Mick Goodrick & Tim Miller Creative Harmony Book

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  1. SJS

    pardon my ignorance, if you use this method to harmonize melodies, how is the root harmonized when the root is the lead voice ?

  2. As I work through this book, it main function seems to be an aid for gaining harmonic / melodic facility in the hopes of arriving at more ' modern guitar aesthetic ' sensibility . Maybe these ideas and tools and perspective are a concretization of what ( I imagine as I never have taken ) a good guitar combo class instructor might suggest: using shells and trying to play the 3rds and 7ths ( moreover , avoiding the tonic of the current chord... Clearly the book goes further with this idea by delineating a methodology for addressing the organization of the remaining notes and their various possible classifications of triadic subsets ( and their pairings for the purpose of eliminating redundancies ). It doesn't feel like the type of book that is specifically designed with the intent of being used arranging and reharmonization initially or specifically, and you may consider other types of books to address that. If the root is in the melody , it seems that is precisely the instance when this thinking doesn't apply ( unless your arrangement involved changing that note for that moment !).consider what you are looking for in a book and examine what your looking for or attracted toin music right now. There has been a more elaborate laying out of the principles in another thread here. Good luck.

  3. Vojko


  4. JPMike

    I have ordered the book and still waiting for it.

  5. Ordering stuff is the worst. I am currently waiting for " elementary training for musicians " by Hindemith. The moment it's purchased it's as if I committed to the idea of needing it. This makes the waiting for things so arduous.

  6. Matt

    im curious what you guys have gotten out of the book because so far, aside from a few neat cluster voicings, i've not gotten anything.

    maybe i need to work harder and maybe the big gripe for me is that the examples are for Maj7 and they include the 4.

  7. I've not been super diligent lately. i ve been busy and working on other stuff but just this hour i was thinking about how to better organize this book's information for myself. i think that in a separate notebook or separate piece of paper list the 10 3 note grouping pairs and spend time on them all( ... for me this means just one of the sets at a time ). it doesn't really show you how to practice this stuff. it shows a few examples of ways of exploiting the material harmonically and melodically. within a pair, i found different ways to relate to the pool of notes at my disposal. this initially seemed cool but it is also the trap of making a lick or static concept around the thing. it got to the point where i have even tried separately practicing my triad stuff ( or cluster stuff or sus stuff ) in open and closed positions separate from working on the book. i think the benefits ( as they are not immediately tangible for me right now ) has to do with the flexibilty with the information. 1). knowing that i am avoiding one note - and getting that vibe in my ear.2). developing an ear for the discreet relationships of the particular pairings all the while excluding this note- in otherwords having the access and the flexibilty to shift and recognize : a certain three note sound and using two different 3 note sounds in tandem to show case a bigger structure as opposed to another structure ( comprised of the same notes!) derived from a different set of relationships. this book has made me just think not of a triad as i know it but a pool of notes: B,D#,F#. for me its been not about A shift in thinking but several: using what i know differently; relating to the information differently ; maybe even respecting or showcasing what i have down but forcing myself to use in a real time framework which is exposing perhaps how i relate or have learnt the stuff " i know " and having to quickly ( or slowly )reconcile my relationship to the info. i will not get some cool lick out of this stuff and if im listening to some old stuff, my handle on these tools and trying it out on old stuff will sound whack. if i want to latch onto something and solidify my relationship to triads etc., i have found some ways to organize that material based on some challenges presented in the book ( like thinking a scale degree away... if thats even a correct way to be thinking ) but also there is getting the sound of the pairs ( as a whole and as discreet entities ) and just trying to fish around for it and rounding closer and closer to the nearest "that vibe". i set a loop ( actually a drone ) and then a very slow chang(es) also try to leave time to do this for melodic minor at least with whatever pair or set of pairs or triad. i knew going into it ( and a few other recent books ) that im not going to see anything cool come out of it for a bit . the inspiration has been going back to that youtube promo for the Internet guitar lessons and watching him rip that shit up ( knowing that he is just going and they are largely not prefab licks but a flow). it feels like if i read about physics ( while not knowing shit about math ) and some it explains to me the wonder of how i am on a couch which is supporting my ass while gravity is fighting to pull me down... yet i'm just on the couch kind of taking this battle for granted all the time.

  8. SJS

    I had a chance to quickly look through a friends copy the other day. What do the numbers above the notes in the arpeggio permutations signify?

  9. Seems like a confusing way to say low mid high for a given 3 note structure at a given moment . The second time the 1 is stated it delineates the other 3 note structure that it's paired with within the measure ( and their corresponding mid and high:2,3). These are not scale degrees ; just guideposts in the event that you're wondering just what your dealing with after all .
    2 3note groupings with notes jumbled in any way ( within themselves !).

  10. TruthHertz

    If anyone is around Boston Monday August 20th, Tim and Mick are giving a talk/demo(?) at the Berklee Performance Center at 4 I think. I have no idea how open this will be, probably open to the public but I'm not sure. Anyway it might be a good chance to bring questions.


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