Thank you, Maestro! ! Gracias! Outstanding 5Star Latin guitar lesson! You give us bite-size pieces that we are able to grasp. I enjoy your implementation of a looper for a riff baseline and then playing on top of it so we can hear how these brief progressions dovetail beautifully with basic backing. I’m so happy I found this video. 😃 I will be practicing this for weeks to come. Beautiful music. Wonderful instruction! I look forward to more of your lessons. God bless.
0:55 first 251 progression 1:41 second 251 progression 3:01 third 251 progression 5:09 basic spanish cadenza 6:00 baroque 6:13 paco de lucia 7:06 E minor chromatic pattern 7:45 boullerias 8:40 il ciclone 9:21 254 concerto 10:58 semitone moved up chords 12:11 jazz context
Hi, I have been looking for spanish/latin guitar videos for the past weeks and yours is truly amazing !!!! I have loved listening to you playing those beautiful chord progressions and even giving all the explanation behind it. Really nice work, and nice video, keep going like that I want to see more !!!!
Hi Sergio.I would really like to get into the Em pattern with the chromatic parts added. Would be really great to find out more. Great lessons and hope you have a great new year.
Hi @D Strings I have posted a new video covering the chromatic pattern you asked for with more details and with some commentary. Here's the link: ua-cam.com/video/z7Gv8KD1FKM/v-deo.html
Thanks, this is helping me work out a chord progression. I have no experience or tutoring of chord progressions, but naturally default to avoiding what one expects, or wish to be experimental. As a keyboard player or attempting composition using a DAW, I'm attracted to 'foreign' sounding chord 'progressions', and how the guitar combines well tones that some call discordant in jazz-type chords or those used in flamenco. So, the Spanish cadence and the One to flat two seems to be where I am going. However, I looked into the montuno rhythm and a pianist's version on UA-cam. To me, it was like four chords per bar, and the song sung over this having long notes that span across all this. So, in this rhythm would there actually be a chord progression within a chord progression? The chords I have seem to move quickly in semitone steps often using minor and diminished or flat ninth [stuff I've never really understood or tried before] and doesn't seem to get to a 'tonic' unless it goes back to the beginning of the four or eight bars. This is just the verse section, the chorus may have a more simple chord progression. So, does a montuno have four chords per bar? Can a two-bar tango phrase have four chords - one on each main [swinging] beat? I have some visual and neural/cognitive problems and go off in different directions, so I'm going to look at what my chords really are - as the DAW may not be look naming them sensibly. It insists on calling a chord B sharp something - instead of a C chord. If I sing a D over a B flat minor seventh, am I really in D minor? I've been looking at Oliver Prehn's New Jazz tutorials. What appears to me as a C maj 7th, i.e. C, E, G, B, Oliver plays an A in the bass and now it's called an A minor 7th plus 9th. What are often called 7th chords have an added 9th, 11th or even 13th. This then makes it difficult to name a chord I played [moving notes often in half step intervals] and then seeing if there is a regular chord progression. Sorry, if it seems chaotic, but what started as something like the one to flat two simple progression had to get a montuno inserted into it. I'm unwell and trying to learn several things. I live in a very isolated small town - without any contacts these days.
