[Music]
Welcome back to Fret Buzz The Podcast.
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Podcast. This week on Fret Buzz, we have
part two about a 45 minute episode with
Cole Holland of hollandazemusic.com
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here is part 2 of Fret Buzz The Podcast
with Cole Holland.

What I wanted to jump
into let’s go back coming out of
Berkeley what were your plans and what
did you dive into and how did that lead
up to your contract with the cruise
right so I hung around I graduated May
of 2017 and I kind of hung around Boston
for a bit I was talking with some people
and some teachers I was costly looking
into getting seeing I was gonna do a
part-time teaching job at Berklee summer
program or something okay now where your
were you thinking of teaching for
Berkeley or was that just something to
get you by both there was something that
that could have presented itself at the
time if I had really pursued it really
pursued I think I really serious with a
couple of things but I’m glad I did it
because I realized that I need to be
doing doing on getting out exploring and
playing and doing this and that yeah so
I was like ah I’m trying to teach me so
kind of like no matter what there’s
gonna be some teaching involved so I
long story short I
Boston after like two months hanging
around seeing people playing you know
trying to see you I was gonna I was
gonna make a band how people been
playing with the courts original music I
just I wasn’t I didn’t want to do it you
know I wouldn’t want to take my time
with my own projects I didn’t want to do
it that so I went back home to Orlando
Florida at the time and I had already
been in and out playing a lot of people
there making friends in the past two
three years and I started gigging and I
started working at School of Rock mm-hmm
I said working school rock I get a
confused Bach truck I started working in
school I was doing I was doing private
lessons and I was started teaching there
so I was doing stuff in and outside the
schools and then I was picking up gigs
doing like jazz fest and little little
corporate stuff hearing there but pretty
much steady steady bar stuff like
playing downtown right now right little
stuff just to play make some cash right
and the people so I was just kind of
doing that for a bit and playing with
this one group for a while
leaves your chief is the name of that
group they’re putting out some new
content sued really cool guys and the
sax player for that group sax player
flautist so on he just literally tagged
me in a Facebook post I’ve been home for
about four or five months and I was
making you know pretty decent money
enough to get by you know I was doing
all right yeah but wasn’t really what I
wanted to do I really wanted to be able
to go and I wanted to do some something
like a tour you know but then I figured
that was gonna happen where I was I was
gonna start writing doing a bunch of writing
whatnot but then I just got referred
through Facebook on this for the cruise
because the BB Kings all-stars at sea is
what it is they have a whole Facebook
page and a website dedicated to
auditioning online it’s all online so I
sends in video footage I sent in video
of can I change my mind by Tyrone Davis
knock on wood by any Floyd and route 66
by 9 I know and I thought that was bobby
troup
start Barry did it now Natalie cold
version like a big bad version okay I
guess
well that’s like John Mayer dated in a
Pixar’s Cars recently – really nice yeah
so I just auditioned I have my I
actually uh I did use my Eastman I think
I’m one of them I see him in Easton sent
there behind you but they have I used it
on one song get the nice classic hollow
body style sound warmer sound and then I
used my Telecaster and the rest I used a
Telecaster for which everything right
now the custom tally that’s super
versatile mm-hmm but I just laid down
those parts and I got a call and I went
out I think someone else that I really
had in my position he backed out last
minute so I happened to call my boss and
a good time when he was in need of
somebody and I guess he had me as one of
his backup so someone picked out he had
me picked out but just there’s no
cognate at the time I having a common a
good time and got it got it on this
contact with group of amazing players
they’re all coming a veteran group they
done about at least – three times – two
time three times like together like four
or five of them so it was easy to come
in because they had a lot of songs
already so it’s really easy to boom
boo-boom go through songs real fast it
was a little hectic for me at first you
know I had like two weeks to learn oh
look we gonna have to learn like 50
songs for rehearsal so I just grinded on
that for a bit yeah
