i dont mean to be off topic but does any of you know of a way to get back into an Instagram account? I was stupid forgot the account password. I would love any help you can give me
@Aryan Quentin i really appreciate your reply. I found the site thru google and I'm in the hacking process atm. Seems to take a while so I will get back to you later with my results.
Thank you Chris!! I have recently discovered your site. This material is so valuable and is helping me connect everything I have been working on since I went to college in 84'. You are The Professor of the guitar in my books. Its like Ted Greene is alive and well , you know? So thanks. You have a great gift!! I have been playing and studying for 40 years and I am telling you that your help is GREATLY NEEDED in the guitar world and MOST IMPORTANT appreciated.
Brilliant. Great discussion/analysis. Really like your voice leading and movement of the inner voices in this tune and others you have recorded. Lovely to hear the guitar speak like this. Have your arrangement of Misty and am playing through it at this moment. Thanks again. Much appreciated.
I really don't play jazz guitar but your approach to this tutorial is crystal clear and packed with theory and groove. I can do this!! and I want more. to be continued.,,
Very nice explanation of how you approach comping ideas and the theoritical side which is often missing from videos. I think understand why something works is important so you can apply it to other situations.
Thank you for the Lesson Chris, it was very informative, it was great to get a handle on voice leading, substitutions, and adding extra tension. It was a good mix of the practical application of theory, it was helpful to work through it. I a beginner and started with Autumn leaves in G major, so I was working along with your vid writing it out for the key. It was interesting to explore the substitutions and voicings... an extra challenge but helped to gain insight into the methodology. Anyway, just discovered your channels so looking forward to learning more from you, and enjoying your playing.. Thank you!
HI Chris, I noticed something with the Ebdim at 8:05. The D7b9 without the D root makes a diminished shape, which the pdf calls F#dim. But then I noticed that when you slide it down three frets they are the same notes, but now it's called Ebdim, and they're the same notes every three frets up the entire fretboard. Is there some rule of thumb I can hang this on? Thanks! -Steve
Hi Steve, Yes, Since the diminished scale is a symmetrical scale, the diminished 7 chord keeps the same shape as you move it in minor 3rds in either direction, and retains the same 4 notes (Just rearranged). You can call it by any of the 4 notes.
Thanks Chris, excellent lesson. I had to go back and forth quite a bit on the video so I could see what you were doing with your fingers, but it worked. I got it! Thanks again. How about doing one for the bridge? Also I really love the way your guitars sound, especially this one (ES-175?) and your ES-125.
Nice voicing for the F7/b9/13, sounds amazing....perhaps you can make a lesson for practicing the diminshed scale and some useful chord voicings for this sound? I`m studying jazz in germany and i really enjoy your playing. Nice Sound...i wish i could see your playing live ....Thanks for sharing your knowledge
As simple and clear as a Jazz guitar lesson could be, brilliant mate. I see the Af200 is still there, i had one but it amplified my mistakes somewhat, difficult on my hands somehow (very skinny neck, even though i've fairly small hands anyway). My Gibson 175 plays oh so much better in my hands (like butter would be the phrase) and cuts/hides most errors. I liked the AF200's tone, much less mud than the 175 but still mellow & sweet. But my question is that worst of all questions for you Chris, if you had sell them all but one, which would you keep? Thanks for your inspiration!
Hi John, I have about 15 guitars. Really hard to pick a favorite. In fact, I really can't because they are all different. My taste is constantly changing.
Very cool lesson! I'm self taught and always have heard to never play the roots on your voicings as to not interfere with the bass player. I notice some of your voicings you leave the root out and others you don't. I'm curious why that is and where I should know when to leave the root out and when not to. Thank you!
There are no blanket rules in music. It all depends on what sounds good. So I place the root in the bass when it sounds good and omit it when it doesn't. I was told the same thing about leaving the roots out when I was a student in music school. Then when I got into the real world and started playing with great musicians I realized that there are many generalizations that are taught in school that aren't always best practices. I started playing with Tony Bennett's bass player and asked him if I should leave out the roots. He looked at me with surprise and said "why would you do that? it sounds great!"
i liked your analysis and discussion- im curious what thoughts your giving to the top voice. your example has a nice melody, maybe you have some notes on what to pay attention to on that front?
