Cheers Mikko. Totally agree, that's where I landed with this book as well -- i.e. it's very useful as a kind of glossary for triad pairings. I have a feeling the authors might say we're missing the whole point (Generic Modality Compression?), but whatever works. The book is very useful for something, which is more than I can say for most of them.
After being back, having tried it on stella, only first half, I totally admit what you said about "Your critic" I am now just chooising only one possibilit of the polyphonic wand then learn first the dominant m7 and maj7, when I have mastered that with out thinking I go adapt it that wrks a little bit better I found out!!!!
😊As I get older, not only am I increasingly aware of all the things I don't know about...I'm also mindful of the many things I have forgotten! The bright side is that forgetting about something can be an opportunity to "relearn" or "rediscover" musical concepts with a new enhanced perspective (more informed than the initial encounter).
in piano language we use thos things in regular tunes without hesitation I love it also G7 in for instance blue bossa everybody plays(with a smile) Db/G Eb/G yes I understand jazz if we do that than Bb/C Cm7 or Gm/Eb just going befor to Ebm7 will work because we could alterate the Cm7 to a Cmaj7 and to the dominant G and that to G/F so no problem! Your voicings are realy if you also a a theme and modulation is gets the level of what bach was doing i love it see when jJazz musicions seem to have the same discipline as classical player, my basics is classical in way may not toattly true my father was a Jazz trumpettist but my other father was also familiair with both jazz as classical...I studied a lot of Bach on Guitar goldbergvariaTIONS I played them also 1st variation witouth lower octavation so I use high D on classical guitar(when I did that now not anymore...I am not Keith jarrett...) so I miss a little bit the working on fingerings and thinking about strategy's how to make the impossible happen that was the joy of that chapter Jazz has totally different worlds to bridge...
Thank You Mikko, for your replie(I promised to keep it short, in future, so: "In Jazz, the say "How deep is the Ocean.."True, treasure hunting is nice, but beware not to get drowned" to find a treasure is one thing, to bring it all the way up, on the shore, is where it is about...
This is as being piano player-in spé, realy good choice I thought that this could be interesting for me I was right!!!it is here 4 41 in the night!!! You are doing a gre4at Job Mikko!
Shell voicings are traditionally R 3 7 or R 3 6( and their inversions). Freddie Green is a good example of using shell voicings in the context of a big band
Result over the Ab7#11 I combine Ebmelodic minor equivalent of Ab7 Lydian Dominant, or for convenient matters let's say we combine Ab7#11- 2voicings with D7#11 or with other words we combine AbLydian and let it ripen in to Ab7 alt Ab1st: Bb(highest)Eb C >D GbF is mirrored and backed up by: D pedal(other wise the formular would fall apart): G#(highest)CB> E A F# N.B the 1st and 4th voicing are shell voicings and thus easy does it on the guitar, also look ghow nicely the Cm711 in the Head of Stella is sustained in The 1st shell voicing with pedal Ab, so the Gb is at will delayed to give ultimate result...
I am working already now with following 5 tones instead of 6and gues what if uyou start permutatie inversions one tone is taking the place of the 6th one so it stays sounding tremedesly new and beatiful...because of your perfect analysis of the polyphonic aspect...the two constellations are intertwinkled...something macical going on....
Just combined The ordinairy dominants and the one you tought, the result was interesting, because of the way the myxo lydian voicings, by the last (in 4ths) made a nice bridge to the fisrt on ein 4ths of the altered dominant shape that you just tought, Sir: here the founding, just tried on a guitar: F pedal(let's say the F7 in Stella, (I name the highest tone at first. of course all the inversions work as well, as You Sir just showed us)4th bar..: F7+Fpedal: 1: DAEb-2: CGD>F7alt BF#Db(look to the smooth CGD>BF#Db 4: AbEbA, what happens is that because of the ambiguity of it all and switch the ear(or at least brains) is not able to immeadetely, detect, and so those voicings have a tremendous potentiale) as you mentioned between the lines...I already made a sketual for the hole bunch, I finally am getting it under my fingers, Next frebr 9th I have gig, my wish is to play the basic ones already, we'll see how far I get and let everybody know by this message..Thank you indeed and I just subscribed to your channel...
the 3 is actually dancing above the 4th that takes "dissonantically" it's role, so You could say (hypothesis)theoretically, that the sus4 Three- different intervals being not a Triad yet that in strict rules of contrapunct a Root - 4th interval creatse a strong dissonance that has to resovle but Chick corea uses this chord in away that it doesn't have to resolve any longer so the sus4 is gradually gaining trritory and alomst gets the status of Triad, i guess that that is the situation....
