Was pleasantly surprised to hear that Steve Swallow tune, remembering a favorite Chick Corea album from my college days ... and even more pleasantly surprised to hear your excellent 'Wow, how could I NOT have seen that' connection. As always, bravo!
I love the format of this video: comparing the structure of the subject song to the structures of several or even many other songs. Enlightening and entertaining. Your channel just keeps getting better, Guy!
Very interesting analysis. Your channel is among the best in UA-cam. As a huge Metheny/Mays fan and a guitarist/composer, I became a subscriber. Thank you and all the best from Finland!
@@dr.guyshkolnik_composer So cool to hear back from you Guy! Two of my many all-time favourites are Unity Village and Farmer's Trust. So beautiful compositions both of them and so much fun to play along. Actually my most recent own composition may have a bit of Metheny vibe as well - can't really escape my own listening history. :) If you want to check it out, please head to soundcloud.com/jucciz and choose the newest tune. There are others as well that might have echoes of Pat and Lyle's music in case you're interested. Cheers from Finland and keep up the great work!
Man this is so good!! So brightly explained, really fantastic video. Love your usage of sounds, that Falling Grace one really blew me away:) great playing!
Another excellent video! I love the way you play all the different tunes and how you explain the less straightforward structures. I think Falling Grace needs its own video because it's one of the most special jazz tunes, and one of Lyle's favourite standards (along with Stella). I'm not seeing it as a prose tune in the same way as Pat's tunes you describe. It has repeating patterns but they're not used in the straightforward way that Minuano and Follow Me use patterns. Even the A section of Every Summer Night has phrases that build off previous ones, so there is still some element of poetry. I actually hear poetry in all of the tunes you mention, it's just that the rhyming words aren't where you always expect them to be. A good tune always has some element of poetry, even if it may be less catchy than a nursery rhyme.
Thanks Matt! You mentioned rhyming, and that is my point exactly in this video. Instead of talking about modern vs. traditional poetry (rhyming), I used poetry vs prose instead. But yes, once you get into the music you see the connection between the gestures both in FG and in ESN. I was thinking yesterday about another thing - tunes made of a single part vs. tunes with A and a B part (Last Train Home, 5-5-7) I still need to look into it, but I think most of Keith Jarrett's tunes are made of only of an A part As If he's more interested in capturing row ideas, not feeling obligated to come up with a B part. Might be an interesting point to think about...
@@dr.guyshkolnik_composer That would be interesting to look at tunes with multiple sections (I'm assuming you aren't counting intros and interludes) vs just one section. Jarrett indeed usually just has a simple head while Pat frequently writes the usual AABA tune (like So May it Secret Begin and First Circle, which really is just AABA at its heart). Every Summer Night has the augmented AABAC form. I think the C section is brilliant in that it starts with the opening of the B section but gives closure to the "prose"-like A section by using a repeating hook. But repeating the A section 3 times in the head and another 2 times after the solos really helps this non-rhyming melody stick with us by the end of the tune, though the C section really finishes off the head and the entire tune very nicely. While 5-5-7 starts off with ABA, only part of the B section comes back later and makes me think of the structure in as something more. The solo section is also something entirely different, turning the tune into something more like a classical composition.
@@matt-spaiser Yes. Keith has said in the past that he wasn't interested in being a composer. What I like about Pat - he's a not a music philosopher. He Just makes music being blue collar about it: free forms, AABA, prose, rhyming music - he just does it.
@@dr.guyshkolnik_composer I wonder if Keith is like Lyle in that he doesn't see composition and improvisation as being separate. While Keith has a few famous and memorable compositions, he is best known for his composition-like free improvisations, and yet in the way he plays similar improvisations on consecutive nights it's almost as if he is writing and developing thought-out compositions live on stage. He has no need to write music when he comes up with such fascinating music in his own way. Pat does a lot, but he has his systems of writing music. I find many of his tunes easy to categorise into certain structures and certain rhythmic types. And he mostly writes tunes with the goal of a fun vehicle for improvisation. The tunes that aren't like that might be to showcase a certain thing he learned or a certain type of guitar, but he forgets them if they aren't fun to play.
Was pleasantly surprised to hear that Steve Swallow tune, remembering a favorite Chick Corea album from my college days ... and even more pleasantly surprised to hear your excellent 'Wow, how could I NOT have seen that' connection. As always, bravo!
Thanks, Steve :) Was it Crystal Silence with Gary Burton?
Excellent analysis. This is one of my favorite Metheny tunes. I'm learning the song on guitar, and your discussion on the harmony really helped me.
same
I love the format of this video: comparing the structure of the subject song to the structures of several or even many other songs. Enlightening and entertaining. Your channel just keeps getting better, Guy!
Thanks, Michael!
Great master class again, thx so much Guy for this amazing knowledge of yours!
My pleasure, Thank you! :)
Thanks for another deposit into my musical bank account 😉
Lyle's words exactly. Thanks Mike!
Just amazing
Jose thank you!! 🙏
Many thanks for beautiful explanation of chords and timing of this fantastic music
I’m so glad you liked it!! Thank you!
