Young girl CAN play and WILL inspire other kids to play. She leaning heavy on 70s rock, Sly Stone, Derek Trucks…

Laufey (pronounced LOI-ve) is from Iceland. Chinese mom and Icelandic dad play in the philharmonic. She was stuck in her dorm at Berklee in Boston during COVID and started posting videos.

My daughter clued me in last summer, 2023. We’re gonna catch her on Saturday. She’s selling out 5,000+ theaters and just got a grammy for pop vocal.

Nora Jones vibes in that she’s made pop music out of jazz that doesn’t require a nervous ear to listen. Next big thing.

The old Top Gear UK used this as the intro credit sountrack.

Katie Pruitt: Out of the Blue
Capo 2nd fret. (Calling out chords as though there were no capo. Otherwise I’ll get lost in sharps because it’s in F#…)
Time is in 3/4

Emaj7 to Amaj7 … beautiful use of open strings

When she sings, starts on Emaj7 and then there is a D#m7 for 2 beats to G#m7 before landing on Amaj7. Why does that work? D# is the maj7 of Emaj7. G# is the maj7 of Amaj7. D# to G# is also a secondary dominant. (I know this by shape/arpeggio. I don’t have all the notes in every chord memorized. But I know where my 1-3-5-7 are based on CAGED shapes and learning the underlying arpeggios.)
Fucking brilliant.

Second cool move is F#m7 subbing for an A chord since the upper triad in F#m7 is an A major chord.

3rd cool move is going from A to Am before landing home on E. Thats the ol’ lV to lVm songwriting trick. Except the IV is subbed for a 7th chord that has the IV as the upper triad.

Man! I hope Jason Isbell, Sturgill or Brandi Carlile or one of these other great songwriters take her on tour. Chris Stapleton, Derek/Susan… someone get this girl in front of your audience.

The correct video this time….

Call put chord tones

Supreme wankery here. Carry on.

I just want Jamie to know his audience here isn’t always online when he’s live.

Actually, now that I’m seeing chords and not scales, I need to overlap Maj Pent over C in each of the positions and do the same for Minor Pent. Practice a bit more deliberately in swapping between the two in each position and really nail channeling either SRV for min and Dickey Betts for major n each position. Create little licks and runs that end on the 1, the 3, the 5. (Or flat 3, in minor..)
Maybe go print some of that Level 2 content from GuitarGate.

I get what you’re on about. Need a minute to assimilate.

Derp derp derp
I always looked at playing 6ths (3rd on the G-string, Root on the E-string) in terms on an E-shaped chord. Whether the 3rd was a fret higher or even with the root is what made it major/minor.

Turns out playing from the perspective of an E-shaped bar chord… F (xxx3x1) and playing Dm (xxx5x5) are the SAME DAMN THING!!! F is Dm, Dm is F in both positions stated above. Maybe they are cousins? If not, they must be relatives.

Lights on. Thanks for coming to my Ted talk. Sorry this took so lo g to connect.

I played over each chord, 1 chord per day and nailed down a handful of melodies for that chord in that position. Starting with chord intervals, then triads, then arpeggios the the underlying scale for each chord. Once I nailed a couple for each chord, I then started stitching them together, noticing where I was on beat 4 and picking up the next chord on that same string a couple frets above/below so as to not make a massive interval jump when changing chords but instead puck the chord up as close to the last chord as possible. Noticing that across multiple common chord changes, hearing it, practicing it I think is the game changer that gets me to the final frontier. Hell to the mother trucking yeah!

Playing changes: I can play what you play by ear. I can break down the chords and how the melody relates to the chords. I know my arpeggios and triads. But put the plane in flight and my brain doesn’t see the chords fast enough to play the changes.

Am7 - D9
(iim7 - V7 in the key if G)

Drop the Dom7 on the iim by 1/2 step and you land on the 3 of the V chord.

Make the sound.
Hand positioning.

Took Jamie’s lesson and created something similar so as not to be parroting back what he just showed us.

I dig the “left hand of the piano” concept.

This is one of the most famous songs in Latin America over the mast 20+ years. This guy is Colombian and is an assassin. I’ve seen him live a couple times and does the “Neal Schon tasty shred” thing impeccably.

1) Wicked Guitar Lick that is out of the pocket and almost seasick
2) Gb min, B min, Db7, Gb min
The 5 in the Db (F) is making it harmonic minor. But it resolves to A. Gb is the retaliative minor. Is there such a thing as A Harmonic Major? Please explain this.

Building blocks.
I to IV and again. E to A, then A to D. That was my main take away.

Diatonic harmony, harmonizing the maj scale
I maj7, ii min7, iii min7, IV7, V maj7, vi min 7, vii min7b5…

I need to get faster on the changes in all positions. Then target those notes for melodies and improv.

I got lost on the D dim chord. Stopped to think and said, “fuck it…Dm…”

Something Guthrie said sank in. “Make that sound. If it’s Am, play something that sounds like Am…” That sounds stupid easy, but the practicality of doing that vs pecking notes…. I’m about find out. I can feel it coming.