Hey guys. I received this nice email from John on January 11th, 2018.. I'm very grateful for his kind words. Thanks for watching! Hi Daniel, I watched your video on the “Right Off” track and I was very impressed. I’m deeply touched that you would take a recording of my playing with Miles made in 1970, and analyse it so successfully. I should tell you that Miles told me and many other people, that this recording is (was) his all-time favourite. This was due in part to me, as this piece started spontaneously with me Billy C and Michael H just jamming. Miles ran into the studio and played like I’d never heard him play before. Good luck with your work, John
Wonderful lesson, Daniel, this music is so beautiful, so powerful, so unique - and John's answer proves that in addition to being a Master, he's a true gentleman. Thank you !!!
Thanks a lot, man! I really appreciate your kind words.. Yeah, this is a very special recording. Everyone is so locked in, and there's an energy about it that is captivating. A "part 2" will be filmed very soon. Thanks for watching!
Dear Daniel you deserve the congratulations from John in person! Lesson very well presented and accurate. How can you recognize those voicings..Btw as far as you know are there transcriptions of My goals beyond? I' m searching for long time..thanks for your great lesson.
Hi Andrea! Thank you very much for your kind words. I don't have a super great ear or anything, but if want to figure out a chord, I figure out the root note first, then I try to mentally separate the chord into individual notes. This track was a little more difficult because some of these chords I've never heard anywhere else lol.. A chord like Bb13b9/Ab is very uncommon. Ear training is a continual work-in-progress. My Goals Beyond is a great album, but I've never seen any transcriptions of it.. Maybe I can work on that one soon. One of the reasons why I made this video is because no one else made it yet, and also because there weren't any transcriptions of it.
AMAZING!! What a compliment from the man himself!!! You do have a special energy about you whilst you are doing the video! I knew there was something special going on!
There might not be a dozen people who will appreciate this but this is fantastic. This post will live forever because nobody has ever laid out this tune so lucidly for the rest of us idiot guitar players. Killer explanation of the coolest guitar work ever done.
Peter Thomas wow thanks a lot, man! That made me feel good.. The thing is, I learned this song because it resonated so much with me when I first heard it. John’s playing opened me up to hearing things differently. I’m just happy that other musicians like yourself appreciate the video.
@@DanielRettberg This tune resonates with me too. I listen to this track almost daily. Had the opportunity to catch Miles and his band a Shelly's Manhole in 1970, I still am amazed! Great lesson and I learned quite a bit and am once again inspired! Thanks!
I have been jamming to Right Off (and other pieces from this Miles era) for 50 years. RO never loses its magic. It really is Miles & John dancing in the ring together.
I just want to say thank you for this. I've hit a rut with my playing lately and have been trying to get some more vocabulary in my lead playing. Blues penta can only lead you so many places. This helped not only my knowledge with what you can play, but that it can even just be extensions of a chord that make it shine. Thank you from the bottom of my heart.
I know exactly what you are talking about. I started pushing myself to play major and minor blues penta while practicing soloing and see what I hear. It is working and actually got me to study guitar theory more so I knew what the heck my fingers where actually playing. I learned guitar by ear but my primary was trumpet for many years and was learned through formal training, so I can read and majored in music at LA City college. This tune and listening to Pink Floyd sent me into the guitar army.
This is brilliant! I have loved this piece since it first came out and I ever could imagine what or how he was playing this. I am grateful for you showing us. Best regards!
McLaughlin was throwing in a lot of choppy chordal permutations that a lot of us used to mess with back then. But he was talented and fortunate enough to put it to good use in that studio jam with Miles. He definitely was the right man at the right (off?) time.
I'm not even a guitar player-I play drums and mess around on piano--but I really liked this video. I've listened to Jack Johnson since it first came out, always liked the sounds McLaughlin was getting, especially how he transitions from the straight-up voicings of the blues shuffle to the more dissonant chords--the ones you call "chaotic" but I've always called them "pwang" chords. Not only do they add spice, they give Miles a lot of options to play with. I've always been curious what it was he was doing, but none of my guitar playing friends could explain it. Good work!
Jude F. Thanks man! I’ve learned a lot more about music since making this video, and I’ve discovered that those dissonant chords are built from the half diminished scale. A B flat half diminished works over a Bb7 chord, and John ingeniously built chords around this.
Lovely! Thank you for deconstructing this. I have been obsessed with McLaughlin’s guitaring on this recording for ages. I think Miles once described McLaughlin’s music as “far in”. Just perfect.
That was an absolute beautiful run down of Jonh's amazing approach to music & "jazz" - especially his early early stuff! You broke it down magnificently! Thanks. All that "out there" stuff you mention has become my main stay of hearing music because of listening to John since the late 70's. Nicely done. Also you clearly have such a passion for what John has done in this recording - it makes you smile and shake your head in recognition a lot! Haha. Thats a wonderful sign that you love what you are doing here! Thanks you and for the recognition of the genius that John has been ever since his early days...then it was all up hill from there until this very day Mid 2018!!! Not many people acknowledge the groover John is in amazing ways! Brilliant breakdown and done with authenticity too! That means a lot!
Wow, thanks a lot man! Your comment made me feel really good inside. John's work with Miles is something truly special. I like this recording because I learned so much from it, and I continue to learn something new every time I listen to it. The fact that John played this well at 28 years old in 1970 shows how amazing and how ahead of his time he was. His style is so unique.. And you're right, that man can groove lol.
Awesome! Have been listening to this from about 71. In an interview, he recently said he was playing a Fender Mustang. I believe or was recorded in 69 shortly after the In a Silent Way, which he used a Gibson Hummingbird with a DeArmond pickup!
Daniel, One of the best explanations of one of the best, if not best, guitarist of all time. Great job!! I also love the comment about Sir John not being a "white guy". If you note, the main theme is Catfish Collins line in James Brown Superbad, and as Picasso states, stolen. Great job.
Those chaotic chords as you put, never sounded chaotic to me, they are just so tasty and adds spice. I always listened and tried to play them on my own but was unsuccessful. This video helped me a lot, thanks very much, I appreciate what you are doing. Also, quick note those arpeggios in the end are only chords i knew that sounded chaotic , you can hear them in "The Dance of Maya" by MHO, love that track.
Just the other day i said to myself its a Jack Johnson kind of day..one of the greatest albums of all time..thank you for this post greatly appreciated.
I have been trying to play this tune since 1973 and your explanation is like the fog lifting. In my opinion the coolest rhythm guitar work ever done and you explain it so lucidly. Thanks so much for giving me your insights on it. John doesn't give compliments often so I think you really nailed it.
Wow, thank you so much! That's kind of why I made this video.. I knew there had to be more guitarists like me who loved this track. You're absolutely right, it's some of the best rhythm playing ever recorded.. It's so unique and creative. I've never heard anything like it before. And it's so funky! If you have any questions about anything, just let me know. Thanks for watching!
If you want to dig further into the Miles Davis vein, have you thought about the riffs of Reggie Lucas in the mid-70s Miles Davis band? I love his comping here (still with the great Michael Henderson on bass, worthy of study himself).
I became a fan of John McLaughlin with the album Spaces with Corel way back then. I was a brass major in college at the time just picking up guitar. The open sounding tonality was a giant WTF for me. I decided I would learn about it later. After 40 years of advertising design and web development it's later and there may not be much later left. Thanks for the helpful lesson.
Fantastic, I can't thank you enough. I've been listening to this since I was a kid, always wondering what he was playing and how he did it. Really appreciate all the hard work you did to analyze this and figure it out.
Brilliant! To get such an appreciative response from the great man says it all. This album completely blew our minds when it came out in summer '71. Subscribed!
Wow, thanks a lot man! I really appreciate it.. Yeah, I was very surprised by his email. He's my favorite guitarist.. Thanks for watching and subscribing! Part 2 will be available soon.
