3 Mick Goodrick Concepts From 1987

David burster here new episode of three for all this is three mcgoodrick concepts from 1987 and it was announced yesterday that Mick Goodrich had passed away and that's a huge loss to the guitar Community music education and definitely he's been around forever I mean his career technically started back in the 1950s when he was a pre-teen and then eventually he did attend Berkeley as a student in the mid to late 60s and eventually became an instructor also a performer worked with various you know musicians and groups over the years from the 60s and Beyond definitely a very important you know guitarist and educator I'm gonna do my best to serve up a tribute to this Fallen you know hero and master of the guitar so here we go so Mick famously taught at the Berkeley School of Music in Boston and also historically worked with lots of famous guitarists hundreds if not thousands of famous musicians and guitarists that passed through those hollowed Halls of music education that includes players like Pat Matheny Mike Stern John Scofield Wolfgang and youth Spiel there's a whole bunch of people but here's an image with some of the famous students that worked with Mick at Berkeley now for most guitarists and musicians that aren't familiar with his music and Performing and recording me with various artists most people are familiar with Nick's book from 1987 the advancing guitarist definitely a legendary you know classic instructional guitar method and I remember working on that back when I was in college a student of aim and it's just filled I mean there's literally hundreds if not thousands of great ideas and Concepts and approaches and it's really just a great book to sit down and read and I know a lot of modern guitarists probably have never even looked at that book because it's entirely written in standard notation there's no tablature and that does seem to scare you know taborating guitarists away but that book definitely is just Dynamite packed with tons of information and everything in this episode the concepts I'm going to share basically were pulled right out of that book and when I found the information when I heard the news that make it past yesterday I literally spent the day in my studio right here working through that book and kind of reminding myself of all the things that I learn from it and I started laughing I was like wow I forgot that a lot of these things that I like to do on the guitar neck I learned directly from next book you know so long ago I'd forgotten this but then reviewing it I was like so that's where that came from and just all these light bulbs kept going off over my head you know sitting in front of that book a classic essential method for sure the first concept I'm going to share here is just open your mind you know just opening your mind and thinking about things that you already know how to play or understand in a different way or looking at it in a different light and this is essential it's very important as a musician to shake things up and look at things differently or from a different angle continually you know forever but let's just take something everybody out there should know like the minor pentatonic scale arguably the most popular and common scale on the guitar and Mick actually breaks this down talks about a little bit in this book too but just thinking about that scale in a different way or opening your mind to a different way of thinking about those notes and that scale so everybody knows the box right you'll notice there e g a b d and e a five note scale pin means five now the first thing we're going to look at here is just the open strings on the guitar is technically an E minor pentatonic scale not an order but there's e a d g b e and those are the same notes in the scale right there I'll need like in a different order but there's your a that's your d g b and that e right now another thing you can think about is just a chord that matches the notes of the minor pentatonic scale and that would be right here here an E minor 11. [Music] it's an E minor 7 with a fourth or an 11 added right there but that one chord contains all the nodes of E minor pentatonic but it's all clustered together in a chord and another way you can open your mind just think outside the box as much as you can but let's just take like a really basic E minor pentatonic phrase like this but let's find a totally different way to play that instead of doing this know think outside the box what's another way you could do that you could use harmonics [Music] you know just a different way of approaching or performing the notes in that scale open your mind all right next up I'm going to share a mixed concept of single string theory and I actually learned this as a student at aim and I noticed it in our curriculum but then I also noticed it in mixed book when I started working through that like hey there's some more of that single string stuff and this is eye opening if you haven't seen it before so there's a quote mixed book you know something like the easiest way to view notes is in a straight line and the notes on a single string are in a straight line so this really does kind of help you see the space and gaps and leaps between the notes and the scale which you don't really see that as easy when you move across the strings but when you arrange a scale on a single string you can actually see the intervals and the spaces you know between the notes so think of all the different ways you can play a