T be honoust this Lesson is what I was looking for Your little movement what You played sounded immdeadetly like the best guitarist living now playing his drill starters drill of Stella by Stralight man for \Real!!!! My advice to you is this book not to use but the idea try to worl it out yourself thats the way in the end you will learn faster,I am now adapting it to Stella bcause I want to sound new my upcoming gig so I was looking searhing at saxophone guitar teachers or piano for something realy interesting...you showed me the page I totaly understand it I don;t need the book I can work all the possibilities my self but still I am afwully Thank ful that do use those magic Books Grimoirs of Jazz they Are!!!It sounded so great now alreaDY ON MY PIANO i AM GETTING HUNGRY FOR THIS GIG!!!!
Thank you for bringing out that book. I studied with Mick at his cool little pad in Cambridge .....listening to recordings of Gustav Mahler one minute and The Carpenters next.He also shared a process... when he and Gary Burton Steve Swallow we're touring in Europe they would go out to eat ,before they left a busy restaurant they would all close their eyes and listen to the cacophony of the restaurant and then go play the gig. Curious what you might think of that.
When I was a young and learning musician I used to be plugged into my Aiwa cassette player constantly, I wasn't alone but we were few. I was listening, studying, but now everyone has the whole world's music at their fingertips and I've unplugged and gain my inspiration from the world of ambient sounds, the birds, wind in the trees, the traffic, the rumble of the bus, chattering distant voices. It's as inspirational and moving as any music. My bus journeys have become transformed.
Thanks for the perspective on this. I bought the book a couple years ago. I understand the rootless triad pairs, and the GMC basis, but although I’ve been playing by ear for 50 yrs, I am self taught, and can’t “read,” so the examples kinda got me stuck. Your notation/tab examples are exactly what I need to carry forward. Do you know of a program or app that can convert notation to guitar tab and chord blocks like you displayed in the video? Or, what did you use? I love the modern players, and Tim is, IMO, the heir to Holdsworth’s legato style. Nice video here - I’ll subscribe.
Thanks, I'm not aware of such a program but it's hard to keep up with technology these days. I have seen people take a picture of notated music and then open it in Sibelius. I use Finale which is an amazing program however terrible for tabs, chord symbols and diagrams.
Barry Sebastian guitar pro and Notion will both let you put in standard notation and convert it to tabs. They will sometimes give you some “interesting” voicings at times haha. But it’s pretty good. I use it for students who don’t know standard notation yet.
i bought the book can you tell me about page one in video I've written all the notes in example one DFA EGB FAD GBE ADF BEG which i play on the 3 top strings when it comes to all the other examples on the page are they all on the same strings sorry if this seems silly but i don't read music and it never tells you what strings to play which would be handy I'm also new to jazz also here's my email if you can help cheers gerry
Thanx for that helpful vid...valuable content as always... what do you think as an alternative to play F# maj- (= D# minor-) pentatonic over Emaj7? That creates also a lydian sound without the root. And than develop quartal chords out of that pentatonic scale for harmonic movement? Kind regards from Germany...
Okay I see where the problem lies if you not decode it than it is hard we have to think in numbers so if we have 348 constellation and a 145 constellation in letters F#octe high and B A# 8-4-3 then the 134 - 145 means that when the 5 becomes a 4 the 1 45 because the 4th of the first chord steal the 3rd of the other one I am more into hybrid hexatonic than you mirror eveything among the axis of the tritone a bit less possibilitie's than this Monstr Theory you have just shared with me (Dharma I had almost to cry when you showed me this because my piano playing will now really get somewhere because my inspiration for voivcings is not demotivated but totally Motivated!!!so the analysis iis importantortant decode the problem...than it becomes less difficult names of tones are hypnotysing the numbers are revealing...
But because of this aspect the minor three or major three has to come so the sus4 sound is stille depending on the 3rd to resolve to that is the Ambiguity.....the answers is still Yes and Know: NO so Yes and No it is and will never be it is little bit...almost not yet though!!!! that is the correct answer!(in my restricted thinking..)