That composition is so monumental to me--as I watch the demonstration, it occurs to me that the chords are all basically in a modal scale....reminiscent of Miles work from "Kinda Blue". Great lesson!
This is fantastic, Daniel. I have always loved this album and being able to use your wonderful analyses to understand this better is just heartwarming. So many thanks to your effort and beautiful presentation. As an aside, if you search "Sound, Mediation, and Meaning in Jack Johnson" you can pull up an amazing analysis from a guy who did his PhD thesis on just this one album - very nice reading.
This is a really useful presentation -- thanks ! I don't plan on playing "Right Off", but it's great to learn some new chord voicings applicable to dominant type vamps.
Great video bro... You rock! At 7 minutes and 31 seconds, he moves the bass over Bb diminished scale or 2 messiaen mode. Some songs in Bitches Brew are chords coming from simectrix scales, like Bitches Brew, for example (the scale interval is one and half tone + half tone) The ideia is build chords in a polytonal chord concept. Triad over triad... Bitches brew is Eb aug and E over C. Here in Right Off, he build E, Bb, G and C# comming from 2 messiaen mode and in top, the bass make an ostinato in Bb and Mclaughlin move the other notes alongside the freatboard in diminished intervals. Man, they are really amazing musicians. No doubt...
Thanks a lot, man! It's interesting that you mention that, because after I made the Part 2 for this video, it slowly dawned on me that he was building chords off the diminished scale. I'm not a big theory person, but it's amazing how he applied that concept in a live recording like that. Thanks for your input! I really appreciate it.
@@DanielRettberg Man, you rock! Thank you always... Keep your good work bro... To us its more importante how we can play all theorys on guitar fretboard. Always! Thank you again!
Merci beaucoup! J'apprécie vraiment vos gentils mots! Je ne parle pas français, alors j'utilise un traducteur .. S'il vous plaît excusez les erreurs. Salutations des États-Unis, et merci de regarder!
33027day Yeahh man, Jack Johnson was his favorite.. that’s amazing considering he has sooo many great records. I’ve never heard Agharta but I’ll check it out. Thanks for watching!
I've been looking for this since a long time ago, thank you man, it great john recognized our work, id go crazy if you did a video lesson on buches brew
Thanks for a great deconstruction/analysis! Those b9 13 chords are super hip - often use that voicing for dominant7b9s - have you tried using those for diminished scale chording: alternating those with 7#9s a half step down? for ex: Ab-D-G-Cb (low to high) down to G-Cb-F-Bb then repeat down whole step, etc...
justin perdue To be honest, I didn’t even know what a diminished scale was when I made this video lol. I do now, but at the time, I just showed you what I was hearing without much understanding about chords built on the half diminished scale.. It makes so much sense when you view these chords from that perspective.
Thanks man! It’s a Fulltone Clyde Standard, but it’s a white model from the year 2000. It’s the oldest piece of gear I own lol.. The newer models are black, but the older white models have a certain sound that I like. Thanks for watching!
It was really interesting! Thanks lots for your analysis. If you could something similar based on M.Davis song "It's about time" from In a silent way LP I'd be without words.
This is superb, Daniel. Thanks for the analysis and context. I actually would like to ask you about another Johnny Mac solo/lick, from the 1980s - would you be up for helping me out?
Thumb on 4th fret low E, index on 6th fret D string, middle on 7th fret G string, pinkie on 8th fret B string, ring finger high E string 7th fret. Thanks for watching!
JOHNNY McLaughlin is BLESSED and with Billy AND MICHAEL WITH STEVE YOU GOT A LOT OF HAPPIER NEW EARS NICE DISTINCTION THANKS FOR DIGGIN IN HOW-BOUT SOLO GOING OUT WITH JOHNNY GREAT REFERANCE REMEMBER THAT THEY ARE NOT JUST NOTES BUT COLOURS TOO AND THE TITLE SAYS IT ALL HEY THAT'S SOME OF IT....HOW BOUT SONNY SHAROCK??? YOU GOTTA REMEMBER WHAT MILES SAID.....
Playing along with the original, it's in the key of E. Also, I've been playing for over 45 years but have NEVER been able to work my thumb into either root or different bass inversions, I just don't have a long thumb so unfortunately, some of those huge stretches with the thumb your using are a "no go" for moi. I don't know of a way around it except to cut the high voicing on the E string for some of those chords like when you played the inverted +9 shapes or b13 with bass notes using the thumb. Not every guitarist has long fingers😅😅
TOO COOL! I was using E flat minor 9 all this time and it didn't sound right. Plus rumor has it McLaughlin used a Fender Duo Sonic on Miles' fusion albums. Thanks for filing the gap[s] in my knowledge. JACK JOHNSON, IN A SILENT WAY , ON THE CORNER & BITCHES BREW the true birth of JAZZ FUSION.
Part 2 is now uploaded. The ONLY section I didn't do was those chords.. Sorry about that. Thanks for watching! ruclips.net/video/hCpUzyYcy3k/видео.html
Hello could you give the feet numbers for the chord you play at 2:10 on this video it’s Bb 11 with a foot on the d string,sorry I’m having trouble voicing it,thx man!
Anthony Pioppi With a Bb7, the A strong is muted. With Bb7sus4, it’s 6th fret on low E (with thumb), A string muted, 6th fret on D string, 8th fret on G string, and 6th fret on B string.
I am actually kind of interested in what McLaughlin plays during the first 15 second in the key of E. Could you please shed any light on that? I'm having some trouble figuring out those voicings. Many thanks.
Hey man. To be honest, I left that part out because I didn't think anyone would ask for that lol. As you can see, the video is already really long as it is. Can I describe it to you? I might have to do a Part 2 for this video.. The very beginning is 2 chords.. John goes from an A/E chord to an E chord. The A/E = open E, ring finger 4th fret on A string, muted D string, index finger 2nd fret on G, open B string, open E string. For the second chord, a regular E major chord, he mutes the D string.. just like he did in the A/E chord. That little phrase that he does at 0:07 is open low E, then he goes to 3rd fret on low E with middle finger, then he goes to 2nd fret on D string with index finger, and then he plays the open D string. These are individual notes, not a chord. It should sound like 4 sixteenth notes played consecutively. Immediately after this, he hits the open E string two times. Then he goes back to the A/E chord (as described above, except maybe mute the open B and E strings to experiment), but that cool thing that you're hearing is this.. He hits the A/E chord once, then he hits it again but he bends ONLY his ring finger downwards. The rest of the chord stays exactly the same. This changes the chord from a A/E to an Asus4/E. So it should sound like you're bending that 4th fret on the A string up to the pitch of the 5th fret on the A. This happens from 0:08 to 0:09.. At 0:11, he's holding that Asus4/E (the one with the ring finger bending the 4th fret on the A), but he hits it once, almost "pulls off" of the chord, and then hits the open E string. From 0:12 to 0:15, it's pretty much just an E major chord, but he hits the low E string too hard, so it makes that really cool sound lol At 0:17, he does a similar run that he originally did at 0:07. Open low E to 3rd fret on low E with middle finger, 2nd fret on D string with index finger, then open D string. Then he adds two notes to it.. 4th fret on A string with ring finger, and then finishes with hitting the open A string. Like I said before, these are individual notes, not a chord. At 0:19, he plays a regular E major chord.. At 0:23, it's pretty much an Edom9 chord.. 7th fret on A with middle finger, 6th fret on D with index finger, and you can either barre it or use your ring finger/pinky for the rest.. 7th fret on G, B, and high E stings. It almost sounds like the D string is muted. So he might only be playing the 7th fret on A and 7th fret across the G, B, and high E strings. The rest of the opening is pretty much a solo using the E pentatonic scale. Does this help at all? Thanks!
