what a special fucking talent this guy is. seen him for the first time yesterday and I don't think I've thought about anything else since. thank you so so much for taking the time to do this.
Julian is a gift to us all! When I do these transcriptions I spend so much in depth time on these pieces and gain such a better and deeper understanding by learning the music and everything that goes into it. The song always hits so much harder after I’m finished with these projects! I’m jealous you got to see him play!
@chrisdelanyguitarist unfortunately I meant I've just heard of him haha but what a wonderful day that was because of it, I will be in attendance the first chance I get. I know this is asking a lot, but could you talk a little about the chord progressions involved here? I'm gonna spend a lot of time working through this video, but my first challenge will definitely be just understanding where the chords are coming from. If you have a good mindset for that, it would be greatly appreciated.
@@yoloyo7019so basically this song is in the key of Db major. Many of the chords are diatonic (naturally occurring within the key signature). The beginning section harmonically speaking is pretty simple. Bbm (6m) Ab (5) Db (1) Db/F (1/3) Gb (4) F7 is what’s called a secondary dominant this a chord that does not belong to key signature but is a borrowed chord from another key. F7 is borrowed from Bb minor, it’s the (5) chord in the key of Bb minor. This is why is pulls so well to Bbm, often times in minor keys they will make the 5 chord a major or dominant 7th chord. When you get to Eb7 to Gb/Ab to Db7(#9) here is how I interpret it. This is a major 2-5-1 in the key of Db major. A 2-5-1 in Db major would normally be Ebm-Ab7-Db. In jazz a lot of times they will substitute the 2m and make it a dominant 7th instead so that’s why it’s an Eb7. This works because it is another secondary dominant chord, Eb7 is the 5 chord in the key of Ab. The 5 chord in this 2-5-1 progression is subbed out for the 4 (Gb) but keeps the Ab in the bass so the 5 is still in the bass. You will see this type of sub used in R&B and Gospel and Jazz. The Db7(#9) is a “color” chord to give some character to the sound. In Blues harmony sometimes this chord will be used since the major 3rd and minor 3rd are both in the chord and blues music is a minor/major tonality that uses both. these numbers correspond the the scale and chords build off of the scale degrees. You could find more info on this if you study harmony or the Nashville number system. Next section basically changes keys for a bit and gets a little more complicated. I’ll send another reply explaining that when I get a chance. Hopefully all this makes sense, I would highly encourage know your scales well and which chords belong to each scale. If you are further curious message me on my website about understanding theory/harmony.
@@chrisdelanyguitarist I could not appreciate this more. After I wrote that, I was going through the video and realizing the whole beginning is diatonic stuff, but I knew there would be some jazz spice that I dont have the background to recognize, and you really nailed that. Not to overshare and make it weird, but I had one of the worst months of my life just now, and to come out of that and immediately find one of the greatest artists i've ever heard, then find someone's transcribed the entirety of this performance I love, and then have that person genuinely take the time to help me with my vague question about it... that's some beautiful voice leading. Thanks, truly.
@@yoloyo7019 I’m so honored that I could help be a part of you appreciating this song even more. I truly hope that things get easier for you and that you get so experience some wonderful mountain top experiences soon! Also I have another transcription video of an intro that Julian did that you might enjoy! Take care! ruclips.net/video/IsZRvqT3Irc/видео.htmlsi=JGVpOivuQc2efLzj
Funny cause I kinda thought it sounded the Shire theme from Lord Of The Rings. I listened to it and it reminded me of something but it took me a second to realize. Yours is way closer though.
@@tonilehmann3381 that chord above just indicates the implied harmony of that part of the bar. There isn’t a chord being played in the traditional sense. The + symbol is short for augments or a major chord with a raised 5th scale degree (#5). E+ or Eaug = E G# B# or you can think of the B# as a C.
![This improvisation left me speechless... [Julian Lage]](http://i.ytimg.com/vi/00axGk7tr_4/mqdefault.jpg)
![This improvisation left me speechless... [Julian Lage]](/img/tr.png)
the fact you tabbed the live version of this masterpiece shows you are a real man of culture.
I’m playing this for my high school guitar recital! Such a wonderful piece❤
what a special fucking talent this guy is. seen him for the first time yesterday and I don't think I've thought about anything else since. thank you so so much for taking the time to do this.
Julian is a gift to us all! When I do these transcriptions I spend so much in depth time on these pieces and gain such a better and deeper understanding by learning the music and everything that goes into it. The song always hits so much harder after I’m finished with these projects! I’m jealous you got to see him play!
@chrisdelanyguitarist unfortunately I meant I've just heard of him haha but what a wonderful day that was because of it, I will be in attendance the first chance I get.
I know this is asking a lot, but could you talk a little about the chord progressions involved here? I'm gonna spend a lot of time working through this video, but my first challenge will definitely be just understanding where the chords are coming from. If you have a good mindset for that, it would be greatly appreciated.
