關於 make it with you chord ，我們在網路上蒐集到這些相關的討論、資訊與評價

Larry Carlton Style - Triad Approach
https://youtu.be/lGFl9EVy7rI

Special thanks to Tim H (my new fan!) who sent his special package with money for my cds! This gift was so amazing! His friend Bob Cameron who took this amazing photo from live footage of Louis Armstrong in 1941! Incredible! I love it so much! Tim said "I thought you might like to have it in light of the fact that you are a fine musician in your own right." Wow! Thank you so much!!

Then I thanked him via email.. he wrote me back with more about Bob and Tim's life stories.

Then Tim wrote.... "Nevertheless, I really admire your skills as a performer as well as a teacher. Of all the teachers I have followed, you make the most sense to me personally."

""I am including a link to a video of Rick Beato with Larry Carlton. I saw Larry Carlton play a few years ago and he just blew me away. Since you are so into triads and base your understanding of soloing on them, I wanted to ask you to do a video on how Larry Carlton hears 3 triads above the one that is played... and then he improvises based on these 3 possibilities.
It's way over my head and I'll probably never "get it" as far as getting it under my fingers, but at least maybe I can intellectually understand it. Here is the video - 5 minutes in...
https://www.youtube.com/watch?v=1c9lx0KFkO4&t=416s

Anyway, maybe you can explain it better than they do.
Thanks,
tim ""

So this video is replying to Tim's question. Although I didn't watch that video yet because I wanted to point out two approaches first as simple ideas. Hope Tim will enjoy this!
What do you think?

Introduction (00;00)
Story behind this video (01:00)
Tim 's request on LC from Rick Beato's video (03:07)
CMaj7 (G/C) ..G = 5, M7, 9 .. FMaj7 (C/F) C = 9, 5, M7(03:40)
Chord voicings idea over CMaj7 & FMaj7 (06:10)
Soloing Example Over Backing Track #9 (07:18)
Soloing Example Simple Triads & mixing blues feeling (08:45)
Larry Carlton was a huge Influence on me (10:15)
My problem was not have my own style (12:25)
Larry Carlton style BLUES in G (14:25)
G7 = G & F Triads (I & bVII Triads) (R35 & b7911) (15:12)
C7 = C & Bb Triads (I & bVII Triads) (R35 & b7911) (16:32)
G Blues Backing Track (18:49)
Soloing example over G Shuffle Blues (19:37)
Larry Carlton's I & bVII Triads Review (22:07)

1967 Gibson ES-335
Bartel Roseland Head
Bartel 1-12 Cabinet
Providence cables E205TF
Boss RC-3
One Control Prussian Blue Reverb
Vemuram Jan Ray for TF
D'Addario NYXL 09-42
Pickboy TF Sig 1.00mm

‘A Note to Harmonica Folks’

What’s next?

Since the day I was born, I have known the most prestigious harmonica competition in the world, The World Harmonica Festival (WHF). Every harmonicist around me see this as the olympics of harmonica, especially when they are both held once every four years.

My father’s ensemble King’s Harmonica Quintet was one of the very first few Asians harmonicist that appeared in the competition in Germany after the format of the competition turned from taped recording to live performance. In 1997, 3 years after I was born, they won their ‘World Championship’ in the WHF. I witnessed it.

It was a historical moment not only because was it a massive honour to be crowned in such reputable competition, it was the period when Asian harmonicists were approved by the Western.

Since then, the global harmonica community started to merge and interact. While harmonicists from the West continue to develop their artistry and career under a relatively strong cultural foundation for instrumental music, harmonica music to be exact, by virtue of the legends such as Tommy Reilly, Larry Adler, Toots Thielemans, Asians harmonicists struggle to further their artistry without the corresponding cultural foundation. A market for harmonica music in Asia simply do not exist.

Nevertheless, Asian culture values diligence and discipline. With the competition as the highest possible way to be rewarded as we develop our artistry, countless players began working day and night towards this very, if not only, visible goal.

Up till this day, you’d be surprised if there aren’t any Asian standing on the prizing podium in the international harmonica festivals. According to a Facebook post of the renowned Taiwanese Harmonicist in 2013, Lee Hsiao-ming, ‘If you show up at a harmonica festival, you can easily be surrounded by a group of ‘World Champion’s all queuing up for that plate at the buffet.’ Be him a chord harmonica player from an ensemble, a soloist at the open category or a 10 year old kid from the youth category… all claiming to be the ‘World Champion’.

Now the question is, Is the ‘World Champion’ in 1997 still the same ‘World Champion’ now? Or are we unconsciously abusing the only system we can count on to gain qualification to ourselves?