This is very helpful and I thank you very very much. My attempt to figure this out was close to what you have detailed. However, there is one spot that I still find confusing. It is that spot at 0:11 where he is pulling off the 4th fret on A to open A then open E. At the same time he is doing that, I am hearing the E on the 1st string, but not open. I am clearly hearing it up on the 12th fret. And I don't see any way to do that. To my ear, and I've slowed the recording down, it's an octave higher than the open E 1st string. I've tried playing the bend up to D someplace else than on the 4th fret on the A string, but it doesn't work any place else. I can't see how he can be doing both. Do you hear that? What do you think? And how could he possibly be doing that?
By the way, I just read the email McGlaughlin sent you. I come from NYC but live in Bangkok, Thailand and I saw him perform and give a 'seminar' here a couple of years ago. I really regret not bringing my CD of A Tribute to Jack Johnson for him to sign. I had seen the documentary it was the soundtrack to when I was a kid (I was quite the boxing fan back then) and I just had to have the album. I had no idea who Miles Davis or John McGlaughlin were at the time. That opening 10 minutes, and especially the first few chords at the very beginning, are as embedded in my mind and soul as any piece of music. I'm a big blues rock fan, and that's as good as anything ever played. Thanks so very much for posting this. Great job.
Thanks man! To be honest, I left that part out because I didn't think anyone would ask for that lol. As you can see, the video is already really long as it is. Can I describe it to you? I might have to do a Part 2 for this video.. The very beginning is 2 chords.. John goes from an A/E chord to an E chord. The A/E = open E, ring finger 4th fret on A string, muted D string, index finger 2nd fret on G, open B string, open E string. For the second chord, a regular E major chord, he mutes the D string.. just like he did in the A/E chord. That little phrase that he does at 0:07 is open low E, then he goes to 3rd fret on low E with middle finger, then he goes to 2nd fret on D string with index finger, and then he plays the open D string. These are individual notes, not a chord. It should sound like 4 sixteenth notes played consecutively. Immediately after this, he hits the open E string two times. Then he goes back to the A/E chord (as described above, except maybe mute the open B and E strings to experiment), but that cool thing that you're hearing is this.. He hits the A/E chord once, then he hits it again but he bends ONLY his ring finger downwards. The rest of the chord stays exactly the same. This changes the chord from a A/E to an Asus4/E. So it should sound like you're bending that 4th fret on the A string up to the pitch of the 5th fret on the A. This happens from 0:08 to 0:09.. At 0:11, he's holding that Asus4/E (the one with the ring finger bending the 4th fret on the A), but he hits it once, almost "pulls off" of the chord, and then hits the open E string. From 0:12 to 0:15, it's pretty much just an E major chord, but he hits the low E string too hard, so it makes that really cool sound lol At 0:17, he does a similar run that he originally did at 0:07. Open low E to 3rd fret on low E with middle finger, 2nd fret on D string with index finger, then open D string. Then he adds two notes to it.. 4th fret on A string with ring finger, and then finishes with hitting the open A string. Like I said before, these are individual notes, not a chord. At 0:19, he plays a regular E major chord.. At 0:23, it's pretty much an Edom9 chord.. 7th fret on A with middle finger, 6th fret on D with index finger, and you can either barre it or use your ring finger/pinky for the rest.. 7th fret on G, B, and high E stings. It almost sounds like the D string is muted. So he might only be playing the 7th fret on A and 7th fret across the G, B, and high E strings. The rest of the opening is pretty much a solo using the E pentatonic scale. Does this help at all? Thanks!
Thanks so much Daniel! The beginning just rips. I had some of the parts down. But this helps immensely. Thanks for putting in the time to describe this. maybe if you get more replies like mine, then you'll have to do a part 2. lol. Take care!
andrew gillis Yeah, I’ve heard different pronunciations of his last name, but I saw a video a while ago where John himself pronounces his name the way that it’s spelled. So I went off of that.. Thanks for watching!
Terrific, Daniel - your tuition style is really clear and the content fascinating! You might be interested in listening to 'There You Go' co-written by John with Duffy Power in 1965. To my ears, it is the ancestor of the 'Right Off' chords. In fact, hearing you talk (at 14:50 in the video) of the strange Bb13b7 +Ab (!) chord in 'Right Off', it seems similar to the really strange chord at the start of the breakdown in 'There You Go, 30 seconds in. Here it is: ruclips.net/video/q08Hpe-QT-s/видео.html
Colin Harper I’ve never heard that song before! Awesome.. Thanks for sharing! Okay, it sounds like in the first section, he’s playing an open A string and moving back and forth between a Gmaj triad and an Amaj triad.. So, open A string with 5th fret on D, 4th fret on G, then 3rd fret on B (G/A). Then he moves to the 7th fret on D string, 6th fret on G, and 5th fret on B (Amaj). He moves between these 2 chords with the A string ringing out through both of them.. It also sounds like he’ll sometimes play a regular open A chord, then play a G/A, then move to the A chord that I mentioned earlier with the 7th fret on D, 6th, fret on G, etc.. In fact, you might be able to get away with an A7 chord after that (open A, 5th fret on D, 6th fret on G, 5th fret on B). It gets trippy in the second section. First chord is Bb7#9 (6th fret on low E, 5th fret on A, 6th fret on D, 6th fret on G), then he goes to A/B (7th fret on low E, mute A string, 7th fret on D, 6th fret on G, 5th fret on B, high E is muted), then he goes to C#7#9 (4th fret on A, 3rd fret on D, 4th fret on G, 5th fret on B), then he goes to A/D (open D string, 2nd fret on G, 2nd fret on B, open E string), then he goes back to C#7#9, then he finishes he section with a B7 (2nd fret on A, 1st fret on D, 2nd fret on G, open B string). You’re right, this was the ancestor to John’s playing in Right Off.
Crikey - your chordal knowledge is extraordinary! I should have said that, anecdotally, it's possible that John tuned his guitar down a step for 'There You Go' - though even if so, of course, all the intervals you list will still be correct. I've written two books on John that you might enjoy. For a launch event for the first a few local musicians learned some Mahavishnu and Power/McLaughlin tunes, though I recall everyone having a lot of trouble figuring out John's chords for the original 1965 version of 'It's Funny' (with Duffy on vocals) - it was later recorded by John instrumentally for his LP 'Extrapolation' (1969). I have a feeling you'll have the chords figured out in no time! Once again, though, it seems based on an unusual first chord and then a suspended 4th, with those two as the basis for the A section: ruclips.net/video/XBpYNCWVFkI/видео.html
Colin Harper Ohhhh you’re the guy who wrote Bathed In Lightning! I’ve never read it, but I’ve seen it on Amazon. Nice talking to you! And thank you very much for your compliment. I really, really appreciate it. In regards to ‘It’s Funny’, he starts off with a B7 (there are two ways you can play it.. 7th fret on low E, A string is muted, 7th fret on D, 8th fret on G, 7th fret on B.. or you can do 2nd fret on A, D string is muted, 2nd fret on G, 4th fret on B, 2nd fret on high E), and the next chord is a Cmaj7#11 (there are two ways you can play it.. 8th fret on low E, A string is muted, 9th fret on D, 9th fret on G, 7th fret on B.. or you can do 3rd fret on A, D string is muted, 4th fret on G, 5th fret on B, 2nd fret on high E). I’m giving you 2 options because he may or may not be using one of these variations. As far as the B section, he goes to a F#7#9 (9th fret on A, 8th fret on D, 9th fret on G, 10th fret on B), goes back to the Cmaj7#11, then goes back to the F#7#9. After that, he goes to a Cmaj7, but he does 2 inversions of it. First, he goes 10th fret on D, 9th fret on G, 12th fret on B, 10th fret on high E, then he switches it to a different inversion.. 10th fret on D, 9th fret on G, 8th fret on B, 7th fret on high E. Then he goes to a Bmin7 (7th fret on low E, 9th fret on A, 7th fret on D, 7th fret on G, 7th fret on B), then to an Emin9 (7th fret on A, 5th fret on D, 7th fret on G, 7th fret on B) to a Dmin9 (5th fret on A, 3rd fret on D, 5th fret on G, 5th fret on B), back to an Emin9, and then finishes off the B section with a Fmaj7b5 (3rd fret on D, 2nd fret on G, open B string, open E string). After that, everyone goes back to the A section, which is B7 to Cmaj7#11, etc.. Obviously, this is what I believe it to be lol. I think I’m pretty close, though.. I just did it real quick.
