Hi Eli, thanks so much for your comment! Well, I guess it depends on the last video you saw. A couple months back I bought a new compressor plugin as well as a reverb plugin. For my guitar signal chain, I'm currently going into a golden age mkiii pre-amp, then into the golden age COMP-2A (in limiter mode such to make sure there is no clipping), then add some EQ in logic with the FabFilter's Pro-Q3. After that I add Austica Audio's "El-Ray" compressor plugin (it's super transparent and musical, great for jazz). Lastly I run the guitar into two reverb plugins. The Liquid Sonic Seventh Heaven and Altiverb (on the Wendy Carlos plate reverb). Sounds like a lot, but honestly I don't add a lot of each effect and everything is saved as a preset now, so it's just plug and go for me!
First of all I want to say that you have a beautiful guitar sound. I have the video of Jim playing "Getting Sentimental "and that performance and your sound are prime examples of the beauty of guitar. My great inspiration was "The Poll Winners "; Satin Doll, Green Dolphin 🐬, Minor Mood, etc. What kind of guitar strap are you using here? I use D'addario Auto Lock.
Hey Stephen, thanks so much for your kind words! I’m using the CFG Zero Gravity Guitar Strap. It’s amazing, highly recommend if your having back issues (like I was)
Hello from Boston! Thanks for a great UA-cam channel. I'm hooked on shell voicings. It's a game changer for me. I love the simple small grips. Now I'm ready to start expanding upon those voicings and I have a question. Let's say I want to make a C dominant into a 13th. Are there shells for the extended chords? Would it be root, 3rd and 13th; C, E, A? Can I eliminate the 7, 9 and 11th in the chord? Or are we now starting to drop the root and go with the 3rd, 7th, and 13th? I hate complicated grips and tough stretches. I would appreciate your advice. Thanks Nathan!
typical reduced voicing for a C13 is Bb-E-A. That said, the real beauty of small grips is the ability to move individual voices of the chord around. Pretty soon, you aren't think of individual chords, you are thinking about interlocking melodies that will sometimes land at the same time and sometimes not. Barry Galbraith's GUITAR COMPING is a great book on this type of melodic chordal playing--which is not "chord solo'ing." Nathan Borton is such a hep cat that he has plenty of videos on that book! Another great musician/ educator/ force of nature is Barry Harris. You can apply his harmonic concept to those small grips to experiment with moment. For instance, playing the I and ii diminished. Once again, Nathan has videos on that here on the channel as well. Hey Nate, can I get a job doing your PR ;)
Charles, thanks for your question! pickinstone gave you a get voicing for a C13. The idea behind that is that we have the core of our chord the 3rd (E) and the 7th (Bb). Then we add our color tones, in this case the 13th (A). Typically the color tone is one top of the 3rd and 7th (shell voicing). So you could have Bb - E - A or E - Bb - A. So to answer your question, first you need your shell voicing, then you add your color tones (chord extensions). You also don't need the root as the bass player is playing it!
Thanks for pointing that out! Looks like it was actually a mistake... but funny enough shows the power of voice leading because it still sounds fine. The last chord is suppose to be an Fmaj7 with an A in the top voice. However, you could use that same voicing for an Fmaj7#11/C (very crunchy though). I'll make a edit in the comments about that. Thanks!
Great stuff! Is there a standard that has a harmonic sequence similar to @6:48, namely a Dom7alt moving to Maj chord with same root? Sounds familiar but I can't place it.
EDIT: at 6:30 the chords G13 to C7 to Cmaj7 are suppose to be G13 to C7 to Fmaj (again with an A in the top voice) Apologies for that mistake!
You are an excellent teacher.
Thank you so much! 😊
Thanks dude, been wanting to learn to read the actual notation forever! Simple and direct, awesome
thank you for explaining how to add color tones to my basic comping patterns
my fav player. so melodic and suprising.
Yes he definitely is! His version of Im Getting Sentimental Over You is one of my top guitar trio recordings!
Great lesson and guitar tone 👏
Thanks so much!
Great lesson, wow, killer ideas using basic Jazz chord voicings, thank you
Yes, this is very very cool!
Thanks so much Christiaan! Always enjoy your commentary videos, hope things are going well on twitch!
Thank you for the lesson!
My pleasure!
Jim Hall! Really appreciate you Nathan.. coming from an experienced teacher and musician
Thank you! Always mean a lot coming from a fellow educator and musician, have a great one!
Great lesson thank you
Thanks for watching!
Lovely lesson, Jim Hall is my favorite jazz guitarist. Thanks.
No problem and thank you! :)
Great analysis! Really useful! Thank you. Nathan!
Incredible presentation indeed. Thx.
Glad you enjoyed it!
Thank you as always for the great lessons/playing
My pleasure! Thanks for watching!
Thanks for pointing me to this Jim Hall recording. Amazing tune and great lesson!
So happy you found this recording through the video! It’s so cool to see jim play in this setting on video!
Fantastic study!!! Great tone!!! Can’t wait to check out your Kenny Burrell lesson!
Awesome! Thank you!
Great stuff Nathan !
