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Noel Johnston
Добавлен 25 янв 2008
noeljohnston.com/merch.html
Mark Lettieri & Wes Stephenson, guests in Creative Fundamentals class.
Mark Lettieri and Wes Stephenson were our guests for today's Creative Fundamentals class. A lot of gems in this one, folks.
Groove and part-playing. Important stuff, people!
If you'd like more info about this class: www.skool.com/creative-guitar-fundamentals-2750/about
Groove and part-playing. Important stuff, people!
If you'd like more info about this class: www.skool.com/creative-guitar-fundamentals-2750/about
Просмотров: 2 206
Видео
Tonal Diminished lesson (Part 1)
Просмотров 3,9 тыс.День назад
Diminished chords typically cause anxiety, not just because of how they sound but because they are thought to be difficult to improvise over - but they don't have to be. Try these "tonal" diminished options, they may open the door on how to interpret them in a context that makes sense. These 4 are the ones that exist in harmonic minor. To join my class: www.skool.com/creative-guitar-fundamental...
Augmented 6 chords with a scale?!
Просмотров 1,7 тыс.Месяц назад
Thought experiment: Could this scale help explain Augmented 6th chords? #augmented6th chords such as Italian 6, French 6, German 6 and the "Tristan" Chord.
3 Key Workout Backing Track
Просмотров 597Месяц назад
Cycle of a 3rd (Descending 3rds) in 3 keys: B, G & Eb www.skool.com/creative-guitar-fundamentals-2750/about
3-key 7th chord, triad and scale shape workout SUMMARY
Просмотров 1,1 тыс.2 месяца назад
We do this stuff in my "Creative Fundamentals" class: Join in the fun! www.skool.com/creative-guitar-fundamentals-2750/about
Voice leading with Triads
Просмотров 2,1 тыс.2 месяца назад
Triads in a cycle of a 3rd (descending 3rds) but with key changes! This is the Ionian etude in my book "Modal Etudes" we're also talking about this stuff in depth in my ongoing class, "Creative Fundamentals." Come and join us, if you'd like! www.skool.com/creative-guitar-fundamentals-2750/about
Schillinger/Goodrick 7th chord cycle summary
Просмотров 1,8 тыс.3 месяца назад
Mick Goodrick (in his "Almanac of Guitar Voice-Leading") calls it by the ascending interval - "Cycle 6" Schillinger, who predates Goodrick, calls it by the descending interval (C3). This is in the book "The Schillinger System of Musical Composition") This particular example uses only 7th chords in a major key.
Should I learn jazz?
Просмотров 1,7 тыс.3 месяца назад
Live session of Noel's "Creative Fundamentals" class. 5/30/2024 Guest, Professor Davy Mooney talks about his influences and how he developed the fundamentals and how he developed his style. I asked him on behalf of the class, "Should I learn jazz?" What do you think? Why or why not? If you'd like to learn more about Noel's Creative Fundamentals class: www.skool.com/creative-guitar-fundamentals-...
The TONAL idea factory!
Просмотров 1,6 тыс.3 месяца назад
In my "Creative Fundamentals" class we are currently in the process of composing modal tunes and modal backing tracks. Here is a chart to help come up with ideas for chords/arpeggios/licks/whatever when doing so. This method works for any mode/tonality when you have 7 notes to deal with. As you can see, there are loads of options: 7 one-note options 6 two-note options (when you also have the ro...
PIMA string skipping exercise
Просмотров 2,1 тыс.4 месяца назад
Here’s a morning technique workout I thought was cool. Borrowing concepts from drum rudiments to improve your technique. Can you think of others that are helpful? Here’s the pdf of the PIMA exercise: www.dropbox.com/scl/fi/7kltqg4rzmqtku0zzxo86/String-Skipping-PIMA-exercise.pdf?rlkey=3izteqles9yqwmkthfslrdvhm&dl=0 If you’d like to buy something: noeljohnston.com/merch.html
Creative Fundamentals class guest, Mark Cuthbertson
Просмотров 2,3 тыс.5 месяцев назад
Creative Fundamentals class guest, Mark Cuthbertson
Inversion practice reveals hidden gem!
Просмотров 5 тыс.5 месяцев назад
Inversion practice reveals hidden gem!
