Holdsworth , a great name for a guitarist. I could never decide what was more beautiful and impressive , his chordal work or his hornlike supersonic legato tsunami wave of notes lead work . Thank you for this great lesson.
I played in a big band with a guy who studied with Johnny Smith in Colorado. He was great with chord melody and moving through many inversions. Blew my mind.
This is particularly useful because it gives a practical and musical method for building up to these chords on guitar. So many people say, in effect, "here are the notes", or "here is the formula for constructing these voicings" and leave it at that. Here we have a progressive method that addresses the specific difficulties of big stretches and makes a sensible basis for practice routines.
Poor Layla had to wait for over FIFTEEN minutes for daddy to come and play with her...an eternity when you're that age! :P Great videos Rick, I'm learning a LOT, thank you.
I hope this comment finds it's way to your attention. I have viewed many of your videos and am in awe at your competence in both the instruments that you are accomplished at and the musical knowledge that you possess as both a musician and an educator. I am now 60 and began playing guitar when I was around 7 yrs old. I taught myself from Mel Bay books and it was the start of my musical journey. Like you have said in your biographical videos, I was unfocused in school until I got into the school band. I began playing trumpet in the 6th grade and, long story short, I advanced to 2nd chair state trumpet player in my senior year. All along though, guitar has been my love. I spent years away from the instrument as life took over. Although I still work, I am trying to find more time to practice. I have watched your videos on practicing tips but would you please tailor one for those of us older guys (gals) who have now found a little more time to devote to practice but don't have the chops of the younger players? I am able to entertain myself with classic rock and country and have what I think is a decent voice. I would like to aspire to doing a solo gig at a small local venue. Can you find the time to address this? Thanks Rick
Such priceless lessons. After I'm done studying (When I get a job), you've got my donation Sir! I don't know what to call you... Beato? Mr Beato? Prof Beato? Rick? Lessons with so much raw information deserves compensation. Every musician I know shall be directed here. Have a great day, and thank you so much!
i discovered Johnny Smith a month ago,records from 1958(easy listenng) thats what i liked about him his piano voicing chords thanx for mentioning ! ... i play guitar and piano
It's a blast revisiting these kind of 4 note chords again.... it's been awhile. Lot's of great ideas can come from working w/ these. I'm about your age...and remember working on harmonizing the different scales in the beginning of the Mahavishnu Orchestra book as recommended by John McLaughlin. Some of these stretches are a little less accessible now than they were back in the '80's! :-) Thanks for. so many. great lessons. The Beato Book is the best investment I've made lately. I'm recommending it to all my friends & students. Thanks again. Best regards from Montreal.
Great video! Those 4-fret shapes do become a lot easier over time. I first started tinkering with these exotic chord shapes that Tommy Emmanuel uses, and a few impossible stretches that Andy Summers likes. If you can wrap your fingers around some of those, four frets are no biggie.
Wow. Thank you so much for posting this video. I am a guitarist obsessed with Piano voicings, but I didn't realize many of these can be played on guitar. This video is awesome.
this is a goldmine for the baritone ukulele palette. also not a bad instrument on which to learn these fingerings and gain some strength/mobility before moving to a standard guitar. b'ukes are generally around 20% shorter, which is like having DGBE at about the 5th fret of a standard guitar. (they aren't expensive, either. if anyone needs an excuse for another guitar...)
pherick niartallagh , I recently picked up a Kala tenor with a low g string... Awesome suggestion. The low g introduces the same issue of b9 intervals we face as guitarists, but brilliantly forces us to come to terms with the same, imho.
This is the coolest! I'm getting more and more into Allan Holdsworth. Especially his melodic "heads" and his comping like you are showing in this vid. No cowboy chords for me -- only the magic chords that make the ears wake up and say, "Wow, what is that!?" Thanks for showing me how to do magic tricks!
As usual. Great post Rick. Seen the Holdsworth vid and have his books, but you make the concept so assessable with your vid (much easier to understand).
