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LOL!!! It's 12:00 here in the UK so all good to go!!

TY very much and more coming on this topic!!

Thank you for the kind words and I am glad you found this useful. Yes you are right--there are so many great sounds in this common string group. Much more to come!

@@mtstyre7768 This group of chords felt really nice under my fingers too. Thanks for your painstaking work creating these videos!

@@WhiteNoise-b1n TY and I am glad you feel this material is of interest. Onwards!!

TY! I have had it since about 2000 and had a custom one since 1999 or so. I was with the company for a while and they are great. It is versatile and has its own sound and a flat radius etc which I seem to like. Its light as well and I have been using that one ever since and not interested in any other. TY for the comment on that and agreed!

@@mtstyre7768 I haven't found it super easy to find info on their different lines and models, but I THINK his was a custom. Nice quilted top, seymour duncan pickups of some kind, a wilkinsom trem, locking tuners, SUPER figured birdseye neck.

@@timeconsumer325 Yes that sounds excellent. I did have one too which was called a C-90. I ended up selling it as this Guitar (an i8) which was much cheaper had a sound I preferred. The C-90 was beautiful and they are great Guitars no doubt.

All of these things are exactly it. The movement and resolutions of voices with the chords is indicated and any voice can act melodically at any point and indeed "carry the melody", not just the top voice which is an understandable tradition. Voice motion is also of course part of embellishment when in an accompanying role and voices when "frozen" can create new discrete harmonies of course. And if one combines all this with a Bassist then many voices can now be in play. You have some great ideas and definitely see them through.

any voice can carry the melody is a concept but I'm thinking more like 3 independent melodies going at the same time have you ever considered writing music like this ? sort of like what would it sound like if holdsworth wrote a fugue

@@ziegunerweiser I have and done so. Its a concept that is embedded in my recorded work. It was also an integral part of my studies with Dennis Sandole who insisted on it with chord studies and work. I would love to hear you do your own thing with this. You must!

a long time ago I did a sketch of a fusion tune titled proglodyte that I programmed using power tab software and recorded my computer playing it back on my secret tribe channel the tune is only 2 min 55 seconds long right now but I know I want to have a solo section with chord sequences that modulate morphing into counterpoint as part of the structure but writing a modern fugue is a new idea i would love to write a suite that has polonaise bouree scherzo gigue sarabande and fugue, I'm starting to experiment with modern classical another thing ive been interested in is polychords and polytonal triad pairs, there is an interesting section in the book titled modern concepts in jazz improvisation by david baker about this but I would be curious about your interpretation - maybe you could do videos about that ? sometimes I hear this kind of sound coming from ralph towner

@@ziegunerweiser go for it!! Yes that sort of chordal thing will be in the "Pt II" of the series.

Thank you Celso and I hope the material is of interest

That's a good point-That works!

TY My friend!!!!!!!!

I am working on it slowly but surely. Right now it will just be these videos but a "print" version will be coming. I hope all is well Lawrence!!!

Wicked man! Looking forward to it :) You should totally have a scannable QR code to each of these videos alongside each exercise

@@LawrenceJenner right on definitely!

Excellent!!!!

Much appreciated Remo and The Chord Book project will continue in the two parts for posterity for Guitarists

Thank you very much Mike and I am glad you are finding these useful. Much more to come so here they will stay. Yes keep the stretches for Ballads Only! LOL!! Let's stay in touch!!

@@mtstyre7768 Ballads at 0bpm on the upper frets to start!

@@jabbo312 Indeed-I agree!!! The interesting thing is that the voicings can be very rich and resonant and really exploit the instrument's potential for colour and linear motion within chords. Keep the ones that work physically and sonically and discard the rest.

Thank you very much and I am glad you found the music and the video of interest Scott. Yes good point and example about the triads and their development. I hope we can stay in touch!

Thank you TVtubeamps and I am glad you found the material of interest. More to come and let's stay in touch.

Thank you Michael and I appreciate the kind words. I hope the material is of interest and let's stay in touch!

Thank you DS7 and I appreciate the kind words! Yes its an endurance thing and I am sure you can nail it with no issues. I hope we can stay in touch.

Thank you RAF and much appreciated for the kind words. I hope it was helpful!

