For contrapuntal studies I dive into Bach. To me his genius is in being harmonically compatible with just about any instrument. "Art of the Fugue" has so much to offer and getting an understanding of that is like math play with music. It's great to study but don't forget to have fun and express through the tones.
I’ve said this previously using different words, but Tim is such a monster player and musician. For me........there’s no better guitarist alive today. Tim is really Ted Greene personified. What a player!
I was a bit more than pleased when Tim said don't go thinking of A7 as V of D Major, think of F major with a C#. Exactly the same approach I took when playing with a G E7 Am D7 progression. I had my little light bulb moment thinking E7 is just G major with a G# instead. I was happy to see Tim confirm this approach in this vid. Although in no way do I purport to inhabit the same universe as Tim. So much in this video, really succinct stuff 👍
Practical theory vs theoretical theory is my take on that concept. Why make it more complicated than it needs to be? It's great to understand the traditional theory, but the former will give you something to execute more efficiently.
Playing the key is how Charlie Banacos taught ear training--and that's how I've been ear training for the last 13 years. Whenever I talk about this stuff, everyone always says "oh yeah, that's just functional analysis". But if you aren't training your ear to hear how it all works in one key center, it's just soundless analysis. Playing the chords with the "F" reference as you do here is a great way to get into Contextual Ear Training, the Banacos way. The next step would be to play the harmony and sing the "F" as a drone over it all. Then you start hearing how the progressions REALLY work within the key. That's the trick with Just Friends as well. You gotta hear that key center and how everything relates back to the key. A IV sounds different than a I in a key center. Good to see you are still doing well, Tim :) Your playing is as beautiful as ever.
Tim is THE guru on the high mountain of jazz blues tele guitar knowledge.. I really need to take some chord melody lessons from him or professor Barry Greene at UNF.
Great lesson Tim! I guess I find it easier to think of D harmonic minor once I recognize that is the scale that contains the "good" notes (which is commonly the case with a III7). However, as your lesson points out, the important part of that change is the C to C#, so that's what we want to really highlight in our melody. Thanks again, and I enjoy your playing and inspiration.
So when you play the F and hold it down, you’re playing the major scale notes above it, and when you play the A7 you’re playing the dominant scale above that and the. You got to the next chord...I can’t remember what it was...but if it was a minor chord you’d be playing the minor scale notes above that one. Is the right way of thinking? I just want to make sure I do the exercise right. It sounds cool though I like it
mrryanocerus the important message is that the Key of F is the basic sound. When you are addressing a non-diatonic chord like A7 you only change the C to C# and leave the rest of the notes as in F.
Yeah but if you play a B-flat when you’re playing the A 7 won’t that sound messed up in the key of F because the key of F will have a B-flat? Yeah the C-sharp is there but there’s a B-flat looking at you.
For contrapuntal studies I dive into Bach. To me his genius is in being harmonically compatible with just about any instrument.
"Art of the Fugue" has so much to offer and getting an understanding of that is like math play with music.
It's great to study but don't forget to have fun and express through the tones.
Beautiful playing. A tele with a Charlie Christian pick up sounds amazing!
Lovely playing Tim - Thank you for sharing your insights !
I’ve said this previously using different words, but Tim is such a monster player and musician. For me........there’s no better guitarist alive today. Tim is really Ted Greene personified. What a player!
Thank you so much Master ! You're a great betwen greats of this magnific world !
I was a bit more than pleased when Tim said don't go thinking of A7 as V of D Major, think of F major with a C#. Exactly the same approach I took when playing with a G E7 Am D7 progression. I had my little light bulb moment thinking E7 is just G major with a G# instead. I was happy to see Tim confirm this approach in this vid. Although in no way do I purport to inhabit the same universe as Tim. So much in this video, really succinct stuff 👍
Practical theory vs theoretical theory is my take on that concept.
Why make it more complicated than it needs to be?
It's great to understand the traditional theory, but the former will give you something to execute more efficiently.
Playing the key is how Charlie Banacos taught ear training--and that's how I've been ear training for the last 13 years. Whenever I talk about this stuff, everyone always says "oh yeah, that's just functional analysis". But if you aren't training your ear to hear how it all works in one key center, it's just soundless analysis. Playing the chords with the "F" reference as you do here is a great way to get into Contextual Ear Training, the Banacos way. The next step would be to play the harmony and sing the "F" as a drone over it all. Then you start hearing how the progressions REALLY work within the key. That's the trick with Just Friends as well. You gotta hear that key center and how everything relates back to the key. A IV sounds different than a I in a key center. Good to see you are still doing well, Tim :) Your playing is as beautiful as ever.
Tim is THE guru on the high mountain of jazz blues tele guitar knowledge.. I really need to take some chord melody lessons from him or professor Barry Greene at UNF.
These little lessons are awesome, your a great player. I learn so much about how to see the guitar from you and that smoothness.
Wish i could get a lesson face by face...you are the great player tim😲
Thank you for your generosity in sharing here.
Thanks for doing this video, Tim. Always good to get your take on how to approach certain ways to play solo guitar.
Great!!! Thanks Tim!!
Great way of thinking about changes with the superimposed "important" notes from the nondiatonic colors whilst leaving the rest the same!
Great lesson, exactly what I needed to know.
So simple, but wow what amazing results. Thanks for sharing!!!
Gonna have to watch this more than once.
Great lesson Tim! I guess I find it easier to think of D harmonic minor once I recognize that is the scale that contains the "good" notes (which is commonly the case with a III7). However, as your lesson points out, the important part of that change is the C to C#, so that's what we want to really highlight in our melody. Thanks again, and I enjoy your playing and inspiration.
Beautiful playing and great explanations! This really makes me want to give jazz a try once again. Thank you!
ContrapunTim !! Top Notch again !!
Brilliant! Thanks!
love your tone
love it
Thank you for the great lesson.
♡ grande.
Grazie Tim
Beautiful!
thank you, master! great!
Thank you too!
amazing work tim!
Good god that tone ...
I wish I would have known about Ted when I lived in LA and he was still living. Ah, but I have his books.
The first part sounded almost exactly like the way I play "Someday my prince will come", how funny.
That tele sounds so sweet. Almost like an acoustic. I'm curious what pickup and amp is being used here.
Simon Gregory the pickup is a Lollar CC and the amp is a Princeton reverb.
@@TimLerchGuitar Thanks for the reply. Your playing i obviously impeccable too!
So when you play the F and hold it down, you’re playing the major scale notes above it, and when you play the A7 you’re playing the dominant scale above that and the. You got to the next chord...I can’t remember what it was...but if it was a minor chord you’d be playing the minor scale notes above that one. Is the right way of thinking? I just want to make sure I do the exercise right. It sounds cool though I like it
mrryanocerus the important message is that the Key of F is the basic sound. When you are addressing a non-diatonic chord like A7 you only change the C to C# and leave the rest of the notes as in F.
Change is to someday my prince will come?
Yeah but if you play a B-flat when you’re playing the A 7 won’t that sound messed up in the key of F because the key of F will have a B-flat? Yeah the C-sharp is there but there’s a B-flat looking at you.
panagranit pana F Major contains Bb which is the b9 of A7. A perfectly good sounding note in this situation.