Rick. Thank you . I been playing Jazz for about 12 years now and i always have an ear for expanding my chord fills, thanks for mentioning Jimmy Smith...just as important as phil Upchurch was for George Benson...this reminds ne of Ted Greene book " chord chemustry" but your presentation makes it much easier ...Thanks again
Ted Green's Book on Modern Chord Progressions was the best I ever bought. I fought through every progression in that book for 3 months till I could play through that whole book in 30 minutes. Zero tinnitus. I can also learned to fret 2 strings with my pinky .
Rick this is an oldie but would love you to do a deep dive into Johnny Smith. He needs to be recognised more among the greats by the younger generation who's probably never heard of him
Rick thank you so much for every video! It's helping me a lot with composing and getting new and fresh ideas. I'm considering to buy your book in a distant future!
I like this approach. The use of 4th intervals is very important in getting away from standard chord voicings. The standard four note voicing for G major, using the top four strings, is R, 3, 5, R with the diatonic intervals of a third, third and fourth. Rick's first voicing is R, 4, 5, 7, when he plays his second chord. The intervals are a diatonic 4th and two thirds. Than he plays with the logical combinations, lowering and raising notes. This is very similar to the 'mathematical' approach of which Holdsworth speaks in his teaching videos. Well, done, Rick. Naming the chords is hard work though! :-)
great stuff as always Rick- along with Smith and Holdsworth I like to mention Eric Johnson who also seemed to be shooting for most concordant, rooted inversions of voicings as Helmnoltz mentioned eons ago as regards psychoacostics... also I'd mention rock guitarist like Rick Derriger working with keyboards and using truncated voicings that best support harmonic clariity- keep up the great work!
Very cool. I have never approached it in an organized manner like this. I look for weird voicings around one chord but it is always an isolated thing where I am searching for something that I am hearing in my head.
Nice presentation RB. In addition, for the curious students don't forget Both George Van Epps & Ted Greene who exhaustively explore harmonized triad scales & voicing practices based on systematic inversions and cycles of 4ths etc. in their instructional paper piles... (BOOKS?)
I love this rick and its' incredibly interesting as are all of your videos. This particular video has taught me that I don't need to know piano chords on guitar :)
I really enjoyed watching this video, I'm not a guitarist, I'm a drummer but man this is so cool to watch and listen. Beautiful sounding voicings and obviously some difficult hand positions... I'll stick to the drums for now! haha
Bill Frisell talks about playing only the 2nd intervals of chords when the rest of the chord can be implied by either the other instruments, or by the context. It's very idiomatic to Frisell's voicings and even some of his soloing.
Maybe I'll enroll my fingers in ballet classes. Just kidding. I loved those voicings and I'm glad I can stretch my fingers like that, too!! Thanks, Rick!! You da man!!
THANKS RICK!!! Such Rich and beautiful voicings!! A good way to prepare for playing these type of chords is what I call "THE SKIP FRET FINGER STRETCH" exercise. Simply put, playing chromatic Style runs whole steps apart. For example fingers 1 and 2 play notes F & G on the 6th string, then F# and G#...then G & A Etc. All the way up the neck. Fingers 2 and 3, and fingers 3 and 4 do the same thing! As opposed to just going up and down the strings, you can cross the strings!! Example. Strings 6 5 4 3 2 and 1! Same left hand fingering though... The three-finger approach is very effective!!!... for instance on the 6th string, Fingers 1 2 and 3 play F, F# and G#, ....F#, G & A, G, G# and A# Etc.... and of course Fingers 2 3 and 4 do the same thing! And if you really want to go 🤪... You can use all four fingers of the left-hand. Example: at the 12th fret, play E, F#,G#,A# with Fingers 1 2 3 and 4. then work your way back! Of course there are many variations to these stretch exercises... Make up your own!! The bottom line is this...after doing these for a few weeks, you'll be able to grab anything you want without difficulty or apprehension!! And of course not running the risk of developing tendonitis, cramping up, or injury!! I do stress starting these exercises as high as you can on the guitar, to get used to the stretch... and gradually work your way back to the top of the instrument... if you want to! Once again thank you So much Rick, we love you out here... keep shooting us this wonderful information!! Take care and stay healthy.
