I don't know. I play pretty much by ear, sometimes chord sheets if I have to. I know some classical pieces from notation though. I'm getting into jazz by getting bored with the "plateau" of blues and its turnarounds and so I mess around with a few inversions and embellished chords that I know to construct other phrases rather than learn scales - which always sound like a "knitting machine" approach to me when practice becomes "repertoire" - so I vary my approach pretty well always. That's my excuse for having the attention span of a cheese omelette. This video is far too erudite for me but I'll do my best. For me, it's about listening to other players and their recordings. I steal constantly and I can never understand why anyone ever asks for the tab or the "how to" on what we see played on RU-vid. I just nick it. Sometimes it's wrong but that's how music evolves anyway. I find it possible to tell the diff between a player that knows structure and those that play "cod" jazz with a few tricks and I try to use stuff that works musically rather than all the tra-la-la "braincrack" stuff. Improvising always starts off fairly disciplined but, alone or with others, it all starts to get a bit more >ahem< "experimental". In front of an audience is a different matter - there are places to freak out but mostly....not.
For me, it is the front porch in early evening with a cold beer. My neighbors smile and wave and nobody runs away screaming, so I take that as a good sign,
LOL ! That's funny, but as Jens say "I am sure that is not true!". Because people that play horrible are not aware of it !!! That makes the BIG difference.
Cry Me a River (Barney Kessel - Julie London) is my favorite intro. When I first heard it I stopped what I was doing like, "what was that?" ... a couple days later I started studying Jazz.
I have followed and studied your techniques for years. Just wanna say that you are simply the best at sharing your deep musical insights, and your art is simply at its finest. Thank you.
I find to my ear, walking down thru a Augmented 5th, then into Dominant, then Diminished eventually landing the Major 7th, is a Uniquely stylistic approach to modern expressionism... Thanks for your excellent content. ~ Inertia
Hi Jens. Thanks for your channel and I have learned a lot for chord melody. Many years ago I walked into a guitar store and a man was playing a 7 string guitar and he was playing what I found out to be chord melody and the song was a country song called Sioux City Sue. It's a pretty upbeat song but it really impressed me because it was one guitar and it sounded great. At 23 years old I was used to strumming chords only! Life and work gets in the way and I was never really able to pursue chord melody until the last year. I was curious about one thing. It seems that chord melody is usually associated with jazz songs and I was wondering why you don't see really very many lessons on rock, country or pop songs? I guess that man that day 40 years ago really had an impression on me! I was just curious. Thank you.
10:08 Could possibly be reworked if moved up a half step, and somehow, the C# Major 7 changed to a Dominant. This could possibly prove to be rather tricky. But I might just create my own new favorite intro. One thing's for sure is that it needs the intensity turned up to 10 because the next part is really mellow. The C#7 could be a tritone substitution for the C Lydian of G minor. It doesn't hurt to experiment.
Yes, it's possible to think as a sub for E7. Then E7 could be analysed as a change of quality from Emin 7 (tonic function IIImin 7) But as you say it's not the point.
@JensLarsen neopoltin 6th chord. Richard Wagner used it. It used a bII root that works chromatic with the dominant. Just curious if you ever heard it that way
@@uptempotransport28 Ok, I have mostly seen examples with the 4th degree as the lowest note. Wagner is also so late that he is maybe not the best example for showing how something is used in classical music.
@JensLarsen 4th degree? So in C major (exp) were talking about F or Bb? I'm a theory nerd sorry lol. I know Db7 is a tritone sub to C. Is that what you mean by bII chord? You're great. Just trying to rip brains lol
Just get in theory and harmony. "Tonal harmony" "functional harmony". Lots of material everywhere. Meanwhile just play very nice examples like in this video, internalise them, hear them feel them.
@@JensLarsen Yay! What's really great is that you've taken the trouble to post the notation and tablature. Also good that these are structured progressions (intros) so we have a sense of how these enriched chords fit together. Lastly, your guitar looks and sounds lovely. Thank you.
