Just Got Tim Lerch's "Art of Two Note Accompaniment"

**DRS** · 08-30-2014, 04:58 PM

Just bought Tim Lerch's masterclass "Art of Two Note Accompaniment" from Jazz Guitar Society
I'm enjoying it. It makes sense and it's not overloading my walnut sized brain. Anyone else try it?

**MarkRhodes** · 08-30-2014, 05:27 PM

It's on my want list but that's a pretty long list. I follow Tim on Facebook---he's a super nice guy, great player, and teaches in a down-to-earth way that I appreciate. Let us know what you learn from him about two-note accompaniment.

**woland** · 08-30-2014, 05:28 PM

Seems like nice stuff. I may grab it. I play with piano player in our jam so I need to be extra mindful about not crowding the sonic space. Thanks for posting it.

**NSJ** · 08-31-2014, 10:37 AM

Some concepts I worked with with this-

1. You really gotta get the P4s and tritones (for dom7 chords) for each chord in a key. Practice it until transition from any chord in a key to any other chord in the key becomes automatic. (I to vi, iv to vii, ii to V, iii to vi, etc)

2. First give the top note the same rhythm as the GTs (half notes, eg). Then subdivide the top note rhythms (quarter notes vs half notes for the GTs)

3. It's easier for to think of the top note as vis a vis the key vs chord by chord (the latter is the way Tim thinks).

4. really map out technically the note possibilities on the top 3 strings (the melody notes). Know where everything is cold, first independently then against the various GT possibilities.

5. Tim really does not go over the issue of "technical facility", which he mentions in passing. Easy for him, cause he's great and his lines are always tasteful. But the devil is in the technical nuts and bolts details.

6. It's pretty easy and very worthwhile to transfer the GT concepts to strings 6 and 5, which he mentions only in passing at the end.

**Rob MacKillop** · 08-31-2014, 11:43 AM

GT?

**MarkRhodes** · 08-31-2014, 12:02 PM

Originally Posted by Rob MacKillop

GT?

I read that as "guide tones" but it may mean something else.

**Rob MacKillop** · 08-31-2014, 12:30 PM

I'm disappointed. I was thinking Gin and Tonic...

**MarkRhodes** · 08-31-2014, 02:26 PM

Originally Posted by Rob MacKillop

I'm disappointed. I was thinking Gin and Tonic...

Coupla Gin and Tonics and I lose track of the Guide Tones....

**NSJ** · 08-31-2014, 03:57 PM

Originally Posted by Rob MacKillop

GT?

Ya, guide tones. In the video Tim uses the term "Essence chords". Because they form the essence of the chord.

GTs on two successive strings form a P4 (7 to 3), a P5 (3 to 7), or a tritone (Dom 7). Those are the only possibilities. That knowledge alone is a very useful fingerboard organizing tool. His focus in the video is 7 to 3 (P4) and tritones.

I recommend this video highly. I'm gonna use some of it on a new project with a double bassist and a singer. excellent compimg ideas that don't get in the way but add a lot musically. As well as excellent ideas for chord solos

**MarkRhodes** · 08-31-2014, 06:49 PM

Originally Posted by NSJ

Ya, guide tones. In the video Tim uses the term "Essence chords". Because they form the essence of the chord.

GTs on two successive strings form a P4 (7 to 3), a P5 (3 to 7), or a tritone (Dom 7). Those are the only possibilities. That knowledge alone is a very useful fingerboard organizing tool. His focus in the video is 7 to 3 (P4) and tritones.

I recommend this video highly. I'm gonna use some of it on a new project with a double bassist and a singer. excellent compimg ideas that don't get in the way but add a lot musically. As well as excellent ideas for chord solos

I do want this. I think Tim's a great player and from what I've seen on Facebook, he seems like a good teacher. I think this would be great for me because I do a lot of comp / sing stuff and as much as I love swing comping, a little of it goes a long way....

**DRS** · 09-01-2014, 04:57 PM

Well, it's $15 so it's an easy decision.

**edh** · 09-01-2014, 07:52 PM

$15...where. Amazon

**basinstreet** · 09-02-2014, 08:02 AM

Originally Posted by NSJ

GTs on two successive strings form a P4 (7 to 3), a P5 (3 to 7), or a tritone (Dom 7). Those are the only possibilities. That knowledge alone is a very useful fingerboard organizing tool. His focus in the video is 7 to 3 (P4) and tritones.

