It was really cool, but it would be nice so see the chords written out on sheet music or in diagrams to show the voice leading more clearly or something
I really appreciate the melody choice. I've also been really liking your covers lately. I think a major obstacle I've ran into when learning jazz harmonization techniques is that I just straight up don't know any of the standard melodies. I feel like you miss most of the magic when the melody isn't familiar to you upfront.
I love the use of these 4 different examples of Mary Had a Little Lamb. These are great! Something that has also worked extremely well for me over the years has been constructing 2-voice (melody and bass) arrangements. I then find it easier to "fill in" the inner voices (Ted Greene and Julian Lage do this a lot). This helps me think my harmonies more as intertwining melodies.
@@RotemSivanGuitar One thing that would be interesting for me is techniques for comping. Are there any recommendations for avoiding to repeat the same voicings? Also, how do you organize your "toolbox" of different chords and voicings? I fell like the amount of possibilities makes it difficult to remember everything effectively. :)
DAMN THIS IS WHAT WE LOOKING FOR!!! like a random guy on commnt section, my suggestion is, why Ted Greene chosing that chord when he reharm the beatles song, and do reharm on pop music nowadays, it will make you gain more viewers and subscriber bruhh! i really hope this series will be continue anyway the editing, this video length , how you communicate is perfect to me. Thayou for sharingg!!
@@RotemSivanGuitar damnn.. i've been following you since your masterclass on pickupmusic! that was really make me playing more and learn theory properly, thankyou so damn much!! here's Ted performing Ticket to ride ruclips.net/video/j9gV1C5eBfI/видео.html and E. rigby ruclips.net/video/4DJdJi9wjKo/видео.html and there's channel called "Javigog" on youtube, who did a lot of Beatles cover from Ted Arrangement btw, whether you make beatles reharm or not, the most important is you'll continue this series :D thankyou so much man
I totally love this, but by Ex 4 you were way beyond my normal chord vocabulary. Even Ex 3 had grips that I am just not remotely familiar with. I definitely want to see more of this.
all this is very nice but i can't understand the relationship between the classic harmonic turn of C major (in A and B) and the final harmonization (in section D) I lose the logic and the system because it completely changes everything . I can understand a little about the relationship with the third rearmonization (in C section) . I'd like to understand the secret or the concept of how to get there ! Anyway you're a great !!
For those wanting tabs on that last one: i.imgur.com/t4PD3De.jpg * I did rename a few chords above the tab. The only two names that I found "wrong" was Fm7/Ab and Dm7. Both I think were just typos. For the second chord in measure 6, we need an E in the melody on this chord and making it Fm7 would introduce an Eb, so he actually plays Fm(maj7)/Ab, which is a mouthful. The second chord of measure 2 is technically just a Dm, with no b7 added yet. Other than that, the other names were just based on root positions. Obviously a bass player would most likely reharm that F@/m7b5 shape at the beginning into a D9. Or the Gdim=Edim=Gdim/E, just trying to identify guitar roots, but again bassist might choose something different. Have fun!
For those wanting tabs on that last one: i.imgur.com/t4PD3De.jpg * I did rename a few chords above the tab. The only two names that I found "wrong" was Fm7/Ab and Dm7. Both I think were just typos. For the second chord in measure 6, we need an E in the melody on this chord and making it Fm7 would introduce an Eb, so he actually plays Fm(maj7)/Ab, which is a mouthful. The second chord of measure 2 is technically just a Dm, with no b7 added yet. Other than that, the other names were just based on root positions. Obviously a bass player would most likely reharm that F#m7b5 shape at the beginning into a D9. Or the Gdim=Edim=Gdim/E, just trying to identify guitar roots, but again bassist might choose something different. Have fun!
Hey! How are you feeling with this one? is it too long? any ideas will help 🙏
It was really cool, but it would be nice so see the chords written out on sheet music or in diagrams to show the voice leading more clearly or something
Outstanding! Can’t wait for the next one.
No it’s a good length. I know personally I’m looking for in depth chats and gradual explanation. Don’t want fast food lessons. Loving it man 👌
I feel like mary had a little lamb.. but maybe this is just me
(+ this is definitely not long. Expect musicians to have a slightly higher attention span :D)
I really appreciate the melody choice. I've also been really liking your covers lately. I think a major obstacle I've ran into when learning jazz harmonization techniques is that I just straight up don't know any of the standard melodies. I feel like you miss most of the magic when the melody isn't familiar to you upfront.
I think the more melodies and songs we learn the easier it gets.
