This guy learned by ear no study of theory involved

I think it's beautiful each track is a description of a bird in music

 

Yeah it's got some good qualities for sure .
It's just not much is taking place .
Playing intervals against a chord for long periods of time .which can be fine of you like that.
It's just like listen to someone talk where they are saying a bunch words based on the ways the words sound ( not using the words as a medium for meaning and purpose)
In the same way that kind of music just has a surface level . ( It's not a bad or good )
( Just like a person saying a string of words for the phoneme or ways they sound only , that's not inherently bad or good) I just deem it " bad" to use words that way because I like to use words as a medium to transmit a deeper level and the deeper level is what matters. )
Just like that I deem this kind of music " bad"
Just because I care about music as a medium to transmit a deeper level ( not just the surface sound ) but the story told through the harmony melody and rhythm .
A visual analogy is like a motion picture compared to
A audio visualizer
Yes on surface both are shapes changing over time on screen circles triangles squares lines colors changing.however a motion picture has a deeper level with characters plots and storytelling. That deeper level is what's important not the surface level medium if shapes and lines changing over time.
Music is identical to me.
1% of value is contained in the surface level of music and 99% of value is in the deeper level.
( Same for a motion picture for me 99% is the deeper level only 1% is the lines and shapes changing surface level )

 

Last edited: Jan 9, 2020

yet he's regarded as one of the most influential guitarists of the 20th century and the bassist is regarded as the best bassist who ever came out of the British Isles

 

That's fine, it does not impact me looking at the music based on its own merit .
Any celebrity societal and psychological aspects of the person is not what I mean I'm only taking about the music portion as it exists .

Here is an an example of guitar that is 1000 times the quality .( Only looking at the music based on its own merit devoid of the human element of celebrity or had symmetrical face and blue eyes and chiseled abs etc.)

 

Just a few examples of high quality guitar .

 

I stay away from these discussions and labels for a very good reason.

I respect each person has the right to feel, believe and think in whatever manner best suits them.
There is no doubt what you have posted is high quality. Asking 'name a high-quality guitarist' to someone that has only lived in Siberia with Balalaika's and acoustic guitars would produce a different answer - probably only the ones they have heard locally because they have never heard anything outside of Siberia.
Also what people feel is high quality is different to technically defining theoretically what that is. It is a very sensitive area. While people that are die-hard musicians may categorize them on skill-sets, average Joe & Jane will probably see that as something completely different. Then you enter into the hard-rock high-quality, the funk, R%B, blues so on and so forth... so many Giants !!

 

7 billion beings live on a rock in deep space.......one percent of them are trying to disable the life support system....discuss

 

I don't think you realize it is yourself that you are
" Busting on"

The only person you are making fun of here is yourself.

I will demonstrate now that .
It is you yourself expressing that you are at a specific. Point where even demonstrable information you cannot fathom.

Here is the KEY of C major .
CDEFGABC.

There are 7 Diatonic chords in these key split into 3 categories .

Tonic- relaxed , home, heroe of story
-----+++
1.Cmaj7
3.Emin7
6.Amin7

Subdominant _ motion , tension, leaving on journey

2 Dmin7
4.Fmaj7

Dominant , motion, tension , farthest from home you can be ( villian of the story )

5 Gdominant7
7.Bmin7b5

So we have seen the 7 Diatonic chords in key of C and 3 categories those 7 fit inside of

1.Cmaj7.....Tonic
2.Dmin7......Subdom
3.Emin7.......Tonic
4 Fmaj7......Subdom
5.G7.........dominant
6.Amin7......tonic
7.Bmin7b5.....dominant.


We have seen the diatonic chords and their function.
However this is only the introduction.
( Equivilent to a 6 year old spoken language )

The next step is to understand that the functions are the thing which is important.

There are only a few blueprints for how chord progression works .

Tonic/ Subdominant/ Tonic

Tonic / Dominant / Tonic
Subdominant/ Dominant / Tonic

Those 3 blueprints constitute the entirety of chord Progressions .

( Assembled like puzzle peices )

Now that we understand that the functions are the most important thing let's see Diatonic examples of these building blocks .

Tonic/ Subdominant/ Tonic/

Cmaj7/ Fmaj7/ Emin7/
Amin7/ Dmin7/ Amin7
C6/ F6/ G6/

Next up is
Tonic/ Dominant/ Tonic/

C6/ G7/ Amin7/
G6/ Bmin7b5/ Emin7/
Cmaj7/ Bmin7b5/ Emin7
Amin7/ G7/ C6/

And lastly
Subdominant/ Dominant/ Tonic/

Dmin7/ G7/ Cmaj7/
F6/ Bmin7b5/ G6/
Fmaj7/ G7/ Cmaj7
Dmin7/ Bmin7b5/ Emin7


Now that we seen ex of the 3 sep blueprints .
Let's now see example of them combined such as to create a song section. Or progression.

