I must admit I never took a closer look at Mick Goodrick’s books. I tried to watch some videos on RUclips. Bill Frisell did not make much musical sense to me. I then came across Bill playing with Julian Lage, and their performance was quite listenable, if not somewhat enjoyable. However, it still did not make a lot of musical sense to me. Your tribute lesson shed some light on it. This type of harmony is not exactly my cup of tea, but the concept is intriguing. Certainly something to consider, if I ever get bored with functional harmony. Thanks for the enlightening lesson.
Thanks for your feedback! Mick's concept is very advanced. I would say it's for the guitarist who either feels he no longer has anything to learn from functional harmony, he's bored with it, or simply wants to add a touch of the "beyond" to it. Personally, I fall into the 3rd category. I believe you can spend a whole lifetime exploring the possibilities of functional harmony and still not exhaust them. So, if you're not really, really advanced like some of Mick's students were, there is probably no point in investing your limited precious time in mastering something of this nature. Furthermore, if regular bebop and post bop is something that appeals to such a small audience, imagine how much smaller it will be if you use this concept all the time! So, the bottom line...I believe this concept is a resource to be used sparingly inside the framework of more conventional harmony. Just my opinion, but I still think it can be useful resource.
@@RichieZellon I fully concur with your perspective. I would have to be born again to explore it all. However, utilizing this concept to spice up the framework of traditional harmony is definitely an option. I find it kind of disappointing that regular bebop and post bop seem to appeal to such a relatively small audience. On the other hand, I suspect there may be many more viewers who choose not to subscribe or comment. That’s too bad, because your channel deserves much more recognition.
❤Glad I’m not the only one that isn’t interested in the “The New Jazz” coming out of today’s players. Too brainy, not enough feeling, soul or swing for my taste. I’ve never been into the fusion guys either like Holdsworth especially. It could be all the cookie cutter instruction being schleped out today ie, this scale works over that chord bs. Where’s the melody? Give me Lester Young any day over the crap today 😂 Peace ✌️
@Brian Bowman Yes sir. I’m with you as far as the earlier guys. The problem for me anyhow regarding today’s players and what counts for music these days is that it seems they are going for dissonance for the sake of dissonance and not the tune. Monk had a lot of that in his playing but always brought it back to the melody. Guitarists are cannibal by nature. They hear someone doing something new and bam, they wanna copy it because it sounds cool to them. The guitar by its very nature present’s many possibilities and obstacles if you will. It’s a wonderful instrument for sure and it’s not the guitars fault that the people playing it are not looking to find their own voice for fear of not being “in the club” I guess. I’ve seen that with all of em starting in the 80’s with the Rock guys and today it’s the Blues guys who latch onto a particular thing that one player might be doing. I find myself going back to the early years for all the genres, Country, Jazz, Blues and Rock or Rock n Roll. Nuff said, Peace ✌️
@@JuanReyes-ht1bd You can only relate to what you can really hear. If you can't... it's your ear that you don't train, maybe the absence of interest for the effort. Live happy with what you can relate to and don't judge how things move on. When Lester Young came out there were people like you who didn't appreciate him, for the same reasons you mention here about "The New Jazz". Like it or not, jazz music has always been a very "in motion" evolving culture...it's in the DNS of this music. It's 2024, Lester Young *is* a magnificent musician many kids today would benefit from studying his melodic power but hey, there are great and melodic musicians today too. Don't be the fox in the "fox and the grapes" tale. Be the grapes... aim to ripe on! And no, Allan Holdsworth is a very melodic musician... but you just can't hear that. Try listening to his last records.
It is over four years that I have been dealing with the theory of Mr. Goodrick. I have no better information than this in the video. Finally I have now more light on this Stuff (GMC). Thanks to Mr. Zellon for giving me more Understanding and for your excellent way to explain it as well.
Within a few minutes of trying this, it feels like another very useful (and thankfully simple) concept to create many harmonic and melodic ideas. I'm not worried that some of the sounds may not be my preference. Thanks!
Never heard of him. Though my jaw kept dropping while you were listing his students... Richie, I would also thank you for your perfect language, besides the content itself (which by no means is the highest class for a jazz guitarist).
Mick's book called The Advancing Guitarist is from 1987 and have his famous unitar concept on that. I teach guitar for more than 20y and 100% of the time any student ask me for a book recommendation i talk about this one.
