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I sure did learn something! I’ve never heard of a m21 chord!! I’ve played it before as a “color,” but did not know the various possible applications. I don’t think I (or, especially a typical audience) could listen to it for an evening’s worth, but, it’s a cool way to tweak the ear if used sparingly. Great lesson, Richie!👏😁

First time i heard Monks music, it was yes

I randomly bought a more recent Monk record in downtown Seattle when I was 15. It was Criss-Cross. I remember the record store owner being surprised as this was the time of Nirvana and grunge. I admit it was foreign to me the first listens. Eventually it started clicking and got me into Jazz.

Very hip lesson! Thank you. I just wanted to observe that all of these chords can be derived from the Barry Harris scales. You could call them "borrowed chords", but usually the guitarists I see talking about them (Chris Parks - "TILF Barry Harris", and Thomas Echols - "Labyrinth of Limitations") usually talk about 4 part harmony. It's cool seeing a jazz guy who has been around a while playing fully voiced piano-like extended chords. I really recommend both of those guys' channels as well if you haven't seen them, Richie. Min7add21, Maj7b13, and Majb6 could all be derived from the Major 6th Diminished Scale. The 7#11(no 3rd) I would say is from the Dominant Flat Five Diminished Scale. Cheers!

Really nice. I do a lot of this instinctively but this really helps in understanding the Theory behind it. Thank you

This is really great and quite thought provoking. I recently released a harmonica-adapted collection of Monk tunes called “HarmoniMonk,” and am looking for new dimensions of Monk’s oeuvre to explore for the next volume. I am headed out to your site to purchase the study guides. I’m sure it will be inspirational.

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Absolutely fantastic have a wonderful weekend ❤😊

I think part of Monk's harmonic progresssions had to do with contrary motion between parts and that's how some of those dissonances were arrived at. Therefore I don't find it useful just to consider one chord by itself. It was usually part of a progression and sounded better in that context.

loved monk as a teen

I was kid entering college, listening to heavy metal, hardcore punk, & hip hop. Walked into the library one day and found a Monk bio. Remembered my dad playing Monk around the house (and a ref in a Simpsons ep). Brought that book home, downloaded some mp3s (Limewire era), and read it every day on bus rides w/ a shabby curated bunch of tracks on a cd as the soundtrack. Changed my ears and my life

Thanks ! This is very interesting, I understand the concept and its application in the first oart of the video, but honestly from 8:0 I don't catch anything (the sound is fine) and what is written doesn't help me. What are you doing there ?

I’ll come back when I’ll be a guitar grownup, in 50 years or so. Thanks anyway 🙏

Fantastic playing and such usable content. Thanks!

I’m a long time guitarist and continue to strive to improve after five plus decades of playing I’m feeling drawn to these beautiful tones . I’ve played by ear all my life and I’m studying theory now and really enjoying and improving. Thank you for your video. I’m glad I could find you

Superb. I am one of those "classical " composers to whom ypu were alluding. What's interesting is the number of embedded "resolutions". I am a beginner on jazz guitar.

Thanks for yet another great lesson Richie!

Great hat, dude, and a good jazz brain beneath it. Lovely insight

Heck yea! Monk is the master of sounds. Was very happy to see this on my feed. I've been use F*a in bass/C# for A7, which I stole from him, and now I have some more to work on :)

Absolutley Awesome.

Sounds like crap!

Another great video! The last 3 lessons have been so unbelievably inspiring! Thanks Richie!

perfect timing. coincidentally, I've just taken up to adapting Monk on guitar as well. thanks for the great lesson!

It's a fascinating presentation and insight into Monkist thinking, Richie but these sort of extra tensions beyond the second octave are currently a little too adult for my ear and palate. I'll keep trying though...I'm currently taking (and enjoying) a Monk ensemble class but we're limiting our arrangements to more conventional functional harmony.

There's a repeated descending chord used over and over in Vangelis' score for Blade Runner. A slide. It's right out of Round Midnight.

That was a great lesson. I've suffered from Monkaphilia from the first exposure to his music over 50 years ago, and I DON'T WANT NO CURE!!!!!!!!!

Very informative and presented perfectly. Gives me a lot of homework. Thank you Richie.-Bill

I'm a Monk-aholic, also. Thanks for this, Richie!

screw the over-theoretic approach; there are only 12 tones to choose from. Choose your chord tones out of the 12 available and forget modes. Study Schillinger and get on the right track. Modes are mental masturbation. Lydian? Sharp the 11 and get on with it. Modes are a waste of time.