Love Jim Halls playing. Classy and keeps in its own lane musically.
Got my Saturday sorted now 👍
Thanks so much! Jim is definitely great 👍 hope this video helps you!
My favourite jazz guitarist! Any chance to see more videos of his techniques?
Yes! I recently did a video covering aspects of his melodic soloing approach: ua-cam.com/video/JgWPYY1up1k/v-deo.html
@@NathanBortonMusic great to hear!
Totally cool
Thanks for watching!
Thank you !
Thanks for watching!
Love the video. Thank you. Subscribed.
Thanks so much Mike, appreciate that!
❤ love it
Nathan! your tone is sounding better than ever! are you doing anything different re amp and or signal chain? also great lesson. huge jim hall fan
Hi Eli, thanks so much for your comment! Well, I guess it depends on the last video you saw. A couple months back I bought a new compressor plugin as well as a reverb plugin. For my guitar signal chain, I'm currently going into a golden age mkiii pre-amp, then into the golden age COMP-2A (in limiter mode such to make sure there is no clipping), then add some EQ in logic with the FabFilter's Pro-Q3. After that I add Austica Audio's "El-Ray" compressor plugin (it's super transparent and musical, great for jazz). Lastly I run the guitar into two reverb plugins. The Liquid Sonic Seventh Heaven and Altiverb (on the Wendy Carlos plate reverb). Sounds like a lot, but honestly I don't add a lot of each effect and everything is saved as a preset now, so it's just plug and go for me!
First of all I want to say that you have a beautiful guitar sound. I have the video of Jim playing "Getting Sentimental "and that performance and your sound are prime examples of the beauty of guitar. My great inspiration was "The Poll Winners "; Satin Doll, Green Dolphin 🐬, Minor Mood, etc. What kind of guitar strap are you using here? I use D'addario Auto Lock.
Hey Stephen, thanks so much for your kind words! I’m using the CFG Zero Gravity Guitar Strap. It’s amazing, highly recommend if your having back issues (like I was)
You are the man. Though I want to see a lesson on the right way to play Smoke on The Water.
I can only play it the wrong way :(
Thats the right way! @@NathanBortonMusic
Thanks for the lesson. I found tab is a little hard to see on the transparent background
Sorry about that! Appreciate you watching though! Also PDF downloads are available for everything through Patreon if needed
Hello from Boston! Thanks for a great UA-cam channel. I'm hooked on shell voicings. It's a game changer for me. I love the simple small grips. Now I'm ready to start expanding upon those voicings and I have a question. Let's say I want to make a C dominant into a 13th. Are there shells for the extended chords? Would it be root, 3rd and 13th; C, E, A? Can I eliminate the 7, 9 and 11th in the chord? Or are we now starting to drop the root and go with the 3rd, 7th, and 13th? I hate complicated grips and tough stretches. I would appreciate your advice. Thanks Nathan!
typical reduced voicing for a C13 is Bb-E-A. That said, the real beauty of small grips is the ability to move individual voices of the chord around. Pretty soon, you aren't think of individual chords, you are thinking about interlocking melodies that will sometimes land at the same time and sometimes not. Barry Galbraith's GUITAR COMPING is a great book on this type of melodic chordal playing--which is not "chord solo'ing." Nathan Borton is such a hep cat that he has plenty of videos on that book! Another great musician/ educator/ force of nature is Barry Harris. You can apply his harmonic concept to those small grips to experiment with moment. For instance, playing the I and ii diminished. Once again, Nathan has videos on that here on the channel as well. Hey Nate, can I get a job doing your PR ;)
hahaha I don't think I have enough money to pay you (or myself for the matter) Thank you for the reply though :)
Charles, thanks for your question! pickinstone gave you a get voicing for a C13. The idea behind that is that we have the core of our chord the 3rd (E) and the 7th (Bb). Then we add our color tones, in this case the 13th (A). Typically the color tone is one top of the 3rd and 7th (shell voicing). So you could have Bb - E - A or E - Bb - A. So to answer your question, first you need your shell voicing, then you add your color tones (chord extensions). You also don't need the root as the bass player is playing it!
Thanks for your reply. I don't understand why it would be a Bb; wouldn't it be a B which is the 7th?@@pickinstone
Got it; yes Bb of course as it's a dominant chord. Thanks guys!@@NathanBortonMusic
Can you explain the ii V at 6:30? G13 to C7 to Cmaj?
Thanks for pointing that out! Looks like it was actually a mistake... but funny enough shows the power of voice leading because it still sounds fine. The last chord is suppose to be an Fmaj7 with an A in the top voice. However, you could use that same voicing for an Fmaj7#11/C (very crunchy though). I'll make a edit in the comments about that. Thanks!
@@NathanBortonMusic That makes sense, I couldn't quite grasp it haha. Great video, nonetheless!
Gran máster
Thanks for your support Siglo!
🤙🏼
Thanks for watching!
Great stuff! Is there a standard that has a harmonic sequence similar to @6:48, namely a Dom7alt moving to Maj chord with same root? Sounds familiar but I can't place it.