Improvisation Exercise: resolving lines & phrases! (Guitar Lesson) 

bielzinho ferreira nailed it holy shit

hahahaha

lol

Haha I was gonna comment this

Exactly!

Nino Helfrich Thank you for letting share this videos.

Fantastic man.

Great video. Thanks for sharing. 😁

...because it's unnecessary. If he's a long-term student of Martin he's obviously doing just that. some of us would like to get more vids like this in the future and your insult is not helping with that. Be thankful that they uploaded the lesson in the first place

Thanks so much for letting Martin share! For myself, I know that I would certainly be a little embarassed! But you did great and this lesson is perfect.

Thanks a lot! I highly appreciate that coming from you.

I love the way you kik off with nice touch. You help me a lot. Thanks

Nice, I'll check it out. I really dig his book.

Josh Montederamos where are you from sir?

The Improv Masterclass Vol. 1 adresses the fundamentals the most, so I'd say go with that.

Martin Miller trust me, ill get a copy of that! Thanks a lot!

I don't think while I'm soloing, I'm thinking while I'm studying/teaching. I'm not sure though how you would wether my feelings dominate my playing. That is an entirely subjective experience I think? Maybe I play with MY feelings and you prefer others :)

@@MartinMillerGuitar I meant no disrespect in fact I strive to be a more technical player like you, it’s very hard for me to go back and learn to play the right way, I’ve always played off the cuff using very little theory and although it’s incredibly fun I feel I’ve done myself a grave injustice, but I’m truly inspired by your playing and ability.... I meant no disrespect in my observation of easy lover, you guys are the real deal !

@@redsunriot4280 Hey man, no discrespect taken at all! It's an interesting discussion. I don't think music itself has any emotion at all. The emotion is the listeners response to music and I think it's important to understand that that is personal. In fact, it has to do with having respect for another persons point of view. I try not to force my taste (which is really what the term "emotion" stands for in this scenario) onto an artist or another listener. Wishing you all the best with your journey, hope these videos help a bit!

@@MartinMillerGuitar great point, very true , you’re a beast of a guitarist and a gentleman, keep making great videos !

There is a some of this. Also there is a course of luca mantovanelli dedicated to 2-5-1 in JTC

There's definitely an element of taste in there. As I said, objectively there's nothing wrong with it.

I couldn't get it either... but breaking down the pieces I think it's this one: en.wikipedia.org/wiki/Altered_scale

It's fine to practice several things, especially when you have certain assigments to do or gigs to play. But ideally you take as much time with a subject as it needs to (even when doing multiple things). The learning process can't really be clocked with a stop watch.

Thanks for the reply :)

It's not a matter of choice. Functional/diatonic harmony dictates it. I suggest getting a hold of any jazz theory book out there that is ideally non-guitar related, as these are general rules of music. Good luck and thanks dude!

Martin Miller thank you, I've just purchased the Berklee book of jazz harmony. I will let you know how I go if you're interested. Thanks again Maestro. KJ

We're both german so Nino knows how to take it ;)

I loved it, actually! It's so much more productive than having to postpone progress with euphemisms and sugar coating... I'm dying to take lessons from you, man. :D

Digitech Jamman Stereo

Thanks. Great job by the way.

Thank you very much!

And I figured It out....and on to really understanding the rest of the lesson.

😂 lol

Give him a Break!

Through my website!

Wether you can play diminished or altered depends on the alterations of the actual voicing. Mixolydian won‘t work over any altered chord.

@@MartinMillerGuitar thnx :)

Quintin Pace D dorian is C major. Its dumb. Jazz people make everything harder than it is. (Eyeroll). And they need to learn to shut up more. Too many notes. Too much showing off, no musicality.

@@joeysixstring2442 D Dorian is C maj if the tonal center is C, which is why modes are not needed for trad, tonal jazz. Kind of Blue does need modes ofc. Jazz is gr8 music but sometime the way that's its taught over complicates things.

Quintin Pace that’s actually an incorrect way to view it imo. The “tonal center” is still C over the D. The TRIADS of D however are chord tones. Therefore they act like tonal centers, but its still C with an emphasis on a chord tone. Not a D tonal center.

@@joeysixstring2442 There seems to have been a misunderstanding, as I advocated for the tonal center remaining C the entire time (because it does). If the tonal center is C, it's C. All the notes will relate back to C functionally, so no modes have any application as modes (which would require them to be the tonal center). Jazz guys use modes to order scales so chord tones fall on strong beats, sure. But there's no need to think Dorian over a ii chord. Needlessly complicated and it misses the point of learning language. Maybe it was me shortening 'traditional' to 'trad'?

It's complicated xD If you're talking chord tones then G7(#5) would indicate that there's no perfect 5th in the chord. If you do have a D in the chord and wanna use Eb as an extension that would indeed be a b13. If you're talking scale degrees and you're using phrygian dominant as the chord scale you would have a b6 (b13) in that scale as it co-exists with the perfect fifth. Now with the altered scale things get really messy as we're not using it functionally correct. If you look at the chord tones of the 7th mode of the melodic minor scale (superlocrian) you'll find that it actually spells out a minor7b5 chord, not an altered dominant chord. Therefor the theoretically accurate scale degree configuration for superlocrian is 1-b2-b3-b4-b5-b6-b7. Somebody at some point found out that these scale degree's lend themselves nicely to altered dominant chords. But of course nobody says b4 when they talk about a major third. So the whole thing is technically flawed from the start and hence I usually treat the altered scale as 1-b9-#9-3-b5-#5-b7 to make it easier to understand for the student. But you're right, it's technically off but everybody kind of silently agrees with it. Excellent question dude! I'm sure some theory buffs have plenty more insight into this.

@@MartinMillerGuitar Thanks for the clarification! Some may ask why these sorts of discussions are necessary, as theory is just us nerds trying to explain what's happening in practice. But I think that given all the various notation methods in modern music (contrast this with classical music), these discussions may help us settle on conventions.

Don‘t worry, I‘m taking good care of my students :)