We added another 40 minute video of Tim going thru the book chapter by chapter giving some further explanations and tips. If you bought the book already be sure to visit the download page again to see the new video.
Looks great. Quick ques: Are there chord solos at least one page long in the book?..like wes montgomery or joe pass, etc? Or are the chord solos shorter, two measures,? thanks
Tim your books are great thank you very much in my opinion your next book should incorporate standards and how from the first and second book I use them according to a column in both books 1 and 2
What is good about classical music that the guitarists who taught you They also taught the fingering and this helps and gives the right technique especially to those who come from classical music and want to enter the jazz This is what I miss in the second book
Loved the first book…not just the chords but the additional tune arrangements….so had to buy this one too. There are plenty of us out there who enjoy learning to play this type of music! 👍🍷.
3:50 Luke's history with Tim 7:06 New Book - compendium of phrases (melodic harmony) 13:30 Melody and Harmony separate things? Tim:right hand and left hand look like two separate things but if you tace them back to the center you realize they are part of a larger thing -Related story 13:50 Do you play rhythm or lead? -usually we hear the top voice of the guitar as the Melody some people can hear the low note has the melody 18:50 notes in the middle 19:25 a chord progression is not a set of frozen things moving through space but rather it is a completely fluid set of melodies Everything is a melody including what we normally think as harmony -Rhythm,harmony and melody are almost never separated 21:05 you never ask a piano player "do you play lead or rhythm?" - in this styles (jazz,blues, bossa nova, latin etc) it is a good idea to see the guitar as a whole thing what can do all of those things, sometimes you use more than aspect than the others but the guitar is a whole instrument 24:30 tim is influenced by pianists and orchestras, guitar is an Orchestra We can sustain,move, hold, bring something else in,, echo, move the bass, reference the main melody in the inner voices etc Piano players don't have a word for playing "chord melody" that's just play piano. 27:30 Counterpoint In Baroque you learn a bunch of rules, hatmony is not discussed much because the rules dictate how to handle that, in tim's concept he created a system to apporach counterpoint with harmony 29:00 example with cherokee 30:11 what i try to do is i combine the two and i use the harmony to inform what my melodic choices might be 30:40 i started by doing simple things like to take a melody and then play a line underneathand hold the melody, and then do something against it, maybe then i look at playing pairs of notes and breaking up my harmony picture so I can sustain some notes and move others but it's all still in the rubric of the changes of the song 33:00 some types of motion 33:40 even block chord playing is counterpointal in a parallel fashion 33:50 there's no specific section of counterpoint in the book because Tim's natural way of playing is counterpoint 34:50 first book is not a required but it complements the second one 35:56 first book "systematic inverions" is important 38:20 Barry Harris concepts I know Barry created this concept for playing bebop I know at least cursorily what he's talking about, I learn something from Ted Green in the 80's that produce the same result un many ways, I don't subscribe to he Barry Harry's methodology but I know it, Ted's based in more classical theory, so I think those are two different ways of talk about a similar thing 40:30 diminished chords 40:50 leading tone- diminished chord 45: 00 example 46:20 everything in this book is basically Tim Improvising. He didn't want it very arranged, instead how he originally plays 48:25 how to use this book I don't want anybody to play exactly what's on the page, the lage is there to give you ideas of what you can do 53:50 grids 54:50 dynamics When I'm not with the guitar I hear music in my mind, one of my ways of entertainment myself, and when I hear it is the guitar played perfectly, so when I take the guitar I try to do that. Play what you hear in you mind (visualize what you want) 57:17 example there's no dynamics in sibelius or guitar pro Dynamics are important 58:00 3 categories 1) loud or soft 2) long or short 3) sooner or later Any note you play will have at least minimal those characteristics 59:00 the variation or the interspesion of the vertical event 59:30 something about transcription 1:00:00 dynamics exercise Chord using all the fingers r.h. 1) make the top voice louder 2) play it all at once but make the g string louder It's really hard to do it. You will develop a sensitivity, whether you are playing separated notes or all at oncee 1:01:20 play chords and sing the top melody Then sing the G string Then hear the D string and sing it try to not play it individually play all the chords and hear it then sing it Train yourself to hear the other notes and voices jot just the top voice 1:03:00 check the interview with Tim and that pedal show 1:04:25 Do you have an interesting way of practicing inversions? Inside of every "big chord" there are "Small chords" Also look at "systematic inversions of triads" 1:09:30 "I don't think anybody has ever said these words to me..." 1:10 18 "Melodic triads" true fire course 1:10:50 blues using triads and inversion. 