and then once we got there you know we
have we were in the Caribbean for three
months three and a half months almost
four months and that was just those are
usually seven to ten day cruises
something like that yeah so we have to
get a repertoire out flight big time so
we gotta learn like five songs a week at
least then five six songs a week
rehearsing every day to get our ribs are
up to lease like 70 80 like 90 songs so
we’re not playing the same stuff in
these people by the fourth fifth day you
know cuz we play six nights a week three
45 minutes that’s the night so you’re
gonna get to hear us a lot so we have to
be able to nut play the same stuff over
and over again and not have to stretch
out songs or instrumentals to make up
for time we have to have you know a good
diverse setlist and a pretty big
repertoire yeah like I said I mentioned
earlier the repertoire the master list
is like 277 song into
265 or something like that and usually
you can get to like 100 110 and they’re
perfect where we got I got to like 120
my first contract now it’s added on to
Jill out of the same song to prior 135
songs a half my head it was pretty cool
to think about but it just it was just a
lot of work in the beginning you have to
be rehearsing every day and getting and
so there’s no music it’s all by year so
really yeah there’s no music it’s all by
ear
oh okay that gender things yeah
there’s no charge for anything no you
can make your own charts I just I had a
notebook of notes and I I tell you what
you know you guys have heard writing
stuff down just implants it in your
brain write stuff down you won’t forget
it
hand write it don’t write notes you know
iPhone yeah right yeah hand ready yeah
with a pencil or a pen you know so I
just those first 50 rehearsal songs like
got glued in cuz I just added my desk
and I’d be up till 3:00 in the morning
every night just write notes and playing
live and over again I just wrote a bunch
of stuff down and then just stuck and
then after that kinds became became
really easy for me to just be able to
just sit down there in a song you know
by year I recommend just listening to it
throughout the day like how’d it playing
in the background while you’re working
doing something else and just kind of
get it in your ear before we even
actually sit down with the guitar and
play it but if you’re in a time crunch
you’ve got to sit down listen to the
song all the way through don’t touch a
guitar and then sit down and kind of jam
along with it new to along and then go
ahead and start to work out the parts
and everything yeah but that first month
totally changed how I am as musician as
a player with having to you know learn
some pretty young some parts are
complicated this is very complicated
song so that involves well it gives
credit where it’s due and try to mimic a
certain style like it’s it’s really hard
to give to do pride and joy by Stevie
Ray Vaughn like really do it upright and
give it justice you know I I think I do
a pretty decent job but like stuff like
that sometimes can be a challenge when
you have so many different tones and
salad you’re trying to have dialed in
it’s a neocon perfectionist with tone
and trying I get really close to a lot
of these records with using a pretty
small rig you know
telecaster that so i had to be able to
make that work give us different sounds
and it just it was a lot of that came
into play like being able to learn these
songs during the day and then play them
that same night and like yeah at the
beginning I would learn a song that day
we’ve learned a rehearsal and he pulled
out that night and I would just forget
something and once you mess it up on
stage once you see someone just giving
you like that glare and then and then
you get you know shootout yeah okay man
you know you’re gonna get fired if you
don’t get your stuff together kind of
thing like okay well I guess I will go
practice more tonight you know mm-hmm so
definitely changed my work ethic and how
I’m already perfectionist but even more
so now it was very I mean like this this
specific crews gig with the BB King
all-stars is very cool because okay it’s
the BB King all-star band so the guitars
on every song I don’t get breaks I’m
playing every song I get you know the
most solos everybody’s ready to tear it
up you know are you for me my stage
presence is uh not good it never has
been and something I’ve had to work on
for a long time to continue to work on
its my weakest uh it’s my weak point
right now because I’ll be having a great
time on stage bum just straight face
stone cold like I’ve always been moving
you know I just I’ll get so into it and
also doing so much stuff with like jazz
and I did a lot of gypsy jazz before I
was at Berkeley so you just sit down you