Great video. I cannot stay without mentioning Mr. Ed Bickert. He played with the sweetest saxophonist Mr. Paul Desmond. Check out the album Pure Desmond and listen how Mr. Bickert really sounded like a jazz piano. He is the best of the best at this.
Man I've been watching your videos for a few months and I have the need to thank you for the great material you teach and put out there...most stuff on internet is pretty basic and not that well delivered...well: that definitely doesn't apply to you. Great stuff..wish I could help your cause somehow ! Best of luck !
Thanks for organizing these chords in an intelligible way, Rick. Like you said, there is a lineage from Smith to Holdsworth. And you can add Bill Connors in to the mix as well. I had the privilege of studying with him briefly in the 80's. I have played these type chords for awhile but more by ear than anything else. Thanks again for giving us a format to learn them. Still, these chords are a PITA to play on guitar no matter what. I have to say it is obviously easier to play them on piano and it caused me to start studying piano even though my hands are fairly large. All the best.
At 27:00, Rick is clearly utilizing what's now being referred to as the Barry Harris 6th Diminished method in moving from Ami to D7 to G maj. Barry didnt think in terms of II-V-I. He thought in terms of voicing the related major scale with its related diminished chord inserted in between. As a result you have movement that can go up and down the scale. (Barry was fond of saying, dont play the 5th, play the 6th.). This method isnt new really. Johnny Smith was the early exponent of this method. So was Wes Montgomery. Of course George Benson as he was heavily influenced by both. Interestingly, Rick did a video on 6th diminished and suggested it was old time harmony/gypsy jazz. But its SOOO much more than that.
To those who are exploring Holdsworth (R.I.P.) sounds that may be perplexed by the stretches, I'd like to humbly suggest reducing the voicings to three or two notes with attention to the melodies happening in the top voice. Alternatively, split voicings into two and play them as two parts? Better to be playing music than to induce tendonitis and not keep a part going, yes? An additive process versus all at once, adding voices as one develops and misses them? And as always, all the best to Rick for sharing his limitless depth of music wisdom so generously. And apologies for keeping you from your daughter. :-) Best, Daniel, Denver, CO ...and oh, some of those stretches have more to do with curling the fingers in various degree than stretches per se. When rick has his fingers somewhat sideways he's avoiding an outright stretch the way a bass/cello player or a violinist might... And back to the peanut gallery, me. Happy day to our blessed mothers.
Rick makes great videos....I wish he would include a PDF with his mini lessons.....would be nice to put that on the music stand work on some of this over time..................
Learning these chord forms is one thing. Fingering them is another. Playing them through up tempo tunes is only for the masters I guess. I can't seem to get my fingers to stretch like that as much as I try and they seem to me to be average size. I have worked through some of the Ted Greene chord stretching exercises and I can manage some but not to use them in a song or chord solo. I'm a big Joe Pass fan and he doesn't seem to use these forms. Pianists sure have it much easier than us guitarists. I heard that Joe once said to Oscar Peterson "try wrapping your hand around the keyboard and see how fast you can play".
I thought that Wes Montgommery quote went "Man, I can never be that perfect, no one plays guitar like Rick Beato" ? That's how I heard it, anyhow.... :)
It would be nice if the music of your voicings was on your site but that would make it too easy to learn-ha. Nice stretches and inversions. Thanx. I have big hands but some of those stretches are significant on my D'Angelico!
Holdsworth , a great name for a guitarist. I could never decide what was more beautiful and impressive , his chordal work or his hornlike supersonic legato tsunami wave of notes lead work . Thank you for this great lesson.
I played in a big band with a guy who studied with Johnny Smith in Colorado. He was great with chord melody and moving through many inversions. Blew my mind.
I wonder how many Rockers have become interested in Jazz because of this guy!
This is particularly useful because it gives a practical and musical method for building up to these chords on guitar. So many people say, in effect, "here are the notes", or "here is the formula for constructing these voicings" and leave it at that. Here we have a progressive method that addresses the specific difficulties of big stretches and makes a sensible basis for practice routines.
Talking about Allan Holdsworth in past tense is still new to me :(
Jazz Devil I always talk about artists that have passes as if they are still with us, in my mind they still are.
