Noel Johnston

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@isaacbeckett1499 7 сағат бұрын

A little upset that I can’t add more likes than 1 to this video.

@velvetcherrytree5230 Күн бұрын

Someone should reply yo this if theyre motivated and contact me I've tried too hard and no body wants to work, understandable because it is complex but i have a vast knowledge of music i would like someone to help me develop.

@mojojeff 3 күн бұрын

This is fabulous. Great pace and very engaging. Loved it!

@tonyanderson5905 8 күн бұрын

Love this progression! Appreciate your explanation and playing of this gospel classic progression ! Thank You! 🙏🏾

@larryjackkelly 10 күн бұрын

is it your intention to be understood?

@Patosincabeza 13 күн бұрын

How would you play a Dorian arpeggio ?

@nohjoh08 12 күн бұрын

Not the only option, but I like 1-b3-6-b7.

@BradyMosher 14 күн бұрын

❤ that is truly beautiful Noel

@BlancoMusicHQ 14 күн бұрын

4:09 eargasm

@heavenlyguitar5913 16 күн бұрын

Both versions were fantastic. Thank you for playing and posting this. They’re both beautifully played and give two different approaches to the hymn. God bless you!! 😊🦅👍🎸

@ChrisMarts 18 күн бұрын

Lydian#2#6 is the most versatile scale. Maj7, 7, min7, min/maj7, min7b5, min/maj7b5, Maj7b5, 7b5, 7#9, 7#11 It+6 (1 3 #6) 7shell Ger+6 (1 3 5 #6) 7 Fr+6 ( 1 3 #4 #6) 7#11 Tr+6 (1 #2 #4 #6) m7b5 to Fr+6 Thanks for clearing up those NEAP 6TH chords. Every lesson I seen would drag on forever and I never could figure out the difference between the 3. I can see why you added the Triston chord! Nice Find!

@gabrielanthony7874 20 күн бұрын

the wacky editing is enchanting my experience🤣

@MartinCAPals 20 күн бұрын

Very creative!

@88redvike 23 күн бұрын

👌

@acceptfilms9415 27 күн бұрын

Finally a theory person who plays ! Love your music. Thanks!

@naka3339 29 күн бұрын

This is pretty interesting, playing around the key is something you learn in the beginning then you forget to try to learn the changes and sometimes you forget playing the key is important. This is the kind of changes you listen in a record and think "how these motherfuckers are playing theses changes!?" in the end they are weaving through the keys not each chord.

@Sagaoas Ай бұрын

So much of this reminds of Tom Waits' soundtrack to the Jim Jarmusch film Night On Earth.

@davidsummerville351 Ай бұрын

Well explained

@nicksalvatore5717 Ай бұрын

You speak like the cool college professor, and I feel like you’re a shortcut to years of knowledge. Thank you.

@markhughes6380 Ай бұрын

Thanks Noel, appreciate this stuff. If only you could slap me everytime I watch a how to use a ds-1 video.

@theredstash Ай бұрын

the other day I was thinking bout how coool an F7 sounds in key of am. Like in "agua de beber" and looks like im not alone thinking thats a hip sound

@ErebosGR Ай бұрын

Correction: Dick Dale didn't write Misirlou. It was a popular folk song. The title is a Hellenized Turkish word referring to an Egyptian woman. The earliest known recording is a Greek one from 1927, but it was already well-known to Ottoman Greeks, Arabic and Jewish people as a folk song. There were also Turkish, Armenian, Albanian, Persian and Indian versions of it later on and before Dick Dale's version. The double harmonic scale is enharmonic to the Byzantine and Arabic Hijaz Kar scale. That's why the song evokes that Arabic or "Oriental" feel.

@steevkelly Ай бұрын

i love the rabbit holes i follow you down. once again, thx white rabbit.

@thecount9729 Ай бұрын

At different points I said both "whoa" and "ew." Thanks for that. 😃

@DisconnectedAutomaton Ай бұрын

I really enjoyed learning this, it got my mind inspired again a little

@augustpappas258 Ай бұрын

Noel your content is so rad I’m pumped every time I see you have a new video! If you haven’t already I think you should check out Barry Harris’s approach to theory and chord movement, there are so many elegant and cool ideas in his approach I bet you would run buck wild with it, I’d love to see what kind of ideas and exercises you could build from it. Thanks so much for being a great teacher!

@scotthamilton6987 Ай бұрын

This inspires me, when I retire, to go back to school to study music theory!

@christen13 Ай бұрын

Hey cool man. I’m just slugging on.

@cjv3416 Ай бұрын

God knows that I love the Tele's voice (and I'm looking at 2 on my stands as I type this), but it's too tinny twangy (esp the B and e as usual) for this piece despite the shimmering chorus and reverb and the beautiful playing and rendition. A Strat is even too thin for this imo, but at least it has a more versatile voice

@daccsacc Ай бұрын

Noel what pickup do you have in the neck? Sounds unreal. Lovely piece.

@nohjoh08 Ай бұрын

Thank you! That’s a lollar mini-humbucker

@daccsacc 27 күн бұрын

@@nohjoh08 thank you!