I have one question for You :) because Im tired searching for knowledge to which access is probably prohibited,all of these jazzmens etc instead of helping, only discouraging,eh,anyway Have You ever used ionian b6 / harmonic Major mode/modes? Do you know any songs or artists that you could recommend? The music genre does not matter, it can be classic, baroque, renaissance, romanticism anything to study and learn :) however, in anticipation of your answer "no" ;D could You try to do something using ionian b6? :) Some interesting progressions for exercises,or... some tonal and modal etudes :) ... or maybe you know any book in which the harmonic Major is discussed? I mean the functional harmony, on several degrees of ionian b6 you can create dimminished chords, which act as rootles dominant,but the tonics of these chords are not diatonic,so... how to use it,who invented harm. Major,why,what for,etc :) if You know anything, please share with us. Once upon a time I started investigate crime called harmonic Major/ionian b6 unfortunately there is a conspiracy of silence still. The witnesses are silent, most likely intimidated by the mafia it is not known if any witnesses still exist,whether they existed. The CIA declines to comment,the case file is classified, although the harmonic Major never existed, it's a conspiracy theory. People looking for answers suddenly disappear under mysterious circumstances as a result, no one knows why the harmonic Major was invented,by who,what for etc It is rumored that the ionian b6 is used exclusively by the military and NASA ufologists say it's some kind of extraterrestrial technology in general this is taboo mode,treated in churches as blasphemy, sacrilege and one of the 7 deadly scales(because harmonic Major has 7 degrees... probably 7, scientists are still debating because no one has ever seen ionian b6 music)
a couple years ago I was in music school and I learned your chord-melody Autumn Leaves because I wasn't getting much from my teacher. You have a very precise and orderly, but sophisticated, way of arranging jazz on this instrument; what I imagine eastern jazz might sound like. I came back to school this year. Same teacher as before but I will be putting a stop to that. We just do not mesh. I will be changing my major to Piano. This would not need to happen if someone like you had been my teacher. I have been playing guitar over ten years. I'm not as good as you, but I know all the voicings. I figured I could just transfer whatever I learn pianistically to the guitar, on my own. What do you think of this?
You tube is a great teacher, and you start already with it to learn from Chris ( great player and teacher)in this video, you can start with playing some great solo’s from the greats there are a lot of transcriptions on you tube, I am working on a solo from Seamus Blake, I gotta right to sing the blues and play with Seames solo and learn also the time feel , or write a solo from Chris and do the same with it. good luck. Ben Boogaard
Unbelievably helpful, one of your best. Plenty of jazz guitar instruction on RUclips, but I can’t find anyone who has the feel and instincts of this guy.
This man is so extremely talented
Fantastic breadown. The harmony is explained particularly well. Thanks, Chris.
Thanks Pavel!
It was extremely useful to hear you explain how you approach something like this. Hope you post more videos where you talk about your thought process.
Thanks Phil
Relaxed playing. I like the idea of putting an "underlying" melody in chord voicings. I will watch this carefully. Thanks a lot, Chris!
Glad it was helpful!
@@ChrisWhitemanGuitar it is!
Terrific clear lesson packed with so much information that I can spend a month on just this.
Thank you!
Great lesson Chris - you explain your thinking and demonstrate your playing extremely well. Please do more comping lessons. Very valuable.
Thanks Stephen. More coming soon
i dont mean to be off topic but does any of you know of a way to get back into an Instagram account?
I was stupid forgot the account password. I would love any help you can give me
@Charles Maison Instablaster ;)
@Aryan Quentin i really appreciate your reply. I found the site thru google and I'm in the hacking process atm.
Seems to take a while so I will get back to you later with my results.
@Aryan Quentin it did the trick and I finally got access to my account again. Im so happy!
Thank you so much, you saved my ass!
Been following your you tube recordings for a year, and it was really nice to get a window into your thought process. Thank you.