Jim that's great the legacy continues in your mind :)
Cosmically speaking, we are all dead far sooner than later.
Acute tendonitis took him away from us far too soon.
+Mick Mack - Wtf does "Cosmically speaking" mean?
This is a great lesson Rick. I've played for about 21 years (professionally for 10) and this is great inspiration for some new sounds. Thank you!
Poor Layla had to wait for over FIFTEEN minutes for daddy to come and play with her...an eternity when you're that age! :P
Great videos Rick, I'm learning a LOT, thank you.
JackFeelsNerves that adults... they're always busy with some strange things )
I hope this comment finds it's way to your attention. I have viewed many of your videos and am in awe at your competence in both the instruments that you are accomplished at and the musical knowledge that you possess as both a musician and an educator. I am now 60 and began playing guitar when I was around 7 yrs old. I taught myself from Mel Bay books and it was the start of my musical journey. Like you have said in your biographical videos, I was unfocused in school until I got into the school band. I began playing trumpet in the 6th grade and, long story short, I advanced to 2nd chair state trumpet player in my senior year. All along though, guitar has been my love. I spent years away from the instrument as life took over. Although I still work, I am trying to find more time to practice. I have watched your videos on practicing tips but would you please tailor one for those of us older guys (gals) who have now found a little more time to devote to practice but don't have the chops of the younger players? I am able to entertain myself with classic rock and country and have what I think is a decent voice. I would like to aspire to doing a solo gig at a small local venue. Can you find the time to address this? Thanks Rick
Such priceless lessons. After I'm done studying (When I get a job), you've got my donation Sir! I don't know what to call you... Beato? Mr Beato? Prof Beato? Rick? Lessons with so much raw information deserves compensation. Every musician I know shall be directed here. Have a great day, and thank you so much!
I love how you went over 2 5 1 progressions here which are common in jazz.
Clear, interesting , and complex. Thank you. Loved your little angel's visit.
Thanks Rick !!! A whole new path to search new soundings !!! Bless !!!
i discovered Johnny Smith a month ago,records from 1958(easy listenng) thats what i liked about him
his piano voicing chords thanx for mentioning ! ... i play guitar and piano
It's a blast revisiting these kind of 4 note chords again.... it's been awhile. Lot's of great ideas can come from working w/ these. I'm about your age...and remember working on harmonizing the different scales in the beginning of the Mahavishnu Orchestra book as recommended by John McLaughlin. Some of these stretches are a little less accessible now than they were back in the '80's! :-)
Thanks for. so many. great lessons. The Beato Book is the best investment I've made lately. I'm recommending it to all my friends & students. Thanks again. Best regards from Montreal.
Rick, I love the way you taught this lesson...breaking the chords down into triads and top notes.
You weren't kidding when you said in the description that this is one of your most informative videos!
Haven't finished watching this yet (I plan to) but just wanted to thank you a ton for breaking this down!!!
Great video! Those 4-fret shapes do become a lot easier over time. I first started tinkering with these exotic chord shapes that Tommy Emmanuel uses, and a few impossible stretches that Andy Summers likes. If you can wrap your fingers around some of those, four frets are no biggie.
love these voicings rick. much more pleasing to my ear than the ordinary
as an ex-pianist that was the chords I first tried when switched to guitar )) Some of them really helps to develop fingers stretch
only 1:50 min into the video and already some great song ideas really inspiring!!! thank you :)
Wow. That's all I got. Invaluable info, changing how I think. Thanks, Rick.
Really interesting. I loved those 2 5 ones from outer space!
Wow. Thank you so much for posting this video. I am a guitarist obsessed with Piano voicings, but I didn't realize many of these can be played on guitar. This video is awesome.
The guy knows more about the guitar than 98% of the players he interviews!
this is a goldmine for the baritone ukulele palette. also not a bad instrument on which to learn these fingerings and gain some strength/mobility before moving to a standard guitar. b'ukes are generally around 20% shorter, which is like having DGBE at about the 5th fret of a standard guitar. (they aren't expensive, either. if anyone needs an excuse for another guitar...)
pherick niartallagh , I recently picked up a Kala tenor with a low g string... Awesome suggestion. The low g introduces the same issue of b9 intervals we face as guitarists, but brilliantly forces us to come to terms with the same, imho.