As Gerhard, the president of the World Harmonica Festival, has also repeatedly emphasized before, champion of any event of the WHF competition should NOT claim himself / herself as the World Champion. It should properly be addressed as Champion of the " XXX event" of the World Harmonica Festival.

While varies important figures in the global harmonica community started participating in this fierce debate, I was curious about the root of this controversy.

Would anyone accused Usian Bolt of abusing his Olympic gold medals to pursue further in his career? Would anyone question Danill Trifonov’s artistry if he claim himself the winner of Chopin Piano Competition? Could Michael Jordon ever obtain a ‘fake’ NBA championship?

Obviously, there is nothing wrong about winning and taking pride off an award. The real issue instead lies in the opposite side of the question. Is the existing harmonica competition rigorous enough to qualify the winner a ‘World Champion’? Or, should a ‘World Champion’ even exist in a musical setting?

In order to understand what a truly rigorous musical competition is, we began digging into the competitions of all instruments at the highest calibre. For instance, when studying the difference of the format of the International Tchaikovsky Competition with the World Harmonica Festival, we have realised how far behind the harmonica competition is constructed. I won the Solo Championship in the World Harmonica Festival 2013 only by playing a total of 10 minute of music. While a contestant at the qualifying round at the Tchaikovsky Competition would already have to prepare up to 30 minute of music. Meanwhile, not a single competition in the classical world would claim themselves the competition of the best. It seems like the title ‘World Champion’ could only be justified when it’s within sports, where the result can be calculated and compared. We can’t calculate art.

We have came a long way since the harmonica was invented 150 years ago. And I’m extremely excited to see new generation of player arising from all around the world. Nevertheless, while festivals are taking a pause during covid, we should make the best use of this period of time and rethink about how we could contribute to the culture and further bring our instrument to the next level.

So, what’s next? 🤔

🙏
永遠懷念

1. What people see on court is another side of me; it’s not me.
人們在球場上看到的我是另一個我，那不是我本人。

2. One thing you gotta know about me is I have absolutely no filter. I have no problem saying what the hell I think of someone.
關於我，你必須要知道的是我非常直接。我從來不怕把我對某人最真實的想法全部說出來

3. The most important thing is to try and inspire people so that they can be great in whatever they want to do.
最重要的事就是去努力嘗試與激勵大家，使他們能夠在想做的事上大放異彩。

4. I focus on one thing and one thing only – that’s trying to win as many championships as I can.
我專注於一件事，而且只有這件事 –那就是盡我所能地贏到越多冠軍。

5. I’m here. I’m not going anywhere. No matter what the injury – unless it’s completely debilitating – I’m going to be the same player I’ve always been. I’ll figure it out. I’ll make some tweaks, some changes, but I’m still coming.
我就在這，哪兒也不去，不管受了什麼傷 — 除非我完全衰弱 — 我還是會一直是像以前一樣的球員。我會看著辦，我會做出一些調整、一些改變，但我還是來了。

6. I have self-doubt. I have insecurity. I have fear of failure. I have nights when I show up at the arena and I’m like, “My back hurts, my feet hurt, my knees hurt. I don’t have it. I just want to chill.” We all have self-doubt. You don’t deny it, but you also don’t capitulate to it. You embrace it.
我會懷疑自己，我會缺乏安全感，我會恐懼失敗。我會在那幾個夜晚，在我喜歡的球場上現身時，想著「我的背很痛，我的腳受傷，我的膝蓋受傷。我沒有辦法了，我只想放鬆。」我們都曾自我懷疑，你不需要否認它，但你也不能夠向它屈服。你要做的是去擁抱它。

7. I’m playing against great players, playing against the best in the world. The competition – that’s what I’ve always wanted.
我正在跟偉大的球員們打球，和世界上最好的球員們競爭。這比賽 — 就是我一直想要的。

8. I’ve played with a broken hand, a sprained ankle, a torn shoulder, a fractured tooth, a severed lip, and a knee the size of a softball. I don’t miss 15 games because of a toe injury that everybody knows wasn’t that serious in the first place.
我打球曾經打到手斷、腳踝扭傷、肩膀脫臼、牙齒碎掉、嘴唇裂開、膝蓋腫成一個壘球大小。我不想因為腳趾受傷錯過15場比賽，因為大家都知道腳趾受傷並不嚴重。

9. The topic of leadership is a touchy one. A lot of leaders fail because they don’t have the bravery to touch that nerve or strike that chord. Throughout my years, I haven’t had that fear.
領導這件事是一個敏感的話題。很多領導者失敗，因為他們沒有足夠的勇氣去打破現狀、振奮人心。在我的生涯中，我從沒有這種擔憂。

10. I can’t relate to lazy people. We don’t speak the same language. I don’t understand you. I don’t want to understand you.
我無法了解懶惰的人，因為我們說的是不同的語言。我不了解懶惰的人，我也不想去了解。