one octave C major scale like this like this three notes per string right there there's a ton of different ways to plant it there's six different ways of playing the same thing right there foreign [Music] that scale instead of across the strings like that let's arrange it on one string let's just line up on the a string right here so there's your c d e and you're going to shift right there to F so you could do that at the start and shift C to D and then grab EF like that or you could shift at the end to that F note from that e and then you're going to transporter or transfer your hand way up here everyone's kind of teleporting and doing the same thing in a higher position [Applause] same scale and that's really eye-opening to see the spaces and gaps between the notes and the scale that you're playing and now you can move that to other strings let's go up an octave and grab C right here and there's your cdef and then g-a-b-c so we're kind of moving around the neck a little bit more do it again right here there's c d e f and then g-a-b-c so you're kind of learning you know how you can move this around the fretboard incorporate other strings and then obviously when you move away from C and start grabbing other keys and other notes you're really fleshing out the fretboard in a big way so this next concept appears somewhere around page 28 in mixed book and this is part of the uh what the realm of the electric ice skating range concept what a name but um you know basically what he's doing now is he's showing you how you can start arranging and moving across the fretboard but then also moving kind of a diagonal pattern on the fretboard so instead of you know one string or one position now we're changing positions changing strings this is really cool so now same scale C major but what I want you to do is we're going to do this so there's that shift to F right with your pinky and you're going to move to the next string there's your g a b c so the same fingering you had here lo and behold there's a one octave C major scale right there and we only played two strings continue the scale there's d e f slide to G there's um you know basically a b c slide to D and then right there there's e f g you can slide that up to a and then finish with B to C if you want to that high e definitely have to kind of you know figure out a way to of you know reaching that high C up there but right there you can see we're just moving across the strings this way you know there's that in that first octave [Music] then right there you can basically decide how you want to do this foreign it's not very efficient but you're definitely kind of finding a way of reaching that high C up there which I think Mick just kind of stopped here but I wanted to extend that Beyond you know that that octave here and move all the way you know over the fretboard like that [Music] something like that that's tricky at the end you're kind of figure skating way up there [Applause] so maybe that's what he meant by the skating rink I'm not sure because it does feel like they're skating around the fretboard when you practice that way so once you practice you know playing in a diagonal motion around the fretboard you can actually do a reverse diagonal motion and Mick mentioned this in his book and it's still C major what we're going to do now is start here and we're going to basically end on G up here [Music] that's the last note we're going to play but we're going to do a two notes per string like this and there's that g note [Music] and you could actually continue all the way up to that next octave like this you actually incorporate a little bit of the electric ice skating rink concept [Music] like that because right there you've got the three notes even that little ship slide right there to reach that final C [Music] now you might be sitting there thinking well why am I practicing scales in all these weird ways and really you're just exhausting possibilities you know you never know like the lick that you're creating or learning or or jamming improvising whatever you may actually want to move in an unusual Direction maybe you don't want to just lock in the one scale position or a pentatonic box maybe you want to move around or maybe you want to start a lick low and end up high somewhere or vice versa start to lick high and then growly and low somewhere at the end see we're really just shaking things up and viewing the neck differently and really you know getting your hands dirty with the fretboard notes on the fretboard connecting positions understanding scales and everything I mean this is essential practice for sure and a great concept okay here's a bonus concept and this also came from mixed book he mentions it somewhere around page 38 but this is modal happy birthday and I know the first time I ever saw this demonstrated it just blew my mind I couldn't believe it I was like wow okay and light bulbs went off over my head where things clicked and started to make more sense so with modal happy birthday we're going to take the Melody from happy birthday which everybody watching though should know that Melody and then we're going to move that Melody through all seven modes from the major scale ionian Dorian phrygian lydian mixolydian aeolian and locrian so we're going to start with ionian or the major scale and we're going to do this in C major so I'm just going to play that Melody I'm going to Loop the chords behind me with the TC electronic did a Looper and I'm just going to play the melody you