This is the coolest! I'm getting more and more into Allan Holdsworth. Especially his melodic "heads" and his comping like you are showing in this vid. No cowboy chords for me -- only the magic chords that make the ears wake up and say, "Wow, what is that!?" Thanks for showing me how to do magic tricks!
I appreciate you taking the time to do all this for us, God bless you and your family, you are awesome.
This is a whole new universe to me ... thnx Rick
As usual. Great post Rick. Seen the Holdsworth vid and have his books, but you make the concept so assessable with your vid (much easier to understand).
Rick. Thank you . I been playing Jazz for about 12 years now and i always have an ear for expanding my chord fills, thanks for mentioning Jimmy Smith...just as important as phil Upchurch was for George Benson...this reminds ne of Ted Greene book " chord chemustry" but your presentation makes it much easier ...Thanks again
Ted Green's Book on Modern Chord Progressions was the best I ever bought.
I fought through every progression in that book for 3 months till I could play through that whole book in 30 minutes.
Zero tinnitus.
I can also learned to fret 2 strings with my pinky .
10:04 - The X Files!
Rick this is an oldie but would love you to do a deep dive into Johnny Smith. He needs to be recognised more among the greats by the younger generation who's probably never heard of him
The sheer amount of stuff I'm learning thanks to you...
Rick thank you so much for every video! It's helping me a lot with composing and getting new and fresh ideas. I'm considering to buy your book in a distant future!
love all the vids you post, great playing and introspection on all the styles and musicians you tackle.thanks Rick.
I like this approach. The use of 4th intervals is very important in getting away from standard chord voicings. The standard four note voicing for G major, using the top four strings, is R, 3, 5, R with the diatonic intervals of a third, third and fourth. Rick's first voicing is R, 4, 5, 7, when he plays his second chord. The intervals are a diatonic 4th and two thirds. Than he plays with the logical combinations, lowering and raising notes. This is very similar to the 'mathematical' approach of which Holdsworth speaks in his teaching videos. Well, done, Rick. Naming the chords is hard work though! :-)
great stuff as always Rick- along with Smith and Holdsworth I like to mention Eric Johnson who also seemed to be shooting for most concordant, rooted inversions of voicings as Helmnoltz mentioned eons ago as regards psychoacostics... also I'd mention rock guitarist like Rick Derriger working with keyboards and using truncated voicings that best support harmonic clariity- keep up the great work!
Great instructional vid! Great sounding Dano btw. Thanks Rick...
What a great lesson. Wish i would have known of this months ago. Might have inspired me.
Nice job Rick, IOU has a tune right before the solo with these chords traveling down diatonically, beautiful sound
Very cool. I have never approached it in an organized manner like this. I look for weird voicings around one chord but it is always an isolated thing where I am searching for something that I am hearing in my head.
Incredible, Rick. Thank you for sharing your wealth of knowledge so generously.
Your channel is so great Rick. Thanks for these videos
Nice presentation RB. In addition, for the curious students don't forget Both George Van Epps & Ted Greene who exhaustively explore harmonized triad scales & voicing practices based on systematic inversions and cycles of 4ths etc. in their instructional paper piles... (BOOKS?)
I love this rick and its' incredibly interesting as are all of your videos. This particular video has taught me that I don't need to know piano chords on guitar :)
amazing video!!! super interesting sounds!
You make all that info so digestible! 🍻
I really enjoyed watching this video, I'm not a guitarist, I'm a drummer but man this is so cool to watch and listen. Beautiful sounding voicings and obviously some difficult hand positions... I'll stick to the drums for now! haha
Beautiful sounds Rick ! Love learning new voicings, just what i needed :)
I've tried to do this on my own several times, so this is very very helpfull. Thank you so much!
Rick, you're amazing. Thanx a lot!
Fantastic video Rick, your channel is really awesome. Thanks for this amazing class!!
