tigerstrat wrote:Ditto, in this context that "G#m" is a rootless partial of Emaj7, leaving the root to be played by other (assumed) instruments.
I realize I am reverting my usual thorny nitpick self a bit early for a Tuesday, but for a vid titled "Nailing the Rhythm", this seems to be an examination of different ways to voice Emaj7 , with no discussion of different approaches or flavors to the rhythm itself.
Probably time for me to "put up or shut up", just like the man says. I'm going to firmly resolve to stay mum on any critiques I may have on vid instructionals, at least until I have a similar capability to respond in vid form.
The questions I've always had and remain confused about are what the heck are they really doing in the intro and during the instrumental. I like terry's thoughts, but it kind of sounds to me like in the intro Jerry goes Emaj7 (7th pos) > Dmaj7 (5th pos) > Emaj7 (4th pos - like a C in the 1st).
It's C#m/E (or "Emaj6") http://community.rukind.org/viewtopic.p ... da44a96c90
Does the instrumental resolve to A or just go back and forth from Bm to Emaj7? I like the A resolve...
Mostly it just goes the E to the B and back, but the A gets gradually worked in as subtly and elusively as possible, then sometimes JG would emphasize it, apparently to cue everyone to "reel it in" and create an opening for 2nd or 3rd verse.