Fantastic, keep ‘em coming
Thanks Daniel!
Your videos are outstanding.
Thank you!
Very interesting analysis. Your channel is among the best in UA-cam. As a huge Metheny/Mays fan and a guitarist/composer, I became a subscriber. Thank you and all the best from Finland!
Thank you so much! As I'm always looking for new ideas for videos, Let me know if there's a specific Metheny tune you're interested in. Guy.
@@dr.guyshkolnik_composer So cool to hear back from you Guy! Two of my many all-time favourites are Unity Village and Farmer's Trust. So beautiful compositions both of them and so much fun to play along. Actually my most recent own composition may have a bit of Metheny vibe as well - can't really escape my own listening history. :) If you want to check it out, please head to soundcloud.com/jucciz and choose the newest tune. There are others as well that might have echoes of Pat and Lyle's music in case you're interested.
Cheers from Finland and keep up the great work!
Man this is so good!! So brightly explained, really fantastic video.
Love your usage of sounds, that Falling Grace one really blew me away:) great playing!
Thanks man! That vibraphone new sound from Nord is so good. Layering it with piano, and you're ready to play the Lyric suite for Sextet :)
Haha sounds like it! One of my all time favorite albums! you know.. :)
@@AbramovMusic Of course ("Gary don't worry, I haven't composed anything yet, but I bought great sheet music paper")
Always wonderful!
Thank you Flavio :) For some reason, this song always sounds to me like it belongs in a french movie :)
Dr. Guy Shkolnik Composer interesting observations. Paying attention now I can tell you that it’s really true. Thank you very much
It would be amazing if you can review the intricate structures of You from Speaking of Now album. Thank you!
Thanks Cacho, I'm planning a video on that soon!
Another excellent video! I love the way you play all the different tunes and how you explain the less straightforward structures. I think Falling Grace needs its own video because it's one of the most special jazz tunes, and one of Lyle's favourite standards (along with Stella). I'm not seeing it as a prose tune in the same way as Pat's tunes you describe. It has repeating patterns but they're not used in the straightforward way that Minuano and Follow Me use patterns. Even the A section of Every Summer Night has phrases that build off previous ones, so there is still some element of poetry. I actually hear poetry in all of the tunes you mention, it's just that the rhyming words aren't where you always expect them to be. A good tune always has some element of poetry, even if it may be less catchy than a nursery rhyme.
Thanks Matt! You mentioned rhyming, and that is my point exactly in this video.
Instead of talking about modern vs. traditional poetry (rhyming), I used poetry vs prose instead. But yes, once you get into the music you see the connection between the gestures both in FG and in ESN.
I was thinking yesterday about another thing - tunes made of a single part vs. tunes with A and a B part (Last Train Home, 5-5-7) I still need to look into it, but I think most of Keith Jarrett's tunes are made of only of an A part As If he's more interested in capturing row ideas, not feeling obligated to come up with a B part.
Might be an interesting point to think about...
@@dr.guyshkolnik_composer That would be interesting to look at tunes with multiple sections (I'm assuming you aren't counting intros and interludes) vs just one section. Jarrett indeed usually just has a simple head while Pat frequently writes the usual AABA tune (like So May it Secret Begin and First Circle, which really is just AABA at its heart). Every Summer Night has the augmented AABAC form. I think the C section is brilliant in that it starts with the opening of the B section but gives closure to the "prose"-like A section by using a repeating hook. But repeating the A section 3 times in the head and another 2 times after the solos really helps this non-rhyming melody stick with us by the end of the tune, though the C section really finishes off the head and the entire tune very nicely. While 5-5-7 starts off with ABA, only part of the B section comes back later and makes me think of the structure in as something more. The solo section is also something entirely different, turning the tune into something more like a classical composition.
@@matt-spaiser Yes. Keith has said in the past that he wasn't interested in being a composer. What I like about Pat - he's a not a music philosopher. He Just makes music being blue collar about it: free forms, AABA, prose, rhyming music - he just does it.
@@dr.guyshkolnik_composer I wonder if Keith is like Lyle in that he doesn't see composition and improvisation as being separate. While Keith has a few famous and memorable compositions, he is best known for his composition-like free improvisations, and yet in the way he plays similar improvisations on consecutive nights it's almost as if he is writing and developing thought-out compositions live on stage. He has no need to write music when he comes up with such fascinating music in his own way.
Pat does a lot, but he has his systems of writing music. I find many of his tunes easy to categorise into certain structures and certain rhythmic types. And he mostly writes tunes with the goal of a fun vehicle for improvisation. The tunes that aren't like that might be to showcase a certain thing he learned or a certain type of guitar, but he forgets them if they aren't fun to play.
Love these!
Thanks Ronnie!
I wish to hear a cover version of follow me in piano for you, this will sound really awesome
bravisimo
Thanks Manuel!!
Nice , if you want record Falling grace complete video , its amazing , thanks its better than original sound
I'm referring to it in my new video on Highland Aire (coming this weekend). But perhaps it does deserve its own video. I think it does :)
i need to see it in x0.25 in order to get it :P