Cmaj7/ Amin7/ Dmin7/ G7/

Tonic/ Subdominant/ Dominant/ Tonic/
( Except turned around to be)
Tonic/ tonic/ Subdominant/ Dominant/

Now we have a cadence in C major
Dmin7/ G7/ Cmaj6

Follows
Subdominant/ Dominant/ Tonic

Our relative minor is A harmonic minor

Bmin7b5/ E7b9/ Aminmaj

Subdominant/ Dominant/ Tonic

The cadence formula has 2 distinct cadences 1 for major and 1 for minor.

Now the very first " Non Diatonic "
Chords in C major are

The secondary dominant
The secondary cadence .

Let's first see the secondary Dominants. In C major KEY.

1.Cmajor { G7}
2.Dmin7 { A7}
3.Emin7 { B7}
4.Fmaj7 { C7}
5.G7 { D7}
6.Amin7 { E7}
7.Bmin7b5 { F#7}

Next let's see the secondary cadence for each diatonic chord .

( Remember there are 2 cadences 1 for major 1 for minor )

KEY of C major
1.Cmaj7 { Dmin7,G7}
2.Dmin7{ Emin7b5,A7b9,Dmin7}
3.Emin7{F#min7b5,B7b9,Emin7}
4.Fmaj7{Gmin7,C7,Fmaj7}
5.G7{Amin7,D7,G7}
6.Amin7{Bmin7b5,E7b9,Amin7}
7.Bmin7b5{C#min7b5,F#7b9,Bmin7b5}

The secondary dominant and secondary cadence as shown above is level 1 of " Non diatonic"
Chords.
Level 2 of non Diatonic chords
Are the
" Non Diatonic Subdominant substiutions"

Our Diatonic substiutions in the Key of C major
Are
2.Dmin7
4.Fmaj7 { F6}

The first category of non Diatonic Subdominant
Substitution are called " four minor " { IVmin}

Fmin7{ Fmin6}
Bb7
Dmin7b5
Abmaj7
Dbmaj7

( These are used in a Progression which looks like this .
Dmin7/ Fmin6/ Bb7/ Cmaj7
Or
Cmaj7/ Fmaj7/ Abmaj7/ Cmaj7
Cmaj7/ Dbmaj7/ Cmaj6/
Fmin7/ Bb7/ Cmaj7/
Dmin7/ G7/ Cmaj/ Fmaj7/ Fmin6/ Bb7/ Cmaj7
Bb7/ Cmaj7

The next " non Diatonic Subdominant substiutions"
Category is called
{ Sharp four diminished }
{#IVdim7}
In C major KEY this is
F#dim7
F# ACD#
There are 4 dominant chords in this category
F7, Ab7, B7, D7

The #IVdim7 appears like this .

Cmaj7/ F#dim7/ Dmin7/ G7/

Tonic/ Subdomsub/ Subdom/ Dominant/

Or
Cmaj7/ F#dim7/ Cmaj7

If we use the 4 dominant chords which belong to the #IV subdom we get

Tonic/ Subdominant/ Tonic

Cmaj7/ B7/ Cmaj7
C6/ F7/ Cmaj7
Cmaj7/ Ab7/ Cmaj/
C6/ D7/ Cmajor

The next level of non Diatonic substitutions
Is
" Non Diatonic Dominant substiutions"

In the KEY of C major
We have 1 Diatonic dominant chord
G7 Gdominant7 GBDF
In the relative minor A minor
We have 1 Diatonic dominant chord
E7 Edominant7 EG#BD ( A harmonic minor )

Our first non Diatonic Dominant substitution
Is called the
" Tritone substitution"
G7 is
GBDF
1357
C#7 ( it's Tritone substitution)
Is
C#FG#B
1357
Notice how G7 3rd and 7th are Band F
C#7 3rd is F and 7th is B
Because in a dominant chord the 3rd and 7th are the most important ( tritone)
If we for a Dominant chord a Tritone away from the root of G7 we get C#7 .
This gives us the first Substitution.

G7 gets C#7
Example in a cadence
Key of C major
Dmin7/ G7/ Cmaj/
Dmin7/ C#7/ Cmaj/

Next up is the relative minor
A harmonic minor
Bmin7b5,E7,Amin7
E7 is the V7 chord or dominant chord in A minor.

It's Tritone Substitution is
Bb7
E7
EG#BD
1357
A#7 is
A# DFG#
E7 3rd is G# 7th is D
A#7 3rd is D 7th is G#
Now just like before the dominant chord has a Tritone sub.

This means that in the Key of C major A relative minor.
We have 4 dominant chords in a family.
G7
C#7( Dd7
E7
A#7 ( Bb7

But if we look close at these 4 dominant chords
We see that the
Bdiminished7 chord
BDFG# contains all 4 of these 7th dominant chords.