Glad it was helpful
Chris, what a great tutorial, very helpful...perfect mix of theory and practical application. Thanks for sharing!
Thank you Jim
Wow! Mind-blowing explanation of how and why you chose the chords (harmonies) and rhythms. Thanks!
Glad it helped!
Hey Chris, this was a really helpful lesson. Thanks for the demo and insights.
Glad it was helpful! Thank you!
Thanks for this wonderful lesson
My pleasure!
Thank you Chris!! I have recently discovered your site. This material is so valuable and is helping me connect everything I have been working on since I went to college in 84'. You are The Professor of the guitar in my books. Its like Ted Greene is alive and well , you know? So thanks. You have a great gift!! I have been playing and studying for 40 years and I am telling you that your help is GREATLY NEEDED in the guitar world and MOST IMPORTANT appreciated.
Thanks for the encouragement and support Chris!
Brilliant. Great discussion/analysis. Really like your voice leading and movement of the inner voices in this tune and others you have recorded. Lovely to hear the guitar speak like this. Have your arrangement of Misty and am playing through it at this moment. Thanks again. Much appreciated.
Thank you Roxy!
Chris,
This is awesome! RIght in line with what you have me working on!
Great lesson Chris!👍 These Break down lessons are perfect for those of us getting into Jazz. Really appreciate it.
Thank you Michael
So cool. Thanks Chris. You are amazing man. Love those live clips of you playing with the piano player. Best kept secret in the the guitar world.
Glad you enjoyed it Al!
You’re a great teacher: clear and concise. Thank you 🎵❤️
Thank you Ken 🙏🏻
This is exactly how I was taught to think about harmony and substitutes. Good lesson.
Thank you
Really enjoyed the video. Clear and insightful way to approach a tune. Comping is so important but as you said, overlooked. Thanks
Thank you
I really don't play jazz guitar but your approach to this tutorial is crystal clear and packed with theory and groove. I can do this!! and I want more. to be continued.,,
Thank you Charles
Very clear and concise, Chris. Really enjoyed this! Been playing AL for decades, and now I have a coupla new ideas for it. 🙏
Thank you Barry
Hi Chris, that was an awesome lesson! Thank you so much for sharing
Thank you!
crystal clear logic...great choices...its a unique gem...thanks again...
Thank you Karl
Chris, I really enjoyed that. Thanks so much
Glad to hear. Thank you Stephen!
Very helpful. Opened up a new vision to me. Thanks!
Wonderful!
Very nice explanation of how you approach comping ideas and the theoritical side which is often missing from videos. I think understand why something works is important so you can apply it to other situations.
Thank you
Superb lesson, thanks from France
Thank you Jean
I just had the best jazz guitar lesson of my life
Glad to hear that Rodrigo!!!!
Lovely playing!
Thank you Jay!
Man that was such nice comping in the start.
Thank you!
Thanks Chris to share this great lesson! Marco
Thank you Marco
Watched this again…brilliant
Thank you Andy!
the perfect teacher
Thank you Brett!
Thank you for the Lesson Chris, it was very informative, it was great to get a handle on voice leading, substitutions, and adding extra tension. It was a good mix of the practical application of theory, it was helpful to work through it. I a beginner and started with Autumn leaves in G major, so I was working along with your vid writing it out for the key. It was interesting to explore the substitutions and voicings... an extra challenge but helped to gain insight into the methodology. Anyway, just discovered your channels so looking forward to learning more from you, and enjoying your playing.. Thank you!
Thank you Adam, glad it was helpful!!
HI Chris, I noticed something with the Ebdim at 8:05. The D7b9 without the D root makes a diminished shape, which the pdf calls F#dim. But then I noticed that when you slide it down three frets they are the same notes, but now it's called Ebdim, and they're the same notes every three frets up the entire fretboard. Is there some rule of thumb I can hang this on? Thanks! -Steve
Hi Steve, Yes, Since the diminished scale is a symmetrical scale, the diminished 7 chord keeps the same shape as you move it in minor 3rds in either direction, and retains the same 4 notes (Just rearranged). You can call it by any of the 4 notes.