Hello🧚🏽♀️ remember Bill Conners 🎸🔊🎶 love the guitar✌🏽
Bill Frisell talks about playing only the 2nd intervals of chords when the rest of the chord can be implied by either the other instruments, or by the context. It's very idiomatic to Frisell's voicings and even some of his soloing.
What a great tutorial video Rick! Excellent.
Great lesson as always Rick. Many thanks
Excellent lesson Rick! Hope you went and played with your beautiful daughter afterwards :)
Of course! She loves to crash my videos :)
That’s it! That’s why I love Johnny Smith. I am annoyed I did not get it on my own.
Once again great work !
Maybe I'll enroll my fingers in ballet classes.
Just kidding. I loved those voicings and I'm glad I can stretch my fingers like that, too!! Thanks, Rick!! You da man!!
These is *SUPER COOL!* thank you Rick!
THANKS RICK!!! Such Rich and beautiful voicings!!
A good way to prepare for playing these type of chords is what I call "THE SKIP FRET FINGER STRETCH" exercise. Simply put, playing chromatic Style runs whole steps apart. For example fingers 1 and 2 play notes F & G on the 6th string, then F# and G#...then G & A Etc. All the way up the neck. Fingers 2 and 3, and fingers 3 and 4 do the same thing! As opposed to just going up and down the strings, you can cross the strings!! Example. Strings 6 5 4 3 2 and 1! Same left hand fingering though...
The three-finger approach is very effective!!!... for instance on the 6th string, Fingers 1 2 and 3 play
F, F# and G#, ....F#, G & A, G, G# and A# Etc.... and of course Fingers 2 3 and 4 do the same thing!
And if you really want to go 🤪... You can use all four fingers of the left-hand. Example: at the 12th fret, play E, F#,G#,A# with Fingers 1 2 3 and 4. then work your way back! Of course there are many variations to these stretch exercises... Make up your own!! The bottom line is this...after doing these for a few weeks, you'll be able to grab anything you want without difficulty or apprehension!! And of course not running the risk of developing tendonitis, cramping up, or injury!! I do stress starting these exercises as high as you can on the guitar, to get used to the stretch... and gradually work your way back to the top of the instrument... if you want to!
Once again thank you So much Rick, we love you out here... keep shooting us this wonderful information!!
Take care and stay healthy.
Great video. I cannot stay without mentioning Mr. Ed Bickert. He played with the sweetest saxophonist Mr. Paul Desmond. Check out the album Pure Desmond and listen how Mr. Bickert really sounded like a jazz piano. He is the best of the best at this.
Just bought your book! I absolutely love your channel!
This is awesome Rick. Thanks so much !!
great lesson and wonderful studio
Man I've been watching your videos for a few months and I have the need to thank you for the great material you teach and put out there...most stuff on internet is pretty basic and not that well delivered...well: that definitely doesn't apply to you. Great stuff..wish I could help your cause somehow ! Best of luck !
Thanks Jorge! You can always donate to my channel on my website or by my book if you want to contribute to the cause.
W O N D E R F U L Video!
Many Thanks! :)
So much to practice here. Thanks, Rick!
Rick, this is a really cool lesson!! You’re a really good teacher!! Bravo!! 🍻🍻🍻
Thank you so much!!
Rick... I wish I could just sit in your presence, and drain your music theory knowledge! You're a God! I love You, Brother!
Get his book, knowledge invaluable
I Love This! I'm seriously learning good stuff ... Thanks Rick :thumps up:
Beautiful job! Thankyou.
Thanks for your effort and time, this is awesome (to a jazz drongo like myself...)
Very good video. Thanks Rick.
Thanks again Rick, another great video, great teaching.
Thanks for organizing these chords in an intelligible way, Rick. Like you said, there is a lineage from Smith to Holdsworth. And you can add Bill Connors in to the mix as well. I had the privilege of studying with him briefly in the 80's. I have played these type chords for awhile but more by ear than anything else. Thanks again for giving us a format to learn them. Still, these chords are a PITA to play on guitar no matter what. I have to say it is obviously easier to play them on piano and it caused me to start studying piano even though my hands are fairly large. All the best.
