One guitarist to another: excellent interpretation. In Melanie's work, I have heard echoes of Stanley Jordan (sans the multi-finger tapping), Jimi Hendrix (of course), Curtis Mayfield, Jimi Nolen, even late-era Beatles George Harrison (those diminished, 9th-6ths, Major sevenths etc), and I think some Phoebe Snow. And she STILL sounds utterly original. Excellent tutorial of an excellent, exciting young guitarist!
Thanks for listening and offering the kind words, Rene. I appreciate your very perceptive and detailed analysis of her playing style and influences. I think you are right on the money in your characterization of her style. Thanks for reaching out!
@@DrDresShreds : Monsieur, THANK you for the kind words -- and for so perceptively and sensitively rendering a working analysis/demonstration of Melanie Faye's beguiling guitar stylings. It's so interesting to me that while a number of her male mentors were steeped in Joe Pass's undeniable virtuosity, Faye has stated that she hasn't even listened to this virtuoso's recordings. Could this be true? But in a certain way, I THINK I might "get it"; Faye obviously and eclectically draws upon a number of male guitar icons (she remains a fan of Metallica), but those were largely of her own choosing. In academic settings (arts and performance high school and college), however, it appears that her professors were largely (White) males, instructing her on music idioms and theory largely created by Black virtuosos (Christian, Parker, Gillispie, Gordon, et al.). But whatever is going on there, Melanie Faye is reconceptualizing guitar playing in a unique, exciting, and moving way. I know what she's doing, where some of it came from, but SHE's the ONE who synthesized it in a way that all of us who have listened to Pass did not. THAT makes her a groundbreaker, an innovator. What makes YOUR video so compelling is that your playing and analysis EVOKES not merely Melanie Faye's technical attributes but also her singularity, her uniqueness, her breakthrough. And THAT deserves a more than a respectful shout-out from guitarists (who too often NEVER give anything up to each other): it deserves gratitude and the love. Here it is: So Many thanks for the super analysis and playing, and so much love your vid.
@@renechateaubriand2645 Again, really flattered by your kind and insightful words, and I am glad that you have found some of this useful. When I first heard her-and Ruben Wan, for that matter-I was floored by her musicality and unique voice and wanted to cop some of her sound. I thought I would put this video out there since I had already done the work, but I am pleased to see that others have derived some use from it 🙏🏽🙏🏽🙏🏽. I went to Berklee almost twenty years ago before neosoul was even a thing. There were rock players (me) and jazz players that could both comp jazz and soul, but rarely did anyone try to synthesize those sounds. Lots of exciting young players out there today have been so creatively doing just that, and I am excited to learn from them as a pro who is now in his late thirties 🤣.
@@DrDresShreds : Something in the way she moves...on that guitar. You play and live it as a true musician, i.e., "synthesize those sounds." But that's it, isn't it? Synthesizing the sounds for, umm, something new (George's bottleneck is on my mind this week; the week before it was Bullock's fusion and Byrd's samba....you know how that goes). I should drop in on Melanie Faye's mini-concerts and tutorials, but I fear I'd just get stupid ("stoopid"), i.e., "Yeah, I know the mechanics of it, MS. Faye, but how didja ...synthesize it in THAT way??" Dig YOUR style, too. I'll check out yer vids as you post them--oh, you KNOW I'll crib, steal, purloin the riffs: "Appropriation's the game, 'homage' is the game." Sigh.
thank you for the tutorial but it's basically unplayable without some chord diagrams or tabbing. i have no clue where your fingers are for most of them and there's so many different ways to play these chords
Although, I'm versed on movable chords up and down guitar neck. I think you might want to practice utilizing your ear. I find that helps greatly when there aren't chord charts available. Personally...I LOATH "TABS" - I think tabs make beginning to intermediate guitarist lazy!! Practice learning all the NOTES on your guitar neck, therefore if someone's in the key of A you should be able find chord from note anywhere on the guitar 🎸 likewise using ear pitch. - A mere suggestion which works for me. - Hopefully pass on.
@@theethnicist5678 Nah OP is right- the F#Maj9 chord is played in a very untraditional way with the capo and its hard to be sure you're playing the right thing. The way I'd play a F#Maj9 to this would be to just move everything a fret up from the B shape then while adding my pinky at the high e. Its not inherently obvious that I'd go about an F# like that and if I was playing this sound for accuracy then I'd simply be wrong. And it'd even be different if bro just said the chord voicing numbers out loud like at 3:00 but he only does it for some chords and not the ones that are untraditional. Chord diagrams are useful. If anything.. the video author should re-record the entire tutorial at true 1080p, in front of a window, during the day time. And also put chord diagrams. This is a very oof tutorial from an understandability standpoint. That being said using my ear, the voicing is (Capo on 2) F#Maj9 E 2 A 2 D 6 G 3 B 6 E 2 for those who need it. All other voicing's are fairly traditional and if you've played neo soul/acid rnb before then you'll be familiar with most of em.
On the Tiny Desk she does. I think she wanted the open-stringed voicings but also to be able to sing in a different key than the instrument would allow.
These are good man! Keep it up
Thanks so much for the encouraging words 🙏🏽! Please let me know if there is anything you would like me to learn and teach.
THANK YOU ❤️
I’m glad it was helpful!
Thank you kindly for this
No worries🙏🏽 ! I hope you found it useful.