@@ChrisWhitemanGuitar That's so cool. Thanks Chris!
Great lesson! You are very precise and detailed about what you are explaining.
Thank you 😊
You're brilliant, as always. thank you.
Thank you 😊
Chris, just recently subscribed. You're a fantastic player and a great teacher.
Welcome aboard and thank you!
Smooth comping ,very slick!Thanks!
Thank you
Fantastic Edification!!!
Thank you
You’re welcome.
Damn, autumn leaves has such a shelf life. Every guitarist learns it, you just defibrillatored it!
Thank you Nick
Excellent! Thanks for sharing.
Thank you
This is great! Did you ever put out a video for the B section?
It is very helpful to me. Thank you very much!
Thank you
Thanks so much for this really helped
Glad it helped!
Great stuff, Chris! Thanks for sharing. I’ll head over to Patreon to pick up the backing tracks and PDF. 👌🏻🕶🖖🏻
Thanks Steve!
Thanks Chris, excellent lesson. I had to go back and forth quite a bit on the video so I could see what you were doing with your fingers, but it worked. I got it! Thanks again. How about doing one for the bridge? Also I really love the way your guitars sound, especially this one (ES-175?) and your ES-125.
Thank you Gary!
Amazing! Is there a part 2?
Lovely guitar.
Thanks Mark
Awesome. Thnx Chris 🤟👽👍
Thank you!
Thank you for sharing!
My pleasure
Hey Chris! Learning a lot from you videos. Do you still use your Vintage 47 much these days? So many options these days.
I haven't been using the Vintage 47 much, primarily because I like a little reverb and it doesn't have any.
perfect video
Thanks
Great lesson!
Thank you Bruce
Nice voicing for the F7/b9/13, sounds amazing....perhaps you can make a lesson for practicing the diminshed scale and some useful chord voicings for this sound? I`m studying jazz in germany and i really enjoy your playing. Nice Sound...i wish i could see your playing live ....Thanks for sharing your knowledge
Thank you Matthias
nice lesson.
Thank you
2:40 sounds like the beginning of "Olive Refractions" by Johnny Griffin. Why are so many jazz tunes jam-packed with 7th chords?
adds interest and depth to the harmony
I really like the dimdom term. Thanks Chris.
Glad you enjoyed it
Great Chris. Very helpful.
Jazzical Guitarist
Glad it was helpful!
As simple and clear as a Jazz guitar lesson could be, brilliant mate. I see the Af200 is still there, i had one but it amplified my mistakes somewhat, difficult on my hands somehow (very skinny neck, even though i've fairly small hands anyway). My Gibson 175 plays oh so much better in my hands (like butter would be the phrase) and cuts/hides most errors. I liked the AF200's tone, much less mud than the 175 but still mellow & sweet. But my question is that worst of all questions for you Chris, if you had sell them all but one, which would you keep? Thanks for your inspiration!
Hi Paul, that is a really difficult question. Maybe my Daniel Slaman archtop
Thanks! Very easy to understand!
Glad to hear that!
Amazing lesson, sounds like a mini Big band on the guitar, thanks Chris!
thank you. Big bands have influenced my playing in many ways
This is gold!
Thank you Zach
Gotta love that ax. I'm quarantining for the winter, so do you think I could borrow it for a few months?
😁
Welp, time to visit Patreon after this.
Hello Chris, there is no second part , for a fee too ?? Thanks
Chris, I am sorry to go off-topic, but might I ask you how many guitars you own, and do you have an obvious favorite?
Hi John, I have about 15 guitars. Really hard to pick a favorite. In fact, I really can't because they are all different. My taste is constantly changing.
Very cool lesson! I'm self taught and always have heard to never play the roots on your voicings as to not interfere with the bass player. I notice some of your voicings you leave the root out and others you don't. I'm curious why that is and where I should know when to leave the root out and when not to. Thank you!