APedal: Eb E Bb(1b2 5) A BbE(1b25) this is what I usually do...so now to notes less...okay this is now changes while |I try to put you theory to the test but I am at the same time letting overlap two notes Eb E A Bb because the E b2 in Ebtriad is another E than being 5 of A so I have actually philosohically 6 differnet tones analysing the aspects and relations...and you hear that...it doesn;t sound less interesting than 6 different niotes...of course I can lterally do what you just tought me and somthing amazing to like Aaltered and than A pedal and than two constellations G C# F 7 b4 b6 and remaining C Eb Bb m3 b5 b9...or first one a Gm7b5 shell with Non3 and we call the 2nd inversion of Db F G is still an altered (good old) Triad, and an Ab Triad1st inversion....so if we changes the root of Gm7b5NON3 and we steal the C for instance we get GCC# 1 4b5 an Gm7b511Non-Non5 now the interseting thing starts to happen: if the 3rd dissapears what does it do for a function iin Cm7NOn5 ????? we steel the 3rd so we get Eb F Bb so a Cm7 11NOn root becaus the 3rd wasnn't stolen I made a mistake but the root is stolen changes in to a 4... so if the first get a 45 the other is 34 that is the logic of it in those situations Gm7b5 okay enough I am quiting ...
if I play for instance A7 2n chord of stella oh ja the easieast way is to name them jsut both related to the scle so : is you want to learn this fastest my modest analysis is just to play as follows for instance A7 stella: if fisrt constellation is above the Root:A--- G Bb C#- so the other is C-Eb F than it is formulated: in a Nice Formular: 7 b2 #3 and b3 #11 b6 so now we don;t have to think hard because the one number that goes away w have on the other side... so because there are just 6 options...6.5.4.3.2.1 only 720 possibilitie's of the first chord...if we just choose A7#9 altered sound on stella.....we could also use other scales or bebop scales so I can immagine 2000 options easily ....on the 2nd chord....
Okay the only thing(For Theory's Sake beause yuou mentiod Shell Voicings so what I foud out will help you:!) that is interesting that I have to mention that InEm7b5 sutuation when we go toy with Gm&Dm triads the moment we destroy the Triad one can become augmented and the other a...Shell Voicing because when we have for instance Em7 b5 with a straight 9 we get E F# G A Bb C D E we have the E omitted by being Root-Pedal only next step is two triads we have : then: Gmmaj GG Bb D F# and Am7 then we skip the A so lets see C7 and Gm0maj then we skip tagain one tone so we get Gm-maj we skip the G we get F# A# D it is late I tend to be less sharp but I had lssons in the night of berkely theory long ago I remeber and smile so we go on F# A# D invoke: GAC tremendousbeautiful result!!! ACG is a permutation and....A SHELLL VOIcing here we go because the 5 is not nessecaru there for the 137 is called Shellll Voicing so if one is augmented in leaving the Root the other will be a Shell voicing ror inverted-one That is the Theory I could extract out of Your teaching!!!
yOU ARE A MODEST MAN mIKKO BUT YOU ARE that terrific player I know that you are able to immideately slowly first of course immideately adapt this to stella you could do that but you don't want to...I understand you need more time...My experience is that I know that jsut by adapting immeately to Stell a I get it sooner because ...maybe not the advanced other possibilities I just choose now that one that you just showedd me...is enough information...
I am agreeing A sus4 ain;t a triad! Let Rick Beato think a little bit deeper he is teaching this, he has very good topics, but very sometimes he turns out to be human as well! Of course he know the theory etc etc...Only very complex Bachina situations we have maybe a sharpened third that sharp that it has the size of a 4th like C E# G for instance theoretically we have a Triad but sound like a NON Triad... sus4, I gues when we go to the partiture the composer gives us the resolution...
sorry I am now stopping my bizar commends I promise i wil be next time low profile and writeonly short commends...sorry for this but I am realy triggered by YOu!!! Thank YOu may The Jazz-Gods reward you tremendously,!!!
I like the term tri-chord when describing three note structures.
Cheers Mikko. Totally agree, that's where I landed with this book as well -- i.e. it's very useful as a kind of glossary for triad pairings. I have a feeling the authors might say we're missing the whole point (Generic Modality Compression?), but whatever works. The book is very useful for something, which is more than I can say for most of them.
After being back, having tried it on stella, only first half, I totally admit what you said about "Your critic" I am now just chooising only one possibilit of the polyphonic wand then learn first the dominant m7 and maj7, when I have mastered that with out thinking I go adapt it that wrks a little bit better I found out!!!!