@@latinguitarmastery, I'm sorry for my distressed state writing a week ago. I'm trying to cram in too much while ill and in isolation. My childhood music lessons only went into major and minor chords and scales. I'm now finding there's so much to learn in music, from unusual scales, chords, and the unique sound of individual instruments and the expertise needed to understand or capture this for use in orchestral compositions. At 7.20 it's close to a Montuno using four rapidly descending chords. [I'm working on a rhythm using at least four [different] chords in one bar or small chord changes - changing one or two notes a semitone at a time. The lyrics are serious. A mixture of danceable Latin rhythms combined with the emotional seriousness of Tango and Flamenco appears to be needed.] I'm also sorry that the following is not based on guitar and is more to do with my problems with composition, orchestration, unusual modes etc. Latin guitar though I feel from this video is very inspirational and an essential part of Latin dance orchestration. Where I live, it's extremely difficult to experience live the unique sound and standard as seen here, or any guidance in creative musical endeavours. Just posting my problems has been helpful, and needs no response. Locals are so dysfunctional, tradespeople failed to build my music studio last year. Covid redirects builders to build larger projects for the exodus many make from cities into country regions. .................................................................. I've played back the simple tune I made years ago and found why I had problems playing along with it. I thought, as it was on a tape, it was warped and maybe playing slower, but I see my electronic keyboard must have had middle A tuned to about 450cycles per second instead of 440! Then I thought it was in a mode perhaps G Phrygian? It has the notes from C melodic minor. C D E♭ F G A♭ B C or really G A♭ B C D E♭ F G using basically G7 and F minor 7 chords. Although ending on a G chord, the phrase ends on a long B note. However, with equal temperament, this B sounds off-tune using the new gear. I think I must have had the old keyboard tuned to another temperament, as a major third from the tonic doesn't sound right unless the B is detuned by 14 cents. Now, I'll just try another chord for this B note. I think it is often the case that chords with tones a half-tone apart like passing notes are not sustained as with a vocal or flute sound, and a combination of more than the two adjacent notes sounds less discordant when there are more notes in the chord. But also like food, we can grow to like flattened ninths, etc. If I move the F in the F minor to F# it becomes an A♭ major 7th chord and so then it takes on the shape of a I - ♭II [G7 to A♭maj7] chord progression. [Correction - using an F# in the 'scale', it would be G maj7 and A♭7 and still be using notes from the same mode. Adding F# provides a leading note into G.] To me, I - ♭II, or moving a half step - is a change of key if the scale used is a major or minor scale. {Edit - the problem with B being out of tune [with a G chord] doesn't seem to occur if it is part of a chord of 3 or more notes. It seems to be with a single woodwind voice, in particular, the flute. I know that orchestras once had a problem harmonising multiple flutes with the whole orchestra, but it makes no sense if all instruments use equal temperament. Perhaps flute timbre, close to a pure sine wave has something to do with it.] It also means the new mode is G A♭ B C D E♭ F# G possibly with incidental notes. This isn't any of Oliver Prehn's modes or scales as it has two 1.5 tone steps in it. I've always just called it an 'Arabic scale' of some sort. The problem is that I to ♭II is not sufficient for a good dancing chord progression, and that's why I'm trying to extend it with a Montuno progression - it just may mean using a chromatic lot of chords if the chords modulate up and down a half step. The challenge is in sustaining one singing note through a bar with at least four chords in it. Perhaps such a sustained note [over something like the I - II♭ chord progression] could slide a semitone if necessary although I hear orchestration where a sustained note were suspended over two or more chords that may not usually support a harmonious interval when played out of context. It would be great to have a flamenco guitar player in my neighbourhood to record when I work out a Latin-type rhythm to return to proper dance music as far away from techno as possible. I like big band swing and full orchestration for atmosphere. I'm looking at many acoustic instruments and how they are played, including how Latin percussion is played.
The first progression is Bm7b5 - E7 -Am so ii V i in Aminor, the second progression is Gm7 - C7 - F which is ii V I in F major. Is there another one i you are referring to?
I was playing guitar & thinking about a video like this this morning
Thank you, Maestro! ! Gracias! Outstanding 5Star Latin guitar lesson! You give us bite-size pieces that we are able to grasp. I enjoy your implementation of a looper for a riff baseline and then playing on top of it so we can hear how these brief progressions dovetail beautifully with basic backing. I’m so happy I found this video. 😃 I will be practicing this for weeks to come. Beautiful music. Wonderful instruction! I look forward to more of your lessons. God bless.
Wonderful to hear, let me know if you have any questions.
0:55 first 251 progression
1:41 second 251 progression
3:01 third 251 progression
5:09 basic spanish cadenza
6:00 baroque
6:13 paco de lucia
7:06 E minor chromatic pattern
7:45 boullerias
8:40 il ciclone
9:21 254 concerto
10:58 semitone moved up chords
12:11 jazz context
thanks for this
@@latinguitarmastery thank you for your videos
GOD BLESS YOU
Hi, I have been looking for spanish/latin guitar videos for the past weeks and yours is truly amazing !!!! I have loved listening to you playing those beautiful chord progressions and even giving all the explanation behind it.
