee... anybody doing any improvisation should learn this. I guess I was doing something like this with what a dozen years of music taught me, but this could have changed a lot if I knew it way back when. Teachers who mentioned repeating ideas were always too vague.
Great lessons man! Thank you very much!! I followed you on Facebook and also Instagram! I’m ross_brguitar on Instagram! You are so selfless when giving your classes! I’m an instant fan 😁 Cheers from Brazil !!!
Great lesson - and yet,, it is not always that cut and dry. Sometimes solos have other structures, just 2 give 2 very famous examples: Purple Rain and My Baby Just Cares for Me. My guess is, in Purple Rain, it is sheer tension that starts that solo, I really do not see any opening statement here. In NIna Simone's case, it is the contrast between a swing groove and a rather classical solo melody, I don't see any opening statement here either.
You are absolutely correct. I tend towards the Technique here because I know the music will develop “properly “ phrase wise… but there’s more than one way to do it! Thank you for the comment🙏🙏🙏😎
Very interesting and humbling lesson because I realize I mostly just noodle around on my solos 😂. Its fun to think of other examples. Is the guitar solo to Stairway to Heaven another example?
Yes, - I know that solo well - I even had a double-neck, SG Gibson, when I was a kid - so imagine how many times I played that solo! YES - The overall melodic shape and rhythm of the 2nd phrase of the solo corroborates the first phrase. You got it!
@@bradcomer4524 Yes Brad - solos are melodies . Simply by doing this, the entire solo takes on compositional structure - simply because of the correct springboard.
Especially on a tune like this, the opening / corroborating statement will help solos not sound like gibberish. Plus, with a different opening - each solo will develop uniquely...
As much as I so enjoy your instructional videos, and I have picked up so many ways of trying and playing in unusual ways You can be so narrow minded some times. This video is a prime example. I understand the concept of how you approach soloing, but you're suggesting this should be how the perfect solo should be constructed. Yes, it's one approach, but "obey the music Gods " ? Really ? Guess what ? Sometimes, playing great solos doesn't follow any rules !
Ray - I understand that everyone wants freedom musically. You and everyone are free to play however they want. The "rules" have to do with physics - not obedience to the "music Gods." For example, on a 2 direction, 2 lane road you are free to drive in the left lane, in fact everyone is - but there's a real reason not to do so. Or, you could eat cake for dinner - but there are real reasons not to. And, there's a real reason to tune the guitar - but you don't have to if you don't want. You always have the freedom to not do these things if you want. So the question you should be asking is "why the heck did Mozart, Beethoven, the Beatles and all these jazz greats do an opening & corroborating statement - when they were free to do otherwise?" They knew that by setting music into motion according to technique, they'd have a certain reliable architecture and melodic development - otherwise they would not have done it.