Truly, you are a wizard at this stuff Daniel - and certainly gifted at explaining it in a clear and engaging way! I have a feeling you'd enjoy 'Bathed In Lightning' :-) I've self-published a companion volume 'Echoes From Then' within the past couple of months. I must copy/paste all of the information you've so kindly given and give it a go some time...
interestingly, these are all just major triads superimposed over differient bass notes, and moved around in sequences of minor thirds. that sort of tracks with the theoretical concepts miles was messing with at the time, indeed bitches brew is full of this kind of harmony. (besides the various simple B7 voicings)
Hey man. A "part 2" will be filmed very soon. I analyzed the section in Bb because this portion is wayyy more harmonically complex than the opening section, plus I didn't want this video to be too long. Another reason why is because I didn't know if anyone would be that interested in this subject, but according to other people including yourself, the beginning section is in demand. Like I said, I'll film a video about that section very soon.. I already made an outline for it. Another person wanted a description of that beginning section, so I'll share that with you as well. Thanks for watching! The very beginning is 2 chords.. John goes from an A/E chord to an E chord. The A/E = open E, ring finger 4th fret on A string, muted D string, index finger 2nd fret on G, open B string, open E string. For the second chord, a regular E major chord, he mutes the D string.. just like he did in the A/E chord. That little phrase that he does at 0:07 is open low E, then he goes to 3rd fret on low E with middle finger, then he goes to 2nd fret on D string with index finger, and then he plays the open D string. These are individual notes, not a chord. It should sound like 4 sixteenth notes played consecutively. Immediately after this, he hits the open E string two times. Then he goes back to the A/E chord (as described above, except maybe mute the open B and E strings to experiment), but that cool thing that you're hearing is this.. He hits the A/E chord once, then he hits it again but he bends ONLY his ring finger downwards. The rest of the chord stays exactly the same. This changes the chord from a A/E to an Asus4/E. So it should sound like you're bending that 4th fret on the A string up to the pitch of the 5th fret on the A. This happens from 0:08 to 0:09.. At 0:11, he's holding that Asus4/E (the one with the ring finger bending the 4th fret on the A), but he hits it once, almost "pulls off" of the chord, and then hits the open E string. From 0:12 to 0:15, it's pretty much just an E major chord, but he hits the low E string too hard, so it makes that really cool sound lol At 0:17, he does a similar run that he originally did at 0:07. Open low E to 3rd fret on low E with middle finger, 2nd fret on D string with index finger, then open D string. Then he adds two notes to it.. 4th fret on A string with ring finger, and then finishes with hitting the open A string. Like I said before, these are individual notes, not a chord. At 0:19, he plays a regular E major chord.. At 0:23, it's pretty much an Edom9 chord.. 7th fret on A with middle finger, 6th fret on D with index finger, and you can either barre it or use your ring finger/pinky for the rest.. 7th fret on G, B, and high E stings. It almost sounds like the D string is muted. So he might only be playing the 7th fret on A and 7th fret across the G, B, and high E strings. The rest of the opening is pretty much a solo using the E pentatonic scale. Does this help at all? Thanks!
That 3rd chord also has a Db (6th fret on the G string). I hear it. That 4th chord you’re call Bb11 is technically Bb7sus or Ab/Bb. Bb11 includes a D. 5:50 “he’s not just some white dude” wtf? What a random thing to point out. What’s the point of pointing out someone’s skin color. This is a music lesson right? Get back to useful info like why these voicings are hip. Say shit like “the first chord is root, 7th, 3rd, 5th.”
![NoCap - Maliboo [Official Music Video]](http://i.ytimg.com/vi/FUV7E0QyniU/mqdefault.jpg)
Hey guys. I received this nice email from John on January 11th, 2018.. I'm very grateful for his kind words. Thanks for watching!
Hi Daniel,
I watched your video on the “Right Off” track and I was very impressed.
I’m deeply touched that you would take a recording of my playing with Miles made in 1970, and analyse it so successfully.
I should tell you that Miles told me and many other people, that this recording is (was) his all-time favourite. This was due in part to me, as this piece started spontaneously with me Billy C and Michael H just jamming. Miles ran into the studio and played like I’d never heard him play before.
Good luck with your work,
John
Wonderful lesson, Daniel, this music is so beautiful, so powerful, so unique - and John's answer proves that in addition to being a Master, he's a true gentleman. Thank you !!!
Thanks a lot, man! I really appreciate your kind words.. Yeah, this is a very special recording. Everyone is so locked in, and there's an energy about it that is captivating. A "part 2" will be filmed very soon. Thanks for watching!
Dear Daniel you deserve the congratulations from John in person! Lesson very well presented and accurate. How can you recognize those voicings..Btw as far as you know are there transcriptions of My goals beyond? I' m searching for long time..thanks for your great lesson.
Hi Andrea! Thank you very much for your kind words. I don't have a super great ear or anything, but if want to figure out a chord, I figure out the root note first, then I try to mentally separate the chord into individual notes. This track was a little more difficult because some of these chords I've never heard anywhere else lol.. A chord like Bb13b9/Ab is very uncommon. Ear training is a continual work-in-progress. My Goals Beyond is a great album, but I've never seen any transcriptions of it.. Maybe I can work on that one soon. One of the reasons why I made this video is because no one else made it yet, and also because there weren't any transcriptions of it.
AMAZING!! What a compliment from the man himself!!! You do have a special energy about you whilst you are doing the video! I knew there was something special going on!
There might not be a dozen people who will appreciate this but this is fantastic. This post will live forever because nobody has ever laid out this tune so lucidly for the rest of us idiot guitar players. Killer explanation of the coolest guitar work ever done.
Peter Thomas wow thanks a lot, man! That made me feel good.. The thing is, I learned this song because it resonated so much with me when I first heard it. John’s playing opened me up to hearing things differently. I’m just happy that other musicians like yourself appreciate the video.
Amen
@@DanielRettberg This tune resonates with me too. I listen to this track almost daily. Had the opportunity to catch Miles and his band a Shelly's Manhole in 1970, I still am amazed! Great lesson and I learned quite a bit and am once again inspired! Thanks!
I don't know squat re music theory but I'm in awe of this exposition/explanation... THANK YOU!
Definitely, that's so true!
I have been jamming to Right Off (and other pieces from this Miles era) for 50 years. RO never loses its magic. It really is Miles & John dancing in the ring together.
I just want to say thank you for this. I've hit a rut with my playing lately and have been trying to get some more vocabulary in my lead playing. Blues penta can only lead you so many places. This helped not only my knowledge with what you can play, but that it can even just be extensions of a chord that make it shine. Thank you from the bottom of my heart.
I really appreciate it, man! Glad to help. Let me know if you need any explanation of these chords. Happy Thanksgiving!
I know exactly what you are talking about. I started pushing myself to play major and minor blues penta while practicing soloing and see what I hear. It is working and actually got me to study guitar theory more so I knew what the heck my fingers where actually playing. I learned guitar by ear but my primary was trumpet for many years and was learned through formal training, so I can read and majored in music at LA City college. This tune and listening to Pink Floyd sent me into the guitar army.
No wonder John himself reached out to you, sir! Legendary lesson
This is brilliant!
I have loved this piece since it first came out and I ever could imagine what or how he was playing this.
I am grateful for you showing us.
Best regards!
Thanks man! I appreciate your kind words. Some of the best guitar playing ever..
McLaughlin was throwing in a lot of choppy chordal permutations that a lot of us used to mess with back then.
But he was talented and fortunate enough to put it to good use in that studio jam with Miles.