1:13:48 are these books based on Ted's work? Ted wanted me to be me Same Joe The book should inspire you to find something of your own 1:18:50 flesh vs nail All flesh 1:20:28 Tim has a some nail in the little finger and use it to make the top note a little brighter and less obvious 1:21:35 Tim has some nail in the thumb but he only uses when he plays harmonics 1:22:18 Next masterclass: Chordal Harmony and harmonics? 1:23:25 a good book for changes in jazz standards - Listen a lot of music - you have to be able hear the changes -Listen different versions of the song 1:24:55 do you often transcribe chord solos or phrases? NO 1:25:00 how do you develop your left and right hand co-ordination Tim: hearing the parts in your mind before play them and then maybe separate the parts so you know what is doing every part "What is the thumb doing?" "What is happening in the D string" You need to learn what the musical elements are and then it is more easier to give them their own independent dynamics,parts etc. 1:27:03 Ted said this to Tim. "Tim when you make a note happen you decide how it's gonna enter to the world, how long I is going to live, and you decide when it's going to die, and you also decide what you're going to do with it while it is alive" 1:28:00 how do you practice your breathing? Tim: I'm always singing. But if he can't cause he's recording, sick, or the notes are to high, etc he does that "breathing" or sound with his mouth 1:31:10 trash talking yourself don't help anybody " if I sing what I play I can't think" It is a state of mind Vinnie colaiuta with Rick beato : thought it is the enemy of flow 1:33:50 difference between this and a true fire course. This could be 10 true fire courses 1:36:00 * what it means to really know a song* how do you follow where you are in a tune? If I really know the songx I hear the melody in my mind, and also know the numbers, but if I know the song I don't think about it. Know the song doesn't mean to memorize a line of events, it might be part of it at the beginning, when I know the song I know it like a blues, you just heart it. Really know the song Play it , play it, play it . Live inside of the songs, learn the lyrics 1:38:40 a joke 😑 hahahaha 1:39:10 triads pairs You take 2 triads and pairt them note making a six note figure. About the extensions 9,11,13 A triads right abovedado it in the key About "lydian triads pairs" So I can use a Small thing like a triads to create the sound of a bigger thing 1:42:20 lear to do the basic stuff About the book and also true fire 1:46:00 line cliché When you have a static harmony and there's a chromatic line (bottom, internal or top line) descending or ascending 1:49:45 cinematic music 1:51:40 last question if you compose or arrange a tune from the scratch do you have a system or it is all up to our own chooses Tip: try to start with the melody Then bass note Then inner voices You do both system and what you like Then start yo introduce new bass notes
I have book 1 and I'm waiting for my order on the new book to get to me and I'm watching the webinar and 30 minutes into it and you guys are so inspiring. I'm a 69 year old self taught and you'll laugh finger style piano player that gets a lot of inspiration from finger style rag and blues and Latin etc players . Jazz also. I've been working on fingerstyle guitar for 20 years. I wish I'd started sooner but this is part of the fun of the journey and as long as I'm still not falling off the learning curve I'm happy. Ps told the great Dave VanRonk when I was younger that I got a lot of influence from pickers like him Blind Blake Roy Bookbinder etc. And Dave said he got his influences from New Orleans piano players. Just wanted to share that. I heard Roy say that he thought the left hand was the brain and the right hand was the personality which has opened my eyes. You're inspiration is worth the price of the book and then a whole lot more than that. Thanks and put me down for the rest of the books if I live that long!!!!!!!!!!!!
We added another 40 minute video of Tim going thru the book chapter by chapter giving some further explanations and tips. If you bought the book already be sure to visit the download page again to see the new video.
Wow! Just so amazed!!!!
Did anybody find that s video? I bought the book a month ago, but my link only gives the pdf link directly. Thanks for the help
All the supplemental videos are on a website the link is on page 5 of the book and the PDF
@@TimLerchGuitar cool thank you, I just tried from the email of the order
Looks great. Quick ques: Are there chord solos at least one page long in the book?..like wes montgomery or joe pass, etc? Or are the chord solos shorter, two measures,? thanks
1:58:10 Missed opportunity to say 'Thank you for being open about All The Things You Are'
Incredible video, I'm so happy I found Tim
Tim your books are great thank you very much in my opinion your next book should incorporate standards and how from the first and second book I use them according to a column in both books 1 and 2
this guy is an amazing player, there’s a video where he’s playing fast bebop solo, it sounds insane
Great book(s) - get them!
Incredible plyer. Incredible teacher. Super-inspirational, both musically and as an example of sharing.
