Thanks for that, I've taught this lesson privately over the years and still think it's an effective way to break down chord pictures.

Thanks as always. L

I hope so, I'm trying. Hope you are well and thanks for your kind words. L

Hi Ken, feel free to ask questions and suggest what would help you as a video. All the best, L

That's a great question. Yes, tension and resolution is built in to melodic line as well as harmony. Take a 9th or a 13 as examples. A 9th is a tone above the tonic or tonal centre and its natural gravity is to fall to the tonal centre, if you prevent that it creates tension. These tensions are used all the time and should be recognised so that you can manipulate them either in melodic line or in supporting harmony. The same holds true for a 13 as another example, the 13 wants to fall to the strong 5th (12th). These colors and tensions are what make chords like add 9's, 13ths, 9ths, major 9's, add 6ths etc sound interesting and rich and the same goes for good melodic writing or improv. L

Hey Dale, I thought you'd given up on me, good to hear you are well and thanks for your kind words as always. I'm at this point wondering which direction I should take in the Fall, any ideas? :) L

You're most welcome Ken. L

Hey, It's actually a Tokai labelled Roxbury, about 20 years old with Joe Barden pickups. I've used it a lot in recording. Best L

@@lloydenglishguitarstudio6331 sounds amazing!

Hey, That's nice of you to say. The pickups are incredibly dynamic but I should add that I also use an Eleven Rack that is not in the shot and that through a Boss Katana that is miked with a good condenser. Best and thanks for the kind comment. L

Well is relative when you get to my age, as for behaving myself I'm getting better at that thank God. L

@@lloydenglishguitarstudio6331 I'm right there with you on that 😁 thanks for all of the work that you put into these videos my friend

Still sluggin' away I guess, I waffle between continuing or retiring. Best, L

@@lloydenglishguitarstudio6331 I'm at a loss as to why your videos don't get more views. You're an outstanding teacher, I just don't get it

My pleasure!

That's very kind, as Eyore says: Thanks for noticing me. L

An old V8 running with some leaks and in bad need of a tune up. but hey, thanks as always. L

It's comments like this that keep me going, thanks and glad it was of value to you. L

Lloyd as always your videos are informative. Thank you! I wish I could help to give you direction for the singer/songwriter series. As you progress with the series hopefully I can offer a suggestion. I am going through your 4 books and learning from them. I appreciate you writing them.

Hi Ken, sorry for the late reply, I missed your comment and have been a bit frazzled with grand kids visiting, YIKES. No worries with comments. I just shot a few more related functional harmony and theory videos that I hope you will find helpful. With this KZfaq format it's very difficult to provide material relevant to specific students obviously, for years I taught private lessons and could hear and play with the student while observing their progress. best, L

Good Day, that's an interesting question. I started when I was 12 years old and had my first paying gig when I was 15. I had a few months here and there when I stepped away a bit but there were also many years when I played every day for 6 or more hours. So about 58 years would be fair to say, recording, on the road, teaching and playing different styles as a working career musician. best and thanks for your question. L

@@lloydenglishguitarstudio6331 Hello! you’re videos inspire me! I’ve been playing since I was 9-10 and I’m turning 21 this year, I’m self taught and up until a year or so ago I haven’t really played either other musicians. What is something you learned that helped you understand where the right notes are? Essentially what should I do to understand the fretboard Thank you Ash

Hey Ash, thanks for that nice question. I think that the best place to start is by learning your C major scale in all positions on the fretboard because by learning that scale you will also apply that knowledge to every key as well as all the modes and minor scales. If I might, you many check out my book on scales on Amazon, it is under My Guitar Pal publishing. Also at the same time learning your triads is essential and I also have a book called Triads. Seriously, I read over your question again and I know you would benefit from both of those books, it sounds like you are just about in the right place in your development to get something from them. Best to you and thanks again, L

You are most welcome Ken, I hope this was of some value to you. best, L

Muchas gracias, me alegro que esto haya sido de utilidad para ti.

