I've said this before, but all of Peter Bernstein's serious students seem to play and think differently than all the other guitarists I've come across. I'm studying with one of Pete B's students and he's the best teacher for what I need right now in my playing. I wouldn't call it bare bones, but Peter's students seem to be entrenched in the fundamentals in the most beautiful way. Jordan is an awesome teacher as well. I think I still have his Skype response video somewhere on my computer...
Hey man, always great crossing paths. How you been? Still in the PSW? Are you studying with one of Pete's old students there in person or doing the Skype thing with them? Now you have me curious who it is and what kind of stuff you're working on.
Thanks! Glad you dig it. Use the link in the description if you want to come and hang with us in our online melodic triads study group. We go into all this kind of stuff with monthly videos, pdfs, courses, and live group sessions. Would love to have you with us any time!
Great seeing it like this Jordan. Simple but not easy yes, for me getting that phrasing happening is another thing. Being a Bootcamp student makes it accessible and comprehensible for my pea brain though. Good stuff. Shedding the triads and quadratonics opens the fretboard up. Love it.
Yes... simplicity is not always the same as easy. But the great thing, as I know you're starting to see, is that the simple things can be mutated and morphed into a near infinite number of applications. So if we take the time to really own those simple things (like triads), then it offers us a pathway into entire universes that would be otherwise out of reach to us. In this way, they're not only accessible, but they are all connected and related.
Did you give this a shot? It's so "simple"... but simple isn't always easy. If you're not really strong with your triad comfort level around the fretboard, this can be challenging. Were you able to make it work? Did you find that it forced you away from your go-to riffs and scale runs? Did you play differently over the ii V I? Did you find anything interesting?
Funny you should ask. I recently created and offered a part-live 7 day program teaching exactly this technique, broken down into small baby steps. Went great. Will be offering again, but probably not until later in 2023. I have some free masterclasses coming on my website you might want to check out. And you can also join my "Melodic Triads" Facebook Group if you're on there. I do quite a bit of free fb live lessons there... sometimes with pdfs. Feel free to reach out through my website if you want to connect and talk more deeply. No books or PDFs for sale right now. Just free stuff and online programs that combine PDFs with videos and the occasional live stream to answer questions and help the group see progress.
Love it - as one working on solo playing, I can play chord melody on the head, but improvising is way different than in an ensemble. I can see the Bm is the upper structure of Em7 and F#- is the same for Dmaj. The F# is a b3 sub for A7?
Yeah improvising as a solo guitarist and trying to maintain harmony, melody, plus rhythm and groove and forward momentum can be a fun challenge... not to mention keeping it musical and filled with themes and ideas and human emotion. I love the stuff. As for the A7... I studied harmony with at the keyboard, so most all of my ideas come from the "two hand" physicality of the keyboard.... then trying to translate that onto the fretboard. With this A7, the left hand of the piano player would play a basic A7 shell voicing (R - 3 - b7) and the right hand would play an F# major triad. My teacher would have called that a T6... meaning the triad in the right hand is built on the 6th of whatever the basic harmony is in the left hand. We can also take this idea and create single note melodic ideas with it as well by using the F# major triad as the strong resolution points of our lines. The best way to get started with that is to add just that 1 extra note... the tension b2... which means the b2 of the F#... so a G note. It's the b7 of the A7 chord, but because we're using it against an F# major triad, it actually functions as a tension note and wants to resolve down to the F#. So I call this an A13b9, because relying on the F# triad makes the 3rd, the b9, and the 13th strong and stable in this sound. I actually have a whole video about this dominant chord if you're interested, Jim. ruclips.net/video/C0lAVO9-tnY/видео.html
Right on... hope that means you dig it! I love Lage's playing but honestly haven't really transcribed any of his stuff or followed his approach. Somehow, you're the 2nd person who's pointed out the harmonic similarities... so that's cool... I'll take it!
![Bebop Scales vs Melodic Triads Bebop Scales [Live open office hours stream]](http://i.ytimg.com/vi/nBeAC-47hYE/mqdefault.jpg)
![Bebop Scales vs Melodic Triads Bebop Scales [Live open office hours stream]](/img/tr.png)
I've said this before, but all of Peter Bernstein's serious students seem to play and think differently than all the other guitarists I've come across. I'm studying with one of Pete B's students and he's the best teacher for what I need right now in my playing. I wouldn't call it bare bones, but Peter's students seem to be entrenched in the fundamentals in the most beautiful way. Jordan is an awesome teacher as well. I think I still have his Skype response video somewhere on my computer...