TY and my family and I truly appreciate it! (and I promise I will not call you Shirley!)

Yes indeed and I agree 100%-a sound that sometimes gets forgotten--very melodic due to the voice leading. I am very glad you find the material useful for your music!

Thank you very much and much appreciated. I hope it was helpful.

Thank you Fabien and I hope all is going well for you. Yes you can contact me at my work address which is the same, or on Facebook or Instagram as well and we can discuss what you would like OK.

Apologies Roland and you do bring up a good point. I had to do these in a big group so they might all have these issues.

Thank you my man!! More to come....

Thank you Nick and I am glad you found the material of interest!

My thanks and we appreciate the kind words. Let's stay in touch!

TY very much and I appreciate the kind words-glad you found this of interest and some more to come!

I would love it to!!

Thank you Jimmy and I appreciate it--more to come and I hope the material is of interest.

TY my friend. A great sound and more to come on that.

TY Remo and I am glad this is of interest to you. It does give a very specific sound and I will be doing another one soon that expands on this as it can make chords a bit more "melodic" in a sense and doublings can have real melodic purpose. I would look forward to seeing and hearing what you are doing with the material.

Thank you Gabriel and you are so correct. I have a few extras coming on this and the Chord Book sections on Whole Tone #5 b5 Dominant type voicings helps to round that out as well..

Thank you my good friend and very much appreciated!!

Thank you and I am glad you found it of interest!

Thank you very much and glad you like the material!

Right on Jimmy and I agree. The IV Minor relates to the other harmonies and they can imply a dominant function in a sense.

Thank you Jimmy and that is it-the voice motion can behave as multiple suspensions with multiple resolution tendencies. I know you are making excellent music from it all.

TY my man!! Good chord set--has the attributes of straight up and down voicing (r357) and becomes the adjacent voicing (r573) when you swap the notes on the high e strings/string transference as a starting point.

Thank you very much Mark and much appreciated. Ted Greene was a brilliant man.

HI Gabriel, Good to hear from you and thank you--hoping you are well too! Yes I think there will be but there is not one as of yet. I will have one at some point and thank you for the interest in this series!!

Thank you Keith-it is a great book!

Thank you Jimmy and always great to hear from you--much much appreciated and please keep doing what you are doing-let's stay in touch! Scott

Thank you my man and yes indeed. All the Chord book stuff is all over my albums from the beginning in the late 90's.

Keith, this tune, in particular, is based on that string set I believe--the melody is "inside" the chord much of the time and there is a good bit of the 1256 chords from what I remember in addition to similar sets: ruclips.net/video/6ajgaReeGrE/видео.html

Thank you Pedro and much appreciated!!!!

Hi Rick and thank you-I am glad you find the content of interest and its greatly appreciated. I've always admired John McLaughlin. I did a lot of Violin studies, Piano transcriptions, and listened to a lot of the faster stuff to get it in my ear. I work on it daily and try to push it hard. Listening to the greats and trying to get my own vocabulary near as I can to that level I suppose.

@@mtstyre7768 many thanks for responding, all the best!

@@rickjensen2717 Let's stay in touch!

Thank you Keith--that was such a long time ago now.

Thank you my good friend! You and I will keep going!!

Couldn't agree more! He was my instructor maybe 20 years ago, and I know I wouldn't be the player I am today without Scott's teachings.

@@RemoCocco TY my good friend and it was a great pleasure-those were great days!!

Thank you Remo and much appreciated! Yes it is pick and fingers and I think it probably has that element to it. I always liked Jerry Reed etc.

Thank you Gus and I appreciate the feedback. Yes I think an updated version could be good so yes thank you for the idea. I have to get my direct sound a bit nicer as I still prefer a live amp but I need to be quiet with it. Let me have a think Gus and much appreciated!!!

@@mtstyre7768 Awesome thank you. You did a great job explaining the concept over a static key. One thing I also wonder about is how you can apply this sound over a changing chord progression (whether ii, v, i or otherwise) I’m going to give you a subscription.

@@guskalogeros9021 Thank you Gus and much appreciated for the subscription as well. Yes a tune with some changes would be a good one. Perhaps a "modern jazz" tune for that. I like it!!

Thank you so much Lucas!!!!!