@@yoloyo7019so basically this song is in the key of Db major. Many of the chords are diatonic (naturally occurring within the key signature). The beginning section harmonically speaking is pretty simple. Bbm (6m) Ab (5) Db (1) Db/F (1/3) Gb (4) F7 is what’s called a secondary dominant this a chord that does not belong to key signature but is a borrowed chord from another key. F7 is borrowed from Bb minor, it’s the (5) chord in the key of Bb minor. This is why is pulls so well to Bbm, often times in minor keys they will make the 5 chord a major or dominant 7th chord. When you get to Eb7 to Gb/Ab to Db7(#9) here is how I interpret it. This is a major 2-5-1 in the key of Db major. A 2-5-1 in Db major would normally be Ebm-Ab7-Db. In jazz a lot of times they will substitute the 2m and make it a dominant 7th instead so that’s why it’s an Eb7. This works because it is another secondary dominant chord, Eb7 is the 5 chord in the key of Ab. The 5 chord in this 2-5-1 progression is subbed out for the 4 (Gb) but keeps the Ab in the bass so the 5 is still in the bass. You will see this type of sub used in R&B and Gospel and Jazz. The Db7(#9) is a “color” chord to give some character to the sound. In Blues harmony sometimes this chord will be used since the major 3rd and minor 3rd are both in the chord and blues music is a minor/major tonality that uses both. these numbers correspond the the scale and chords build off of the scale degrees. You could find more info on this if you study harmony or the Nashville number system. Next section basically changes keys for a bit and gets a little more complicated. I’ll send another reply explaining that when I get a chance. Hopefully all this makes sense, I would highly encourage know your scales well and which chords belong to each scale. If you are further curious message me on my website about understanding theory/harmony.
@@chrisdelanyguitarist I could not appreciate this more. After I wrote that, I was going through the video and realizing the whole beginning is diatonic stuff, but I knew there would be some jazz spice that I dont have the background to recognize, and you really nailed that.
Not to overshare and make it weird, but I had one of the worst months of my life just now, and to come out of that and immediately find one of the greatest artists i've ever heard, then find someone's transcribed the entirety of this performance I love, and then have that person genuinely take the time to help me with my vague question about it... that's some beautiful voice leading.
Thanks, truly.
@@yoloyo7019 I’m so honored that I could help be a part of you appreciating this song even more. I truly hope that things get easier for you and that you get so experience some wonderful mountain top experiences soon! Also I have another transcription video of an intro that Julian did that you might enjoy! Take care!
ruclips.net/video/IsZRvqT3Irc/видео.htmlsi=JGVpOivuQc2efLzj
That Db at the end with the pinkie slide from 10th to 11th fret is wild
Amazing translation ! Big props
Thank you for this! Love this tune and this version and you did an amazing transcription!
Exceedingly lovely
Thanks Anthony! Julian is a phenomenal player, I hope to transcribe more of his music soon!
Simply amazing sound!
great job tabbing this one dude
Thanks man!! Julian is a fantastic player!
Thank you!
Great selection lately Chris!
Thanks Gabriel! I appreciate that!
Best transcription of this piece i have seen :))
Thanks Yannick!! I appreciate it!
Thank you for this!!
Thank goodness I have a soul had to check Bro hahaha! :)
I’m glad you have one too!! Haha
To the dude sitting behind him: Me too buddy... Me too...
Amazing!
Love it! Have you shared a pdf of the transcription?
Found it on your web site, and bought it!... Thank you!
Love it
MVP!
Greatpeacemlodybestguitarplayer
does any have a backing track for the live version please?
Uhh, I guess I got the soul of a joker because I hear the fairytale intro theme from Shrek...
Is Metallica your favorite band?
You should probably expand your music library.
Funny cause I kinda thought it sounded the Shire theme from Lord Of The Rings. I listened to it and it reminded me of something but it took me a second to realize. Yours is way closer though.
If shrek doesn’t make you feel something I don’t even know what to say
Have you tried transcribing, "I'll Be Seeing You"?
I’ve transcribed the intro of the song. You can check it out here!
ruclips.net/video/IsZRvqT3Irc/видео.htmlsi=fMhlt5SCjPtZV038
There IS a mark knopfler style in the melody
Death of the American dream /shimmers n gleams / alone on a dessert street/ as we meet/ sweet Adeline,/ sweetness is the only thing
this sounds like the fionna theme from shrek
You are not the only person who has said that!!
AWESOME@@chrisdelanyguitarist
Thank you! That is great!
Thanks Toni, glad it was helpful!
@@chrisdelanyguitarist which chord is the E+ in bar 24?
@@tonilehmann3381 that chord above just indicates the implied harmony of that part of the bar. There isn’t a chord being played in the traditional sense. The + symbol is short for augments or a major chord with a raised 5th scale degree (#5). E+ or Eaug = E G# B# or you can think of the B# as a C.
@@chrisdelanyguitarist thank you. I didn't know that augmented can be written this way.
@@tonilehmann3381 It can be noted as "E alt" too, as it has a raised fifth