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Long after the pedal is gone and the soft synth replaced with the newest and latest, this knowledge will stay with you and continue to pay off. We are very fortunate. The book covers all the theory things I'm talking about in the videos.

As opposed to his Video where there is an actual Semitone in a Phrygian Chord just like in the Mode itself. Non-librarians are welcome to join the group as well, to A prime where all Goodreads members can work together to improve the Goodreads book catalog. I think you should expand on this book and explain 1 how to use it 2 How to practise the hundreds of chords and scales that you present and to what end. I mean the possibilities are endless. That, and wanting him to do well. We are very fortunate. Last edited by Robertkoa; 02-12-2018 at 12:40 PM. His channel keeps coming up on lots of my google searches.

Just be thoughtful about how much a self learner you are and how much you want to really really wade through theory. I don't approach things as a jazz or classical musician.

The Beato Book - There is a vast difference between classical theory and the application of real music theory.

I printed it out and bound it just like your video. It travels with me to work and is my lunchtime companion. I've been working through the book at home at the piano while watching your videos. Your whole channel and method is amazing. I love how you connect classical theory to modern harmonic theory; it shows the development, and continuity of musical thought through the historical periods to the present. Year ago +1 Just bought the beato book and what a goldmine of info. Its easy to understand , finally the real deal. Im not schooled in music ,taught myself basic chordal theory enough to try and navigate through the real book. Things that only a veteran would know. Im a bass player and the book speaks volumes to me. So the info is universal and vast. You can print off any page too something other digital sources deny you that luxury. Ive been playing for over 30 years and have bought every book imaginable and this is the best one period. Cant thank you enough rick for sharing your knowledge with us. We are very fortunate. Year ago +28 Rick, I got your book and I just want to say that although I think your material is very thorough, it's more of a collection of notes rather than a book. They are very good notes that go into great depth into the construction of chords and modes and everything jazz. However, there is very little in the way of explanation. I'm a classical musician and teacher myself, and know more than most do on jazz, yet I found it very difficult and some of it too difficult to understand. I think you should expand on this book and explain 1 how to use it 2 How to practise the hundreds of chords and scales that you present and to what end. Don't get me wrong. I find everything you've done excellent but I wish they were more explanatory. Like your excellent video on ear training and music theory. Finally, and correct me if I'm wrong, I think there must be a balance between composing or improvising instinctively using one's ear and 'thinking' logically and analytically about which chords and scales match up with each other. I mean the possibilities are endless. Would you say that your method is biased on the intellectual side? I have never had to memorize the sequence of chords for instance as you recommend , rather my ear and fingers I'm a guitarist respond to what I want the music to do kinaesthetically. Classical music theory, based essentially around triadic and diatonic concepts is comparatively straight forward when compared to jazz... You need to unlearn the shackles of classic music theory and then begin to use music theory on the fly rather than in isolation which is the norm in classic.. I've taught music for over 25 years and originally learnt theory from a classical perspective. I thought i knew theory... There is a vast difference between classical theory and the application of real music theory. There is a huge difference between knowing and understanding, and thinking you know and thinking you understand.. You DO NOT understand until you can apply.. I used to think Holdsworth did a lot of improvising but I later found that he really works out all of his solos ahead of time. I know Depeche Mode has done the same thing if you ever listen to their live performances. They redo a lot of their studio tunes in another genre format or just change it up quite a bit. I said that your videos were excellent. Actually as a classical guitarist I know every single note I'm playing and also alternative ways to play the same notes using different strings so as to bring out different colours. In fact I'm very much against mechanical playing. The point I was trying to make is that one's choice of notes when improvising is to express a single definite feeling one has at that point in time, and so the ear is king. I don't know about you, but when I improvise I don't think in terms of music theory at all, I just let the body react to the music instinctively. As far as composing and improvising goes, I feel that although they are similar the main difference is that improvising happens in real time, but the advantage of composing is that you can go back and change the structure, and add and subtract material at will. Beethoven's sketch books show how many different ideas he had about a melody before he set one of these in stone. So yes, when composing knowing music theory is essential, otherwise one is limited in one's expression. I don't think we disagree in anything Rick. The book expands on the videos and the videos expand on the book. How must better do I have to explain the Phrygian scale. I show the formula of intervals, the chords from the scale, have examples on how to use the scales, chords etc. It's a theory book not a history book. Composing and improvising are the same thing except improvising is done in realtime. My method is to know everything possible and go from there. If any of Rick's videos have stimulated any musical creativity in you than buy it. This book is an investment in your future as a musician. Hold off on the new pedal or new soft synth and spend the money here. Long after the pedal is gone and the soft synth replaced with the newest and latest, this knowledge will stay with you and continue to pay off. I'll get off my preachy soapbox now. Thanks Rick for all the videos. Year ago +2 It's really both. Theory, whether it's jazz or not is all the same. The Inoian mode is the same in jazz or classical theory. Improvising is composing in real time. It's all about vocabulary. I don't approach things as a jazz or classical musician. I treat them the same here and in the book. I hope that answered your question Max? The book covers all the theory things I'm talking about in the videos. It also has a section on the guitar because that's what I was teaching at the time.