Listening to the recording afterwards - living in Australia. Thanks so much
What is good about classical music that the guitarists who taught you
They also taught the fingering and this helps and gives the right technique especially to those who come from classical music and want to enter the jazz This is what I miss in the second book
Thank you Luke and Mr. Lerch for yesterday's masterclass, it was great! And thank you for the book, it looks great !
Loved the first book…not just the chords but the additional tune arrangements….so had to buy this one too. There are plenty of us out there who enjoy learning to play this type of music! 👍🍷.
I just ordered your book, Tim. Thanks.
I ordered the books Tim. Thank for everything. You make me fall in love with jazz deeper than anyone.
3:50 Luke's history with Tim
7:06 New Book
- compendium of phrases (melodic harmony)
13:30 Melody and Harmony separate things?
Tim:right hand and left hand look like two separate things but if you tace them back to the center you realize they are part of a larger thing
-Related story 13:50 Do you play rhythm or lead?
-usually we hear the top voice of the guitar as the Melody some people can hear the low note has the melody
18:50 notes in the middle
19:25 a chord progression is not a set of frozen things moving through space but rather it is a completely fluid set of melodies
Everything is a melody including what we normally think as harmony
-Rhythm,harmony and melody are almost never separated
21:05 you never ask a piano player "do you play lead or rhythm?"
- in this styles (jazz,blues, bossa nova, latin etc) it is a good idea to see the guitar as a whole thing what can do all of those things, sometimes you use more than aspect than the others but the guitar is a whole instrument
24:30 tim is influenced by pianists and orchestras, guitar is an Orchestra
We can sustain,move, hold, bring something else in,, echo, move the bass, reference the main melody in the inner voices etc
Piano players don't have a word for playing "chord melody" that's just play piano.
27:30 Counterpoint
In Baroque you learn a bunch of rules, hatmony is not discussed much because the rules dictate how to handle that, in tim's concept he created a system to apporach counterpoint with harmony
29:00 example with cherokee
30:11 what i try to do is i combine the two and i use the harmony to inform what my melodic choices might be
30:40 i started by doing simple things like to take a melody and then play a line underneathand hold the melody, and then do something against it, maybe then i look at playing pairs of notes and breaking up my harmony picture so I can sustain some notes and move others but it's all still in the rubric of the changes of the song
33:00 some types of motion
33:40 even block chord playing is counterpointal in a parallel fashion
33:50 there's no specific section of counterpoint in the book because Tim's natural way of playing is counterpoint
34:50 first book is not a required but it complements the second one
35:56 first book "systematic inverions" is important
38:20 Barry Harris concepts
I know Barry created this concept for playing bebop I know at least cursorily what he's talking about, I learn something from Ted Green in the 80's that produce the same result un many ways, I don't subscribe to he Barry Harry's methodology but I know it, Ted's based in more classical theory, so I think those are two different ways of talk about a similar thing
40:30 diminished chords
40:50 leading tone- diminished chord
45: 00 example
46:20 everything in this book is basically Tim Improvising. He didn't want it very arranged, instead how he originally plays
48:25 how to use this book
I don't want anybody to play exactly what's on the page, the lage is there to give you ideas of what you can do
53:50 grids
54:50 dynamics
When I'm not with the guitar I hear music in my mind, one of my ways of entertainment myself, and when I hear it is the guitar played perfectly, so when I take the guitar I try to do that.
Play what you hear in you mind (visualize what you want)
57:17 example there's no dynamics in sibelius or guitar pro
Dynamics are important
58:00 3 categories
1) loud or soft
2) long or short
3) sooner or later
Any note you play will have at least minimal those characteristics
59:00 the variation or the interspesion of the vertical event
59:30 something about transcription
1:00:00 dynamics exercise
Chord using all the fingers r.h.
1) make the top voice louder
2) play it all at once but make the g string louder
It's really hard to do it. You will develop a sensitivity, whether you are playing separated notes or all at oncee
1:01:20 play chords and sing the top melody
Then sing the G string
Then hear the D string and sing it try to not play it individually play all the chords and hear it then sing it
Train yourself to hear the other notes and voices jot just the top voice
1:03:00 check the interview with Tim and that pedal show
1:04:25 Do you have an interesting way of practicing inversions?
Inside of every "big chord" there are "Small chords"
Also look at "systematic inversions of triads"
1:09:30 "I don't think anybody has ever said these words to me..."
1:10 18 "Melodic triads" true fire course
1:10:50 blues using triads and inversion.
1:13:48 are these books based on Ted's work?
Ted wanted me to be me
Same Joe
The book should inspire you to find something of your own
1:18:50 flesh vs nail
All flesh
1:20:28 Tim has a some nail in the little finger and use it to make the top note a little brighter and less obvious
1:21:35 Tim has some nail in the thumb but he only uses when he plays harmonics
1:22:18
Next masterclass: Chordal Harmony and harmonics?
