Fundamentals of Guitar (page 18) - Modulation Game

[@guitareimprovisation]

Thanks a lot for your videos ! Great pedagogy, great work of research, great playing.

[@armsfullofronan]

Thanks so much for all these videos. They're so musically practical and guitaristic, something lacking from a lot of guitar pedagogy. Will pick up the book asap!

[@VictorJoseMartinez]

Great information!! Thank you for sharing with us!

[@pickinstone]

Good to "hear" a musician with as much prowess as Miles Okazaki is talking about Contextual Ear Training--even if indirectly. Learning to hear how sound operates in a key is vital to improvising. When you get really adept at it, you can hear multiple "out" notes and "out" harmonies within one key. When you get really good at it, you can keep the sound of the key in your head as you play an entire song and play as OUT as possible--if you have built up key retention, you can flow right back into the key (still working towards that myself). By the way, hearing a b6 against the key is pesky as heck for me--especially in major tonalities--easier in minor. Cool thing is the application. Take a blues in C minor. Now sing the b6 in the key and you have Ab, the flat 3rd of F minor (the four chord). In a major blues, take the major 3rd of the key and flat it. In Bb major, the major 3rd is D, and the minor third is Db. Why is Db flat important? It's the b7th of Eb7, it's a crucial guide tone of a dominant chord and it falls "outside" of the Bb major tonal. But if you sing b3, you hear that Db as working within Db. IF you all want to learn more, check out Charlie Banacos's lineage or lookup Bruce Arnold's digitization of Banacos's materials.

[@TheTylrBllmn]

That kind of pitch interval identification skill is scarrrrrrry, wow

[@bebenavole2179]

what kind of amp are you using

[@odolany]

About how many games there are in your book? :)

[@milesokazaki]

It’s all a game if you like it that way 😉