Tim that's cool stuff, I think I am making progress on my transition from rock/folk to BlueJazz which I think makes real music. I never realized the importance jazz until turned 60. It great to play barn burning licks but it's better to know why it works and understand the language and the arithmetic of music. I wish I could have been smarter at 13. At 68 I'm finally a musician. Thank you for your knowledgeable instructions. It means a lot to us
Beautiful and important reminder to put more of our attention on dynamics, and your beautiful playing echoes the message; intentional, skilled control of dynamics is a big part of the difference between an okay performance, and a really inspiring one that just grabs people, even if they aren't aware of the reason.
Classical guitar really helps work on these principles a lot! When I listen to Solo Guitar by Ted Greene you can really hear how well he got that melody note to sing amongst his beautiful changes. I feel like the older and more experienced I get, the more I learn to understand and appreciate the subtleties in the playing of great musicians. Wonderful lesson as always Tim.
Really insightful lesson Tim. Getting at that magic quality of “feel” and “tone from the fingers”. as opposed to a lot of players obsession with the amp and instrument, even while all of these play a role.
Lovely lesson Tim. We’re so lucky to have you sharing your mastery and insights. Your sound, your breath, making a harmonised scale sound like something of transcendental beauty which of course when played like that, it is. Thank you.
Such an underrated topic. Thank you so much for the lesson... I have always wondered how you, Ted Greene, Julian Lage and Martin Taylor control dynamics so well while playing multiple lines!
"ALLOW FOR FLOW"!!! Love it!!! Thanx Tim for putting together such a comprehensive video on the art of playing three-dimensional style guitar!!!. As a classical guitarist, I know a little bit about controlling the Bass, Harmony, and Melody independently. And when you apply that concept to Jazz solo guitar playing? WHOA!!! It's a beautiful thing!!! The music has to breathe. And it's something that we have to consciously be aware of..., and like you said not to overthink it, but just pay attention, listen and execute!! It does take some concentration in the beginning, but of course just like anything else, after a period of time and practice, it becomes second nature. And I think it separates players from True musicians. Seasoned musicians who understand the nuances of creating music that you can feel and enjoy. Love you videos Tim... It's truly amazing how many people have so many wonderful things to share on CZcams, and specific people stand out for specific reasons. This my friend is in the Upper 90 percentile of the things that we ALL need to know!! THANKS AGAIN!!!!!!!🙏
Fabulous, and most instructive! I have been a rock and roll guitarist for decades and have only learned to play with my fingers since January. You have inspired me Tim, and I am grateful to be making admittedly slow progress. Thank you.
Great lesson! I've been suggested to think about dynamics by talking then singing the little bits as you do periodically. We have a natural rhythm with our voice if we are not self conscious that is a direct connection to this internal dynamic of the vertical event! Thank You! B-)
6:25 Play C major harmonized scale play top note loudest. Then play bass and top note and THEN inner notes. Then all four notes at once but try to make G string the loudest note. Then repeat with D string.
I used to use the 'rest stroke' in my classical guitar days to highlight an internal note in a chord - very difficult technique but easier on a classical guitar
im here actually because my teacher have told me the importance of dynamics... my problem or THE problem is me! i always sabotage my solos and my lines and comping because i play everything at the exact same volume even though i transcribe a grant green solo on you stepped out of a dream that helped me to get better at dynamics at that time... i gues is just a matter of awareness and consciousness
In person or by video? Wondering where he lives - what city? This was the first YT vid I've seen of him. I really like what he says and what he hears and how he teaches.
tim my hearing is fine !! thank god , i just could not hear your vibrato on the computer. its a shame we couldn't have a real conversation on the phone...i am not a good typist,too old to do that as i am older than you.....just want to play and learn, so thanks again for you.