know over a C major 7 chord using the c major scale like this [Music] right C major right very common very very standard almost kind of um I don't want to say generic but very common right it's the major scale [Applause] so we're going to move through this using a parallel view of the modes which means we're just going to lock into the key of C and then change to each mode as we move along so next up is C Dorian and we're going to modify that Melody to fit you know Dorian and we're also going to change that c major sub into a C minor sub there's our chord and I'm going to Loop that and now happy birthday in Dorian sounds like this [Music] you know noticeably sounds very different and that's C Dorian [Applause] [Music] up next is phrygian so we're going to hit C for jam and the chord we're going to play over is a C minor flat nine very tense and dark tonality for sure and happy birthday played in phrygian over a flat 9 chord is going to sound super weird but like this [Music] so play that for people that you don't like very much you know um but that's sea phrygian right there right next up is lydian so see lydian and the chord we're going to play over is a C sharp 11 C sharp 11. and uh the thing you're gonna notice here um happy birthday played in a lydian mode over a sharp 11 chord it is going to sound a little off um but then you're really not going to notice anything different until almost the end because we're waiting for that raised fourth but basically you know happy birthday played in lydian over a c-sharp 11 sounds like this [Music] [Applause] look at that [Music] you know it's definitely see Lydia and it's really just that F sharp you're waiting for [Music] [Applause] up next is mixolydian so C mixolydian and we're going to play over a C7 chord basically and it's pretty simple and now what's almost like lydian now we're gonna basically only find one note different than the original happy birthday and that's the flat seven of my solidium it's B flat everything else is identical to ionian something like this [Music] foreign [Applause] [Music] [Applause] next is aeolian or the natural minor scale so C aeolian and we're going to use the C minor seven chord again and happy birthday played in aeolian over a C minor seven chord sounds like this [Music] [Applause] [Music] [Applause] and last but not least is the dreaded locorion so C low Korean and we're going to play a C minor seven flat five for that one and you definitely want to save this one for people that you really don't like when it's their birthday you play them happy birthday in locrian and then they go in a corner and start crying or something because it sounds really weird like this so happy birthday played in locran over a C minor seven flat five is the unhappiest birthday I can think of like this [Music] is nasty you know in the right hands it sounds awesome but then but then in the wrong hands it sounds weird like that [Music] and just a heads up at this modal happy birthday we're really just focusing on the modal shift of the scale we're not worried about the chord progression we're not actually playing Happy Birthday proper with the actual chord changes and everything really kind of what Mick was talking about in his book and kind of what I'm demonstrating here is just familiarizing yourself with the sound of that mode and how drastically different it is when you shift from one mode to another and that parallel view of the moans is really beneficial too you know seeing ionian change the Dorian to phrygian and so on that's eye-opening and that's kind of the next step or phase two of learning modes learn the traditional you know kind of approach and then start tapping into that parallel View and start changing and manipulating the notes you're playing into different modes right that's going to wrap this episode of three for all with three mcgoodrich concepts from 1987 and without question I realized he just passed away but Mick is already sorely missed and there's a huge void and that music education and guitar you know Community after his passing and I definitely would put them up there with Legends of music education Ted green Joe Pass Howard Roberts I mean there's a whole bunch of Legends of music education guitar education jazz education and definitely Mick fits right in with those Legends for sure sorely missed rest in peace Mick and uh definitely you know pick up his book and dive in even if you don't read standard notation just check out his book and read it and then maybe chip away at some of the notated you know examples but even just reading you know some of the things in that book me inspire you might turn things around might turn your whole musical world upside down you never knew until you open up the book and try so anyway leave some feedback and comments Please Subscribe the lessons and I'll be back before you know with more content material thank you

Channel: Late Night Lessons

Views: 21,294

Keywords: Late Night Lessons, David Brewster, 3 Mick Goodrick Concepts From 1987, Mick Goodrick, Jazz Guitar, Guitar Lesson, Guitar Concepts, Guitar Scales, Guitar Fretboard, Notes On The Guitar Neck, Scale Positions, Pentatonic Scale, Major Scale, Modes From The Major Scale, Modes, Modal Scales, Guitar Modes, Scale Fingerings, Guitar Scale Fingerings, Three Octave Scales, Two Octave Scales, Berklee, Berklee School Of Music, Guitar Education, Pat Metheny, Jazz, Single String Scales

Id: ew0yYN1wwG4

Length: 19min 20sec (1160 seconds)

Published: Fri Nov 18 2022