@@JazzRockswithAdam The challenge for me now is applying these voicings to other standards and seeing how interchangeable the shapes are. But it also increases the vocabulary of different voicings and ways to comp through a tune.
You bought me here 3:15 with the ii V I quick tip. It was a bit convoluted to understand logically since there wasn't a root, but then it made sence when I remembered that roots and 5ths tend to be omitted in jazz. Personally tho, I would consider it an F b5 chord, since that's the root and its easier to visualise, so I'll just think of it as a sub. However, I will be remembering the principle when I want to analise a chord progression, since it's quite interesting how the same shape can have 2 different qualities, and I wanted to go into something like that, I just didn't know how to, or even why to. But I get it now Thanks for the ideas, they are quite eye opening ( especially for someone who has for a long time tried to use bill Evans chords in my playing, it was like a nice moment of relating to a musician who enjoys Bill Evans like I do) Have a good day
Thanks for checking out the video and for your comment. You have to sort of forget about what you likely learned in the past and thinking of the lowest note in the voicing being the Root. It is a an Fm7(b5) chord on it’s own, but start thinking of what ever the chord you’re applying it to. So if you’re superimposing this Fm7(b5) over a G7 chord, instead think of what each note is in relation to G being the root. So the voicing in the video would be this: F = b7, B = 3, E/D# = #5, Ab = the b9. So now you get a resulting chord that is now G7(#9#5). So when the bass player plays G the chord is in fact a G7(#9#5) not an Fm7(b5). This is how guitarist and pianists create chord sounds with less notes. And more importantly, less fingers. Hope that helps. Hope to see you around here some more in the future. Cheers!
Why premiering again? Never mind. Great lesson. To do all this, I just need to extend my life another 10 years and that's after I finish the October Challenge!
When you feel comfortable with these, you can pick appropriate tunes where the vibe matches, or simply use them to change colors when comping for different soloists.
It's strange and sad ( but true), that most guitarists have little interest in (or knowledge of) harmony, and are content to play a lifetime on the same few chords they learned in their first week of playing. It's a shame, because harmony is the syntax of music, a wonderland of motion, and colorful, beautiful, inspiring sounds. Kudos to you, for showing them the way, play on brother. . . . . . . .
Thank you for your comment. And I agree, for western music, and especially jazz, harmony and rhythm is sooooooo important. Thanks for stopping by and watching.
Great playing Adam! Can you tell me the guitar you are playing here and the pickup that it have? I’m thinking on getting a telecaster to play some jazz and wondering if have any thoughts on that matter? Any advice? I want a guitar that is easy to carry. Thank you for the help 😊
Hi Telmo. Thanks for watching. My Tele is a 2016 Custom Shop “Caballo Tono.” It is super light, (probably helps that it’s a thinline) and has a Gretch style Filterton humbucker in the neck position. It is easy to carry. I really like it!
Tim, yes he did! I show some of these voicings in this video: Ed Bickert "Just Squeeze Me" Solo In Depth - OFF THE RECORD Ep.1 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Ez0sXWpQiU8.html
What is your technique to play fast single note runs using a thumbpick? Please tell me I want to use thumbpick on electric guitar too but I can't find a good technique for single note runs...
What I do is downstroke with the thumb, upstroke with the index finger. Or a combination of using alternating upstrokes with the the index and middle fingers.
So basically Lenny Breau style? Man... I guess it is just hard. I can't get this tech to sound smooth but i guess it's just hours of practise missing... 🙄 Thanks for telling me