The modes are most relevant when you want to learn to improvise or write, remember that modes are just new scale sounds that also have their own individual harmonic structure. A Dorian mode for instance has a minor I chord and a major IV chord and a bVII major chord, these sounds are characteristics of this mode and are not found in the major scale. If your goal is to learn to write your own material with original melodies learning your modes is a must. If on the other hand you want to simply accompany yourself and cover already written material they are not as important. The music language and vocabulary is a deep topic especially when it comes to styles and composition and in my years of teaching in the "real" world I would develop a program for each student depending on their level and the direction they wanted to go. Doing a program of teaching modes within a compositional context would take months but not teaching modes to a committed student is a bit like teaching sailing in a row boat. best and thanks for your comments and questions. L

That's always good to hear, hope this opened up modal thinking a little bit. L

Modes go deeper and deeper, they are fascinating and hope this may have opened up a new way of thinking. L

Hope it was relevant to you, it's a bit of a niche I think. best, L

Thanks as always for the kind comments. Hope all is well. L

That's always nice to hear and thanks for your comments. If you don't mind my asking, what style are you leaning toward? Maybe I can direct a video in that direction. And, are you intending to accompany yourself singing? Best, L

@@lloydenglishguitarstudio6331 YES! I am - I’m actually a worship leader and singer and have done this for many years and at many churches, but always with a band or some type of instrument accompanying me. I’ve always wanted to play guitar, so bought by one several months ago and started learning …so, also self teaching. These lessons have been invaluable helping with learning scales etc. I watch nearly all of yours- many at this point are above my skill level, but I’ll get there. I find it harder to play and sing (keeping rhythm). But I like all types of music: gospel, classic rock, country…😊

Thanks for sharing that. As a career musician I too have been a music leader in 4 denominations with teams and choirs and special music and liturgical events coordination so I have an intimate understanding of the requirements in that area. I would suggest beginning with reading and memorizing simple chord charts and singing the melodies in order to carefully build a repertoire that you nurture. Do you use chord charts and what material have you used? Thanks again, L

Hi Ken, Sweep picking scale (3 per string) forms can be viewed as a next step to the vertical scale forms in my book. These vertical forms will also lead to hybrid forms , that cross between adjacent positions and then to lateral 3 octave forms across the fretboard. I don't see a problem experimenting with sweep picking 3 to a string forms but the important thing is to develop muscle memory with the vertical forms to start. Repetition maybe 20 to 30 times on each when practicing. best, L

Great advice. Thank s very much!

Oh how I wish more players understood this, I thank you for your insightful and encouraging comment. L

@@lloydenglishguitarstudio6331 Question. I can't understand what's going on in bars 19 and 20. I can't figure it out. The rest of the song is simple but these two bars have me baffled. Is it some kind of convoluted, altered 3-6-2 to get to A-7 in bar 21? What do you think?

Could you clarify, when you say bars 19 and 20 do you mean in the 2nd ending after taking the first ending? Are you talking about the 2nd ending? Thanks, L

@@lloydenglishguitarstudio6331 I mean the B-7, E-7 and A7 progression at the end of the 5th line. Doesn't seem to belong to anything before or after.

Thanks for that kind comment. Accurate analysis is important, especially if you want to improvise and good improv should define the chords. I might add that paying attention to the leading tone that leads to each resolution is important. For instance in the Key of C a secondary dominant of A7 leading to Dm (the II chord) will now have a C# and that C# needs to be resolved to the tonic of the Dm chord, C# - D. Secondary Dominant chords are all about creating forward motion. Also, think of the Diatonic V chord of G7 as the "primary" dominant since it does not alter any of the notes of the scale. Also, each dominant 7 chord has a Tritone, the tritone and its resolution gives the 7 chord its character and function. Thanks again, L

Yes, thanks. Your explanation of how the leading tones in primary and secondary dominant chords resolve to the root and the third of the tonic chord was also very clear in this video. In many harmonic analysis videos, I hear a lot of emphasis on the importance of voice leading without a clear explanation of what it really is.