Hey man, always great crossing paths. How you been? Still in the PSW? Are you studying with one of Pete's old students there in person or doing the Skype thing with them? Now you have me curious who it is and what kind of stuff you're working on.
Wow ! Its amazing .. new sub here 😊
Thanks! Glad you dig it. Use the link in the description if you want to come and hang with us in our online melodic triads study group. We go into all this kind of stuff with monthly videos, pdfs, courses, and live group sessions. Would love to have you with us any time!
Thanks for such a great channel!
Guitar Media has now subscribed to you on youtube!
Welcome aboard!
Great seeing it like this Jordan. Simple but not easy yes, for me getting that phrasing happening is another thing. Being a Bootcamp student makes it accessible and comprehensible for my pea brain though. Good stuff. Shedding the triads and quadratonics opens the fretboard up. Love it.
Yes... simplicity is not always the same as easy. But the great thing, as I know you're starting to see, is that the simple things can be mutated and morphed into a near infinite number of applications. So if we take the time to really own those simple things (like triads), then it offers us a pathway into entire universes that would be otherwise out of reach to us. In this way, they're not only accessible, but they are all connected and related.
Did you give this a shot? It's so "simple"... but simple isn't always easy. If you're not really strong with your triad comfort level around the fretboard, this can be challenging. Were you able to make it work? Did you find that it forced you away from your go-to riffs and scale runs? Did you play differently over the ii V I? Did you find anything interesting?
You are the man, Jordan! Thanks for your insight.
Do you have a book or PDF for sale covering this "liquid harmony"? Or just skype lessons?
Funny you should ask. I recently created and offered a part-live 7 day program teaching exactly this technique, broken down into small baby steps. Went great. Will be offering again, but probably not until later in 2023. I have some free masterclasses coming on my website you might want to check out. And you can also join my "Melodic Triads" Facebook Group if you're on there. I do quite a bit of free fb live lessons there... sometimes with pdfs. Feel free to reach out through my website if you want to connect and talk more deeply. No books or PDFs for sale right now. Just free stuff and online programs that combine PDFs with videos and the occasional live stream to answer questions and help the group see progress.
Love it - as one working on solo playing, I can play chord melody on the head, but improvising is way different than in an ensemble. I can see the Bm is the upper structure of Em7 and F#- is the same for Dmaj. The F# is a b3 sub for A7?
Yeah improvising as a solo guitarist and trying to maintain harmony, melody, plus rhythm and groove and forward momentum can be a fun challenge... not to mention keeping it musical and filled with themes and ideas and human emotion. I love the stuff.
As for the A7... I studied harmony with at the keyboard, so most all of my ideas come from the "two hand" physicality of the keyboard.... then trying to translate that onto the fretboard. With this A7, the left hand of the piano player would play a basic A7 shell voicing (R - 3 - b7) and the right hand would play an F# major triad. My teacher would have called that a T6... meaning the triad in the right hand is built on the 6th of whatever the basic harmony is in the left hand. We can also take this idea and create single note melodic ideas with it as well by using the F# major triad as the strong resolution points of our lines. The best way to get started with that is to add just that 1 extra note... the tension b2... which means the b2 of the F#... so a G note. It's the b7 of the A7 chord, but because we're using it against an F# major triad, it actually functions as a tension note and wants to resolve down to the F#. So I call this an A13b9, because relying on the F# triad makes the 3rd, the b9, and the 13th strong and stable in this sound. I actually have a whole video about this dominant chord if you're interested, Jim.
ruclips.net/video/C0lAVO9-tnY/видео.html
@@jordanklemonsjazzguitar Thanks so much Jordan! It's so helpful to be able to discover new "glasses" to see new ideas.
Let's do it again sometime :)
Some of the chords here remind me of lage lund stuff i'm currently into.
Right on... hope that means you dig it! I love Lage's playing but honestly haven't really transcribed any of his stuff or followed his approach. Somehow, you're the 2nd person who's pointed out the harmonic similarities... so that's cool... I'll take it!