Brilliant , seems like more interesting practise here , thanks from Tahiti
Consider tuning the whole thing in major thirds.
tangobayus hahaha not a bad idea
I have tried that, doesn't seem to have a good resonance on the instrument.
I've tried all 4ths, which makes the guitar symmetrical both across and up and down the fretboard. Currently having fun with open D tuning.
kim young I found everything so easy. No fight to play those chords.
@tangobayus - P4 is great for leads/solos, but for those non-regular-guitar-sounding-"closed" chords M3 is much more convenient...
What a beautiful daughtjer you'v got! God bless you!
Thank you! Clear and well explained.
Great lesson. Thanks for posting.
At 27:00, Rick is clearly utilizing what's now being referred to as the Barry Harris 6th Diminished method in moving from Ami to D7 to G maj.
Barry didnt think in terms of II-V-I. He thought in terms of voicing the related major scale with its related diminished chord inserted in between.
As a result you have movement that can go up and down the scale. (Barry was fond of saying, dont play the 5th, play the 6th.). This method isnt new really.
Johnny Smith was the early exponent of this method. So was Wes Montgomery. Of course George Benson as he was heavily influenced by both.
Interestingly, Rick did a video on 6th diminished and suggested it was old time harmony/gypsy jazz. But its SOOO much more than
that.
Drop 2 and 3 chords are rudimentary to the Barry Harris 6th Diminished Chord Movement System.
To those who are exploring Holdsworth (R.I.P.) sounds that may be perplexed by the stretches, I'd like to humbly suggest reducing the voicings to three or two notes with attention to the melodies happening in the top voice. Alternatively, split voicings into two and play them as two parts? Better to be playing music than to induce tendonitis and not keep a part going, yes? An additive process versus all at once, adding voices as one develops and misses them? And as always, all the best to Rick for sharing his limitless depth of music wisdom so generously. And apologies for keeping you from your daughter. :-)
Best, Daniel, Denver, CO
...and oh, some of those stretches have more to do with curling the fingers in various degree than stretches per se. When rick has his fingers somewhat sideways he's avoiding an outright stretch the way a bass/cello player or a violinist might...
And back to the peanut gallery, me. Happy day to our blessed mothers.
Haha, Layla walks in during every video! She doesn't care and it cracks me up to see he in the background walking around :)
Adorable! :)
That Dano sounds fantastic!
20:12 sounds like the light world dungeon theme in a Link to the Past at 0:32
Rick makes great videos....I wish he would include a PDF with his mini lessons.....would be nice to put that on the music stand work on some of this over time..................
+capeheartriz They are on my website.
ok..thanks...Rick....I'll check that out....
@@capeheartriz …………
Learning these chord forms is one thing. Fingering them is another. Playing them through up tempo tunes is only for the masters I guess. I can't seem to get my fingers to stretch like that as much as I try and they seem to me to be average size. I have worked through some of the Ted Greene chord stretching exercises and I can manage some but not to use them in a song or chord solo. I'm a big Joe Pass fan and he doesn't seem to use these forms. Pianists sure have it much easier than us guitarists. I heard that Joe once said to Oscar Peterson "try wrapping your hand around the keyboard and see how fast you can play".
Layla is so sweet. I have a girl that age. I can relate. Nice voicing video. Thanks!
I thought that Wes Montgommery quote went "Man, I can never be that perfect, no one plays guitar like Rick Beato" ? That's how I heard it, anyhow.... :)
those chord shapes makes my hand work!
Very insightful.
Great! Use Lenny Bro chords ( on regular notes+1 harmonic)... The stretches is no needed
Exelente, muy fácil de entender Muchas gracias por compartir .
Great video, Rick. … I love your playing!
Cheers!
Robert Ritchiesse
Thanks for the video. I think you should check out the book called Chord chemistry since you seem fascinated with chords. Great book!
Bro, I have had chord chemistry since the early 70s. It’s not a secret. Every guitar player owned it.
excellent
It would be nice if the music of your voicings was on your site but that would make it too easy to learn-ha. Nice stretches and inversions. Thanx. I have big hands but some of those stretches are significant on my D'Angelico!
Great Great Great!
Thank you!
Hagai