He definitely was the right man at the right (off?) time.
I always heard this track as McLaughlin and Miles sparring, trading blows.
Jazz Guitar Scrapbook wow, that's a great way of hearing it.. Greetings from India! Thanks for watching
I'm not even a guitar player-I play drums and mess around on piano--but I really liked this video. I've listened to Jack Johnson since it first came out, always liked the sounds McLaughlin was getting, especially how he transitions from the straight-up voicings of the blues shuffle to the more dissonant chords--the ones you call "chaotic" but I've always called them "pwang" chords. Not only do they add spice, they give Miles a lot of options to play with. I've always been curious what it was he was doing, but none of my guitar playing friends could explain it. Good work!
Jude F. Thanks man! I’ve learned a lot more about music since making this video, and I’ve discovered that those dissonant chords are built from the half diminished scale. A B flat half diminished works over a Bb7 chord, and John ingeniously built chords around this.
Lovely! Thank you for deconstructing this. I have been obsessed with McLaughlin’s guitaring on this recording for ages. I think Miles once described McLaughlin’s music as “far in”. Just perfect.
Outside of some Mahavishnu albums, greatest Fusion period. McLaughlin is a beast. Thanks for the vid. Cheers from Australia.
That was an absolute beautiful run down of Jonh's amazing approach to music & "jazz" - especially his early early stuff! You broke it down magnificently! Thanks. All that "out there" stuff you mention has become my main stay of hearing music because of listening to John since the late 70's. Nicely done.
Also you clearly have such a passion for what John has done in this recording - it makes you smile and shake your head in recognition a lot! Haha. Thats a wonderful sign that you love what you are doing here! Thanks you and for the recognition of the genius that John has been ever since his early days...then it was all up hill from there until this very day Mid 2018!!! Not many people acknowledge the groover John is in amazing ways!
Brilliant breakdown and done with authenticity too! That means a lot!
Wow, thanks a lot man! Your comment made me feel really good inside. John's work with Miles is something truly special. I like this recording because I learned so much from it, and I continue to learn something new every time I listen to it. The fact that John played this well at 28 years old in 1970 shows how amazing and how ahead of his time he was. His style is so unique.. And you're right, that man can groove lol.
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
Awesome! Have been listening to this from about 71. In an interview, he recently said he was playing a Fender Mustang. I believe or was recorded in 69 shortly after the In a Silent Way, which he used a Gibson Hummingbird with a DeArmond pickup!
Great lesson! Thanks! One of my all time favorite tunes!
Daniel,
One of the best explanations of one of the best, if not best, guitarist of all time. Great job!! I also love the comment about Sir John not being a "white guy". If you note, the main theme is Catfish Collins line in James Brown Superbad, and as Picasso states, stolen. Great job.
Those chaotic chords as you put, never sounded chaotic to me, they are just so tasty and adds spice. I always listened and tried to play them on my own but was unsuccessful. This video helped me a lot, thanks very much, I appreciate what you are doing. Also, quick note those arpeggios in the end are only chords i knew that sounded chaotic , you can hear them in "The Dance of Maya" by MHO, love that track.
Summa Dayze Thanks for watching! Glad it was helpful to you.
I'd forgotten this tune. What a great vamp to play anything that works over a dom7 chord! Magic.
TY very valuable insights ... B-flat is one of
my fave chords, this is some of the coolest
rhythm guitar ever done in nineteen-seventy-one
Thanks man! I'm glad you liked the video.
Great job... with explaining the jam.. one of my favorites.. glad to know it's others as well!! Thank you
Just the other day i said to myself its a Jack Johnson kind of day..one of the greatest albums of all time..thank you for this post greatly appreciated.
I have been trying to play this tune since 1973 and your explanation is like the fog lifting. In my opinion the coolest rhythm guitar work ever done and you explain it so lucidly. Thanks so much for giving me your insights on it. John doesn't give compliments often so I think you really nailed it.
Wow, thank you so much! That's kind of why I made this video.. I knew there had to be more guitarists like me who loved this track. You're absolutely right, it's some of the best rhythm playing ever recorded.. It's so unique and creative. I've never heard anything like it before. And it's so funky! If you have any questions about anything, just let me know. Thanks for watching!
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
Awesome analysis and well taught. Lots of hip chord voicings to learn!
Fantastic. Be great to here you play it as one continuous piece.
Very cool. Love this song you do a great job. Thanks!
Great analysis of one of the coolest rhythm parts ever. Thanks!
Thanks man! I really appreciate it.. Oh yeah, this track is unreal. Some of the most creative guitar playing ever. Thanks for watching!
If you want to dig further into the Miles Davis vein, have you thought about the riffs of Reggie Lucas in the mid-70s Miles Davis band? I love his comping here (still with the great Michael Henderson on bass, worthy of study himself).
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
Listening to this jam can make me cry with joy... So wonderful. Thank you for breaking it down!
Thanks for watching, man! I'm glad you enjoyed the video.. A very magical jam, indeed.
My coz had this album back in the day, I was 10 years old. I play it over and over again, after all these years I can play it. good job.
This is the ultimate jam tune. Been with me since it came out. Good job! What a cool note by JM in the comments!
I became a fan of John McLaughlin with the album Spaces with Corel way back then. I was a brass major in college at the time just picking up guitar. The open sounding tonality was a giant WTF for me. I decided I would learn about it later. After 40 years of advertising design and web development it's later and there may not be much later left. Thanks for the helpful lesson.
Thanks for watching! Spaces is a great record.. Larry Coryell was an unbelievable player/composer.
Fantastic, I can't thank you enough. I've been listening to this since I was a kid, always wondering what he was playing and how he did it. Really appreciate all the hard work you did to analyze this and figure it out.
No problem, man! John is one of my favorites. Glad you liked the video.. Cheers!
Great Video Lesson. Great Mc Laughlin Sound on Tele. I´m Jazz and Fusion fan and player since more than 40 Years. Great Story! Awesome.
Thanks a lot, man! I'm glad that you liked the video.. Thanks for watching!
Great directing. Oscar-worthy.
Great content!What a groove.
Thank you so much for sharing this great work, Daniel.
Frank Russell You’re very welcome! Thanks for watching
Brilliant! To get such an appreciative response from the great man says it all. This album completely blew our minds when it came out in summer '71. Subscribed!
Wow, thanks a lot man! I really appreciate it.. Yeah, I was very surprised by his email. He's my favorite guitarist.. Thanks for watching and subscribing! Part 2 will be available soon.
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
That composition is so monumental to me--as I watch the demonstration, it occurs to me that the chords are all basically in a modal scale....reminiscent of Miles work from "Kinda Blue". Great lesson!
Tom Barnes thanks a lot, man! I really appreciate it..
Your face when you kick the wah pedal on is priceless.. “holy crap I can’t believe I’m playing this!”
Great lesson for an all time great guitar part. Thanks.
Thanks for watching! Glad you enjoyed the video..
Dude! Nailing the feel and tone.
Jazz Guitar Scrapbook Thank you bro! I really appreciate it
This is fantastic, Daniel. I have always loved this album and being able to use your wonderful analyses to understand this better is just heartwarming. So many thanks to your effort and beautiful presentation. As an aside, if you search "Sound, Mediation, and Meaning in Jack Johnson" you can pull up an amazing analysis from a guy who did his PhD thesis on just this one album - very nice reading.
Hey . Thanks for posting this. I've tried a version of it but will try again .....the opening chords are just so powerful on this tune aren't they.
Thank you, thank you, thank you!
Love it! Thank you! Some of my fav JMc work.
No problem, man! John is amazing.. So much versatility. Thanks for watching!
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
Dead on very nice. One of my all time favorite records
Thanks man! I'm glad you liked the video.
This is a really useful presentation -- thanks ! I don't plan on playing "Right Off", but it's great to learn some new chord voicings applicable to dominant type vamps.