G. Russell also taught to think about dominant to tonic as tonal gravity moving upward (ex. F Lydian contains the G mixolydian (G7), so G7 to C is actually F lydian expressing upward Tonal Gravity to C Lydian.) For George, there were a limited number of Scales (Lydian, Lydian Dominant, Lydian Diminished, Lydian Augmented, Symmetrical Diminished, Augmented, and Blues scale (which, if memory serves, was considered a Horizontal Tonal Gravity Scale. So, once you were conversant in the different scales you could freely and effectively access any of them over the matching chord. (ex. any of the previously mentioned scales in F could be employed as melodic source material over a G7 chord) The ultimate goal was to access the complete Lydian Chromatic Scale in one's improvisation (and composition) -- essentially having access to utilizing all 12 pitches over any scale because you would understand the tonal gravity of that pitch and/or scale.

This is all absolute gold and beautifully explained as always - thank you!

Amazing video !

Light or heavy gauge? The difference in not the thinner or thicker sound but the attack and decay. This can be measured with the waveform analyser on most digital recording DAW. The thick string will have a higher output giving it more attack and a relatively faster decay from the peak, the thin string, lower output, less attack and a longer relative decay. The string gauge should be chosen to best suit that guitar. With the action sorted and the pickups adjusted, 15s become playable but then 12s can be made to sound like 14s. If you want a short thud then heavies, if you want more sustain then lighter. Likewise most jazzbox want flats but some sound best with round wound. We have to experiment. The bridge saddle material can have a big affect on this. Beginners will find heavy strings a nightmare, out of the shop the action is always far to high. If you cannot sort the action yourself, and it is a skilled job, then the full set up is a moderately expensive job for the luthier.

Pickups - if you put the world's best pickups into a poor guitar, you still have a poor guitar. The pickup is a microphone, there are good and poor pickups but they won't make the wood sound any better. Been there, changed pickups, same sound. My Epi Emp-ii came with faulty pickups. The plate that the pole screws go into were drilled out, no thread and the pole screws only held there by the wax potting. The investigation destroyed the pickups. They were replaced by very similar Tonerider HB. At the same time I re-wired as I very much prefer linear volume pots for fine control, replaced with full size pots throughout, 500K linear on vols, TBX tone on bridge, conventional tone for the neck. The TBX lets the bridge PU go rockabilly, below "5" it becomes conventional. The spruce table took nearly two years to break in but now sounds great, I cannot remember when I bought it, over 10 years ago, maybe 15yo (from the s/n made 2008). The rosewood saddle had to be intonated with files and a bone nut of my own fashioning. Real bone can usually be filed more precisely than composite. The frets levelled and crowned. The action is now almost, " below the frets". The thick spruce top does let me play it with a rock band without the traditional banshee howling. Where it serves well for pumping the rhythm and a few widdly bits. As well as attempting to play jazz.

Thank you, sensei. 🙏

This is really deep, insightful stuff! Thank you!

About my country (Brazil) and my city (Rio). Thanks a lot !

Even Guild wasn't happy with the GH pickup. I prefer the AA with the Rhythm Chief attached. But...can't go wrong with a Kent Armstrong.

Also a good guitar tech/ luthier helps!

Why wouldn’t you get the Epiphone Dot/335, it can be hot rodded, and it rocks?! Some even come in red or Black? The Epiphone BB king guitar is my favorite no holes no feedback.

🎸Just found your site. Love this topic for Motifs! Something I have been trying to get in my old head!! Your site just added some very educational substance! Thank You foe sharing...CW

The oldest composition that I knew with Giant Steps changeswas Bluin' The Black Keys a Novelty piano tune from Arthur Schutt and that was made in 1926. But Ondine is even older since was composed in 1908...

My brain can’t follow those changes.

I like your channel. I would like to say there are guitarists that used lightish guitar gauge strings and bent them. Most notably I believe Ted Green and Kenny Burrel would do stuff like that. I’m sure there are others. I think the goal of JazzGuitar is to get the guitar to have somewhat of either a soft vocal sound, or more of a vibes/piano sound. Guitar is a unique instrument because I know that the twangy tone is in there but metal and jazz folk don’t like that tone

I’ve often created jazz lines that make me jump in shock on realising that I had already heard the melody from Debussy.

Fascinating stuff mate very important topic my brain is slowly learning cheers for that

I love these Ravel videos. I wouldn't mind if this was a 10 part series.

Richie, thank you so much for this Masterclass. It transported me to an imaginary College attending this class, and listening along with the rest of the students, mezmerised trying to absorb this knowledge and the beauty and wonderful sounds you produced. Looking forward to our next lesson and Peace to you too!

Real stimulation from the big three.

Very cool. Thank you.