Nuts. I liked Mick's books, they were the kind that made you think, and discover, for yourself. I liked The Advancing Guitarist. Mick was like a Zen priest in that book, asking you musical koans so YOU could discover what is true about music and the guitar. Thanks for the GMC lesson, Rich!
I went to Berklee during the mid-to-late 90’s majoring in Jazz Composition as a foreign student from South Korea. It was before(or the beginning) the era of the Internet (at its practical use)and back then we would turn in our homeworks in handwriting. Lol. (I miss the project band haha… ) Mr. Goodrick was regarded as one of the gurus in Boston. I have pleasant memories of seeing him eat his sandwiches in a classroom during break time. And when he played at the BPC with a band? That was one of the greatest music-listening experiences in my whole life. Berklee back then had/ or still has a newspaper run by students. On one of the issues, Mick Goodrick contributed an article explaining to the student readers on how to be fluent in playing diminished chords as one would play the common major or minor chords. He stressed, if I remember correctly, one should construct a series of random chord progressions where dim chords appear as frequently as major or minor chords and play them with a metronome. A great practice approach! Now that was almost 30 years ago. I am still so grateful for what I learned during those years. Wayne Naus, Ken Pullig, Scott Free, Steve Heck, Steve Rochinski….. My dear teachers and professors, you were amazing and I am forever grateful! Btw, when I would transcribe Kenny Kirkland’s solo back then, it would take me more than 5 hours to do 32 bars. But these days? Boom! RUclips gives you complete transcriptions of Bill Evans’ solo instantly. Wow… Young people today, I congratulate you!
I will be checking his work. This exercises sound very strange to my ears, but playing outside the comfort zone helps to learn new vocabulary. Thanks for the lesson! 👏👏👏
Great Video as always Richie. I like to think of Mick Goodricks GMC concept as Rootless Triads, and Rootless 7ths, 4ths, and Clusters in different Combinations. Basically it's rootless 3 note voicings in closed or open positions that include the so called non available tensions. This means Major Chords with minor 2nds and minor 3rds and 11s. Minor Chords with major 3rds, flat 5s and major 7s. Dominant Chords with major 7s among others, depending on the scale. It definitely enhances Functional Harmony and Available Tensions. Thanks.
I forgot to mention in my previous comment, for anyone that would like to hear what Enhanced Functional Harmony and Unavailable Tensions sounds like in Songwriting, it's very popular in Third Stream Jazz and the ECM Record Label. Check out Ralph Towner, John Abercrombie, Terje Rypdal, Eberhard Weber, David Torn and Ben Monder. Thanks.
The new voice is kinda cool, Rich. I have it too. But it also meant I was Covid positive..so, test. And actually, avoid speaking. It wears you out. Fight fire with fire, though. Hot toddies work because they're pure energy. Alcohol, sugar...carbs. whatever is easily applied to body heat is a good thing when under.
FYI - Pat Metheny never studied with Mick. They both taught at Berklee at the same time. Mick told me by the time Pat had been hired to teach at Berklee, he really didn’t need any lessons.
@@RichieZellon All good. I've also seen it incorrectly published as well. I studied privately with Mick during the summer of 2010. We had lots of conversations and talked a lot about Pat. He had some great stories to tell!
![Mick Goodrick's "The Advancing Guitarist" Book Review [A Must-Have For Serious Guitarists]](http://i.ytimg.com/vi/uFEVSazz-eo/mqdefault.jpg)
![Mick Goodrick's "The Advancing Guitarist" Book Review [A Must-Have For Serious Guitarists]](/img/tr.png)
I must admit I never took a closer look at Mick Goodrick’s books. I tried to watch some videos on RUclips. Bill Frisell did not make much musical sense to me. I then came across Bill playing with Julian Lage, and their performance was quite listenable, if not somewhat enjoyable. However, it still did not make a lot of musical sense to me. Your tribute lesson shed some light on it. This type of harmony is not exactly my cup of tea, but the concept is intriguing. Certainly something to consider, if I ever get bored with functional harmony. Thanks for the enlightening lesson.
