Here is a sneak peak into the coming Harp Harmonic Course to be released in mid November. This course is going to cover everything from basic harmonic technique to playing legato scales using harmonics to playing complex phrase textures using harmonics. As well as getting Bill Evans style pianistic chord voicing through the alteration of chord voicing with harmonics.
In this video Nathaniel shows you the basic techniques behind the ‘harp harmonic’ effect, which was made famous by players such as Chet Atkins and Lenny Breau.
Part one covers the basic technique and basis for building more complex textures using this technique. Nathaniel begins with the open strings at the 12th fret and expands into moving that up chromatically, then into playing a basic major scale with a combination of harmonics and hammer-on / pull-offs and how to move this up the neck of the guitar.
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In today’s episode Nathaniel brings you a lesson on chord substitution, this will be a continuing series. To get things started we will talk about the tritone substitution. Get in touch if you have any questions or just want to say hi and enjoy!
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In this Hit and Run a G7#5#9 phrase has stuck without warning! You do not want to let this one get away from you
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Welcome to the new and hopefully improved Jazz Supplement Podcast! What has changed? Well, I have gone from a daily podcast to a weekly podcast in hopes to bring you a better experience. Primarily because I wanted to delve more deeply into the line and other topics and I felt that a daily podcast was just too rushed to do so!
I am also in the midst of getting free video lesson’s out to you as well as an eBook and several mini courses on various topics such as Bossa Nova rhythm, cascading harp harmonics, self comping and more!
So in this new podcast I plan to help you with learning these line by analyzing them for you first of all! Also by talking about some other options for the lines outside of the given progression and talking about recommended practice routines, biographical and historical information and so on.
Episode One vi – ii – V7 – I Bebop line
In today’s podcast I am bringing you a great bebop line from Joe Pass. Pass is such a great player and you really cant go wrong transcribing his stuff. If you are not familiar with him I would highly recommend you check out this guy! Even if you are familiar with Joe Pass now is a great time to delve a little deeper! I would recommend you start with his album of Django’s music. It is GREAT!
I also talk about taking a portion of this phrase and applying it to a ii -V7 cycle as well as practicing it chromatically.
Enjoy and don’t forget to subscribe!
I am very excited to announce that my newest album is now available for digital download! This is the first album that Nastassia, my beautiful wife, and I have collaborated! I have long desired to collaborate and produce an attractive, and enjoyable collection of this unique artistic blend of guitar and vocals. We chose the jazzy harmonious sounds of the 1930s for it’s remarkable individualized expression of song, as well as other great tunes with our own interpretations. It is our hope that we captured the life and fervency of this one-of-a-kind music, and that it continues to live on.
You can check it out Here
Or on iTunes
Tonight I am writing studies for my upcoming eBook on solo guitar technique, release date is TBA. Subscribe to keep up to date on its progress and for more sneak peaks!
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Many thanks to Neal Fitzpatrick for taking the time to write this wonderful piece on my composition. Which he took part in performing!
“I had the great fortune of being part of a trio that premiered a new work for guitar, vibraphone and flute by the composer Nathaniel Moore. The work was one of three winning works commissioned by Dr. S. Beth May and the music department at Northwest Vista College in San Antonio, TX. The work is titled “Unbidden Shadows of The Unintended”. Nathaniel wrote this as undergraduate student but the work showed a maturity in compositional technique and musical knowledge far beyond his undergrad status. The first section is modern in feel but at the same time is a classic introduction, drawing both the performer and audience into the experience with strong motifs. The middle section is followed by a very rhythmic, syncopated section and acts as great contrast to the introduction. There is a hint of the introduction before the work takes us to the lento final section, a section I can only describe as exquisite. The play between the three instruments is perfectly balanced and the attention to the interplay, voicing, volume, and timbre shows advanced skill in chamber music composition. I am one of those musicians who feel it is important for the composer to take into the consideration for what instruments they are composing.I reject the modern notion held by some composers that the instruments don’t count and that the music itself is supreme. I believe one must consider the medium when composing. This is a challenge that Nathaniel met head on with great success. There were no “lost” or “buried” notes. All the notes count rhythmically and aurally.
Since we are well under way into the 21sst century it is not surprising that SHADOWS (original chamber ensemble piece by Mr. Moore) does reflect modern times. The piece at times has the energy and language of rock music as well as the timbre and space of what one might call ambient music. It is firmly in the tradition of western music composition but is undeniably a work whose ink is still not quite dry.
…SHADOWS OF THE UNINTENDED is a first rate chamber music work and one I highly recommend for any guitarist looking for a fine chamber music experience.” – Neal Fitzpatrick, Classical Guitarist and Yale Graduate. “
To be excellent in everything you do is to live a life of fulfillment. That, whatever your occupation may be; you do it to the best of your abilities.