What an inspired choice, and inspiring reharmonisations. Thank you for your excellent teaching.
I love the use of these 4 different examples of Mary Had a Little Lamb. These are great!
Something that has also worked extremely well for me over the years has been constructing 2-voice (melody and bass) arrangements. I then find it easier to "fill in" the inner voices (Ted Greene and Julian Lage do this a lot). This helps me think my harmonies more as intertwining melodies.
Love it. Love the length, so you can really dive in.
Thanks mate!
Great video. Very good insight! Helps me think of different ways to approach my reharms
Thanks! 🤘
Damn, that's an excellent lesson. Thank you very much!
💙
such a great video, will watch it again
Thanks. This is very helpful and motivating!
Happy to help! Let me know if there are more things I can cover that would be of interest
@@RotemSivanGuitar One thing that would be interesting for me is techniques for comping. Are there any recommendations for avoiding to repeat the same voicings? Also, how do you organize your "toolbox" of different chords and voicings? I fell like the amount of possibilities makes it difficult to remember everything effectively. :)
Hi Rotem this lesson is a magnific thing ! Thank you so much but where I can find the PDF ? You're a number one!
DAMN THIS IS WHAT WE LOOKING FOR!!!
like a random guy on commnt section,
my suggestion is, why Ted Greene chosing that chord when he reharm the beatles song, and do reharm on pop music nowadays, it will make you gain more viewers and subscriber bruhh! i really hope this series will be continue
anyway the editing, this video length , how you communicate is perfect to me. Thayou for sharingg!!
Oh wow! Thanks so much. Any more subjects you're into / specific song in mind?
The Ted green - can you send me a link to that?
@@RotemSivanGuitar
damnn.. i've been following you since your masterclass on pickupmusic! that was really make me playing more and learn theory properly, thankyou so damn much!!
here's Ted performing Ticket to ride
ruclips.net/video/j9gV1C5eBfI/видео.html
and E. rigby
ruclips.net/video/4DJdJi9wjKo/видео.html
and there's channel called "Javigog" on youtube, who did a lot of Beatles cover from Ted Arrangement
btw, whether you make beatles reharm or not, the most important is you'll continue this series :D thankyou so much man
Awesome!!!!!
Big fans here😊
thank you!! it means a lot.
Great! Ciao from Italy!
Krishna Biswas Caio!! ❤️
I totally love this, but by Ex 4 you were way beyond my normal chord vocabulary. Even Ex 3 had grips that I am just not remotely familiar with. I definitely want to see more of this.
all this is very nice but i can't understand the relationship between the classic harmonic turn of C major (in A and B) and the final harmonization (in section D) I lose the logic and the system because it completely changes everything . I can understand a little about the relationship with the third rearmonization (in C section) . I'd like to understand the secret or the concept of how to get there ! Anyway you're a great !!
Please do more videos like these
Very interesting. Thx! BTW. Been wondering what's taped between your pickups? Looks like cardboard. Also what model is your guitar? Thx again :)
It's a Gibson Howard Roberts. It's just to avoid feedback
Me encanta...
For those wanting tabs on that last one: i.imgur.com/t4PD3De.jpg
* I did rename a few chords above the tab. The only two names that I found "wrong" was Fm7/Ab and Dm7. Both I think were just typos. For the second chord in measure 6, we need an E in the melody on this chord and making it Fm7 would introduce an Eb, so he actually plays Fm(maj7)/Ab, which is a mouthful. The second chord of measure 2 is technically just a Dm, with no b7 added yet. Other than that, the other names were just based on root positions. Obviously a bass player would most likely reharm that F@/m7b5 shape at the beginning into a D9. Or the Gdim=Edim=Gdim/E, just trying to identify guitar roots, but again bassist might choose something different. Have fun!
Good info but the audio is bad with echo and his accent. Plus he talks way, way to fast explaining the theory.
For those wanting tabs on that last one: i.imgur.com/t4PD3De.jpg
* I did rename a few chords above the tab. The only two names that I found "wrong" was Fm7/Ab and Dm7. Both I think were just typos. For the second chord in measure 6, we need an E in the melody on this chord and making it Fm7 would introduce an Eb, so he actually plays Fm(maj7)/Ab, which is a mouthful. The second chord of measure 2 is technically just a Dm, with no b7 added yet. Other than that, the other names were just based on root positions. Obviously a bass player would most likely reharm that F#m7b5 shape at the beginning into a D9. Or the Gdim=Edim=Gdim/E, just trying to identify guitar roots, but again bassist might choose something different. Have fun!