Thanks for your feedback! Mick's concept is very advanced. I would say it's for the guitarist who either feels he no longer has anything to learn from functional harmony, he's bored with it, or simply wants to add a touch of the "beyond" to it. Personally, I fall into the 3rd category. I believe you can spend a whole lifetime exploring the possibilities of functional harmony and still not exhaust them. So, if you're not really, really advanced like some of Mick's students were, there is probably no point in investing your limited precious time in mastering something of this nature. Furthermore, if regular bebop and post bop is something that appeals to such a small audience, imagine how much smaller it will be if you use this concept all the time! So, the bottom line...I believe this concept is a resource to be used sparingly inside the framework of more conventional harmony. Just my opinion, but I still think it can be useful resource.
@@RichieZellon I fully concur with your perspective. I would have to be born again to explore it all. However, utilizing this concept to spice up the framework of traditional harmony is definitely an option. I find it kind of disappointing that regular bebop and post bop seem to appeal to such a relatively small audience. On the other hand, I suspect there may be many more viewers who choose not to subscribe or comment. That’s too bad, because your channel deserves much more recognition.
❤Glad I’m not the only one that isn’t interested in the “The New Jazz” coming out of today’s players. Too brainy, not enough feeling, soul or swing for my taste. I’ve never been into the fusion guys either like Holdsworth especially. It could be all the cookie cutter instruction being schleped out today ie, this scale works over that chord bs. Where’s the melody? Give me Lester Young any day over the crap today 😂 Peace ✌️
@Brian Bowman Yes sir. I’m with you as far as the earlier guys. The problem for me anyhow regarding today’s players and what counts for music these days is that it seems they are going for dissonance for the sake of dissonance and not the tune. Monk had a lot of that in his playing but always brought it back to the melody. Guitarists are cannibal by nature. They hear someone doing something new and bam, they wanna copy it because it sounds cool to them. The guitar by its very nature present’s many possibilities and obstacles if you will. It’s a wonderful instrument for sure and it’s not the guitars fault that the people playing it are not looking to find their own voice for fear of not being “in the club” I guess. I’ve seen that with all of em starting in the 80’s with the Rock guys and today it’s the Blues guys who latch onto a particular thing that one player might be doing. I find myself going back to the early years for all the genres, Country, Jazz, Blues and Rock or Rock n Roll. Nuff said, Peace ✌️
@@JuanReyes-ht1bd You can only relate to what you can really hear. If you can't... it's your ear that you don't train, maybe the absence of interest for the effort. Live happy with what you can relate to and don't judge how things move on. When Lester Young came out there were people like you who didn't appreciate him, for the same reasons you mention here about "The New Jazz".
Like it or not, jazz music has always been a very "in motion" evolving culture...it's in the DNS of this music. It's 2024, Lester Young *is* a magnificent musician many kids today would benefit from studying his melodic power but hey, there are great and melodic musicians today too. Don't be the fox in the "fox and the grapes" tale. Be the grapes... aim to ripe on! And no, Allan Holdsworth is a very melodic musician... but you just can't hear that. Try listening to his last records.
It is over four years that I have been dealing with the theory of Mr. Goodrick.
I have no better information than this in the video. Finally I have now more light on this Stuff (GMC). Thanks to Mr. Zellon for giving me more Understanding and for your excellent way to explain it as well.
Thanks for a wonderful tribute to Mick Goodrick. Great content in this short overview of GMC.
Thanks for this Richie! Awesome lesson once again!
Great tribute! I am sorry to say I did not know of Mick Goodrick but this lesson was really an eye and ear opening as you say. Now back to practice...
Within a few minutes of trying this, it feels like another very useful (and thankfully simple) concept to create many harmonic and melodic ideas. I'm not worried that some of the sounds may not be my preference. Thanks!
God bless ya Richie...⚘️
Subscribed, fantastic lesson. You have a real knack for teaching. Really enjoyed the pacing of this lesson
Thanks 😊
thank you!!
The first time I heard Mick Goodrick was on Gary Burton's the new quartet. Great album and awesome guitarist!
I love his playing on Ring and Dream so Real as well.
Never heard of him. Though my jaw kept dropping while you were listing his students... Richie, I would also thank you for your perfect language, besides the content itself (which by no means is the highest class for a jazz guitarist).
Mick's book called The Advancing Guitarist is from 1987 and have his famous unitar concept on that. I teach guitar for more than 20y and 100% of the time any student ask me for a book recommendation i talk about this one.
I was looking forward to your lesson today. I was not disappointed.
Nuts. I liked Mick's books, they were the kind that made you think, and discover, for yourself. I liked The Advancing Guitarist. Mick was like a Zen priest in that book, asking you musical koans so YOU could discover what is true about music and the guitar.