Tim, this is an amazing lesson. Thank you very much! I realise it's by no means the only thing I'm missing on my way to becoming a semi-competent solo guitarist, but I reckon it's a critical step that, in my effort to just get the chord shapes and notes under my fingers it's something I've totally overlooked. When you explained this in detail, it clicked for me. This is a big part of what's making my playing robotic, boring, uninspired. At the moment, I'm more like a typist than a musician! For now, after watching your lesson several times over, I'm trying to work on bringing the melody out (make it sing) by trying to almost imagine how a singer would phrase it. The inner notes are a little beyond me right now. But it's really got me thinking a lot more. Probably a stupid question but I seem to struggle to send the message from my brain to my right hand (I'm 50 and essentially a beginner!) to get my finger (the one playing the melody) to react by applying slightly more pressure than the other fingers. Would a good way to improve bringing out the melody be to practice without the chord harmonies until I can really get the melody sounding nice? By the way, I absolutely love your playing mate! One of your biggest fans from Australia!!!!!
In classical guitar you practise playing a chord and bringing out each string by physically moving that string with your right hand finger and it will be louder than the other notes in the chord. It feels like you're grabbing it more than the other strings. You have to push it slightly downwards and to the side as you pluck it. Takes a bit of work to get it to happen naturally. This was Segovia's method apparently.
I've been working on this ever since I transcribed Daniel Corzo's chord melody on "Alone Together" About a year ago. Thanks for giving me a systematic way to work on it. Different entrances and micro delays definitely help. Sometimes the soprano voice doesn't come out when I play but I become aware of it. It's usually because I am not picking the top string enough or at all. I move my pick and fingers))
Can you do a video on dynamics in single line playing next? I mean, single line dynamics seem like they would be easier to execute. That said, dynamics are woefully missing from a lot of us amateur jazz guitarists these days. We get caught up in all the only stuff that we forget dynamics when we improvise. I think dynamics create a depth in single lines that, when done right, can compensate for the lack of chordal accompaniment in the background (especially if you are the only chordal instrument in the band). Dynamics also sell the rhythm that you communicate. What is loud, what is soft? How does that interact with legato and staccato phrases? How do dynamics help add depth to the shape/ contour of the line? Hopefully I've made my case about dynamics for single line improvisation as well :) Now... if I could only heed that advice every time I play... that would be something. I bet you could show everything I just rambled about in this comment better than I can explain it with words. Good to see you doing all these videos as well.
@@TimLerchGuitar Tim, you are the real deal. After C19, I might have to get some more studying in with you. Hopefully I can obsess over amps a little less and talk harmony a little more ; ) Glad you are well!
Awesome video! One thing that can help with bringing out the melody is minimizing the thicker ferrous mass of the bass strings relative to the thinner treble strings by either using heavier treble strings, lighter bass strings, or phosphor bronze acoustic bass strings (only the steel core generates the signal against the magnetic pickups). Bruce Foreman is using a new, less-ferrous alloy electric string to help with this (I forgot what it’s called). Something else to tinker with
You make an interesting point, but I think regardless of string type/material, the proper technique must be developed.. it’s not so much about frequencies as much as it is about controlling amplitude.
Hey i was wondering if you use breathing to assist/accompany your guitar playing? I've noticed you breathe heavier depending on how you're playing, like a horn player. Does that help with your timing, or in this case dynamics? Cheers!
well thank you for your reply! i cant hear any sound, so it looks weird. i really enjoy your council and i try to do your chords,soo i need to look at your hands......... and THATS my problem so ???
I’m sorry I didn’t know you are hearing impaired. I’m not sure I can avoid the vibrato since it’s a big part of my sound. I do have teaching material available that has chord grids for many of my arrangements if you think that might be helpful for you.
Hi. Thank you for the tips👏. Can anyone recommend me good jazz guitar players who played solo guitar like Joe Pass. I'm looking for more references. Thank you btw👌
I play for the sound, sorry if something that I do to make a particular sound “ruins the Visual” for you, perhaps you can close your eyes when you listen, that’s what I do.
@@TimLerchGuitar I’ve no idea why an individual would suggest that you stop shaking your guitar. Especially for a visual concern. It is an indelible part of your musicality. As unique as your fingerprints, Sir. Thank you for posting. ✨
This guy really breathes music.
clear features of solo jazz guitar with simple, great sounding examples. That is top notch teaching/communicating
What a blessing to have this master around and have him take the time to talk to us, to teach us, to inspire us.