Thanks for watching!
this recordind is "stratospheric", the music lesson is enlightening!
This was great! Thanks
Great video bro... You rock!
At 7 minutes and 31 seconds, he moves the bass over Bb diminished scale or 2 messiaen mode. Some songs in Bitches Brew are chords coming from simectrix scales, like Bitches Brew, for example (the scale interval is one and half tone + half tone)
The ideia is build chords in a polytonal chord concept. Triad over triad... Bitches brew is Eb aug and E over C. Here in Right Off, he build E, Bb, G and C# comming from 2 messiaen mode and in top, the bass make an ostinato in Bb and Mclaughlin move the other notes alongside the freatboard in diminished intervals.
Man, they are really amazing musicians. No doubt...
Thanks a lot, man! It's interesting that you mention that, because after I made the Part 2 for this video, it slowly dawned on me that he was building chords off the diminished scale. I'm not a big theory person, but it's amazing how he applied that concept in a live recording like that. Thanks for your input! I really appreciate it.
@@DanielRettberg Man, you rock! Thank you always... Keep your good work bro... To us its more importante how we can play all theorys on guitar fretboard. Always!
Thank you again!
Un superbe décryptage de ce magnifique morceau .
Un abonnement à votre chaîne s'impose !
Un grand merci de France.
Merci beaucoup! J'apprécie vraiment vos gentils mots! Je ne parle pas français, alors j'utilise un traducteur .. S'il vous plaît excusez les erreurs. Salutations des États-Unis, et merci de regarder!
Hey man. Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
Really great lesson, thanks! IMO, John's chordal work from his early career (Miles, Extrapolation) was among his very best work
Ace video! Thanks lots for your analysis 👍
Thanks a lot, man! I'm glad you liked the video..
Hi Dan, good job on the analysis, a great track from a great album.
Thanks a lot, Mark! I really appreciate it
good stuff, so much flavor and style
krushgroov1 Thanks man! John’s a genius..
it would be nice to see/hear a long demonstration of these moments
Coooool thx 💕👏👏👏👏👏
Great video lesson. Thank you so much!
No problem, man! Thanks for watching
This was the LP that got Miles into the Rock & Roll Hall of Fame
❤
Damn! Didn’t know Jack Johnson is Miles’ favorite as well. This album and his 1975 “Agharta” keeps me breathing.
33027day Yeahh man, Jack Johnson was his favorite.. that’s amazing considering he has sooo many great records. I’ve never heard Agharta but I’ll check it out. Thanks for watching!
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
I've been looking for this since a long time ago, thank you man, it great john recognized our work, id go crazy if you did a video lesson on buches brew
Thanks a lot, man! I really appreciate it.. I might do a "part 2" for this lesson. Deciphering some of the Bitches Brew stuff would be cool, too.
Daniel Rettberg Peter great, looking forward to, Spanish key and stuff from the complete sessions Is very heavy
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
Daniel Rettberg Peter great, my day just got better 😀
Great job on the chords! Have you figured out that really cool intro? Was always my favorite .
Thanks for a great deconstruction/analysis! Those b9 13 chords are super hip - often use that voicing for dominant7b9s - have you tried using those for diminished scale chording: alternating those with 7#9s a half step down? for ex:
Ab-D-G-Cb (low to high) down to G-Cb-F-Bb then repeat down whole step, etc...
justin perdue To be honest, I didn’t even know what a diminished scale was when I made this video lol. I do now, but at the time, I just showed you what I was hearing without much understanding about chords built on the half diminished scale.. It makes so much sense when you view these chords from that perspective.
That was awesome!
Thanks man! I'm really glad that you liked the video. Thanks for watching!
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
Well done!!! I'm going to make my own recording of this - just for fun
Nigel Swan Thanks for watching! I really appreciate it
Very nice!!!
And that wah-wah sounds amazing!!!!!
What brand/model is it?
Thanks man! It’s a Fulltone Clyde Standard, but it’s a white model from the year 2000. It’s the oldest piece of gear I own lol.. The newer models are black, but the older white models have a certain sound that I like. Thanks for watching!
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
It was really interesting! Thanks lots for your analysis. If you could something similar based on M.Davis song "It's about time" from In a silent way LP I'd be without words.
No problem! Thanks for watching.. In A Silent Way is another great album. I'll have to do some transcriptions when I have time. Cheers!
U just explained how magic works
Glad you liked the video, my brotha!
fine enlightment , well done
Thank you very much! I really appreciate it
This is superb, Daniel. Thanks for the analysis and context. I actually would like to ask you about another Johnny Mac solo/lick, from the 1980s - would you be up for helping me out?
Great Fun Daniel....At 22:11 of the video can you explain the. fretting and arpeggiating for the closing chords in closing of Phase 1?
Thumb on 4th fret low E, index on 6th fret D string, middle on 7th fret G string, pinkie on 8th fret B string, ring finger high E string 7th fret. Thanks for watching!
Mint.
Fintan Wardell Thanks man! Glad you enjoyed it..
Agreeing with others, really great analysis. Thanks for sharing. Any idea what guitar he used on this album? I've read conflicting info.
I really like your sound, did you used the mini peavey head with the cab sim?
I actually used a Mesa 5:25 Express on the dirty channel. Thanks for watching!
Hi, which wah pedal did you use here? Great lesson! :)
Robert Prenzel Thanks man! It’s an old Fulltone Clyde wah.. It’s one of the white models, and it’s from the year 2001. Thanks for watching!
JOHNNY McLaughlin is BLESSED and with Billy AND MICHAEL WITH STEVE YOU GOT A LOT OF HAPPIER NEW EARS NICE DISTINCTION THANKS FOR DIGGIN IN HOW-BOUT SOLO GOING OUT WITH JOHNNY GREAT REFERANCE REMEMBER THAT THEY ARE NOT JUST NOTES BUT COLOURS TOO AND THE TITLE SAYS IT ALL HEY THAT'S SOME OF IT....HOW BOUT SONNY SHAROCK??? YOU GOTTA REMEMBER WHAT MILES SAID.....
I like how the bass holds the E while McLaughlin goes B flat before falling in with the guitar.
It was actually a mistake but Miles kept it.
I think this is Miles's greatest solo.
The KEY Was Mike Henderson, the bass player!!!!!!!!!!!!!
Playing along with the original, it's in the key of E. Also, I've been playing for over 45 years but have NEVER been able to work my thumb into either root or different bass inversions, I just don't have a long thumb so unfortunately, some of those huge stretches with the thumb your using are a "no go" for moi. I don't know of a way around it except to cut the high voicing on the E string for some of those chords like when you played the inverted +9 shapes or b13 with bass notes using the thumb. Not every guitarist has long fingers😅😅
Hey Daniel, what pickups do you use in your telecaster in this video?
Hi Andrew, I have Seymour Duncan Quarter Pounds in the neck and bridge. Thanks for watching!
TOO COOL!
I was using E flat minor 9 all this time and it didn't sound right. Plus rumor has it McLaughlin used a Fender Duo Sonic on Miles' fusion albums. Thanks for filing the gap[s] in my knowledge.
JACK JOHNSON, IN A SILENT WAY , ON THE CORNER & BITCHES BREW the true birth of JAZZ FUSION.
Mister A 2001 Thanks for watching, man!
The guitar changes that introduce the sly stone groove in the tune ? can you give us those chords please ?
Part 2 is now uploaded. The ONLY section I didn't do was those chords.. Sorry about that. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
Hello could you give the feet numbers for the chord you play at 2:10 on this video it’s Bb 11 with a foot on the d string,sorry I’m having trouble voicing it,thx man!
At 2:10, it’s 8 on D, 8 on G, 9 on B, 8 on high E. Is this correct to you?
That’s what I had had,thx man! Also Thankyou for this brilliant lesson,love your playing! Thankyou!
In the Bb 7 chord what is going on with the A string? What is the fingering for a Bb sun 4?