11. I don’t want to be the next Michael Jordan, I only want to be Kobe Bryant.
我不想當下一個麥可喬丹，我只想當科比布萊恩。

12. I’m chasing perfection.
我追求完美。

13. Can I jump over two or three guys like I used to? No. Am I as fast as I used to be? No, but I still have the fundamentals and smarts. That’s what enables me to still be a dominant player. As a kid growing up, I never skipped steps. I always worked on fundamentals because I know athleticism is fleeting.
我還能像以前一樣跳躍時跳過兩三個人嗎？不，我不行。我還能像我以前跑得一樣快嗎？不，我不行。但我還保有我的基本功跟打球的智慧，這也是讓我能一直成為主要球員的原因。成長過程中，我從來沒有跳過任何一個步驟，一直按部就班，因為我知道，運動員的生涯是短暫的。

14. I’ll do whatever it takes to win games, whether it’s sitting on a bench waving a towel, handing a cup of water to a teammate, or hitting the game-winning shot.
我願意做任何能夠贏得比賽的事，即使只是坐在板凳上擰毛巾、遞茶水給隊員，或投出致勝一球。

15. Magic has five championships. I have five championships. I’m pretty sure we both know what we’re doing.
魔術強森有五個冠軍。我也有五個冠軍。我敢肯定，我們都知道我們在做什麼。

16. I draw from the crowd a lot.
我從人群學習、得到很多借鏡。

17. I love going one-on-one with someone. That’s what I do. I’ve never lost. It’s a whole different game, just to have them right in front of you and be able to do whatever you want.
我喜歡和某個人一對一，那正是我擅長的，我從來沒輸過。這是一個截然不同的比賽，只是要讓他們走在你前面然後你就可以做任何你想做的事。

18. I’m extremely willful to win, and I respond to challenges. Scoring titles and stuff like that… it sounds, well, I don’t care how it sounds – to me, scoring comes easy. It’s not a challenge to me to win the scoring title, because I know I can.
我非常恣意的贏了，回應了那些挑戰。得分王之類的頭銜……它們聽起來好像，嗯，我不在乎它們聽起來怎樣 — 對我來說，得分並不難。贏得得分王的頭銜對我來說並不算是個挑戰，因為我知道我可以。

19. Everything negative — pressure, challenges — is all an opportunity for me to rise.
每件負面的事 – 壓力、挑戰 – 都是一個讓我提升的機會。

20. These young guys are playing checkers. I’m out there playing chess.
當其他年輕人都在下西洋跳棋時，我已在下西洋象棋了。

21. My parents are my backbone. Still are. They’re the only group that will support you if you score zero or you score 40.
我的父母是我的支柱，現在仍然如此。無論你得的分數是多少，他們都會支持你。

22. If you’re afraid to fail, then you’re probably going to fail.
如果你害怕失敗，那你很有可能會失敗。

23. The most important thing is you must put everybody on notice that you’re here and you are for real. I’m not a player that is just going to come and go. I’m not a player that is going to make an All-Star team one time, two times. I’m here to be an all-time great. Once I made that commitment and said, ‘I want to be one of the greatest ever’, then the game became everything for me.
最重要的是，你必須讓身邊每一個人知道你是玩真的。我不是一個只是在這裡來來去去的球員，我不是一個只會入選全明星賽一兩次而已的球員，我來這裡，是要成為一個能夠跨時代的偉大球星，一旦我做了承諾，說「我想成為有史以來最偉大的」，那麼這場比賽就成為了我的一切。

24. There’s a choice that we have to make as people, as individuals. If you want to be great at something, there’s a choice you have to make. We all can be masters at our craft, but you have to make a choice. What I mean by that is, there are inherent sacrifices that come along with that. Family time, hanging out with friends, being a great friend, being a great son, nephew, whatever the case may be. There are sacrifices that come along with making that decision.
人生中有很多我們要選擇的事。如果你想精通某件事情，你必須做出一個選擇。我們都可以在我們的領域成為大師，但你必須做出選擇。我的意思是每一個我們的決定都會伴隨著犧牲。和家人相處、和朋友出去玩，身為一個好朋友，一個好兒子、侄子，依據情況而定。這些決定都會伴隨著其他事情的犧牲。