👍👍"Contrary Motion"
You sound wonderful, thanks for this demo😊
Yes! That's what I was thinking of! I've been away from Jazz school too long 🤓
😊As I get older, not only am I increasingly aware of all the things I don't know about...I'm also mindful of the many things I have forgotten!
The bright side is that forgetting about something can be an opportunity to "relearn" or "rediscover" musical concepts with a new enhanced perspective (more informed than the initial encounter).
in piano language we use thos things in regular tunes without hesitation I love it also G7 in for instance blue bossa everybody plays(with a smile) Db/G Eb/G yes I understand jazz if we do that than Bb/C Cm7 or Gm/Eb just going befor to Ebm7 will work because we could alterate the Cm7 to a Cmaj7 and to the dominant G and that to G/F so no problem!
Your voicings are realy if you also a a theme and modulation is gets the level of what bach was doing i love it see when jJazz musicions seem to have the same discipline as classical player, my basics is classical in way may not toattly true my father was a Jazz trumpettist but my other father was also familiair with both jazz as classical...I studied a lot of Bach on Guitar goldbergvariaTIONS I played them also 1st variation witouth lower octavation so I use high D on classical guitar(when I did that now not anymore...I am not Keith jarrett...) so I miss a little bit the working on fingerings and thinking about strategy's how to make the impossible happen that was the joy of that chapter Jazz has totally different worlds to bridge...
Thank You Mikko, for your replie(I promised to keep it short, in future, so: "In Jazz, the say "How deep is the Ocean.."True, treasure hunting is nice, but beware not to get drowned" to find a treasure is one thing, to bring it all the way up, on the shore, is where it is about...
If I'm ever confused about a book I kind of expect you have a video about it.
Cool concepts man, sounds really good! At 10:06, the melody sounds like a recurring phrase in The blade runner soundtrack, memories of green.
This is as being piano player-in spé, realy good choice I thought that this could be interesting for me I was right!!!it is here 4 41 in the night!!! You are doing a gre4at Job Mikko!
You do a great job - thanks
Shell voicings are traditionally R 3 7 or R 3 6( and their inversions). Freddie Green is a good example of using shell voicings in the context of a big band
Thanks
Result over the Ab7#11 I combine Ebmelodic minor equivalent of Ab7 Lydian Dominant, or for convenient matters let's say we combine Ab7#11- 2voicings with D7#11 or with other words we combine AbLydian and let it ripen in to Ab7 alt Ab1st: Bb(highest)Eb C >D GbF is mirrored and backed up by: D pedal(other wise the formular would fall apart): G#(highest)CB> E A F# N.B the 1st and 4th voicing are shell voicings and thus easy does it on the guitar, also look ghow nicely the Cm711 in the Head of Stella is sustained in The 1st shell voicing with pedal Ab, so the Gb is at will delayed to give ultimate result...
I am working already now with following 5 tones instead of 6and gues what if uyou start permutatie inversions one tone is taking the place of the 6th one so it stays sounding tremedesly new and beatiful...because of your perfect analysis of the polyphonic aspect...the two constellations are intertwinkled...something macical going on....
Thank you so much
Just combined The ordinairy dominants and the one you tought, the result was interesting, because of the way the myxo lydian voicings, by the last (in 4ths) made a nice bridge to the fisrt on ein 4ths of the altered dominant shape that you just tought, Sir: here the founding, just tried on a guitar: F pedal(let's say the F7 in Stella, (I name the highest tone at first. of course all the inversions work as well, as You Sir just showed us)4th bar..: F7+Fpedal: 1: DAEb-2: CGD>F7alt BF#Db(look to the smooth CGD>BF#Db 4: AbEbA, what happens is that because of the ambiguity of it all and switch the ear(or at least brains) is not able to immeadetely, detect, and so those voicings have a tremendous potentiale) as you mentioned between the lines...I already made a sketual for the hole bunch, I finally am getting it under my fingers, Next frebr 9th I have gig, my wish is to play the basic ones already, we'll see how far I get and let everybody know by this message..Thank you indeed and I just subscribed to your channel...
the 3 is actually dancing above the 4th that takes "dissonantically" it's role, so You could say (hypothesis)theoretically, that the sus4 Three- different intervals being not a Triad yet that in strict rules of contrapunct a Root - 4th interval creatse a strong dissonance that has to resovle but Chick corea uses this chord in away that it doesn't have to resolve any longer so the sus4 is gradually gaining trritory and alomst gets the status of Triad, i guess that that is the situation....