1:23:25 a good book for changes in jazz standards
- Listen a lot of music
- you have to be able hear the changes
-Listen different versions of the song
1:24:55 do you often transcribe chord solos or phrases?
NO
1:25:00 how do you develop your left and right hand co-ordination
Tim: hearing the parts in your mind before play them and then maybe separate the parts so you know what is doing every part
"What is the thumb doing?"
"What is happening in the D string"
You need to learn what the musical elements are and then it is more easier to give them their own independent dynamics,parts etc.
1:27:03 Ted said this to Tim.
"Tim when you make a note happen you decide how it's gonna enter to the world, how long I is going to live, and you decide when it's going to die, and you also decide what you're going to do with it while it is alive"
1:28:00 how do you practice your breathing?
Tim: I'm always singing.
But if he can't cause he's recording, sick, or the notes are to high, etc he does that "breathing" or sound with his mouth
1:31:10 trash talking yourself don't help anybody
" if I sing what I play I can't think"
It is a state of mind
Vinnie colaiuta with Rick beato : thought it is the enemy of flow
1:33:50 difference between this and a true fire course.
This could be 10 true fire courses
1:36:00 * what it means to really know a song* how do you follow where you are in a tune?
If I really know the songx I hear the melody in my mind, and also know the numbers, but if I know the song I don't think about it. Know the song doesn't mean to memorize a line of events, it might be part of it at the beginning, when I know the song I know it like a blues, you just heart it. Really know the song
Play it , play it, play it . Live inside of the songs, learn the lyrics
1:38:40 a joke 😑 hahahaha
1:39:10 triads pairs
You take 2 triads and pairt them note making a six note figure.
About the extensions 9,11,13
A triads right abovedado it in the key
About "lydian triads pairs"
So I can use a Small thing like a triads to create the sound of a bigger thing
1:42:20 lear to do the basic stuff
About the book and also true fire
1:46:00 line cliché
When you have a static harmony and there's a chromatic line (bottom, internal or top line) descending or ascending
1:49:45 cinematic music
1:51:40 last question if you compose or arrange a tune from the scratch do you have a system or it is all up to our own chooses
Tip: try to start with the melody
Then bass note
Then inner voices
You do both system and what you like
Then start yo introduce new bass notes
I have book 1 and I'm waiting for my order on the new book to get to me and I'm watching the webinar and 30 minutes into it and you guys are so inspiring. I'm a 69 year old self taught and you'll laugh finger style piano player that gets a lot of inspiration from finger style rag and blues and Latin etc players . Jazz also. I've been working on fingerstyle guitar for 20 years. I wish I'd started sooner but this is part of the fun of the journey and as long as I'm still not falling off the learning curve I'm happy. Ps told the great Dave VanRonk when I was younger that I got a lot of influence from pickers like him Blind Blake Roy Bookbinder etc. And Dave said he got his influences from New Orleans piano players. Just wanted to share that. I heard Roy say that he thought the left hand was the brain and the right hand was the personality which has opened my eyes. You're inspiration is worth the price of the book and then a whole lot more than that. Thanks and put me down for the rest of the books if I live that long!!!!!!!!!!!!
Astonishing 🎉 Thank you both..
Just got my book thanks and thanks to Tim for giving time for an honest sharing and a great master class. WOW
Sorry I couldn't make it I was hoping it was this evening looks like it was earlier today. I will be buying this new book about melodic chords
I love how you approach these concepts on guitar. Very creative and helps to understand why you sound so good.
Top stuff Tim. Love the bounce back idea 👍
Just ordered, thanks for keeping me on track to further my playing
what a nice guitar, what was that? telecaster archtop? 😅
Just ordered second one, first one you already signed for me. Next time you will come to ML Custom G. Will you sign the 2nd too?)). Thx 🙏🏻🪷❤️ Al.
Thanks!!
Thanks!!
Thank you!!
Mr.Tim Lerch plays "Great"!!!
Complimenti, mi sono iscritto
Awesome. Where is everyone?
🅰mazing！！！
I'm looking for a good feeling in each one!!!!！！！！
Having trouble with the link to the pdf. I’d really like to buy these books in pdf format.
Send a note to care@guitarvivo.com and Luke will sort it out.
45:05
57:00
I just got the new book, Tim; too bad football is on now or I'd start it right away!!!! 😜😜
Thanks James. no grids on this one! Enjoy it!
@@TimLerchGuitar It looks great!!!!! I'm starting to go to it now.
I'm working on it at this moment. 🎊🎊