Anthony Pioppi With a Bb7, the A strong is muted. With Bb7sus4, it’s 6th fret on low E (with thumb), A string muted, 6th fret on D string, 8th fret on G string, and 6th fret on B string.
@@DanielRettberg Cool. Thanks for the quick reply.
Wait so the whole song is them Improvising around b flat note and E note, doesn't matter what type of chord it is as long the root is B flat/E?
Holy Mazola, scholarship...
I am actually kind of interested in what McLaughlin plays during the first 15 second in the key of E. Could you please shed any light on that? I'm having some trouble figuring out those voicings. Many thanks.
Hey man. To be honest, I left that part out because I didn't think anyone would ask for that lol. As you can see, the video is already really long as it is. Can I describe it to you? I might have to do a Part 2 for this video..
The very beginning is 2 chords.. John goes from an A/E chord to an E chord. The A/E = open E, ring finger 4th fret on A string, muted D string, index finger 2nd fret on G, open B string, open E string. For the second chord, a regular E major chord, he mutes the D string.. just like he did in the A/E chord.
That little phrase that he does at 0:07 is open low E, then he goes to 3rd fret on low E with middle finger, then he goes to 2nd fret on D string with index finger, and then he plays the open D string. These are individual notes, not a chord. It should sound like 4 sixteenth notes played consecutively.
Immediately after this, he hits the open E string two times. Then he goes back to the A/E chord (as described above, except maybe mute the open B and E strings to experiment), but that cool thing that you're hearing is this.. He hits the A/E chord once, then he hits it again but he bends ONLY his ring finger downwards. The rest of the chord stays exactly the same. This changes the chord from a A/E to an Asus4/E. So it should sound like you're bending that 4th fret on the A string up to the pitch of the 5th fret on the A. This happens from 0:08 to 0:09..
At 0:11, he's holding that Asus4/E (the one with the ring finger bending the 4th fret on the A), but he hits it once, almost "pulls off" of the chord, and then hits the open E string.
From 0:12 to 0:15, it's pretty much just an E major chord, but he hits the low E string too hard, so it makes that really cool sound lol
At 0:17, he does a similar run that he originally did at 0:07. Open low E to 3rd fret on low E with middle finger, 2nd fret on D string with index finger, then open D string. Then he adds two notes to it.. 4th fret on A string with ring finger, and then finishes with hitting the open A string. Like I said before, these are individual notes, not a chord.
At 0:19, he plays a regular E major chord..
At 0:23, it's pretty much an Edom9 chord.. 7th fret on A with middle finger, 6th fret on D with index finger, and you can either barre it or use your ring finger/pinky for the rest.. 7th fret on G, B, and high E stings. It almost sounds like the D string is muted. So he might only be playing the 7th fret on A and 7th fret across the G, B, and high E strings.
The rest of the opening is pretty much a solo using the E pentatonic scale. Does this help at all? Thanks!
This is very helpful and I thank you very very much. My attempt to figure this out was close to what you have detailed. However, there is one spot that I still find confusing. It is that spot at 0:11 where he is pulling off the 4th fret on A to open A then open E. At the same time he is doing that, I am hearing the E on the 1st string, but not open. I am clearly hearing it up on the 12th fret. And I don't see any way to do that. To my ear, and I've slowed the recording down, it's an octave higher than the open E 1st string. I've tried playing the bend up to D someplace else than on the 4th fret on the A string, but it doesn't work any place else. I can't see how he can be doing both. Do you hear that? What do you think? And how could he possibly be doing that?
By the way, I just read the email McGlaughlin sent you. I come from NYC but live in Bangkok, Thailand and I saw him perform and give a 'seminar' here a couple of years ago. I really regret not bringing my CD of A Tribute to Jack Johnson for him to sign. I had seen the documentary it was the soundtrack to when I was a kid (I was quite the boxing fan back then) and I just had to have the album. I had no idea who Miles Davis or John McGlaughlin were at the time. That opening 10 minutes, and especially the first few chords at the very beginning, are as embedded in my mind and soul as any piece of music. I'm a big blues rock fan, and that's as good as anything ever played. Thanks so very much for posting this. Great job.
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
Thank you so very very much! You are totally great.
Great Lesson! How bout the chords right in the beginning? Very dirty. Would love to see you take apart that section.
Thanks man! To be honest, I left that part out because I didn't think anyone would ask for that lol. As you can see, the video is already really long as it is. Can I describe it to you? I might have to do a Part 2 for this video..
The very beginning is 2 chords.. John goes from an A/E chord to an E chord. The A/E = open E, ring finger 4th fret on A string, muted D string, index finger 2nd fret on G, open B string, open E string. For the second chord, a regular E major chord, he mutes the D string.. just like he did in the A/E chord.
That little phrase that he does at 0:07 is open low E, then he goes to 3rd fret on low E with middle finger, then he goes to 2nd fret on D string with index finger, and then he plays the open D string. These are individual notes, not a chord. It should sound like 4 sixteenth notes played consecutively.
Immediately after this, he hits the open E string two times. Then he goes back to the A/E chord (as described above, except maybe mute the open B and E strings to experiment), but that cool thing that you're hearing is this.. He hits the A/E chord once, then he hits it again but he bends ONLY his ring finger downwards. The rest of the chord stays exactly the same. This changes the chord from a A/E to an Asus4/E. So it should sound like you're bending that 4th fret on the A string up to the pitch of the 5th fret on the A. This happens from 0:08 to 0:09..
At 0:11, he's holding that Asus4/E (the one with the ring finger bending the 4th fret on the A), but he hits it once, almost "pulls off" of the chord, and then hits the open E string.
From 0:12 to 0:15, it's pretty much just an E major chord, but he hits the low E string too hard, so it makes that really cool sound lol
At 0:17, he does a similar run that he originally did at 0:07. Open low E to 3rd fret on low E with middle finger, 2nd fret on D string with index finger, then open D string. Then he adds two notes to it.. 4th fret on A string with ring finger, and then finishes with hitting the open A string. Like I said before, these are individual notes, not a chord.
At 0:19, he plays a regular E major chord..
At 0:23, it's pretty much an Edom9 chord.. 7th fret on A with middle finger, 6th fret on D with index finger, and you can either barre it or use your ring finger/pinky for the rest.. 7th fret on G, B, and high E stings. It almost sounds like the D string is muted. So he might only be playing the 7th fret on A and 7th fret across the G, B, and high E strings.
The rest of the opening is pretty much a solo using the E pentatonic scale. Does this help at all? Thanks!
Thanks so much Daniel! The beginning just rips. I had some of the parts down. But this helps immensely. Thanks for putting in the time to describe this. maybe if you get more replies like mine, then you'll have to do a part 2. lol. Take care!
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
Since I'm nowhere near as good as you , when I play it it comes out more like Keith Richards playing it which is cool by me.
wish we could agree on the pronunciation - we all say it same as we do McLauchlin with a "c"
andrew gillis Yeah, I’ve heard different pronunciations of his last name, but I saw a video a while ago where John himself pronounces his name the way that it’s spelled. So I went off of that.. Thanks for watching!