Tim that's cool stuff, I think I am making progress on my transition from rock/folk to BlueJazz which I think makes real music. I never realized the importance jazz until turned 60. It great to play barn burning licks but it's better to know why it works and understand the language and the arithmetic of music. I wish I could have been smarter at 13. At 68 I'm finally a musician. Thank you for your knowledgeable instructions. It means a lot to us
I'm 70 and still playing. You never run out of things to learn.
The last exercise is subtle but it's definitely there. Great insights Tim!
Glad you liked it!
Tim - wonderful lesson as always. "I Remember You" is a depressingly underplayed standard among guitarists.
All my fingers play at volume 11. This is just the lesson I need. Thank you!
Subtle yet important lesson on dynamics. Well done.
Variation, light/dark, movement and character-so very valuable Tim.
that's a fantastic class. thanks a lot!
Excellent Tim! 👏 Thanks! 🎼
Tim........your a gift,Thanks.
Anybody else get the chills when he separated the inside voices from the bass and melody? Beautiful simplicity. Thank Tim!
Very mature concept. Not easily achieved without a lot of practice time. You are creating a small Lap Piano. Beautifully executed. Shally
Thank you for this lesson Tim!
"The internal dynamic of the vertical event."
Wonderful!
gold mine
As a guitar teacher of many years, I can say you present this so clear and give a solid practice approach. Great stuff!
Another great video. I hope you never stop sharing your insights and techniques. Your tone instantly lights up my day.
Beautiful and important reminder to put more of our attention on dynamics, and your beautiful playing echoes the message; intentional, skilled control of dynamics is a big part of the difference between an okay performance, and a really inspiring one that just grabs people, even if they aren't aware of the reason.
nice playing ...natural
So smart and such guitar knowledge and awareness. You shine a light where I never even look at on guitars. Thanks God continued blessings in 2023.
Starts to sound more like ted greene.. thanks for these small touchs that make a big difference
As always, your observations and comments are spot on, Tim! This is what truly makes “music!” 🙏
Classical guitar really helps work on these principles a lot! When I listen to Solo Guitar by Ted Greene you can really hear how well he got that melody note to sing amongst his beautiful changes. I feel like the older and more experienced I get, the more I learn to understand and appreciate the subtleties in the playing of great musicians. Wonderful lesson as always Tim.
So good thank you for sharing.
Love the way you teach, Tim. So understandable and approachable. Thank you!
Good food for thought and practice, Tim!
Really insightful lesson Tim. Getting at that magic quality of “feel” and “tone from the fingers”. as opposed to a lot of players obsession with the amp and instrument, even while all of these play a role.
Lovely lesson Tim. We’re so lucky to have you sharing your mastery and insights. Your sound, your breath, making a harmonised scale sound like something of transcendental beauty which of course when played like that, it is. Thank you.
At 10:10 of the video, what a wonderful feel for guitar.
Such an underrated topic. Thank you so much for the lesson... I have always wondered how you, Ted Greene, Julian Lage and Martin Taylor control dynamics so well while playing multiple lines!
It definitely takes a lot of work and careful listening. But the payoff is big. Thanks for watching.
"ALLOW FOR FLOW"!!! Love it!!!
Thanx Tim for putting together such a comprehensive video on the art of playing three-dimensional style guitar!!!. As a classical guitarist, I know a little bit about controlling the Bass, Harmony, and Melody independently. And when you apply that concept to Jazz solo guitar playing? WHOA!!!
It's a beautiful thing!!!
The music has to breathe. And it's something that we have to consciously be aware of..., and like you said not to overthink it, but just pay attention, listen and execute!! It does take some concentration in the beginning, but of course just like anything else, after a period of time and practice, it becomes second nature. And I think it separates players from True musicians. Seasoned musicians who understand the nuances of creating music that you can feel and enjoy. Love you videos Tim... It's truly amazing how many people have so many wonderful things to share on CZcams, and specific people stand out for specific reasons. This my friend is in the Upper 90 percentile of the things that we ALL need to know!!