@frankvarosi8721 Ай бұрын

Wow! dig this version, most impressive, bought the whole album, which also has cool version of Poinciana.

@enriquemendez1507 Ай бұрын

That tele looks AND sounds great 😃👍

@joshstevens8915 Ай бұрын

Sounds awesome. I really want to hear someone like Beck or Chris Poland play over it

@user-pm2xj9st6f Ай бұрын

Cycle of 3rds through a cycle of major 3rds. Nice work charting it all out and making it easy!

@ivankachkovski Ай бұрын

What a treasure, thank you so much!

@RobertFWalsh-ow2sd Ай бұрын

You are a musical saint 🫶

@henry8302 Ай бұрын

As soon as you started playing over that chord progression with all the 11ths, I immediately heard some Allan Holdsworth in there. Absolutely love that open airy sound and I'll be playing around with these ideas to see if I can't absorb anything. Great video!

@lomezgaureano Ай бұрын

Could you do the same with the Prelude in A minor (1913) of Maurice Ravel please ?

@saxgwhiz Ай бұрын

I’m loving this as an exercise but I’m still struggling to understand how to apply this to my playing. Could you go into more detail about that concept you were teaching around minute 15? Thank you! Love the lessons you’re teaching

@nohjoh08 Ай бұрын

Around the 15min mark I was referring to the multiple chords applied to a single mode/tonality. This is a big concept, for sure. It’s something I talk about at the beginning of my book “the 4-note universe” in that there are many combinations of notes in a 7-note set that can be combined to form a chord. Those different chords have different notes emotional qualities. In my book, “Voicing Modes” I talk about that as well. It’s a fun concept to compose with once you grasp it. It also helps you recognize chord types quickly when you see them in other people’s writing.

@saxgwhiz Ай бұрын

Oh I think I get it now. These are chord voicings and shapes available to us within that particular Mode. They also happen to be close to each other. I think I’m getting it. Thank you so much. Heading to your book rn!

@harrypalmer3481 Ай бұрын

Delicious!

@craigrichardellioott Ай бұрын

I love playing this tune. I love your open strings. Very cool. Great job

@gabrielanthony7874 Ай бұрын

Could you say more about negative progressions? And why mixing them with positive progressions isn’t a good idea?

@nohjoh08 Ай бұрын

From memory, according to Schillinger: Descending 3rds, 5ths & 7ths is “positive” in that it goes from tension to resolution, Descending 6ths, 4ths & 2nds is “negative” in that it goes from resolution to tension. He says mixing negative progressions with positive progressions results in too much “meandering” and the ear loses track of where things are headed.

@gabrielanthony7874 Ай бұрын

@@nohjoh08 and does descending 3rd mean a minor third?

@nohjoh08 Ай бұрын

Whatever the diatonic 3rd is: I to vi is a minor 3rd down, vi to IV is a major 3rd down, and so on.

@gabrielanthony7874 Ай бұрын

@@nohjoh08 im not sure i follow…

@nohjoh08 Ай бұрын

Just descend 3rds in the scale. Sometimes it’ll be a major 3rd down, sometimes it’ll be a minor 3rd down.

@gabrielanthony7874 Ай бұрын

Hey @nohjoh08 ! Been practicing this over the past few days and i was wondering, how would you apply the voice leading technique to different chord progression? The descending thirds also really seems to work with this particular chord progression. Is there a way to generalize this to 1)other chord progressions (random ones even) and 2) switching between arbitrary keys? Or do these only work within the confines of this specific chord progression?

@nohjoh08 Ай бұрын

I haven’t tried random ones, but I bet you could stumble on some neat ideas that work. The “rule” is to never double up on the same inversion from chord to chord. If one is root position, the next one is either 1st inversion (“clockwise”) or 2nd inversion (“counterclockwise”) Try descending 5ths! They sound great clockwise or counterclockwise.

@gabrielanthony7874 Ай бұрын

@@nohjoh08 let me work on this! (Also I’ve realized it’s much more intuitive, to me anyway, to name it by the ascending interval😆going backwards is a brain-buster)

@masterbuilder3166 Ай бұрын

Noel. I really appreciate you putting this out for our study. Definitely raising the bar for me

@cincypiper Ай бұрын

Jaw on floor. This is fantastic!

@denaraptis3716 Ай бұрын

Perfect timing. Dream weaving with those chromatic mediants. I love this explanation. I have always been drawn to chromatic mediants before i knew what they were called in music theory. Glad I found you! Sending your video to my theory teacher. Keep it coming!

@SIVA6619 Ай бұрын

Not too clickbaity, concise and eye opener !

@gabrielanthony7874 Ай бұрын

THANK YOU SO MUCH

@zenlandzipline Ай бұрын

I got the drum genius app and just bought all the loops. $8 cheap. Thanx for the suggestion Mr Noel.

@baztweed Ай бұрын

Really fascinating reading about Joseph Schillinger, his connection with Berklay, and how Gershwin used Schillinger's principles in the composing and orchestration of his famous opera Porgy and Bess. So happy to find this, il be charting out this lesson on neck diagrams this evening, once again thank you :)

@baztweed Ай бұрын

thank you <3

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