Registered: 1342543234 Posts: 7
Reply with quote #1
Hello to everyone. I am yet another newcomer that is so thankfull to have found this site but also a bit lost on how to decipher Ted's "intent" on a lot of his lessons (not to be confused with how to read his diagrams.. that's been very well explained and makes sense). My question is more about what exactly we are supposed to be learning from a sheet filled with a bunch of chord diagrams. Now If ted were here today he could probably answer this question with a couple sentences.. It just seems like the big picture is elluding me.
A specific example may be more explanatory so how about the top lesson in the baroque section. "10th's and inner pedals" I have studied this and it appears to be a bunch of chord inversions with keeping the middle note common. What is the point here I ask myself? Should I just commit these to memory and try to link them together using the 2 voice baroque technique? Thanks to anyone that may have more insight on these lessons. I have browsed thru the student posted lessons as well but have not seen this actual question come up. It would seem like a short paragraph (by those most knowlegeable) preceeding each lesson would be very helpful.. I know that is asking alot so not holding my breath.
Registered: 1268171845 Posts: 278
Registered: 1148888488 Posts: 1,568
Reply with quote #3
Though this is not a very good answer to your question, and I think "kontiki" (Mike) will be able to do a better and more complete job of it - you might think of Ted's lessons (especially the Baroque ones) as musical tools for composition, arranging, and improvisation. Ted got deep into the nitty-gritty of what's going on in Baroque music as far as the progressions, voice-leading, counterpoint, cadences, modulations, melody-to-harmony relationship, etc., and broke it down so we could understand these fundamental elements as useful tools for improvising or composing. Baroque and Neo-Baroque improvisation was something Ted could easily do. Not many people can do this, especially guitarists. At one time Barbara Franklin (Ted's life partner) was contemplating on assembling Ted's Baroque material into a book on Baroque Improvisation. It was a mighty task that she never started. A lot of the elements are in Ted's lesson sheets...and more will be posted in the future. __________________ --Paul
Registered: 1342543234 Posts: 7
Reply with quote #4
Thanks for the responses and link to the thread. I'm starting to accept that this material is more like an entire world and i have to choose my own journey through it. It is daunting but at the same time comforting knowing that there is so much here I will never want for more. The baroque lessons on YouTube really touched me so I'm concentrating in those but will also choose an arrangement to work on as suggested.
Registered: 1140281532 Posts: 427
Reply with quote #5
'Choosing your way' is a very good description. In your first lesson with Ted, he would often ask "So what do you want to work on? What do you want to learn?" The pages are his tools to give to his students in response to "I'd like to work on . . ."
Now-a-days we're coming at it backwards a bit. The pages sit without Ted, so your question get's asked - what can i do with this? If you have a particular objective or nine you want to work on, you can ask in the Forums what would other members recommend? From their own experience they can tell you that Ted gave them this or that when they wanted to work xyz. The info is second generation, but usually right on. I like to imagine that you are Lewis and Clarke, and the entire western US is one desert table - with Ted in a chef's hat busy in the background. (I must be hungry.) Beautiful, nourishing, but sensory, fun, and not meant to be burdensome. ("Eat your vegetables!") Ask, Ask, Ask. Ted's other gift on this site are the players and students who are here. Leon