Thanks for the GMC lesson, Rich!
Mick will be forever missed,What a teacher and amazing player,I’m shocked,I just heard listening to this video,Oh wow,RIP Mick.
My mind is blown! Thank you.
I went to Berklee during the mid-to-late 90’s majoring in Jazz Composition as a foreign student from South Korea. It was before(or the beginning) the era of the Internet (at its practical use)and back then we would turn in our homeworks in handwriting. Lol. (I miss the project band haha… ) Mr. Goodrick was regarded as one of the gurus in Boston. I have pleasant memories of seeing him eat his sandwiches in a classroom during break time. And when he played at the BPC with a band? That was one of the greatest music-listening experiences in my whole life. Berklee back then had/ or still has a newspaper run by students. On one of the issues, Mick Goodrick contributed an article explaining to the student readers on how to be fluent in playing diminished chords as one would play the common major or minor chords. He stressed, if I remember correctly, one should construct a series of random chord progressions where dim chords appear as frequently as major or minor chords and play them with a metronome. A great practice approach! Now that was almost 30 years ago. I am still so grateful for what I learned during those years. Wayne Naus, Ken Pullig, Scott Free, Steve Heck, Steve Rochinski….. My dear teachers and professors, you were amazing and I am forever grateful! Btw, when I would transcribe Kenny Kirkland’s solo back then, it would take me more than 5 hours to do 32 bars. But these days? Boom! RUclips gives you complete transcriptions of Bill Evans’ solo instantly. Wow… Young people today, I congratulate you!
Thanks for sharing! I still remember Wayne Naus and Ken Pullig who had some great harmony classes.
Almanac of guitar voice lead series are also the masterpieces
I will be checking his work.
This exercises sound very strange to my ears, but playing outside the comfort zone helps to learn new vocabulary.
Thanks for the lesson! 👏👏👏
good lesson thanks, rip Mick
1:45: Pat Metheny and Mick Goodrick both stated in print that Metheny was *not* one of Mick’s students. Otherwise, great video. Thank you!
Sorry, never saw that video so I just went by what several publications including JazzTimes have written.
nice textures
RIP Mr. Goodchord
love the voice richie! like being taught by barry white. get well soon. lovely tribute to mick. thank you
:)
Sounds good Richie. btw I like your shirt.
Thanks John :)
I discovered him and his book the day before he died 😢
Great Video as always Richie. I like to think of Mick Goodricks GMC concept as Rootless Triads, and Rootless 7ths, 4ths, and Clusters in different Combinations. Basically it's rootless 3 note voicings in closed or open positions that include the so called non available tensions. This means Major Chords with minor 2nds and minor 3rds and 11s. Minor Chords with major 3rds, flat 5s and major 7s. Dominant Chords with major 7s among others, depending on the scale. It definitely enhances Functional Harmony and Available Tensions. Thanks.
Thanks for sharing Michael!
I forgot to mention in my previous comment, for anyone that would like to hear what Enhanced Functional Harmony and Unavailable Tensions sounds like in Songwriting, it's very popular in Third Stream Jazz and the ECM Record Label. Check out Ralph Towner, John Abercrombie, Terje Rypdal, Eberhard Weber, David Torn and Ben Monder. Thanks.
Thanks for sharing! I especially love and recommend Towner, Abercrombie and Monder!
Is that manuscript available anywhere online?
“Thought is the enemy of feel.” ~ Vinnie Colaiuta
Thank you for this insigth ! Title of this book could also be "how to get quickly fired from 99% of any band" ! 😂
The new voice is kinda cool, Rich. I have it too. But it also meant I was Covid positive..so, test. And actually, avoid speaking. It wears you out. Fight fire with fire, though. Hot toddies work because they're pure energy. Alcohol, sugar...carbs. whatever is easily applied to body heat is a good thing when under.
Fortunately, the test was negative! 🙂
FYI - Pat Metheny never studied with Mick. They both taught at Berklee at the same time. Mick told me by the time Pat had been hired to teach at Berklee, he really didn’t need any lessons.
That's what I've been told. It's an urban myth. Unfortunately, I'm just repeating what several publications, including JazzTimes, have published.
@@RichieZellon All good. I've also seen it incorrectly published as well. I studied privately with Mick during the summer of 2010. We had lots of conversations and talked a lot about Pat. He had some great stories to tell!
Mick was born in 1945, not 1940.