T be honoust this Lesson is what I was looking for Your little movement what You played sounded immdeadetly like the best guitarist living now playing his drill starters drill of Stella by Stralight man for \Real!!!! My advice to you is this book not to use but the idea try to worl it out yourself thats the way in the end you will learn faster,I am now adapting it to Stella bcause I want to sound new my upcoming gig so I was looking searhing at saxophone guitar teachers or piano for something realy interesting...you showed me the page I totaly understand it I don;t need the book I can work all the possibilities my self but still I am afwully Thank ful that do use those magic Books Grimoirs of Jazz they Are!!!It sounded so great now alreaDY ON MY PIANO i AM GETTING HUNGRY FOR THIS GIG!!!!
12:25 gold lines
Thank you for bringing out that book. I studied with Mick at his cool little pad in Cambridge .....listening to recordings of Gustav Mahler one minute and The Carpenters next.He also shared a process... when he and Gary Burton Steve Swallow we're touring in Europe they would go out to eat ,before they left a busy restaurant they would all close their eyes and listen to the cacophony of the restaurant and then go play the gig.
Curious what you might think of that.
That's amazing. Thanks for sharing. We need more people like that in the world! 🤓
When I was a young and learning musician I used to be plugged into my Aiwa cassette player constantly, I wasn't alone but we were few. I was listening, studying, but now everyone has the whole world's music at their fingertips and I've unplugged and gain my inspiration from the world of ambient sounds, the birds, wind in the trees, the traffic, the rumble of the bus, chattering distant voices. It's as inspirational and moving as any music. My bus journeys have become transformed.
137 is shell voicing...or 37 guide tones shells etc...
Thanks for the perspective on this. I bought the book a couple years ago. I understand the rootless triad pairs, and the GMC basis, but although I’ve been playing by ear for 50 yrs, I am self taught, and can’t “read,” so the examples kinda got me stuck. Your notation/tab examples are exactly what I need to carry forward. Do you know of a program or app that can convert notation to guitar tab and chord blocks like you displayed in the video? Or, what did you use? I love the modern players, and Tim is, IMO, the heir to Holdsworth’s legato style. Nice video here - I’ll subscribe.
Thanks, I'm not aware of such a program but it's hard to keep up with technology these days. I have seen people take a picture of notated music and then open it in Sibelius. I use Finale which is an amazing program however terrible for tabs, chord symbols and diagrams.
Barry Sebastian guitar pro and Notion will both let you put in standard notation and convert it to tabs. They will sometimes give you some “interesting” voicings at times haha. But it’s pretty good. I use it for students who don’t know standard notation yet.
Sorry but i have the book i reed it y try to figure it out but its imposible for me to understand it, its so frustrating i feel so desapointed
i bought the book can you tell me about page one in video I've written all the notes in example one DFA EGB FAD GBE ADF BEG which i play on the 3 top strings when it comes to all the other examples on the page are they all on the same strings sorry if this seems silly but i don't read music and it never tells you what strings to play which would be handy I'm also new to jazz also here's my email if you can help cheers gerry
I hear Ralph Towner 👌🏻
Cool! I love his music 🙂
Thanx for that helpful vid...valuable content as always... what do you think as an alternative to play F# maj- (= D# minor-) pentatonic over Emaj7? That creates also a lydian sound without the root. And than develop quartal chords out of that pentatonic scale for harmonic movement? Kind regards from Germany...
Yes that works great :)
Very interesting
Glad you like it 🤓
Okay I see where the problem lies if you not decode it than it is hard we have to think in numbers so if we have 348 constellation and a 145 constellation in letters F#octe high and B A# 8-4-3 then the 134 - 145 means that when the 5 becomes a 4 the 1 45 because the 4th of the first chord steal the 3rd of the other one I am more into hybrid hexatonic than you mirror eveything among the axis of the tritone a bit less possibilitie's than this Monstr Theory you have just shared with me (Dharma I had almost to cry when you showed me this because my piano playing will now really get somewhere because my inspiration for voivcings is not demotivated but totally Motivated!!!so the analysis iis importantortant decode the problem...than it becomes less difficult names of tones are hypnotysing the numbers are revealing...
you mean counter movement in opposite directions
But because of this aspect the minor three or major three has to come so the sus4 sound is stille depending on the 3rd to resolve to that is the Ambiguity.....the answers is still Yes and Know: NO so Yes and No it is and will never be it is little bit...almost not yet though!!!! that is the correct answer!(in my restricted thinking..)
