Owning A Jazz Standard taught by Rolly Brown

[@michaeljordan1135]

The tension/resolve analogy is spot on.

[@AikiSys]

Greetings from Dublin Ireland - great lesson, thank you so much ....

[@dpb1203]

This is interesting because it is giving information that I'm learning about and I find, doing it daily ... understanding grows in a steady way. Thank You

[@genegalligan4770]

Even a lounge lizard piano player enjoys and benefits from this guitar instruction!

[@gizzitom]

Definitely. thank you

[@therasound]

Love the lesson and LOVE your guitar...can you tell us about it, please...???

[@KunchangLeeMusic]

Amazing lesson

[@alexanderperalta8924]

Great lesson!

[@gavinreid8351]

Does owning it mean you get paid royalties?

[@MirkoFilacchioni]

Thanks man! Very good lesson!

[@jeteye97]

Um, yeah! I'll bookmark it, but it's way over my head right now.

[@amyferebee]

🎶😎🎶

[@viscosepowermongrel]

Quite a few mistakes in this video. I'll try to be brief and constructive. Starting with "...they don't look at all the #9s and the b7s and b5s..." I don’t think you meant to say "b7s". You demonstrate some C chords, some with G in the bass, and some which don't contain a C at all. This is without any explanation of why you would do that. You later refer to these same shapes as minor 6 and minor 11 voicings. I understand why a Gm6 shape could also be used for C9, but if this video is aimed at beginners, it needs to be explained. Why not use root voicings for these chords or explain like you do for the Bm7b5 voicing used as a G9? Next up is the "b5" chords, which are actually #4 or #11 chords. The reason for this distinction is quite important to understand. I’m no troll and in fact I've omitted my more subjective criticisms, but I think that it’s really important for beginners to have a rock solid foundation and to avoid misinformation. Hopefully people have taken away the good things from this video and not the mistakes.

[@kurthammond6977]

Obviously you've studied this stuff a lot, I think you are being a little nit-picky. This is a 13 minute teaser excerpt from a 94 minute lesson. Rolly explains chord voicings in other videos (e.g.: putting the 5th in the bass of a 9th chord as many jazz guitarists do). It's obviously not a beginner lesson. I would say that what you are calling "mistakes' are more a matter of perspective. I've asked many sophisticated players about the distinction between b5 and #11, for instance, and received just as many answers!

[@viscosepowermongrel]

You're absolutely right. I can be very pedantic, which is sometimes a good thing and sometimes not! I think I must have been feeling a little ungenerous that day, and it's true that I viewed this as a stand-alone video rather than as part of a longer lesson because that's how it appears on youtube. I stand by my comments but I also appreciate that Rolly is an experienced guitarist who has no doubt helped many guitarists over the years, which is a great and noble accomplishment.

[@pixelatedparcel]

viscosepowermongrel wow! My faith in humanity restored...congrats to both of you for the civil discourse. As good ole Kurt Vonnegut so aptly reminded us: when all else fails, courtesy prevails...

[@danielhartle3778]

viscosepowermongrel when it really comes down to it if it sounds good it is right and it doesn't matter what it is called. cdefgabc is cegbdfac. the first sounds like shit played at the same time whereas the second is a beautiful extended chord. just like i can say the second is the c maj scale or I can call it cmaj13 when i organize the whole scale into 3rds. the best songwriters and musicians i have ever known only had a childs understanding of chords and theory and spend their time creating songs and beautiful music whereas others spend their time figuring out the math and the theory behind the art that the actual artist never bothered to even learn.

[@MrShyguyguy]

What guitar is that? Great lesson!

[@LosMajesLatinBand]

Thanks for the lesson. Are those nylon strings in a steel strings guitar body. Is that possible? Cheers.

[@andrevanniekerk2207]

It is definitely possible. My favourite guitar is a nylon string on an acoustic body with cutaway; also the fretboard slightly curved as opposed to flat like a true classical. I play much better, with easier fretting. Sounds wonderful too.

[@ozwzrd]

My guitar doesn't have 6 strings. It has 4 strings and 2spares/alternates. I haven't played a 6 string chord in the last 40 years, and I only play the occasional 5 string chord if I use my thumb.

[@thesphericalguy9018]

11-chords does not contain both the 3rd and the 11th. A C11 is simply a Bb-triad over C.

[@antoniovaloroso252]

TheSphericalGuy io l

[@kurthammond6977]

Ask a piano player about 11-chords and they will tell you that, technically, the chord can contain the 3rd and 11th. In common practice though, not so much. You just gotta use your ear.

[@thesphericalguy9018]

Not any piano player I know, and I study with quiet a few of them. If you wanted the 3rd+11th you'd need to denote add11 in the analysis. Of course in jazz the harmony can and should be freely interpreted so the piano player could very well add one, this is purely a semantic discussion.

[@kurthammond6977]

Agreed

[@sidneyrichard5319]

Ok. I'm a guitarist who's been playing for 40 years, some of that time professionally, and pretty much self-taught. Now in terms of music theory I'm far more of a descriptivist than a prescriptivist: psychoacoustics and the development of scales and theory is fascinating to me. +TheSphericalGuy. If I saw the symbol C11, I'd do exactly the same, though I might think about playing a Bbmaj7 and let the bass handle the root. On the other hand, I'd be wondering if I SHOULD have put in the E somewhere. Rich close voicings aren't quite as available to us poor handicapped six-stringers, and I know Monk DID use proper 11ths with the third in and everything. Equally, Jacob Collier and his Boswell, June Lee, have shown how to use the add4 in really cool ways. Plus I remember years ago now trying to figure out what pandiatonicism meant from the section in Slonimsky's Thesarus, and I got the impression it was trying to invoke that avoid note clash. Saying what an eleventh "is" is, for me, a fundamentally wrong-headed question*. More sensible to me is, what can we do with the labels available to us that makes sense? So historically 2 and 4 tended to be "suspended" as notes from previous chords, resolving to the three. I understand the 3 and 4 "avoid note clash", but it seems to me that if a chord contains the second, third AND fourth, it logically should be called the 11th. If it's just 3 and 4, I can see the case for the nomenclature "add 4", in the same way as we have "add 9"s. If there's no third, THEN you can call it a sus chord. That seems to me a sensible way to look at the issue. *If you know of General Semantics and e-prime, you'll know why the "is of identity" (as opposed to the "is of existence") is something of a trigger word.

[@nickg9808]

i can play everything i want but dont understand music theorie or w.e? anybody knows a good book to learn how music works??

[@Professional.Bro.777]

you should look for a good teacher, not a book.

[@danielhartle3778]

if u can play anything u want then u dont need theory or a teacher. do u think Prince read music or knew theory? well...he didn't.

[@rumbleseat1]

Who doesn't know all of that????

[@sixstringcity3931]

Yeah fuck this ill just keep playing by ear ignorant of the theory and names behind it. This cat lost me in about 15 seconds