An added dimension for sure. Great lesson, great sounding as always. PRS is the only guitar missing in my arsenal. Had an SE single cut years ago but flipped it. Liked the short also, those guys were great. Their performances on Letterman were epic and Huey was always a great interview.
Thanks Harry! These PRS DGT (Se) guitars are great. Kinda like a Les Paul but more comfortable and a trem. I think people will look back on them in the future in the same way people do now days with those Japanese Squier strats.
Lots to unpack in this. Really interesting about that sharp 11 for one thing, but I'm not sure I completely get it. Are you saying to play a sharp 11 when the chord is indicated as an 11? My understanding was that you'd just generally avoid playing the third in these? But as soon as you started spelling the chords suggested by the extensions (Bm over Am for example) I related it to those "super-arpeggios" that Carlton and the like talk about (and which I'm pretty sure you've covered before). That whole thing wouldn't work the same with the natural 11. Hmmmm.... Go well with the gig today. Ends up that we'll be doing family stuff at our daughter's house in Puk Bay. Pity about this weather. Sure hope it clears up by this evening for you!!!
@@simonwilliams7608 thanks Simon. Can’t do much about the weather. Is the chord is written as an 11 that’s different, don’t change anything just play the chord. What I was referring to is on major and dominant chords the 11th is a #11th as seperate the 3rd from the 11th which would be as semitone and make the third sound unclear. That why you’ll see major7#11 all the time. On minor chords this isn’t an issue because the b3 is already a torn away from the 11th. Hope this makes sense?
An added dimension for sure.
Great lesson, great sounding as always. PRS is the only guitar missing in my arsenal. Had an SE single cut years ago but flipped it.
Liked the short also, those guys were great. Their performances on Letterman were epic and Huey was always a great interview.
Thanks Harry! These PRS DGT (Se) guitars are great. Kinda like a Les Paul but more comfortable and a trem. I think people will look back on them in the future in the same way people do now days with those Japanese Squier strats.
hehehe glad you added that "99.99% of the time" :) I love my unresolving dissonant sounds
Ha, yeah I started to think well a sus4 doesn’t have a third at all, and other chords so yeah. Cheers for watching
That worked together really nicely well done.
@@stevejarosz8136 thanks. Happy new year
Lots to unpack in this. Really interesting about that sharp 11 for one thing, but I'm not sure I completely get it. Are you saying to play a sharp 11 when the chord is indicated as an 11? My understanding was that you'd just generally avoid playing the third in these? But as soon as you started spelling the chords suggested by the extensions (Bm over Am for example) I related it to those "super-arpeggios" that Carlton and the like talk about (and which I'm pretty sure you've covered before). That whole thing wouldn't work the same with the natural 11. Hmmmm....
Go well with the gig today. Ends up that we'll be doing family stuff at our daughter's house in Puk Bay. Pity about this weather. Sure hope it clears up by this evening for you!!!
@@simonwilliams7608 thanks Simon. Can’t do much about the weather.
Is the chord is written as an 11 that’s different, don’t change anything just play the chord. What I was referring to is on major and dominant chords the 11th is a #11th as seperate the 3rd from the 11th which would be as semitone and make the third sound unclear. That why you’ll see major7#11 all the time. On minor chords this isn’t an issue because the b3 is already a torn away from the 11th. Hope this makes sense?
@@NickGranville Yep. Thanks for clarifying. 🙂
@ no worries. Happy new year!