Chords for Andy Timmons Guitar Lesson - Intellectual vs. "Auralectual" - Melodic Muse
Tempo:
73.85 bpm
Chords used:
Gm
C
D
A#
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
So let me discuss a little bit about my thought on this intellectual versus
auralectual concept.
Now we can break down very specifically, and we're going
to do that throughout this course, in an intellectual way.
We can
analyze chord progressions and note choices with those chords that, you know,
it's very academic.
You know, there's chord tone versus non-chord tone, and
playing certain scalar notes over certain chords and how that can
constitute being a melody.
And there's lots of great information that we're
going to get into in that regard.
So that's the intellectual side, and that's
stuff that can be taken in visually as well as orally.
Now the auralect side of
it is, I'm really convinced that we learn very differently through our ears than
our eyes, right?
And music certainly is first and foremost an aural experience.
Certainly with the advent of MTV and etc.
there's visual aspects as
well, but it's mainly something to be taken into our ears, and that's how we
really internalize it best, and that's how we feel, really feel the emotion of
the particular music happening at the time.
So the auralect that I'm talking
about is the ears instinct that has developed over time, and I believe
that's guided through everything that you've kind of taken in through years.
I consider that there's kind of a library in the back of whatever the
mind of the ear may be called.
This is stuff I haven't seen in any textbooks.
I'm just kind of trying to conceptualize and communicate to you how I've kind of
developed this.
And it's this library of ideas that we collect throughout
our lives, that the music that has connected with us, that has made us feel
something, that all gets stored, I think.
And when we're improvising or we're
composing, I believe we're drawing upon some of those experiences as our
benchmark of kind of what we'd like to hear.
I feel as the player or the
composer, we're trying to create what we really want to hear.
It's
essentially, initially a very selfish thing, and you're hoping, obviously you're
hoping to reach other people.
But first and foremost, we have to be honest with
ourselves.
What's going to make us feel a certain thing?
What's going to help us
convey how we're feeling?
And so we're drawing on that auralect, that
experience of what has moved us and what we love, what we want to hear.
And so throughout our lives, as we [Gm] journey on through the process of
learning the guitar, I think we're trying to connect those two things.
And I think
when I'm playing my best, I'm not using my intellect, I'm using my auralect, in
that I'm drawing upon those experiences.
I'm not really thinking about it.
I can stop and think and tell you theoretically what's going on.
I have
that kind of knowledge of the fretboard and music and theory and all that, that
I've studied, that I can explain to you specifically what's going on.
But in
the moment when things are really great, I'm not thinking about that at
all, but I'm hearing it.
And that's the auralect.
My ear is guiding me from
one note to the next.
What do I want to hear?
If I'm playing that
G minor [C] chord and I'm playing a [D] C, that note wants [A#] to
[G] I immediately hear it going somewhere.
And that's a melody.
Getting [E] from point A to point B, and it could be one note.
A melody doesn't have
to be a million notes.
John Lennon was brilliant at
having a one-note melody, changing the harmony underneath it.
[Em] [F#m] [B]
I believe when I
remember hearing [A] an early run-through of Lucy in the Sky, he was singing
[F#] [A#m] I [F] think Paul had a little influence with getting him to ebb and flow with
that melody.
So it doesn't have to be complicated.
Melody doesn't have to be
especially clever.
It can just be simple.
And sometimes that's the
beauty.
That auralect is what guides that instinct.
Do I need just the one note?
Do I need some kind of more dynamic range?
As I've always said in earlier courses, the strength of the ear is
one of the most important things.
We're going to do some ear training exercises
later in this course, too.
Because as much as you may be learning visually, which is
so valuable, and I do it too.
I love watching all these videos.
I wish I had
more time to watch all the True Fire videos.
There's so many amazing courses
out there.
And it's so helpful to watch the player demonstrate.
But
really what's going to develop your auralect is separating yourself from the
visual and really developing the aural.
And that's through ear
training and really learning how to internalize these [N] melodies.
auralectual concept.
Now we can break down very specifically, and we're going
to do that throughout this course, in an intellectual way.
We can
analyze chord progressions and note choices with those chords that, you know,
it's very academic.
You know, there's chord tone versus non-chord tone, and
playing certain scalar notes over certain chords and how that can
constitute being a melody.
And there's lots of great information that we're
going to get into in that regard.
So that's the intellectual side, and that's
stuff that can be taken in visually as well as orally.
Now the auralect side of
it is, I'm really convinced that we learn very differently through our ears than
our eyes, right?
And music certainly is first and foremost an aural experience.
Certainly with the advent of MTV and etc.
there's visual aspects as
well, but it's mainly something to be taken into our ears, and that's how we
really internalize it best, and that's how we feel, really feel the emotion of
the particular music happening at the time.
So the auralect that I'm talking
about is the ears instinct that has developed over time, and I believe
that's guided through everything that you've kind of taken in through years.
I consider that there's kind of a library in the back of whatever the
mind of the ear may be called.
This is stuff I haven't seen in any textbooks.
I'm just kind of trying to conceptualize and communicate to you how I've kind of
developed this.
