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<br/> <b>Strict Standards</b>: Non-static method BP_Options::get() should not be called statically in <b>/home/actidemann/</b> on line <b>9</b><br/> Mick Goodrick & Tim Miller Creative Harmony Book « The Kurt Rosenwinkel Forum

Mick Goodrick & Tim Miller Creative Harmony Book

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  1. sortell

  2. Chris

    Nice.. When are Goodrick's other books (voiceleading and beyond) going to be printed and sold again? I've been waiting over 12months still no answer.. Thanks!

  3. smoke

    Not quite. Amazon has it available for pre-order w/ no set date for it to actually be released. I pre-ordered it last week and still haven't received any shipping info.

  4. @benjaminira, I was curious about those aswell

  5. PS ( I like how the sub title sounds super boring) "CREATIVE CHORDAL HARMONY FOR GUITAR"or whatever and then in smaller print
    " using generic modality compression " hahahahaha.
    Actually, this title hints at what's inside perhaps? I wonder if it's like some backwards Garzonne chromatic Triadic concept thing ( which I don't claim to know ) .. From what I gather of the Garzone, it seems and sounds like a cool way to navigate and generate structures . Following its rules, I don't feel comfortable ( only scratching the surface ) arriving at a target tonality- only leaving one and arriving ¿ Elsewhere ? ... Maybe this book will reveal some of Tim miller's ( also things I've heard in Nir felder and Nelson Vera's) way of rubic's curbing around harmony and perhaps solving for and doing the inverse ( of my assumptions of the Garzone ) method. Anyways, I'd like to be able to look inside or hear from you guy's before I would move on it.

  6. sortell

    Oh... it is definitely available. Amazon is slow. Try Hal Leonard.

  7. sortell

  8. JorgeRubiales

    Mmmm, I'm intrigued to see what's inside that book

  9. natjanoff

    Thanks for the link Sortell! I'm very curious about this book.

  10. smoke

    Yeah, thanks for the link. I cancelled my amazon pre-order and ordered it using that link. Hopefully it will ship soon. I'll do a quick review once I get it.

  11. TruthHertz

    The book was released at NAMM. It's boxed and ready to ship but Hal Leonard, doesn't seem to have physically sent them out. The other books Mick has written, only Advancing Guitarist is available. The Voice Leading Almanacs are no longer published, no longer available and there are no plans to resurrect them at this time. They were Goodchord publications, this latest is Berklee Press (Hal Leonard.)
    The concept is a result of Mick's search for finding the most elegant and efficient expression of a mode. In practice, if one hears the root, either in one's mind or with a bass player, the rest of the mode consists of 6 notes and can be conveyed through as few as 2 triads. But not triads like "here are chord tones, here are extensions" but rather like melody in movement in a triadic form. The book systematically groups families of modal chord movements that can be played as chords or arpeggiated. That's left up to the player to decide and make their own. Tim Miller plays examples and a CD of the examples is included. It's a remarkable work and Wayne Krantz, Bill Frisell, Sco, Julian Lage, Ben Monder are a few that have already sung high praises for the concept and book.
    It's written with standard notation so it's nowhere near as intimidating to "de-code" as the voice leading. Explanations are quite clear and the results are stunning. The kind of sounds where you stop and say "Damn! Those sounds aren't in MY guitar!" and ultimately it's for playing over changes so it's something with very real utilitarian value.
    Somebody should start a letter writing campaign to light the fire under Berklee Press.

  12. Sold.

  13. Chris

    So Mr Goodchord is dead and I have to either spend a fortune on ebay or bootleg? Does anyone know another way? Why would they stop publishing, that's good money... or is it?


  14. TruthHertz

    The Goodchord material was self published in a partnership. It was done so partly because at the time nobody, including Hal Leonard would touch it. The books were a goldmine that heavily relied on the user to take their own pickaxe and cart down there and stake out what ever vein they wanted. It was the big map to the richest motherlode of voice leading, but there was no tourguide. This book is a lot more user friendly and it's like this time the gold has been minted into coins. Much easier to use right away.
    Most publishers want a book not necessarily for its importance as a source of information but rather a source of revenue. That means Shakespeare's greatest works might be unpublished today but an oreo cookie recipe that Oprah features would get a guarantee for a trilogy. That's the sad truth.

  15. jazzacast55

    thanks TruthHertz! just ordered it, for anyone interested I ordered it from ebay:

  16. Chris

    Thanks TruthHertz!

  17. TruthHertz

    Anyone around Boston? Just confirmed Mick is coming out of retirement to do a promotional gig with Tim Miller at Johnny D's Feb 21st. Quartet.

  18. wilmore

    the book came today. great stuff. ten different sets of two three note chords to create a rootless six note scale for any given chord. great examples and a whole lot more. gonna be busy for a while. Mr goodrick does it again!

