Kurt's Use Of Harmonic Minor Over Maj7 Chords

(47 posts)
  1. kurtisrosenwinkel

    kurt, i would love to know what happens with your eyes when you're playing.
    i almost got a a cramp in my eyelids when i first saw that. looks really cool though, i have to admit.

    i dont know. just happens

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  2. kurtisrosenwinkel

    I would like to ask you what do you consider it was more important to you to achieve the level you have achieved; I know you did some transcribing, spent a lot of time searching for your sound / voice and using your voice in improvistion, also practicing tons of scale patterns and doing lots of jams in NY and also doing the "continuous scale exercises" to get better at modulations (these are the ones I know from clinics / interviews, I assume you practiced lots of other things)

    What would you say it was the most decisive of all (if there's one of course)? I assume it's also about being obsessive...

    persistance, perspiration, belief in yourself, persistance, perspiration, thirst for knowledge, being your own teacher, making your own logical connections, listening, ear-training all the time, learning lessons in everything, meditating deeply upon your own conception of music, self-evaluation, listening, persistance, perspiration, obsession, open mindedness, desire to improve, belief in self...

  3. kurtisrosenwinkel

    i practiced alot to acheive a legato technique. theres alot to it.
    Mr. Kurt Rosenwinkel, are you willing to expound this statement? what did you do to practice it? will you ever maybe write a theory book?

    i am writing a book, it will be out sometime in the future.

    legato= instantaneous change from note to note; a blink of an eye is how long you have to move from the note you are on to the note you are going to. this is true regardless of tempo. this means you dont move slower on slower tempos, which means theres no difference between playing slow or fast, except theres less time waiting between notes when you play fast.

  4. kurtisrosenwinkel

    Hi Kurt, are most of your voicings derived from drop2, 3, 4 2-3 and 2-4?

    What I mean is - do you just learn these stock voicings first, then alter them as you want to? For example, flatten the 5th to get b5 chord

    Thanks a lot

    no thats not how i learned. i would take a given chord and try to figure out as many ways to play it on the neck, then improvise with these voicings to find melodies and make connections. after a while of figuring out lots of different ways to play lots of chords i managed to cover the basics of what you call "drop 2" etc. i never studied them in isolation.

  5. kurtisrosenwinkel

    Well my question:

    How do you approach time and how have you practiced time?

    best from Claus

    time is feeling.

  6. jorgemg1984

    Thanks a lot Kurt, it really is about obsession. The "being your own teacher" part makes a lot of sense... and also the other answer about chords, I practiced drop 2 and drop 3 but later when I wanted to go deeper about voicings I understood how limited they are.

    Thanks again for taking the time,

  7. jbroad

    hey kurt,
    you guys sounded great at the vanguard a few weeks ago. question: it says that there are japanese bonus tracks on both "the enemies of energy" (writer blocks) and "the next step" (game in the rain). is there any way for us in the u.s. to buy either of these tracks? thanks!

  8. monk

    kurt, thanks for taking the time~ appreciation from deep down inside

  9. natjanoff


    Have you ever explored 20th Century music/ and or texts on 20th Century music like Vincent Persichetti's 20th Century
    Harmony ?


  10. Wow. Thank you so much . Wow.

    I couldn't even log in, instead of my user name I typed wow and then wow for my password.
    Thank you for giving your time to people's questions.

  11. patfarlow

    thank you , this is awesome.

  12. bingefeller

    Thank you for giving us all an insight into your thinking on guitar! I can't wait until your book comes out.

  13. patfarlow

    if you have time for one more.....when descending do you pull off for legato? or do you use you fingers like a mallet and "reverse hammer on"?
    or does it not matter how its done as long as its done "in a blink of an eye" with out any gaps?

  14. barolo

    The big question is, however; how was Holdsworth?

  15. riverstooge

    Hey Kurt, can you give us some insight into your tune "East Coast Love Affair"? It's perplexing that it sounds effortless melodic despite the seemingly unrelated chord sequences.

    Do you, or did you, have a specific approach when improvising over this song?

  16. rickh

    Also wanted to hear how the Holdsworth gig was.


  17. JPMike

    Mr. Rosenwinkel,

    What I have to do to be your student??

    Sorry for reviving an old thread, but I wanted to ask.

    Thank you,


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