THANKS AGAIN!!!!!!!🙏
He's making it all up as he goes along !
Wow, Tim love those subtle changes. Will have to work on this much more, and as a beginner I have so much to learn, but videos like yours really help.
such beautiful playing!
Fabulous, and most instructive! I have been a rock and roll guitarist for decades and have only learned to play with my fingers since January. You have inspired me Tim, and I am grateful to be making admittedly slow progress. Thank you.
Hey I love the setup of your tele. Good lesson in musicianship.
You are definitely a man with a "Song in His Heart" ))
Always my favourite Jazz player
Master!
I am very happy to follow your videos ,thank you so much
Great lesson! I've been suggested to think about dynamics by talking then singing the little bits as you do periodically. We have a natural rhythm with our voice if we are not self conscious that is a direct connection to this internal dynamic of the vertical event! Thank You! B-)
6:25 Play C major harmonized scale play top note loudest.
Then play bass and top note and THEN inner notes.
Then all four notes at once but try to make G string the loudest note.
Then repeat with D string.
Amazing! You are truly gifted.
Thank you
Brilliant!
such a sensual tone
I used to use the 'rest stroke' in my classical guitar days to highlight an internal note in a chord - very difficult technique but easier on a classical guitar
im here actually because my teacher have told me the importance of dynamics... my problem or THE problem is me! i always sabotage my solos and my lines and comping because i play everything at the exact same volume even though i transcribe a grant green solo on you stepped out of a dream that helped me to get better at dynamics at that time... i gues is just a matter of awareness and consciousness
Thanks so much for this Tim! Love your videos and courses, so much to learn!
Thank you for your support
Golden Hints there!
Making me want to grow my fingernails Tim! Sounding gnarly. I’m about due for another lesson
This is Tim being Tim. This is a good example of why I take private lessons from him!
my wallet would kill me but my soul says do it
In person or by video? Wondering where he lives - what city?
This was the first YT vid I've seen of him. I really like what he says and what he hears and how he teaches.
tim my hearing is fine !! thank god , i just could not hear your vibrato on the computer. its a shame we couldn't have a real conversation on the phone...i am not a good typist,too old to do that as i am older than you.....just want to play and learn, so thanks again for you.
wonderful playing of I Remember You - I will try and be aware of this
Tim, this is an amazing lesson. Thank you very much! I realise it's by no means the only thing I'm missing on my way to becoming a semi-competent solo guitarist, but I reckon it's a critical step that, in my effort to just get the chord shapes and notes under my fingers it's something I've totally overlooked. When you explained this in detail, it clicked for me. This is a big part of what's making my playing robotic, boring, uninspired. At the moment, I'm more like a typist than a musician! For now, after watching your lesson several times over, I'm trying to work on bringing the melody out (make it sing) by trying to almost imagine how a singer would phrase it. The inner notes are a little beyond me right now. But it's really got me thinking a lot more. Probably a stupid question but I seem to struggle to send the message from my brain to my right hand (I'm 50 and essentially a beginner!) to get my finger (the one playing the melody) to react by applying slightly more pressure than the other fingers. Would a good way to improve bringing out the melody be to practice without the chord harmonies until I can really get the melody sounding nice? By the way, I absolutely love your playing mate! One of your biggest fans from Australia!!!!!
In classical guitar you practise playing a chord and bringing out each string by physically moving that string with your right hand finger and it will be louder than the other notes in the chord. It feels like you're grabbing it more than the other strings. You have to push it slightly downwards and to the side as you pluck it. Takes a bit of work to get it to happen naturally. This was Segovia's method apparently.
Hi nice thanks !!!
I remember you?? I love that tune
I've been working on this ever since I transcribed Daniel Corzo's chord melody on "Alone Together" About a year ago. Thanks for giving me a systematic way to work on it. Different entrances and micro delays definitely help. Sometimes the soprano voice doesn't come out when I play but I become aware of it. It's usually because I am not picking the top string enough or at all.
I move my pick and fingers))
Interesting approach... Will work on it. Cheers...
