timidi


Nice Kenny. Not sure what the point is though? 
I mean, what do I, as a guitar player, DO with this information?
I mean, a D7 is a D7 and all the alterations are just that, alterations. I think that there is something there to Learn but I don't know what it is?
I'm not trying to be fecicious or anything. But, if there IS a purpose, then maybe a hint of the purpose would be good for upcoming videos. I know that you are serious and passionate about your guitar playing I'm just not getting the point. It could be that I'm just stupid though.....


BTW, I hope the car battery finally died:)

I wonder if he's explaining how to get melodies out of a chord sequence since the the general majority go with the melody first. Now, having said this, having a tune first is the best way to go; however, his "tune" was that one single note.


Have you heard "One Note Samba?" Obviously, more than one note makes up the melody, but it's theme revolves around two notes - the Tonic and Dominant - I and V (G and D)


http://www.youtube.com/watch?v=0rzNLXxo01Q


It's obvious that tunes are recognized from the melody in isolation, but seeing how it can also be recognized as implied within the harmony (not every melody note needs to be played, only a few)


Listen to all the chords that go with each of those two notes (this is before the bridge) 


It's the "inverse" of modes where you play all seven major scales over a drone note to get the modal sound. Of course, playing modally is all about mood and the moods are quite different from the Key based ones (Ionian and Aeolian)


Listen to all the chords that go with each of those two notes (this is before the bridge) (D and G in this case as the song's in G). And the ii-V-Is, I mentioned earlier, are present in the bridge.


And no, you aren't stupid - uninterested, maybe, but not stupid! There's a point, but you (as some others) can't/don't wanna find it and this is okay. Not everybody is interested in the technical language of music (composition) - ie: theory.

timidi Nice Kenny. Not sure what the point is though?  I mean, what do I, as a guitar player, DO with this information? I mean, a D7 is a D7 and all the alterations are just that, alterations. I think that there is something there to Learn but I don't know what it is? I'm not trying to be fecicious or anything. But, if there IS a purpose, then maybe a hint of the purpose would be good for upcoming videos. I know that you are serious and passionate about your guitar playing I'm just not getting the point. It could be that I'm just stupid though..... BTW, I hope the car battery finally died:)

 I can't speak to the point but I find it helpful in a soloing situation. I guess it boils down to economy of movement.  For playing solos with chords in it, it's great to have different chord shapes to be able to get the chord augmentations within reach quickly at times. It's a D7 in that position but a moveable shape. Meets all the requirements for assimilation here.   One day I plan to learn Joe Pass's CAGE with all the different augmentations for now I'm glad to pick up new kit like this.   Thanks again Kenny    

You have that same love of complex chords that I do.  I also love using substitution chords ( ie. Dm7b5 - Fm6 -  Bb9, etc.)  What some people call dissonant, I call beautiful.  I also love exercises that just work on the theory, because that's what makes it second nature.  Thanks. 

Flat/sharp 5s & 9s, dim, major 7+6, and nothing gives me chills more than a m9.  Chord melody lends to understanding the relationship of melody to harmony.  I would be interested a video discussing techniques for bass lines with chord melody.

Daryl

Hey Rus. Yea, I'm familiar with one note samba. And, the tune, actually had quite an impact on my musical life actually.
But, actually, I think my remarks were directed at the first video.
And yes, I may be uninterested, but still respectful of Kenny's efforts. I was just trying to understand where he was coming from.
I do think that the correlation of the relationship of the different D7 alterations is a good learning tool as far as learning the neck but doesn't lend itself to any musical meaning other than knowing where the chords are I guess. If he's implying that a D7 sus will work over a D7#9 played by the piano player, I don't think I'd agree. 

Often chord substitution is done on inside chords, with only 4 notes, so they often omit notes of the chord that would not fit, and they often are known by several names, depending on the key and where they are used.  I've found chord study to be invaluable and I've loved it all my life.  It hasn't made me Lee Ritour or even 1/10 that good, but I know has it increased my knowledge and fluency with the fretboard immeasurably... now if I just had some real talent   - Daryl

Whats The Point Dude http://youtu.be/LhLgnKI5NQc Kenny

....... OH...


Kind of the beginning of the road to here:
https://www.youtube.com/watch?v=0SSfVhbDdzc&feature=related



Great stuff Kenny..

I thought I might have heard a giant step in there some wheres. 

Thanks, Kenny.
My road is always open for some new yellow bricks.

timidi


Hey Rus. Yea, I'm familiar with one note samba. And, the tune, actually had quite an impact on my musical life actually.
But, actually, I think my remarks were directed at the first video.
And yes, I may be uninterested, but still respectful of Kenny's efforts. I was just trying to understand where he was coming from.
I do think that the correlation of the relationship of the different D7 alterations is a good learning tool as far as learning the neck but doesn't lend itself to any musical meaning other than knowing where the chords are I guess. If he's implying that a D7 sus will work over a D7#9 played by the piano player, I don't think I'd agree. 

My mistake. I think I may have watched the videos out of order. And yeah, music is a intricate web. Once you're caught in it, it's hard to get out of it or it looks intimidating to want to dive in to find your way out. That comment was not as slight.


How exactly did that tune influence you? (Seriously, I'd like to know).