And it's this library of ideas that we collect throughout
our lives, that the music that has connected with us, that has made us feel
something, that all gets stored, I think.
And when we're improvising or we're
composing, I believe we're drawing upon some of those experiences as our
benchmark of kind of what we'd like to hear.
I feel as the player or the
composer, we're trying to create what we really want to hear.
It's
essentially, initially a very selfish thing, and you're hoping, obviously you're
hoping to reach other people.
But first and foremost, we have to be honest with
ourselves.
What's going to make us feel a certain thing?
What's going to help us
convey how we're feeling?
And so we're drawing on that auralect, that
experience of what has moved us and what we love, what we want to hear.
And so throughout our lives, as we [Gm] journey on through the process of
learning the guitar, I think we're trying to connect those two things.
And I think
when I'm playing my best, I'm not using my intellect, I'm using my auralect, in
that I'm drawing upon those experiences.
I'm not really thinking about it.
I can stop and think and tell you theoretically what's going on.
I have
that kind of knowledge of the fretboard and music and theory and all that, that
I've studied, that I can explain to you specifically what's going on.
But in
the moment when things are really great, I'm not thinking about that at
all, but I'm hearing it.
And that's the auralect.
My ear is guiding me from
one note to the next.
What do I want to hear?
If I'm playing that
G minor [C] chord and I'm playing a [D] C, that note wants [A#] to
[G] I immediately hear it going somewhere.
And that's a melody.
Getting [E] from point A to point B, and it could be one note.
A melody doesn't have
to be a million notes.
John Lennon was brilliant at
having a one-note melody, changing the harmony underneath it.
[Em] [F#m] [B]
I believe when I
remember hearing [A] an early run-through of Lucy in the Sky, he was singing
[F#] [A#m] I [F] think Paul had a little influence with getting him to ebb and flow with
that melody.
So it doesn't have to be complicated.
Melody doesn't have to be
especially clever.
It can just be simple.
And sometimes that's the
beauty.
That auralect is what guides that instinct.
Do I need just the one note?
Do I need some kind of more dynamic range?
As I've always said in earlier courses, the strength of the ear is
one of the most important things.
We're going to do some ear training exercises
later in this course, too.
Because as much as you may be learning visually, which is
so valuable, and I do it too.
I love watching all these videos.
I wish I had
more time to watch all the True Fire videos.
There's so many amazing courses
out there.
And it's so helpful to watch the player demonstrate.
But
really what's going to develop your auralect is separating yourself from the
visual and really developing the aural.
And that's through ear
training and really learning how to internalize these [N] melodies.
Key:
Gm
C
D
A#
G
Gm
C
D
_ _ _ _ _ So let me discuss a little bit about my thought on this intellectual versus
auralectual concept.
_ Now we can break down very specifically, and we're going
to do that throughout this course, in an intellectual way.
We can
analyze chord progressions and note choices with those chords that, you know,
it's very academic.
You know, there's chord tone versus non-chord tone, and
playing certain scalar notes over certain chords and how that can
constitute being a melody.
And there's lots of great information that we're
going to get into in that regard.
So that's the intellectual side, and that's
stuff that can be taken in visually as well as orally.
Now the auralect side of
it is, I'm really convinced that we learn very differently through our ears than
our eyes, right?
And music certainly is first and foremost an aural experience.
Certainly with the advent of MTV and etc.
there's visual aspects as
well, but it's mainly something to be taken into our ears, and that's how we
really internalize it best, and that's how we feel, really feel the emotion of
the particular music happening at the time.
So the auralect that I'm talking
about is the ears instinct that has developed over time, and I believe
that's guided through everything that you've kind of taken in through years.
I consider that there's kind of a library in the back of whatever the
mind of the ear may be called.
This is stuff I haven't seen in any textbooks.
I'm just kind of trying to conceptualize and communicate to you how I've kind of
developed this.
And it's this library of ideas that we collect throughout
our lives, that the music that has connected with us, that has made us feel
something, that all gets stored, I think.
And when we're improvising or we're
composing, I believe we're drawing upon some of those experiences as our
benchmark of kind of what we'd like to hear.
I feel as the player or the
composer, we're trying to create what we really want to hear.
It's
essentially, initially a very selfish thing, and you're hoping, obviously you're
hoping to reach other people.
But first and foremost, we have to be honest with
ourselves.
What's going to make us feel a certain thing?
What's going to help us
convey how we're feeling?
And so we're drawing on that auralect, that
experience of what has moved us and what we love, what we want to hear.
And so throughout our lives, as we [Gm] journey on through the process of
learning the guitar, I think we're trying to connect those two things.
And I think
when I'm playing my best, I'm not using my intellect, I'm using my auralect, in
that I'm drawing upon those experiences.
I'm not really thinking about it.
I can stop and think and tell you theoretically what's going on.
I have
that kind of knowledge of the fretboard and music and theory and all that, that
I've studied, that I can explain to you specifically what's going on.
But in
the moment when things are really great, I'm not thinking about that at
all, but I'm hearing it.
And that's the auralect.
My ear is guiding me from
one note to the next.
What do I want to hear?