25. Are you willing to push the right buttons even if it means being perceived as the villain? … I’d rather be perceived as a winner than a good teammate. I wish they both went hand in hand all the time but that’s just not reality. … I have nothing in common with lazy people who blame others for their lack of success.
即使會被眾人當成惡棍，你還會做對的決定嗎?….我寧願被認為是一個贏家而非一個好隊友。我希望能同時兼顧兩者，但是這是不實際的…. 我和那些懶惰的人 ─ 那些只會將自己沒有成功的原因怪罪於他人的人─ 並沒有任何共同點。

okay guys, selepas banyak permintaan untuk release full version. akhirnya aku berjaya siapkan. i just wanna say that i really really enjoy making this song. its so much fun takde stress fikir lyrics. it just flows naturally. and its super cute right ? the idea for this song started after harith stories a girl main keyboard to his song and im like "alaa sikitnya" and it got me thinking mesti sedap kalau can produce the song properly. so thats what i did. i ask harith for the chord. then started to make the beats and rap over it and what do you know. sedap pulak. i was amaze at myself then you guys are. i intend to finish the song with harith but dia kata dia malu(eh dia ni buat buat cute pulakkan) so i have to proceed to finish it on my own but still i will use harith's part to pay homage to him and his song. so technically its a featuring??haha idk. so yeah i hope you guys enjoy this song and vibe with it. send it to your loves one or crush or whatever. and most definately thank you for your support :)

ご視聴ありがとうございます！
English comment is after Japanese.

秦基博さんの「Lost」をカバーさせていただきました。
この曲は最新6thアルバム「コペルニクス」に収録されています。

ある意味、今回のアルバムの中ではカバーするのが一番難しかった曲かもしれません。
このアルペジオを保ちながら歌うのが、ボクとしてはかなり苦労しました。
また曲にメリハリをつけるために、サビはピックストローク弾きとしました。
あと「Raspberry Lover」同様、この曲の雰囲気を損なわないためにもバスドラは必要不可欠だと感じましたので、フリーソフト（Hydrogen）でドラムスパートを作成しています。

拙い演奏と歌ですが、この動画が皆さんのカバーのご参考になれば幸いです。

※「コペルニクス」のmasa-masa弾き語りカバーリストはこちら♪
　https://www.youtube.com/playlist?list=PLTRCxUfnPxuwJixRuSRGN143eITm9jGMS

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Thank you so much for watching!

I did a cover of Motohiro Hata's "Lost".
This is included in his new 6th album "Copernicus".

In a way, it may that this song was most difficult to cover in new album "Copernicus".
I was very struggle to sing while to keep playing this arpeggio.
Also, I played hook part with the pick stroke because I wanted to make sharpness of this song.
And, similarly of "Raspberry Lover", I felt the bass drum is absolutely imperative, so, I made a drums part by free software "Hydrogen".

Although my unskilled playing and singing, I hope this video will help for your guitar cover.
Thanks my friends!
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#秦基博 #Lost #コペルニクス

ご視聴ありがとうございます！
English comment is after Japanese.

遅ればせながら、10/9にリリースされたスピッツの16thアルバム「見っけ」をゲットしました^^
どの曲も概ねシンプルなコード構成なのに、とても奥行き感のある曲に仕上がっていて、スピッツの曲って本当に不思議だなって思います。
加えて、マサムネさんの類稀なる非凡な歌詞もまた、スピッツソングの魅力のひとつですね。
このアルバムを最初に全体を通して聴いたときに、特に印象に残った曲が「ブービー」と「初夏の日」でした。（単にギターパートが印象的だったからかもしれませんが…）
ということで、今回は「ブービー」をカバーさせていただきました^^

ギターの方は、Aメロのアルペジオがすべて、といっても過言ではない曲です。
ですので、この部分はできるだけ原曲っぽくなるように耳コピしてみました。
一方、歌う方ですが、マサムネさんのようなエアー感漂う歌唱がまったくできずに、別の歌みたいになっちゃってます、スミマセン💦💦💦

拙いカバーですが、この動画が皆さんのカバーのご参考になれば幸いです。

※オリジナルはこちら！
　https://youtu.be/zuOWnqfD5p4

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Thank you so much for watching!

Though a little late, I have gotten Spitz's 16th new album "Mikke (Found)" which was released at Oct. 9th, 2019.^^
Although many songs almost make up by simple chords, these songs have a depth feel very much, so I think that I'm so wonder.
Additionally, I think Masamune-san's lyrics which is so unique and unusual is one of the appeals of Spitz's songs.
Then, when I listened this album at first time, so especially impressed song was "Booby" and "Syoka no hi (The day in the first summer)".
(It might the guitar part just impressed for me...)
So, I did a cover of "Booby" at this time.^^

Regarding guitar, it is not too much to say that the arpeggio of verse is all of this song.
So, I tried playing as possible as close to the original arpeggio by dictation.
Meanwhile, about singing, sorry to say but my cover is completely different the original because I cannot sing like a Masamune-san whose voice is with a sense of atmosphere.💦💦💦

Although my unskilled cover, I hope this video will help for your guitar cover.
Thanks my friends!

*Original is HERE!
https://youtu.be/zuOWnqfD5p4
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#スピッツ #ブービー #見っけ