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
Terrific, Daniel - your tuition style is really clear and the content fascinating! You might be interested in listening to 'There You Go' co-written by John with Duffy Power in 1965. To my ears, it is the ancestor of the 'Right Off' chords. In fact, hearing you talk (at 14:50 in the video) of the strange Bb13b7 +Ab (!) chord in 'Right Off', it seems similar to the really strange chord at the start of the breakdown in 'There You Go, 30 seconds in. Here it is: ruclips.net/video/q08Hpe-QT-s/видео.html
Colin Harper I’ve never heard that song before! Awesome.. Thanks for sharing! Okay, it sounds like in the first section, he’s playing an open A string and moving back and forth between a Gmaj triad and an Amaj triad.. So, open A string with 5th fret on D, 4th fret on G, then 3rd fret on B (G/A). Then he moves to the 7th fret on D string, 6th fret on G, and 5th fret on B (Amaj). He moves between these 2 chords with the A string ringing out through both of them.. It also sounds like he’ll sometimes play a regular open A chord, then play a G/A, then move to the A chord that I mentioned earlier with the 7th fret on D, 6th, fret on G, etc.. In fact, you might be able to get away with an A7 chord after that (open A, 5th fret on D, 6th fret on G, 5th fret on B). It gets trippy in the second section. First chord is Bb7#9 (6th fret on low E, 5th fret on A, 6th fret on D, 6th fret on G), then he goes to A/B (7th fret on low E, mute A string, 7th fret on D, 6th fret on G, 5th fret on B, high E is muted), then he goes to C#7#9 (4th fret on A, 3rd fret on D, 4th fret on G, 5th fret on B), then he goes to A/D (open D string, 2nd fret on G, 2nd fret on B, open E string), then he goes back to C#7#9, then he finishes he section with a B7 (2nd fret on A, 1st fret on D, 2nd fret on G, open B string). You’re right, this was the ancestor to John’s playing in Right Off.
Crikey - your chordal knowledge is extraordinary! I should have said that, anecdotally, it's possible that John tuned his guitar down a step for 'There You Go' - though even if so, of course, all the intervals you list will still be correct. I've written two books on John that you might enjoy. For a launch event for the first a few local musicians learned some Mahavishnu and Power/McLaughlin tunes, though I recall everyone having a lot of trouble figuring out John's chords for the original 1965 version of 'It's Funny' (with Duffy on vocals) - it was later recorded by John instrumentally for his LP 'Extrapolation' (1969). I have a feeling you'll have the chords figured out in no time! Once again, though, it seems based on an unusual first chord and then a suspended 4th, with those two as the basis for the A section: ruclips.net/video/XBpYNCWVFkI/видео.html
Colin Harper Ohhhh you’re the guy who wrote Bathed In Lightning! I’ve never read it, but I’ve seen it on Amazon. Nice talking to you! And thank you very much for your compliment. I really, really appreciate it. In regards to ‘It’s Funny’, he starts off with a B7 (there are two ways you can play it.. 7th fret on low E, A string is muted, 7th fret on D, 8th fret on G, 7th fret on B.. or you can do 2nd fret on A, D string is muted, 2nd fret on G, 4th fret on B, 2nd fret on high E), and the next chord is a Cmaj7#11 (there are two ways you can play it.. 8th fret on low E, A string is muted, 9th fret on D, 9th fret on G, 7th fret on B.. or you can do 3rd fret on A, D string is muted, 4th fret on G, 5th fret on B, 2nd fret on high E). I’m giving you 2 options because he may or may not be using one of these variations.
As far as the B section, he goes to a F#7#9 (9th fret on A, 8th fret on D, 9th fret on G, 10th fret on B), goes back to the Cmaj7#11, then goes back to the F#7#9. After that, he goes to a Cmaj7, but he does 2 inversions of it. First, he goes 10th fret on D, 9th fret on G, 12th fret on B, 10th fret on high E, then he switches it to a different inversion.. 10th fret on D, 9th fret on G, 8th fret on B, 7th fret on high E. Then he goes to a Bmin7 (7th fret on low E, 9th fret on A, 7th fret on D, 7th fret on G, 7th fret on B), then to an Emin9 (7th fret on A, 5th fret on D, 7th fret on G, 7th fret on B) to a Dmin9 (5th fret on A, 3rd fret on D, 5th fret on G, 5th fret on B), back to an Emin9, and then finishes off the B section with a Fmaj7b5 (3rd fret on D, 2nd fret on G, open B string, open E string). After that, everyone goes back to the A section, which is B7 to Cmaj7#11, etc..
Obviously, this is what I believe it to be lol. I think I’m pretty close, though.. I just did it real quick.
Truly, you are a wizard at this stuff Daniel - and certainly gifted at explaining it in a clear and engaging way! I have a feeling you'd enjoy 'Bathed In Lightning' :-) I've self-published a companion volume 'Echoes From Then' within the past couple of months. I must copy/paste all of the information you've so kindly given and give it a go some time...
Thanks man! I'll definitely check out your books. It was very nice talking with you, and I really appreciate your kind words and support.
clever person. Magien bare oppstår? Selv lytter jeg. Dag
interestingly, these are all just major triads superimposed over differient bass notes, and moved around in sequences of minor thirds. that sort of tracks with the theoretical concepts miles was messing with at the time, indeed bitches brew is full of this kind of harmony.
(besides the various simple B7 voicings)
Why did you skip the opening chords ? ... talking of iconic ...
But otherwise good job .... congrats to that E-mail, wow ...
Hey man. A "part 2" will be filmed very soon. I analyzed the section in Bb because this portion is wayyy more harmonically complex than the opening section, plus I didn't want this video to be too long. Another reason why is because I didn't know if anyone would be that interested in this subject, but according to other people including yourself, the beginning section is in demand. Like I said, I'll film a video about that section very soon.. I already made an outline for it. Another person wanted a description of that beginning section, so I'll share that with you as well. Thanks for watching!
The very beginning is 2 chords.. John goes from an A/E chord to an E chord. The A/E = open E, ring finger 4th fret on A string, muted D string, index finger 2nd fret on G, open B string, open E string. For the second chord, a regular E major chord, he mutes the D string.. just like he did in the A/E chord.
That little phrase that he does at 0:07 is open low E, then he goes to 3rd fret on low E with middle finger, then he goes to 2nd fret on D string with index finger, and then he plays the open D string. These are individual notes, not a chord. It should sound like 4 sixteenth notes played consecutively.
Immediately after this, he hits the open E string two times. Then he goes back to the A/E chord (as described above, except maybe mute the open B and E strings to experiment), but that cool thing that you're hearing is this.. He hits the A/E chord once, then he hits it again but he bends ONLY his ring finger downwards. The rest of the chord stays exactly the same. This changes the chord from a A/E to an Asus4/E. So it should sound like you're bending that 4th fret on the A string up to the pitch of the 5th fret on the A. This happens from 0:08 to 0:09..
At 0:11, he's holding that Asus4/E (the one with the ring finger bending the 4th fret on the A), but he hits it once, almost "pulls off" of the chord, and then hits the open E string.
From 0:12 to 0:15, it's pretty much just an E major chord, but he hits the low E string too hard, so it makes that really cool sound lol
At 0:17, he does a similar run that he originally did at 0:07. Open low E to 3rd fret on low E with middle finger, 2nd fret on D string with index finger, then open D string. Then he adds two notes to it.. 4th fret on A string with ring finger, and then finishes with hitting the open A string. Like I said before, these are individual notes, not a chord.
At 0:19, he plays a regular E major chord..
At 0:23, it's pretty much an Edom9 chord.. 7th fret on A with middle finger, 6th fret on D with index finger, and you can either barre it or use your ring finger/pinky for the rest.. 7th fret on G, B, and high E stings. It almost sounds like the D string is muted. So he might only be playing the 7th fret on A and 7th fret across the G, B, and high E strings.
The rest of the opening is pretty much a solo using the E pentatonic scale. Does this help at all? Thanks!
Thnx man, you really worked that out exactly, your description was a lot of work, thnx again ...
Part 2 is now uploaded. Thanks for watching!
ruclips.net/video/hCpUzyYcy3k/видео.html
I get the music, but the b-flat,fret on the eight...i am not a musician,i just love music. Spare me of music theory, it's boring
That 3rd chord also has a Db (6th fret on the G string). I hear it.
That 4th chord you’re call Bb11 is technically Bb7sus or Ab/Bb. Bb11 includes a D.
5:50 “he’s not just some white dude” wtf? What a random thing to point out. What’s the point of pointing out someone’s skin color. This is a music lesson right? Get back to useful info like why these voicings are hip. Say shit like “the first chord is root, 7th, 3rd, 5th.”