So we group together these 4 dominant chords as family into 1 group
Bdim7 BDFG#

This introduces us to the symmetrical chord.
Bdim7 BDFG#
Is built from minor 3rds stacked
B to D, D to F, F to G# ( Ab)
The property of Symmetrical chords and scales is that they contain many keys.
Bdim7
BDFG# ( G7b9 no root
BDFG# ( E7b9 no root
BDFG#. ( C#7b9 no root
BDFG# ( A#7b9 no root

We seen this with our #IV dim chord as well
( Non Diatonic Subdominant substiuttion)
In this case
F#dim7
F#ACD#. ( F7b9 no root
F#ACD# ( G#7b9 no root
F#ACD#. ( B7b9 no root
F#ACD#. ( D7b9 no root

We now have seen 8 dominant chords in relation to the C major KEY
4 in the Bdim7 ( dominant category)
4 in the F#dim7 ( subdom category )

This means we only have 1 diminished7 chord left as well as it's 4 dominant chords built inside of it .
Edim7
EGA#C#
Containing
D#7, F#7, A7, C7,

A7 is the V7 of Dmin7 ( in C major )
It's Tritone Substitution is
D#7.
So in the progression.
Cmaj7/ Cmaj7/ Dmin7/ G7/
Cmaj7/ A7/ Dmin7/ G7/
Cmaj7/ D#7/ Dmin7/ C#7/ Cmajor

That is 2 of the dominant chords in Edim7

Next we have

C7 is V7 of Fmaj7 ( other Subdominant in C

F#7 is Tritone substitution of C7 .

So in Progressions
Cmaj7/ Cmaj7/ Fmaj7/ Cmaj7/
Cmaj7/ C7/ Fmaj7/ Cmaj7/
Cmaj7/ F#7/ Fmaj7/ Cmaj7/

Now we have seen all three Diminished7 chords .
Which contain inside of them all 12 dominant chords.
We have seen how each one of these dominant chords relates to the KEY of C major .
(
We can see that once we expand beyond the Diatonic into the non Diatonic categories .
That the dominant chord makes the most appearances note than any other chord type
While in the KEY of C major .

 

I hope the above comment I wrote to you , starts to clear up all your misunderstandings with music theory. ( Although it would have been more helpful for you to explain what places you are " stuck " at and having difficulty with .)
Please quote any specific bit of information in the above comment if you want it clarified.or if you dont understand it.

 

I tend to agree

 

MMJ, Would you mind if I ask just 2 questions?

1. Why do most people around the world not like Jazz?
2. What are the problems of Jazz? (theoretically and practically)

If you want to make me happy, just find very satisfying answers for those questions (especially the second one) and give the Jazz a wide berth. I'm eagerly waiting for your regeneration.

 

Your are just making assumptions .
It's not a question.

" When did you stop beating your wife?"

" If your wife spoke more gentle to you , would you stop beating her every 10 mins?"

Even to reformulate a legitimate question out by removing your assumptions would end up with .

" Why do people like things or dislike things?"

That just has to do with people .
The attributes of human beings

We can look at your "questions" another way

"Why do most people around the world not study the mathematics and engineering principles involved in creating the newest iPhone , cellphone's and computers?"

" What are the problems with assembling microchip using schematics ?"

It would be much better if you just describe the assumptions you are making as a question

What do you think are the " problems" of jazz?

I never heard such a phrase until you just said it
What does that mean?

And your other question.
What makes you think you know what " most people around the world " like or not like?
What is your source of information for which you make these assumptions ?

 

Last edited: Jan 10, 2020

It seems you don't want to make me happy ...

 

I'm fine with making you happy , I enjoy to make people happy.
We just first need to find out what you mean by what you are expressing.
I'm not in your head with you right now.
( You do realize that you have a whole backstory attached to each of those comments which you didn't divulge .)
If we could just start off with whether me and you have a way to say what most people around the world like or dislike on anything ?
( From what I can tell that which I imagine of people in thought is virtual . The 8 billion people outside my head are real and I haven't met them and asked them )
Most people are not interested in becoming brain surgeons.
Most people don't learn and study to build your computer and cell phone.
What most people do is not indicative of too much from what I can tell.
Most people dont excersise properly.
Most people don't read books everyday
We can go down the line millions of things.

What most people do has no impact on anything even when you can actually show that is factual .
" Most people don't do or like {X}"

It has no impact on X
It's just about people.

Most people do not drink enough fresh water.
Does that mean fresh water is a bad thing?

If we look at you 2nd question that's more interesting.

What are the problems with jazz?

I'm still trying figure out what you mean here.
Do you mean what is difficult about learning to play jazz ?
Like what are the broken down things to learn ?
Or do you mean that there is some inherent flaws in jazz?
I'm not sure what you mean.

What happens when you hear jazz?
What does it sound like to you?
I don't know where you ears are at or what patterns you reconizing when you hear music.
Do you only hear each separate sound note etc?
Or if there was 7 chords from C major key
Does you ears hear 1 object as if it was one chord ?

 

Last edited: Jan 10, 2020