Creative Fundamentals Class guest, Horace Bray
Просмотров 2,5 тыс.5 месяцев назад
Creative Fundamentals Class guest, Horace Bray
"Pitch Class Inversion" in REAL life (tune examples)
Просмотров 12 тыс.5 месяцев назад
"Pitch Class Inversion" in REAL life (tune examples)
Why “Chromatic Mediants” sound so good!
Просмотров 173 тыс.6 месяцев назад
Why “Chromatic Mediants” sound so good!
Triad practice on this "most beautiful chord progression"
Просмотров 7 тыс.6 месяцев назад
Triad practice on this "most beautiful chord progression"
Creative Fundamentals Class guest, Mark Lettieri
Просмотров 6 тыс.6 месяцев назад
Creative Fundamentals Class guest, Mark Lettieri
Blues lick exists in Melodic Minor?!
Просмотров 2 тыс.7 месяцев назад
Blues lick exists in Melodic Minor?!
Modal scale shapes (harmonic minor)
Просмотров 2,8 тыс.7 месяцев назад
Modal scale shapes (harmonic minor)
Major and minor triads: (I-iv or V-i)
Просмотров 1,7 тыс.7 месяцев назад
Major and minor triads: (I-iv or V-i)
LIVE "Playing the KEYS" method of improv.
Просмотров 1,1 тыс.8 месяцев назад
LIVE "Playing the KEYS" method of improv.
J.S. Bach. Bourree Double from Partita no. 1
Просмотров 2 тыс.10 месяцев назад
J.S. Bach. Bourree Double from Partita no. 1
I noticed that your channel has good subscribers but the videos get very few views. The views are not coming as you expected due to the problems in your channel. If you solve the problems, more views will come & If you want we can discuss the problems.
Love music harmony when it is explained in a context
Fantastic playing and tone. But does it swing??? Kiddin. That second chord is obviously a flatted 6th, the notation has it as Cb!
I watched part 2 first, and felt like I better understood your explanations because of it. So interesting!
When you started playing along with the Jon Coltrane loop, it reminded me of 'BBC Wimbledon Theme (Light and Tuneful)' - Tennis. The phrasing of your play along jam solos were all lovely. The Beatrice example with the flipped chords was a perfect example. Yes you make me want to play jazz! I also need to better learn my musical theory, for pleasure.
The TONE❤ I thought your guitar was one of those cheap D’angelico excel EXL1 until you started playing it…😮 I was like that is special! I hear a solid spruce top that is well tuned! Plus your playing makes it evident
Love that dachshund!
wow. really cool. thank you
I still have no idea what you’re talking about 😂🤦🏻♂️
Who is this? 😂
@@nohjoh08 this is Wes.
With tiny chord master Mark Lettieri.
I hope one day we will jam it out! 🙂↕️
Thanks for the inspiration
Thank you, Noel. Thank you, J.S. Thank you, Leo.
I liked the reference to 'Great Is Thy Faithfulness'.
Excellent lesson
Love your videos!!
Would u mind linking to that PDF? Really cool sounds here.
beautiful voicings. very useful! even if a lot of the theory went over my head
Nice!
Your content is very good & informative but your channel has very few views. I noticed that you regularly upload videos on RUclips. I checked your channel and found some problems. Your videos are not SEO optimized, videos are not using powerful tags, channels are not properly optimized and Channel tags are not used. As a result, your video doesn't reach the audience.
🙃
Liked and subscribed.
Sounds awesome.
Great stuff! I quite dont understand how you do the thing a the end saying "If i consider it a 6 or 4 etc.." Is that about the harmonic minor modes?
