TIM LERCH's 'Melodic CHORD DICTIONARY': Chord-melody POWER TOOL
Vložit
- čas přidán 10. 06. 2023
- The chord-melody jazz guitar style is as much about melody as it is about chords.
• Tim Lerch on CZcams: @TimLerchGuitar
• Tim Lerch's 'Melodic Chord Dictionary' book: amzn.to/3OYtT27 (Affiliate link)
- * - - * - - * - - * - - * - - * - - * - - * - - * - - * - - * - - * - - * - - * - - * - - * - - * - - * - - * -
Thank you for Liking, Sharing, Subscribing.
* Web site: www.adamlevy.com/
* Subscribe to Newsletter → bit.ly/3Hl01Zt
* Guitar Tips Pro Patreon Channel → bit.ly/3fi6Prf
* Shell Chords Book → bit.ly/3NMY2SS
* Adam Levy TrueFire Courses → bit.ly/3r1TgWL
* Bandcamp Music → bit.ly/3cf15zL
* Guitar Tips CZcams Channel → bit.ly/3bX9XJZ
* YurtRock Baritone Guitar Loops → bit.ly/30olvDA
Thank you Adam this is a great video and I really appreciate you bringing awareness of my book to your followers.
This is great. Like working backward while having the answers as a reference
Yeah that's genius and Tim is a wonderful player.
This is great Adam. Beautiful voicings. When I was in Jr. High back in Indiana I was having a heck of a time trying to find bandmates to form a band, so I started working on chord melodies so I could accompany myself (I don't need no stinking bandmates) - this got me into Joe Pass and Jim Hall, also Ted Greene and his books. Huge for learning the fretboard and reading.
Adam, this is a great review of Tim's fabulous book.
I bought Tim’s book when it came out. As well as being really useful for chord shapes it’s even better for the arrangements and videos provided which are really challenging but satisfying to play. There’s hours of work and enjoyment there! 👍🍷
I will be watching this video many times.
This is a very clear, concise explanation, thank you so much for posting. I purchased Tim’s book as soon as it was available and find it to be a goldmine of information. I’ve owned Chord Chemistry since the ‘70’s but never fully understood or grasped the concepts; always seemed to make my eyes glaze over after just a short time (my issue, certainly not the author’s, total respect for TG). Tim took all of that information and knowledge and makes it understandable as you’ve done here. Thanks again, love your work.
What a fantastic video have a wonderful day
Thanks so much for the heads up, Adam! I just ordered my copy of the book. I can’t wait to get it and start working with it!
So happy to find this video I purchased Tim's book but find myself not quite Advanced enough to follow it very well. This will definitely help!!! Thanks Adam
You're welcome! I hope you find it helpful.
What a fun idea.....I've never enjoyed the chords dictionary model. I'm gonna check out this book. Super cool moves on the Eb chords too. Thanks for another great guitar tip Adam!
Thank you !
Beautiful demonstrations Adam, I am really impressed by the book and going to buy it right away.
Huu! Admitting piano players are right is a tough one! But, unfortunately, true! Very nice video, Tim is a great player and he loves, as many of us, the one and the only Ted Greene. Love to you all.
That’s next on my book list. I expect it will be as cool as your Shell Chords book I got on Bandcamp! Thank you Adam!
As a pianist, this book was a godsend. I don't look at chords as notes when reharmonizing, but rather as scale degrees. On the guitar this is incredibly useful once you know the note names of the frets. Great book
I discovered this tremendous vid and Adam's channel over at Tim's YT. Here is a copy of the thank you message I posted there:
Oh, I think I'm about to become unstuck. Thank you Tim for posting. Thank you Adam for this beautiful little tutorial and a lovely way to apply Tim's Chord Dictionary. Thanks also Adam for the various tips laced through the vid such as adapting the grip in the Wes example. Some of Tim's grips will be forever beyond this mere mortal, but priorities the melody when seeking a solution, love it. Am about to subscribe to Adam's channel and will leave this message there too.
Thanks for sharing this here as well.
Adam, your guitar sounds like a Rhodes in this - that's a great sound.
I was skeptical of the concept of this book and its approach (despite being a big fan of Tim's teaching). After all, shouldn't guitarists *know* how to find and place the various notes of the scale in chord voicings? But your examples demonstrate that the book would provide voicings I might not think of.