If I'm playing that
G minor [C] chord and I'm playing a [D] C, _ that note wants [A#] to_
_ [G] I immediately hear it going somewhere.
And that's a melody.
Getting [E] from point A to point B, and it could be one note.
A melody doesn't have
to be a million notes.
John Lennon was brilliant at
having a one-note melody, changing the harmony underneath it.
[Em] _ _ [F#m] _ _ _ [B]
I believe when I
remember hearing [A] an early run-through of Lucy in the Sky, he was singing_ _
[F#] _ _ [A#m] I [F] think Paul had a little influence with getting him to ebb and flow with
that melody.
So it doesn't have to be complicated.
Melody doesn't have to be _
especially clever.
It can just be simple.
And sometimes that's the
beauty.
_ That auralect is what guides that instinct.
Do I need just the one note?
Do I need some kind of more dynamic range?
_ As I've always said in earlier courses, the strength of the ear is
one of the most important things.
We're going to do some ear training exercises
later in this course, too.
Because as much as you may be learning visually, which is
so valuable, and I do it too.
I love watching all these videos.
I wish I had
more time to watch all the True Fire videos.
There's so many amazing courses
out there.
And it's so helpful to watch the player demonstrate.
But
really what's going to develop your auralect is separating yourself from the
visual and really developing the aural.
And that's through ear
training and really learning how to internalize these [N] melodies.
auralectual concept.
_ Now we can break down very specifically, and we're going
to do that throughout this course, in an intellectual way.
We can
analyze chord progressions and note choices with those chords that, you know,
it's very academic.
You know, there's chord tone versus non-chord tone, and
playing certain scalar notes over certain chords and how that can
constitute being a melody.
And there's lots of great information that we're
going to get into in that regard.
So that's the intellectual side, and that's
stuff that can be taken in visually as well as orally.
Now the auralect side of
it is, I'm really convinced that we learn very differently through our ears than
our eyes, right?
And music certainly is first and foremost an aural experience.
Certainly with the advent of MTV and etc.
there's visual aspects as
well, but it's mainly something to be taken into our ears, and that's how we
really internalize it best, and that's how we feel, really feel the emotion of
the particular music happening at the time.
So the auralect that I'm talking
about is the ears instinct that has developed over time, and I believe
that's guided through everything that you've kind of taken in through years.
I consider that there's kind of a library in the back of whatever the
mind of the ear may be called.
This is stuff I haven't seen in any textbooks.
I'm just kind of trying to conceptualize and communicate to you how I've kind of
developed this.
And it's this library of ideas that we collect throughout
our lives, that the music that has connected with us, that has made us feel
something, that all gets stored, I think.
And when we're improvising or we're
composing, I believe we're drawing upon some of those experiences as our
benchmark of kind of what we'd like to hear.
I feel as the player or the
composer, we're trying to create what we really want to hear.
It's
essentially, initially a very selfish thing, and you're hoping, obviously you're
hoping to reach other people.
But first and foremost, we have to be honest with
ourselves.
What's going to make us feel a certain thing?
What's going to help us
convey how we're feeling?
And so we're drawing on that auralect, that
experience of what has moved us and what we love, what we want to hear.
And so throughout our lives, as we [Gm] journey on through the process of
learning the guitar, I think we're trying to connect those two things.
And I think
when I'm playing my best, I'm not using my intellect, I'm using my auralect, in
that I'm drawing upon those experiences.
I'm not really thinking about it.
I can stop and think and tell you theoretically what's going on.
I have
that kind of knowledge of the fretboard and music and theory and all that, that
I've studied, that I can explain to you specifically what's going on.
But in
the moment when things are really great, I'm not thinking about that at
all, but I'm hearing it.
And that's the auralect.
My ear is guiding me from
one note to the next.
What do I want to hear?
If I'm playing that
G minor [C] chord and I'm playing a [D] C, _ that note wants [A#] to_
_ [G] I immediately hear it going somewhere.
And that's a melody.
Getting [E] from point A to point B, and it could be one note.
A melody doesn't have
to be a million notes.
John Lennon was brilliant at
having a one-note melody, changing the harmony underneath it.
[Em] _ _ [F#m] _ _ _ [B]
I believe when I
remember hearing [A] an early run-through of Lucy in the Sky, he was singing_ _
[F#] _ _ [A#m] I [F] think Paul had a little influence with getting him to ebb and flow with
that melody.
So it doesn't have to be complicated.
Melody doesn't have to be _
especially clever.
It can just be simple.
And sometimes that's the
beauty.
_ That auralect is what guides that instinct.
Do I need just the one note?
Do I need some kind of more dynamic range?
_ As I've always said in earlier courses, the strength of the ear is
one of the most important things.
We're going to do some ear training exercises
later in this course, too.
Because as much as you may be learning visually, which is
so valuable, and I do it too.
I love watching all these videos.
I wish I had
more time to watch all the True Fire videos.
There's so many amazing courses
out there.
And it's so helpful to watch the player demonstrate.
But
really what's going to develop your auralect is separating yourself from the
visual and really developing the aural.
And that's through ear
training and really learning how to internalize these [N] melodies.