APedal: Eb E Bb(1b2 5) A BbE(1b25) this is what I usually do...so now to notes less...okay this is now changes while |I try to put you theory to the test but I am at the same time letting overlap two notes Eb E A Bb because the E b2 in Ebtriad is another E than being 5 of A so I have actually philosohically 6 differnet tones analysing the aspects and relations...and you hear that...it doesn;t sound less interesting than 6 different niotes...of course I can lterally do what you just tought me and somthing amazing to like Aaltered and than A pedal and than two constellations G C# F 7 b4 b6 and remaining C Eb Bb m3 b5 b9...or first one a Gm7b5 shell with Non3 and we call the 2nd inversion of Db F G is still an altered (good old) Triad, and an Ab Triad1st inversion....so if we changes the root of Gm7b5NON3 and we steal the C for instance we get GCC# 1 4b5 an Gm7b511Non-Non5 now the interseting thing starts to happen: if the 3rd dissapears what does it do for a function iin Cm7NOn5 ?????
we steel the 3rd so we get Eb F Bb so a Cm7 11NOn root becaus the 3rd wasnn't stolen I made a mistake but the root is stolen changes in to a 4... so if the first get a 45 the other is 34 that is the logic of it in those situations Gm7b5 okay enough I am quiting ...
if I play for instance A7 2n chord of stella oh ja the easieast way is to name them jsut both related to the scle so : is you want to learn this fastest my modest analysis is just to play as follows for instance A7 stella: if fisrt constellation is above the Root:A--- G Bb C#- so the other is C-Eb F than it is formulated: in a Nice Formular: 7 b2 #3 and b3 #11 b6 so now we don;t have to think hard because the one number that goes away w have on the other side... so because there are just 6 options...6.5.4.3.2.1 only 720 possibilitie's of the first chord...if we just choose A7#9 altered sound on stella.....we could also use other scales or bebop scales so I can immagine 2000 options easily ....on the 2nd chord....
Okay the only thing(For Theory's Sake beause yuou mentiod Shell Voicings so what I foud out will help you:!) that is interesting that I have to mention that InEm7b5 sutuation when we go toy with Gm&Dm triads the moment we destroy the Triad one can become augmented and the other a...Shell Voicing because when we have for instance Em7 b5 with a straight 9 we get E F# G A Bb C D E we have the E omitted by being Root-Pedal only next step is two triads we have : then: Gmmaj GG Bb D F# and Am7 then we skip the A so lets see C7 and Gm0maj then we skip tagain one tone so we get Gm-maj we skip the G we get F# A# D it is late I tend to be less sharp but I had lssons in the night of berkely theory long ago I remeber and smile so we go on F# A# D invoke: GAC tremendousbeautiful result!!! ACG is a permutation and....A SHELLL VOIcing here we go because the 5 is not nessecaru there for the 137 is called Shellll Voicing so if one is augmented in leaving the Root the other will be a Shell voicing ror inverted-one That is the Theory I could extract out of Your teaching!!!
yOU ARE A MODEST MAN mIKKO BUT YOU ARE that terrific player I know that you are able to immideately slowly first of course immideately adapt this to stella you could do that but you don't want to...I understand you need more time...My experience is that I know that jsut by adapting immeately to Stell a I get it sooner because ...maybe not the advanced other possibilities I just choose now that one that you just showedd me...is enough information...
I am agreeing A sus4 ain;t a triad! Let Rick Beato think a little bit deeper he is teaching this, he has very good topics, but very sometimes he turns out to be human as well!
Of course he know the theory etc etc...Only very complex Bachina situations we have maybe a sharpened third that sharp that it has the size of a 4th like C E# G for instance theoretically we have a Triad but sound like a NON Triad... sus4, I gues when we go to the partiture the composer gives us the resolution...
I think your videos could benefit from some editing to make them a bit more coherent. Great content, but its a bit rambling.
Yes it's true. I think I'm getting better at it though if you check out my latest videos. I'm learning as I go :)
sorry I am now stopping my bizar commends I promise i wil be next time low profile and writeonly short commends...sorry for this but I am realy triggered by YOu!!! Thank YOu may The Jazz-Gods reward you tremendously,!!!