Great video - many thanks
Can you do a video on dynamics in single line playing next? I mean, single line dynamics seem like they would be easier to execute. That said, dynamics are woefully missing from a lot of us amateur jazz guitarists these days. We get caught up in all the only stuff that we forget dynamics when we improvise. I think dynamics create a depth in single lines that, when done right, can compensate for the lack of chordal accompaniment in the background (especially if you are the only chordal instrument in the band). Dynamics also sell the rhythm that you communicate. What is loud, what is soft? How does that interact with legato and staccato phrases? How do dynamics help add depth to the shape/ contour of the line? Hopefully I've made my case about dynamics for single line improvisation as well :) Now... if I could only heed that advice every time I play... that would be something. I bet you could show everything I just rambled about in this comment better than I can explain it with words. Good to see you doing all these videos as well.
Great suggestion. I have a video in the works on exactly this . see you in a couple of days.
@@TimLerchGuitar Tim, you are the real deal. After C19, I might have to get some more studying in with you. Hopefully I can obsess over amps a little less and talk harmony a little more ; ) Glad you are well!
You're the best
This guy times his breathes like a singer!
Yes, and he‘s the first guitar player whose breathing is audible over his electric guitar ;-)
Leave a comment and let me know how this exercise feels to you .
Revelatory, as ever ! Thank you..
Awesome video! One thing that can help with bringing out the melody is minimizing the thicker ferrous mass of the bass strings relative to the thinner treble strings by either using heavier treble strings, lighter bass strings, or phosphor bronze acoustic bass strings (only the steel core generates the signal against the magnetic pickups). Bruce Foreman is using a new, less-ferrous alloy electric string to help with this (I forgot what it’s called). Something else to tinker with
You make an interesting point, but I think regardless of string type/material, the proper technique must be developed.. it’s not so much about frequencies as much as it is about controlling amplitude.
Absolutely!
Anyone notices he uses his breathing for timing ? Amazing lesson thanks for the tip.
What pickups are those? They look and sound out of this world!
Lollar CC
Hey i was wondering if you use breathing to assist/accompany your guitar playing? I've noticed you breathe heavier depending on how you're playing, like a horn player. Does that help with your timing, or in this case dynamics?
Cheers!
It’s a natural thing, I am kind of singing with out making any sound. I think it helps connect all of the aspects, mind, body , fingers, intention.
I'm just learning jazz .just wondering how many Charlie Christian pups do I need to sound like this?
check out Bud Powell bro... nobody sounded like that man
All of them
you're always an inspiration Tim, what is that song by the way?
I remember you
Thank you kindly!
well thank you for your reply! i cant hear any sound, so it looks weird. i really enjoy your council and i try to do your chords,soo i need to look at your hands......... and THATS my problem so ???
I’m sorry I didn’t know you are hearing impaired. I’m not sure I can avoid the vibrato since it’s a big part of my sound. I do have teaching material available that has chord grids for many of my arrangements if you think that might be helpful for you.
Is the guitar tuned down? Great playing!
Pretty sure I’m tuned to E standard on this video. I tune down for other videos but this one is not.
How do you tune up? Do yo tune from the middle out? From the low E up? Do you try to tune 4ths and 5ths pure? Would be very interested- thanks
I've gotta ask - what amp are you playing through?
Princeton reverb
@@TimLerchGuitar It's notable.
Hi. Thank you for the tips👏.
Can anyone recommend me good jazz guitar players who played solo guitar like Joe Pass. I'm looking for more references. Thank you btw👌
secret is in his fingers guys
I’ve been told that my G-string is very loud. I don’t care what they say, it’s a comfortable garment.
great stuff ,but please STOP SHAKING THE DAMN GUITAR!!!!!!! IT RUINS THE VISUAL
I play for the sound, sorry if something that I do to make a particular sound “ruins the Visual” for you, perhaps you can close your eyes when you listen, that’s what I do.
@@TimLerchGuitar I’ve no idea why an individual would suggest that you stop shaking your guitar. Especially for a visual concern. It is an indelible part of your musicality. As unique as your fingerprints, Sir. Thank you for posting. ✨