That is exactly it. He has four diminished chords in A Harmonic minor, the 2nd, the 4th, the flat 6th(he just says 6th for short) and the Major 7th. These will be B, D, F and G# diminished chords. He starts with G#dim, the Major 7th diminished of A Harmonic minor, and resolves it to the root chord of A minor. Now the part he doesn't really outline in this video is that , due to symmetry of the diminished chord which is built by consecutively moving a minor 3rd away from a chosen root note, in this case G#, we also get three other Harmonic minor scales that will have the same pattern of the 2nd, the 4th, the flat 6th and the Major 7th that match exactly the chords we used for the A minor. The four Harmonic minor scales that repeat these positions are A min, C min, Eb min(D# min) and F# minor as they too are all moving in consecutive minor thirds. This stuff is the beauty in the mathematical structure of music, but it also helps with nailing the patterns. 1 2 b3 4 5 b6 M7 Amin Bdim C+ Ddim E7 Fdim G#dim Cmin Ddim Eb+ Fdim G7 Abdim Bdim Ebmin Fdim Gb+ Abdim Bb7 Cbdim Ddim F#min G#dim A+ Bdim C#7 Ddim E#dim See how all these different Harmonic minor scales have the same 2,4,6,7 chords allowing for the Cb which is B and the E# which is F? So when he says ill treat this G#dim in one position on the 11th fret with the a string as your lowest note and he resolves it up to the A min on the twelfth he says he is treating it as the 7th. Meaning the 7th of the A Harmonic minor in the now established repeating pattern across the four related Harmonic minor scales. When he says lets treat it as a 2 chord, he resolves it to root chord of F#min because as shown in the table above, G#dim is the 2nd chord of F# Harmonic minor. When he says Ill treat it as b6 chord he resolves to the root chord of Cmin. When he says its now functioning as 4 chord, again he resolves to the root of the scale that G#dim (Abdim) is the fourth chord of, which is Eb minor. Hope this helps in some way.He may have already explained it better in another video.
@@grahamsmith1978 Graham my man, you made my day. Thank you so much for the lengthy explanation, it's perfect to help me understand and start investigating further.
Dear Sir, do you have private lessons? Thank you!
OMG, Dude. So lovely. So much info. My head is exploding...
Well, technically speaking, a diminished 7th chord is NOT formed by fixed minor 3rds... R -> b3 minor third b3 -> b5 minor third b5 -> bb7 minor third b7 -> R augmented second (?!) I think maybe the proper way to describe it would be a chord formed by notes separated by 1 and a 1/2 tone or 3 semitones. Of course, if you are taking the theoretical correctness seriously... Excessively...Otherwise, let's just be happy and practical..😂
b5 -> b7 is a major third. It should be b5 -> bb7
@@michaelbage7018 you're right...my bad. Tried so hard to be clear in English and yet didn't see that... I'll fix it now. Thanks!!!
From 21:51 to 21:59 think "My own home, my own home"
Fantastic. It’s just published and it’s way past my bed time. I’ll be back for another look..
beautiful
This is what comes out when I try to play to a major tune 😂
Doin' right now. Thanks!
I'm still a beginner, I wanda which exercises to be like g You... From SA
A little upset that I can’t add more likes than 1 to this video.
Someone should reply yo this if theyre motivated and contact me I've tried too hard and no body wants to work, understandable because it is complex but i have a vast knowledge of music i would like someone to help me develop.
This is fabulous. Great pace and very engaging. Loved it!
Love this progression! Appreciate your explanation and playing of this gospel classic progression ! Thank You! 🙏🏾
is it your intention to be understood?
How would you play a Dorian arpeggio ?
Not the only option, but I like 1-b3-6-b7.
❤ that is truly beautiful Noel
4:09 eargasm
Both versions were fantastic. Thank you for playing and posting this. They’re both beautifully played and give two different approaches to the hymn. God bless you!! 😊🦅👍🎸
Lydian#2#6 is the most versatile scale. Maj7, 7, min7, min/maj7, min7b5, min/maj7b5, Maj7b5, 7b5, 7#9, 7#11 It+6 (1 3 #6) 7shell Ger+6 (1 3 5 #6) 7 Fr+6 ( 1 3 #4 #6) 7#11 Tr+6 (1 #2 #4 #6) m7b5 to Fr+6 Thanks for clearing up those NEAP 6TH chords. Every lesson I seen would drag on forever and I never could figure out the difference between the 3. I can see why you added the Triston chord! Nice Find!
the wacky editing is enchanting my experience🤣
Very creative!
👌
Finally a theory person who plays ! Love your music. Thanks!
This is pretty interesting, playing around the key is something you learn in the beginning then you forget to try to learn the changes and sometimes you forget playing the key is important. This is the kind of changes you listen in a record and think "how these motherfuckers are playing theses changes!?" in the end they are weaving through the keys not each chord.
So much of this reminds of Tom Waits' soundtrack to the Jim Jarmusch film Night On Earth.
Well explained