There are no blanket rules in music. It all depends on what sounds good. So I place the root in the bass when it sounds good and omit it when it doesn't. I was told the same thing about leaving the roots out when I was a student in music school. Then when I got into the real world and started playing with great musicians I realized that there are many generalizations that are taught in school that aren't always best practices. I started playing with Tony Bennett's bass player and asked him if I should leave out the roots. He looked at me with surprise and said "why would you do that? it sounds great!"
@@ChrisWhitemanGuitar thanks for the reply thats helpful to know!
i liked your analysis and discussion- im curious what thoughts your giving to the top voice. your example has a nice melody, maybe you have some notes on what to pay attention to on that front?
Thank you!!!
You're welcome!
Very helpful indeed😊
Thank you
I have one question for You :) because Im tired searching for knowledge
to which access is probably prohibited,all of these jazzmens etc
instead of helping, only discouraging,eh,anyway
Have You ever used ionian b6 / harmonic Major mode/modes?
Do you know any songs or artists that you could recommend?
The music genre does not matter, it can be classic, baroque, renaissance, romanticism
anything to study and learn :)
however, in anticipation of your answer "no" ;D
could You try to do something using ionian b6? :)
Some interesting progressions for exercises,or... some tonal and modal etudes :)
... or maybe you know any book in which the harmonic Major is discussed?
I mean the functional harmony, on several degrees of ionian b6 you can create dimminished chords,
which act as rootles dominant,but the tonics of these chords are not diatonic,so...
how to use it,who invented harm. Major,why,what for,etc :)
if You know anything, please share with us.
Once upon a time I started investigate crime called harmonic Major/ionian b6
unfortunately there is a conspiracy of silence still.
The witnesses are silent, most likely intimidated by the mafia
it is not known if any witnesses still exist,whether they existed.
The CIA declines to comment,the case file is classified,
although the harmonic Major never existed, it's a conspiracy theory.
People looking for answers suddenly disappear under mysterious circumstances
as a result, no one knows why the harmonic Major was invented,by who,what for etc
It is rumored that the ionian b6 is used exclusively by the military and NASA
ufologists say it's some kind of extraterrestrial technology
in general this is taboo mode,treated in churches as blasphemy, sacrilege
and one of the 7 deadly scales(because harmonic Major has 7 degrees...
probably 7, scientists are still debating because no one has ever seen ionian b6 music)
Sorry, I have not used that mode
@@ChrisWhitemanGuitar but why,what is the reason that You don't use it?
Aren't you curious how music in harmonic Major can sound?
@@kukumuniu5658 Just haven't had the time. I'm still working on the basic scales!
Nice!
Thanks!
a couple years ago I was in music school and I learned your chord-melody Autumn Leaves because I wasn't getting much from my teacher. You have a very precise and orderly, but sophisticated, way of arranging jazz on this instrument; what I imagine eastern jazz might sound like.
I came back to school this year. Same teacher as before but I will be putting a stop to that. We just do not mesh. I will be changing my major to Piano. This would not need to happen if someone like you had been my teacher. I have been playing guitar over ten years. I'm not as good as you, but I know all the voicings. I figured I could just transfer whatever I learn pianistically to the guitar, on my own. What do you think of this?
Email me at chriswhitemanmusic@gmail.com and I can share some thoughts with you
You tube is a great teacher, and you start already with it to learn from Chris ( great player and teacher)in this video, you can start with playing some great solo’s from the greats there are a lot of transcriptions on you tube, I am working on a solo from Seamus Blake, I gotta right to sing the blues and play with Seames solo and learn also the time feel , or write a solo from Chris and do the same with it. good luck. Ben Boogaard
I see you clipped the mic to your shirt this time. Good move. Your voice is MUCH CLEARER HERE‼️ 🙂👍🏼
Yes! Thank you!
weres part 2 my friend?
just 8 bars?
Unbelievably helpful, one of your best. Plenty of jazz guitar instruction on RUclips, but I can’t find anyone who has the feel and instincts of this guy.
Thank you!
👍🏼
love your playing but don't like patreon or music notes
did you have a bad experience with them?
chris so mellow.cooool stufff man..thank you
Glad you enjoyed it!