Really nice work, and nice video, keep going like that I want to see more !!!!
Thanks for your encouraging comments, will do!
Hi Sergio be great too get some grooves on a choro I haven't heard many lessons on it with its incredible bass usage
Thanks, I have some Choro possiblities, stay tuned!
Hi! I really liked your video, I want to send a hug from Brazil!
thanks!
Thanks
Nice vid. Very informative. Thanks for the new knowledge.
Thanks!
Esto es oro! Great video for real, keep doing this videos, keep our culture alive 💜🔥
Gracias!
This is fantastic - thanks!
merci pour la leçon cheers
chega da saudade...
Gracias, thank you!
Amazing video, learned much today. Thank you very much!
great to hear!
Nice, great vid.
thanks
i loved this guitar ❤️❤️
Thanks for the tips ✌️
Superb help thank you sir ...
Thanks
Amazing video. Thank you so much!
Great succinct lesson!
Thanks
Can you slow down the flameco thrum
Wow
What’s that Ottmar Liebert excerpt?It sounds so good.I really want to know the name of that tune 8:30 8:55
It’s called 2 The Night I think
Here’s the piece ua-cam.com/video/JWNMvXj3lfE/v-deo.htmlsi=VPlLmoQKzAwDmkH4
@@latinguitarmastery Thank you!!
Hi Sergio.I would really like to get into the Em pattern with the chromatic parts added. Would be really great to find out more. Great lessons and hope you have a great new year.
Sure, I'll do a video on this pattern. Thanks for the feedback.
@@latinguitarmastery brilliant. Thank you so much.
Hi @D Strings I have posted a new video covering the chromatic pattern you asked for with more details and with some commentary. Here's the link: ua-cam.com/video/z7Gv8KD1FKM/v-deo.html
Can you make a tutorial on the strumming pattern at 6:40?
Ok I'll see what I can do
I've posted a video today on this
@@latinguitarmastery thank you!
quality
Thanks
Great lessons but you should use a mic for your voice... is difficult to hear what you say.
thanks, my set up has changed now so you should find my latest videos easier to hear.
B half diminished
E7
A minor
Thanks, this is helping me work out a chord progression. I have no experience or tutoring of chord progressions, but naturally default to avoiding what one expects, or wish to be experimental. As a keyboard player or attempting composition using a DAW, I'm attracted to 'foreign' sounding chord 'progressions', and how the guitar combines well tones that some call discordant in jazz-type chords or those used in flamenco. So, the Spanish cadence and the One to flat two seems to be where I am going.
However, I looked into the montuno rhythm and a pianist's version on UA-cam. To me, it was like four chords per bar, and the song sung over this having long notes that span across all this. So, in this rhythm would there actually be a chord progression within a chord progression? The chords I have seem to move quickly in semitone steps often using minor and diminished or flat ninth [stuff I've never really understood or tried before] and doesn't seem to get to a 'tonic' unless it goes back to the beginning of the four or eight bars. This is just the verse section, the chorus may have a more simple chord progression.
So, does a montuno have four chords per bar? Can a two-bar tango phrase have four chords - one on each main [swinging] beat?
I have some visual and neural/cognitive problems and go off in different directions, so I'm going to look at what my chords really are - as the DAW may not be look naming them sensibly. It insists on calling a chord B sharp something - instead of a C chord. If I sing a D over a B flat minor seventh, am I really in D minor?
I've been looking at Oliver Prehn's New Jazz tutorials. What appears to me as a C maj 7th, i.e. C, E, G, B, Oliver plays an A in the bass and now it's called an A minor 7th plus 9th. What are often called 7th chords have an added 9th, 11th or even 13th. This then makes it difficult to name a chord I played [moving notes often in half step intervals] and then seeing if there is a regular chord progression.
Sorry, if it seems chaotic, but what started as something like the one to flat two simple progression had to get a montuno inserted into it. I'm unwell and trying to learn several things. I live in a very isolated small town - without any contacts these days.
Thanks for your thoughts some interesting in there, I don't know a lot about Montuno but will investigate.