Going to wade in with a stupid question here, but thats what I joined up for.

Taking a g7

7 to 3 is F to B = sharp 4

3 to 7 is B to F = flat 5

how do you see them as perfect 4th/5ths?

Cheers

edit - damn, i think i have realised - obviously that is the case for dominant chords - hence tritone.

**MarkRhodes** · 09-02-2014, 09:18 AM

Right, I was about to say just that....

I'm increasingly intrigued by this material. I play solo and this seems like a great way to give liven up some of the tunes I play and sing.

**DRS** · 09-02-2014, 12:59 PM

Originally Posted by edh

$15...where. Amazon

No, Jazz Society - the link is in my first post.

**dingusmingus** · 09-02-2014, 02:18 PM

Cool, thanks Navdeep. One question:

Originally Posted by NSJ

Some concepts I worked with with this-

...

4. really map out technically the note possibilities on the top 3 strings (the melody notes). Know where everything is cold, first independently then against the various GT possibilities.

So were you working with guidetones on strings 4&5, with melody on 1, 2, 3? Until recently, I'd been working on guidetones on the middle strings--3 and 4--but just last week at the suggestion of my teacher started thinking about guidetones on 4 & 5 in order to free up more strings for the melody. A funny synchronicity that this comes up now.

Edit: just watched the video. Seems to be right on point. Very cool.

**NSJ** · 09-02-2014, 03:15 PM

Originally Posted by dingusmingus

Cool, thanks Navdeep. One question:

So were you working with guidetones on strings 2&3, with melody on 4, 5, 6? Until recently, I'd been working on guidetones on the middle strings--3 and 4--but just last week at the suggestion of my teacher started thinking about guidetones on 2 & 3 in order to free up more strings for the melody. A funny synchronicity that this comes up now.

Edit: just watched the video. Seems to be right on point. Very cool.

Just for clarification purposes, I name the strnigs 1 to 6 from highest to lowest. So, strings 4 and 5 would be the "D" string and the "A" string. the High "E is 1, the low "E" is 6; so melody would be on 1,2 and 3--the top three high strings. ("G", "B" and "E").

**dingusmingus** · 09-02-2014, 03:37 PM

Right you are Navdeep--I used the wrong numbers. I've corrected that now--thanks.

**Liarspoker** · 09-23-2014, 01:39 PM

I purchased today.

First few exercises were easy as I have been working on double stops myself however the addition of a nice melody line sends this kind of playing into the stratosphere.

As I see it my comping in a band situation will improve, my chord melody playing will improve (once I can play a few choruses of this stuff) plus maybe now I can solo in my duo situation.

A win/win/win situation.

**nado64** · 09-23-2014, 02:23 PM

I purchased friday.

I would like to auto-comp my improvisations.

Roughly speaking, the method is to play the "two strings chords" mainly on the A string and the D string.
Put the chord on the first beat and on the third beat if there are two chords in the bar.

Play the melody (or the voice-leading) on the G string, the B string and the e string.
For each chord type and form : m7/P4, m7/P5, maj7/P4 , maj7/P5 ,triton 3-7 and triton 7-3, you need to learn the position of the notes of the scale on the fretboard than you can get (only, on the three high strings).

In my opinion, it's a great start to play chords with a melody.
If someone reaches to integrate this method in his play, he'll have a very strong fundation to improve it.

I feel the era to play narrow, so, the main difficulty to me is to play interesting melodies.

Does someone try the masterclass by Steve Herberman on the same subject ?

**MarkRhodes** · 09-23-2014, 02:47 PM

Question for those of you working with Tim Lerch's 2-note comping material.

I am working on my walking bass / comp skills, focusing on "All The Things You Are" and "Just Friends."

Would working with Tim's material be difficult to master at the same time?

**TLerch** · 09-23-2014, 03:47 PM

Hi Guys,
it was brought to my attention that there was a thread on my master class. I would be happy to answer any question that arise if I can. Thank you for getting the word out about my teaching.
all the best
Tim Lerch

**Melodic Dreamer** · 09-23-2014, 07:36 PM

ATTYA was mentioned in another post. I was wondering if you would be able to (use ATTYA for example) play a tune using this method. I'm not asking you do break it down since you have the master class, but was wanting to hear it in action before committing. There is so much stuff out there its a little overwhelming at times.