  19. wilmore

    i guess i should have said ten different ways to harmonize a rootless six note scale by using two three note chords.

  20. !

  21. Conway

    For anyone else who has this, do you understand why he says not to play a, "7th no 3rd" with a "7 with no 3rd" and "7th no 5" with a "7th with no 5"?

    Im not hearing anything wrong but, maybe Im missing something.

  22. wilmore

    you would be repeating notes. the whole point of the ten sets of pairing two three note chords is to get a rootless six note scale harmonized ten different ways. for anyone interested in getting this book it has a lot of great practical examples. chords and arpeggios and much more.

  23. Conway

    Oh ok. I was thrown because they work fine but, now I see those notes have been addressed in another pair. Thanks.

  24. surfinboy

    I just got the book yesterday. I consider myself fairly advanced and can get into the geek aspect of guitar theory, but I read the first two paragraphs and I'm lost.

    Also I played through the first line of written music and understand that it's triads (i.e. 1-3-5) alternating with 1-3-7 voicings, but it doesn't seem to go up the scale in any logical order. Plus I don't understand the chart on page vi.

    Why take out the root of the scale? If you're going to make three-note voicings (or triads, whatever you want to call them) why not have it in there? You can make 3-note voicings out of it. What's wrong with a root every now and then.

    Mick started to lose me in the Almanac book, now I'm really lost. What am I missing here?

  25. wilmore

    the chart on page vi shows all ten possible combinations of three note chords. applied to any scale/mode all ten would be omitting the root of given scale/mode. as to "whats wrong with the root" the answer is nothing is wrong. lets say you didnt want the natural 4 on Eb major combinations but wanted the root instead. use all the combinations for Ab mixolydian. Goodrick's books have a lot of figure out your own path to them.

  26. wilmore

    Ab lydian I mean....whoops

  27. Ah! This sounds great. After a new computer and a big family trip, I'm waiting for another pay cycle to go through so my wife feels a little more comfortable with me getting yet another " I swear I won't get another book" book... Transcribing has been good and just playing more has made me feel less crazy.

  28. surfinboy

    I'm starting to get it a little bit. Thank god for Mick's appendix at the end, but it's still some pretty dense shit. I think I'm going to take a break now and put on a ZZ Top album.

  29. david6strings

    is it like the hexatonics concept on the jerry bergonzi's book?

  30. I have the book now.
    Surfinboy, there is nothing wrong with the root. However, I m curious as to what attracted you to the book initially. I'm excited as hopefully this perhaps attempts to formalize a way of approaching some of these sounds I hear in Tim miller's solos. Instead of the first two paragraphs , the back chapter delineates his process for arriving at the idea for the book .
    Hopefully the time between all these posts has changed something.
    Like Jon Damian's palette chart, he groups the various remaining notes ( after omitting the root in this case ) into certain discreet entities.
    This system gives a sense of stability as these various chord qualities not only are not just what you are left with but are by themselves structures that even on their own feel complete; stand on their own yadayada .
    To then be using them in juxtaposition to a root and moreover that root later becoming another voice from in a larger context - these cells express a range of color succinctly ( especially at faster tempi ).
    What I'm digging so far is that in comparison to other books that cover work regarding interval structures this one:
    *reinforces that the material is both harmonic and melodic ( which it always is/was)
    * pairs the various3 note structures in groups that don't produce other redundancies or rather tells you which pairings to avoid .
    The challenges for me see to be that's opposed to other interval structure approaches, this keeps you actively shifting from more than one set.
    ( even though the sounds may be new and cool to me , if I just run an interval set up and down the neck I can't help but make visual aides for myself and kind of zone out yes on the sound but end up sleep walking a bit through just holding something that justa fingeror two shifts to compensate. By shifting into and out of a 3note structure into another the NOTESand RELATIONSHIPS come back into play and this is more responsibility and harder to breeze through and I can't rely too heavily on visual material to help me - which is good because it would feel odd to just run " something novel " up and down .
    The other challenge is that an approach with a system and caveats has been laid out. Once that is understood , aside from the examples ( and there are enough ) you are kind of on your own . It's not like some cut and paste lick book . Which is great.
    It just protracted the experience and requires a certain amount ( in my case a lot ) of attention to get under my fingers and into my head.
    I do think this is a good book and will probably satisfy parts of the things I've been looking for- perhaps a window into some of the sounds and navigating I hear in solos by people like Tim miller, nir felder , Nelson veras, Chris crocco, ben monder... For lack of a better term , an ease and access with structures that feel more " angular " and not coming or going to and from predictable places yet have structure and are being played with a certain conviction- I don't know how to have access to it and I crave this .

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