Thanks Dave. In the now distant past I studied Harmony and Composition with some great private teachers. Guitarists often think visually and this is also a shortcoming in the pedagogy of the instrument, especially at the YT level. best and thanks again. L

Hey, you are welcome. You can get this by searching Google and typing in the title as Here's That Rainy Day lead sheet. Hope this helps. L

I'm coming to the conclusion that generally the audience doesn't want to learn about fundamentals like this, weird. L

​@@lloydenglishguitarstudio6331You are really offering something here that's so valuable my friend. I'm totally confused as to why your views aren't as strong as I would think that they should be. That being said I am an old fart that is totally out of line with things that are popular in the world and honestly most happy in the slow lane 👍🎸 take good care of yourself Lloyd

Glad it worked for you. l

Yes, such a great tune and I heard George explain the lyric and it was tear jerking. L

Glad to hear it was of value to you Ken. L

Yes, feel 6/8 in two with strong beats on the 1 and 4. 6/8 is not found that much in Rock and Pop but is common in Celtic folk styles. L

The capo actually plays a rather important role especially in Pop guitar, there are scores of well known rock/pop classics that come to life when you use the capo. The capo is a really powerful tool when used properly. Thanks Ken

That's very kind of you to say Ken, thanks.

Hey Patrick, this comment lifted me up today and for that I thank you. Here is a little anecdote from teaching privately a number of years ago. I was teaching a young student a bass lesson, how to support by simply reading a chart and playing the roots of the chords. As the lesson progressed I played with the student and for a little bit began to enjoy myself musically and lost myself in a musical moment. I realized in that lesson that this student had lovely natural time and we were in perfect tune and because he was playing the roots of the chords there were no wrong notes. I was gigging regularly during that time and had played with a lot of bass players, mostly upright players, and was often uninspired. I realized with that student that playing the right notes in time with your ears open and with a supportive attitude actually made music. Thanks for your support and kindness. L

Well, in the interest of being real, there's not a day that goes by where I don't question whether to continue or not, it is truly comments like these that keep me going. YT is not really an educational platform and I must confess I am beginning to miss one on one teaching where I can experience the student and make music at the same time while witnessing results. Thank you sincerely for your kind support. L

@@lloydenglishguitarstudio6331 I can understand your perspective. Must be hard not knowing whether or not what you are doing is serving a purpose - that’s why I make the comments - to let you know!!! But I’m sure there are at least a few of us who really do APPRECIATE your efforts. I’m glad the videos are kept up as well so we can refer back to them. Good luck in your endeavors and I’m sure one day you’ll move in another direction. But for now again, a big THANK YOU!

Thanks Tons for that, you are absolutely right with comments, I'm totally in the dark without comments so I really appreciate the few I get. Thanks again, L

This is a tiny facet of one of my favourite topics, namely Tension and Resolution and Why? Tension and Resolution is a product of acoustical physics, it happens in the laws of nature. Have a great day. L

Thanks, another attempt to try and create an atmosphere of thinking when playing even simple rhythm parts. In other words, what are the elements that make this song great? There is another unspoken topic here that is of great interest to me, George Martin, how much influence did he have in the arrangements and choice of harmonies. Given that he was a classically trained composer I have my suspicions that the influences were far greater than the average Beatles fan understands. l

I'm working on trying to integrate songs along with rhythm, melody and harmonic concepts, to tell you the truth, I'm not sure if many are getting that, is it me?

You know I'm a sucker for a kind comment.

Thanks for your kind comment and hope you continue to find value on my channel.

Yes Ken, it is interesting how tension is created. It is all related to Physics actually, the Harmonic Overtone Series, fascinating stuff. In other words our system of music has its foundations in natural laws. Have a great day. L

That's really great to hear. It is probably apparent by my videos that I consider triads and their understanding to be hugely neglected with guitar players who are playing what is fundamentally a chordal instrument. I'm making an attempt at re-educating evolving players to learn to think in triads, no matter if you are playing in a pop band or jazz or classical, triads should be an essential and fundamental part of every guitarist's vocabulary. As for "reading" actual musical notation GOOD FOR YOU. I struggled to learn to read notation in my formative years but it sure was worth it. This idea that you can learn to play the instrument by deciphering TAB and looking at pictures is really just a lie. :) I hope I can continue to provide some value to those serious about learning the foundational fundamentals of learning to play this elegant polyphonic instrument. Best, L

Thanks Ken yet again for taking the time to leave a kind comment, it's sure not the financial rewards that keep me going:) L