@@latinguitarmastery, I'm sorry for my distressed state writing a week ago. I'm trying to cram in too much while ill and in isolation. My childhood music lessons only went into major and minor chords and scales. I'm now finding there's so much to learn in music, from unusual scales, chords, and the unique sound of individual instruments and the expertise needed to understand or capture this for use in orchestral compositions.
At 7.20 it's close to a Montuno using four rapidly descending chords. [I'm working on a rhythm using at least four [different] chords in one bar or small chord changes - changing one or two notes a semitone at a time. The lyrics are serious. A mixture of danceable Latin rhythms combined with the emotional seriousness of Tango and Flamenco appears to be needed.]
I'm also sorry that the following is not based on guitar and is more to do with my problems with composition, orchestration, unusual modes etc. Latin guitar though I feel from this video is very inspirational and an essential part of Latin dance orchestration. Where I live, it's extremely difficult to experience live the unique sound and standard as seen here, or any guidance in creative musical endeavours. Just posting my problems has been helpful, and needs no response. Locals are so dysfunctional, tradespeople failed to build my music studio last year. Covid redirects builders to build larger projects for the exodus many make from cities into country regions.
..................................................................
I've played back the simple tune I made years ago and found why I had problems playing along with it. I thought, as it was on a tape, it was warped and maybe playing slower, but I see my electronic keyboard must have had middle A tuned to about 450cycles per second instead of 440! Then I thought it was in a mode perhaps G Phrygian? It has the notes from C melodic minor. C D E♭ F G A♭ B C or really G A♭ B C D E♭ F G using basically G7 and F minor 7 chords. Although ending on a G chord, the phrase ends on a long B note. However, with equal temperament, this B sounds off-tune using the new gear. I think I must have had the old keyboard tuned to another temperament, as a major third from the tonic doesn't sound right unless the B is detuned by 14 cents. Now, I'll just try another chord for this B note.
I think it is often the case that chords with tones a half-tone apart like passing notes are not sustained as with a vocal or flute sound, and a combination of more than the two adjacent notes sounds less discordant when there are more notes in the chord. But also like food, we can grow to like flattened ninths, etc. If I move the F in the F minor to F# it becomes an A♭ major 7th chord and so then it takes on the shape of a I - ♭II [G7 to A♭maj7] chord progression. [Correction - using an F# in the 'scale', it would be G maj7 and A♭7 and still be using notes from the same mode. Adding F# provides a leading note into G.] To me, I - ♭II, or moving a half step - is a change of key if the scale used is a major or minor scale.
{Edit - the problem with B being out of tune [with a G chord] doesn't seem to occur if it is part of a chord of 3 or more notes. It seems to be with a single woodwind voice, in particular, the flute. I know that orchestras once had a problem harmonising multiple flutes with the whole orchestra, but it makes no sense if all instruments use equal temperament. Perhaps flute timbre, close to a pure sine wave has something to do with it.]
It also means the new mode is G A♭ B C D E♭ F# G possibly with incidental notes. This isn't any of Oliver Prehn's modes or scales as it has two 1.5 tone steps in it. I've always just called it an 'Arabic scale' of some sort.
The problem is that I to ♭II is not sufficient for a good dancing chord progression, and that's why I'm trying to extend it with a Montuno progression - it just may mean using a chromatic lot of chords if the chords modulate up and down a half step. The challenge is in sustaining one singing note through a bar with at least four chords in it.
Perhaps such a sustained note [over something like the I - II♭ chord progression] could slide a semitone if necessary although I hear orchestration where a sustained note were suspended over two or more chords that may not usually support a harmonious interval when played out of context.
It would be great to have a flamenco guitar player in my neighbourhood to record when I work out a Latin-type rhythm to return to proper dance music as far away from techno as possible. I like big band swing and full orchestration for atmosphere. I'm looking at many acoustic instruments and how they are played, including how Latin percussion is played.
Sergio a bit confused. When you play the chords it is actually in the order V II i, not II V i isn't it?
The first progression is Bm7b5 - E7 -Am so ii V i in Aminor, the second progression is Gm7 - C7 - F which is ii V I in F major. Is there another one i you are referring to?
poor sound ; voice too low
More guitar less vocals pls.
Latin chord progression is boring 😕☹️