Any of Ted Greene's books that involve chords. I think that keeping the melody as the primary tone is very good advice. My teacher stresses this constantly...
I learned a bunch on a video I thought would be a simple book review. Great stuff! I want the book.
I'm glad you dug it.
Finally a clear explanation of the guitar as a transposing instrument. Hard to wrap brain around but helps with arranging chord ideas. [1:56]
Tim Your book had reached Indian shore I have my own copy
Excellent Lesson and Very Thoughtful Presentation! I enjoyed your detailed theoretical analysis of each chord voicing! A couple of observations which might help out some guitar players.
Ex1 - add the low Ab note to the D7b9#5 voicing with a full bar chord fingering; yields a "juicy" b5 sub (imagines Ted Greene smiling from the beyond)
Ex2 - the [D G C F] voicing used for the Bbmaj7 chord is from the D minor pentatonic scale; therefore, any chord voicing from this scale can be used to embellish and fill around the melody - the [C Eb Gb(F#) Bb] voicing used for the D7#5 chord is a Cm7b5 chord; therefore, any Cm7b5 chord voicing can be used to embellish and fill around the melody - F# melody note is available on the 2nd string - G7b5 contains "exactly" the same notes as Db7b5
Ex3 - I remember years ago reading about the Ebmaj7#11 voicing [Eb Bb D G A] referred to as "the 5th finger principle" - G melody note is available on the 2nd string
Here's a Ted Green inspired full bar chord voicing for the G7#5 chord - [G Db F B Eb G]
Thank you for your consideration.
Good insights! Thanks for illuminating.
Looking at and listening to intervalic structures under a specific note or around a specific note is the key to ear training eg. An A note put an F# under it = m3rd also at different octaves...then 2 notes etc.
Tim Lerch's new book is great from what I can tell. Not at all a typical chord dictionary, thank goodness. I've ordered my copy. Other favourite chord books for me include "Creative Chordal Harmony for Guitar" by Mick Goodrick and Tim Miller, "Chord Khancepts" by Steve Khan, and Jon Damian's "Chord Factory". Each of these 4 books have their own unique and creative perspective on different aspects of playing chords on guitar... easily a lifetime or three of study!!! Then there's Ted Greene, Jimmy Wyble, George Van Eps, etc etc...SO much great stuff available!!!
I loved the Steve Khan book, years ago. Kinda forgot. I’ll see if I can find another copy.
Thank you for the tips & insights Adam ,still a bit confused regards beginner level chord melody, which of you're own books ,or Tim Lerch's books, is structured to suit a beginner trying to make a first chord melody, can you tell me please?
I like when you said "FROM THE MELODY NOTE DOWN" ,this is the angle I need to think of chord construction, but can't appy it ,yet. I thought I should start with TRIADS.
Or maybe you're 'Chord Shells' book is better for me than Triads?
I could follow the theory of the leadsheet in this video ('Someday My Prince...') so I know how chords are constructed I just don't understand Drop chords & have never practiced inversions.
Any advice appreciated.
Thank you again Adam.
My 'Chord Shells' book may help you understand how chords are formed, though it's not about triads. I wish I could recommend a great book on triads, but I don't know of one. That said, I like the Triads section in Andrew York's book 'The Classical Guitarist's Guide to Jazz'. The Triads mateiral begins on page 69, in the 'Chord/Melody' section of the book. www.alfred.com/the-classical-guitarists-guide-to-jazz/p/00-35452/
I have this book, and I really like Tim´s playing and teaching. So, I want to like this, but it just seems so cumbersome and pedantic. I am not always finding useful chord shapes, also. I am probably doing something wrong.
I know the work can feel that way. If you get just this one thing from it, you're doing okay: THINK OF CHORDS FROM THE *MELODY*, NOT FROM THE ROOT OR BASS (as most of us seem to do, most of the time).
This is awesome! You (both) have given me some new ideas to play with! Combine that with what I remember from one random lesson I had with Joe Pass in the early 1980s (play any chord, then play the scale that goes with that chord in two or three octaves, then play the chord again) and what I remember from my only lesson with Bruce Bartlett (play scales horizontally on one string as legato as you can) and it feels like I have the tools to improve!
Great ideas!