So smoov!!!
One guitarist to another: excellent interpretation. In Melanie's work, I have heard echoes of Stanley Jordan (sans the multi-finger tapping), Jimi Hendrix (of course), Curtis Mayfield, Jimi Nolen, even late-era Beatles George Harrison (those diminished, 9th-6ths, Major sevenths etc), and I think some Phoebe Snow. And she STILL sounds utterly original. Excellent tutorial of an excellent, exciting young guitarist!
Thanks for listening and offering the kind words, Rene. I appreciate your very perceptive and detailed analysis of her playing style and influences. I think you are right on the money in your characterization of her style. Thanks for reaching out!
@@DrDresShreds : Monsieur, THANK you for the kind words -- and for so perceptively and sensitively rendering a working analysis/demonstration of Melanie Faye's beguiling guitar stylings. It's so interesting to me that while a number of her male mentors were steeped in Joe Pass's undeniable virtuosity, Faye has stated that she hasn't even listened to this virtuoso's recordings. Could this be true? But in a certain way, I THINK I might "get it"; Faye obviously and eclectically draws upon a number of male guitar icons (she remains a fan of Metallica), but those were largely of her own choosing.
In academic settings (arts and performance high school and college), however, it appears that her professors were largely (White) males, instructing her on music idioms and theory largely created by Black virtuosos (Christian, Parker, Gillispie, Gordon, et al.).
But whatever is going on there, Melanie Faye is reconceptualizing guitar playing in a unique, exciting, and moving way. I know what she's doing, where some of it came from, but SHE's the ONE who synthesized it in a way that all of us who have listened to Pass did not. THAT makes her a groundbreaker, an innovator.
What makes YOUR video so compelling is that your playing and analysis EVOKES not merely Melanie Faye's technical attributes but also her singularity, her uniqueness, her breakthrough. And THAT deserves a more than a respectful shout-out from guitarists (who too often NEVER give anything up to each other): it deserves gratitude and the love. Here it is: So Many thanks for the super analysis and playing, and so much love your vid.
@@renechateaubriand2645 Again, really flattered by your kind and insightful words, and I am glad that you have found some of this useful. When I first heard her-and Ruben Wan, for that matter-I was floored by her musicality and unique voice and wanted to cop some of her sound. I thought I would put this video out there since I had already done the work, but I am pleased to see that others have derived some use from it 🙏🏽🙏🏽🙏🏽.
I went to Berklee almost twenty years ago before neosoul was even a thing. There were rock players (me) and jazz players that could both comp jazz and soul, but rarely did anyone try to synthesize those sounds. Lots of exciting young players out there today have been so creatively doing just that, and I am excited to learn from them as a pro who is now in his late thirties 🤣.
@@DrDresShreds : Something in the way she moves...on that guitar. You play and live it as a true musician, i.e., "synthesize those sounds." But that's it, isn't it? Synthesizing the sounds for, umm, something new (George's bottleneck is on my mind this week; the week before it was Bullock's fusion and Byrd's samba....you know how that goes). I should drop in on Melanie Faye's mini-concerts and tutorials, but I fear I'd just get stupid ("stoopid"), i.e., "Yeah, I know the mechanics of it, MS. Faye, but how didja ...synthesize it in THAT way??" Dig YOUR style, too. I'll check out yer vids as you post them--oh, you KNOW I'll crib, steal, purloin the riffs: "Appropriation's the game, 'homage' is the game." Sigh.
thank you for the tutorial but it's basically unplayable without some chord diagrams or tabbing. i have no clue where your fingers are for most of them and there's so many different ways to play these chords
You’re right! I might tab it out and add a link here.
@@DrDresShreds i appreciate that greatly, hope to see it soon!
Although, I'm versed on movable chords up and down guitar neck. I think you might want to practice utilizing your ear.
I find that helps greatly when there aren't chord charts available. Personally...I LOATH "TABS" - I think tabs make beginning to intermediate guitarist lazy!!
Practice learning all the NOTES on your guitar neck, therefore if someone's in the key of A you should be able find chord from note anywhere on the guitar 🎸 likewise using ear pitch.
- A mere suggestion which works for me. - Hopefully pass on.
@@theethnicist5678 Nah OP is right- the F#Maj9 chord is played in a very untraditional way with the capo and its hard to be sure you're playing the right thing. The way I'd play a F#Maj9 to this would be to just move everything a fret up from the B shape then while adding my pinky at the high e. Its not inherently obvious that I'd go about an F# like that and if I was playing this sound for accuracy then I'd simply be wrong. And it'd even be different if bro just said the chord voicing numbers out loud like at 3:00 but he only does it for some chords and not the ones that are untraditional.
Chord diagrams are useful. If anything.. the video author should re-record the entire tutorial at true 1080p, in front of a window, during the day time. And also put chord diagrams. This is a very oof tutorial from an understandability standpoint.
That being said using my ear, the voicing is
(Capo on 2)
F#Maj9
E 2
A 2
D 6
G 3
B 6
E 2
for those who need it.
All other voicing's are fairly traditional and if you've played neo soul/acid rnb before then you'll be familiar with most of em.
She don't uses a capo 🤷
On the Tiny Desk she does. I think she wanted the open-stringed voicings but also to be able to sing in a different key than the instrument would allow.