know play it like you know upfront
Center you know move and dance whoo all
these dancers and stuff and I’m a
terrible dancer but I’m getting
somewhere
I’m definitely somewhere but that you
know that’s funny
what’s this thing you know I have two
degrees in performance and I have my AAA
that I got in the University in Orlando
that I have my bachelor’s from Berkeley
right and I did take courses on it but
like nothing no teach no schooling no
matter how formal the education is it’s
gonna prepare you to be on stage like a
unless you’ve been doing already for a
long time which I had I was primarily
some guy I do gigs every now and then
but I was kinda always in background so
when you put front Center it’s a whole
different kind of playing you have to
really
really aware of everything that’s what
they say Fridays in front of mirror and
whatnot so you can kind of you almost
have to take a theater class right so
that was that’s still a big problem for
me but the curse thing is just wonderful
man and of course you know putting the
travel aside it’s just like you’re
playing with a lot of great players in
this particular gig us people with a
heavy Church gospel background mm-hmm
and it’s really fun it’s very fun has
changed me just out of curiosity how big
is the ship how what’s the occupancy
they have like six or seven of these
groups these bands out of like the
20-some ships in the Holland America
fleet and by the way I’m not related to
this yes I do share a name last name
with this ship like 500 people on these
ship oh no no I tell it for 5,000 the
first ship I I played on was the biggest
one they have a bunch of the new one
that describe her these they’re both the
same size and the second one I was on
was one of the smallest oldest ones but
even the small ones gonna have like 1500
2000 people okay yeah and they have the
specific BB King Blues clubs on these
ships and just only for our our set
during the night anyways during the day
they’ll do whatever but it’s like a
theater set up where you’ve got a stage
and so the floors or anything the new
one the new ship that will first ship I
was on the new ship they have like a
dance floor then they have dance floors
Nollan but the new ones have a very big
open area of the dance floor and like
chairs and lounge area on the side and
they have a second floor the one I
played on this time was just one floor
mm-hmm a dance floor in the middle
decent-sized stage it was a seven person
band so it fits us all just right up
there and then just lounge areas little
some in the back and the front there
chairs in the front and then some what
do you call it little booths and
stuffing on the back and the bar
everything then you said what 3
45-minute sets yeah six nights a week
every week okay that’s not bad and
rehearse that you know rehearsing
day racing soundcheck every day so yeah
it’s not bad
it gets to be you know what is what does
rehearsal look like rehearsals in there
same where we rehearse on stage now we
do usually about 5:00 p.m. 5:00 6:00
p.m.
mm-hmm we will just you know one one
player in the group is designated as the
MD the musical director and they will be
in contact with that boss a lot but they
will pretty much be well they pick all
the you know they make the sets for each
night so they’ll spend a lot of time
talking with our vocalist or male female
vocalists about songs they know in the
beginning so we can pick out songs and
start wearing real quick is there any
other lyrics okay so they’ll conduct the
rehearsal so we kind of go in just go
over four or five songs and then say
we’ll see it’s night okay so it is
rehearsal every single night yeah except
in our off day we have one off day we
write write write okay okay so you’re
doing rehearsal every day behind closed
doors they closed the club down but I
tell you what guests always find the way
in there’s like the Wong Pete the one
guy or girl but usually always like the
cool guy like that comes in like what
matches something about who you guys
using the in-ear monitors are like they
like slip in something to show that they
know right so like not enough to be like
okay you’re being annoying we’re here so
if you wouldn’t know anything about you
know like just to give us a wave and
keep walking up to walk up okay can we
join you guys with a beer I said now I’m
on a cruise man like I paid a lot of
money to be here she paid a lot of money
and we missed up rehearsing right now
she walked up at a 12 p.m. noon shut
down the rehearsal because she hadn’t
been sleeping because there the way this
particular ship was designed the stage
was above some other guest staterooms
she’s hearing the kick drums so like
they could do about she come down and
tried to shut down our rehearsal like
you didn’t pay the kind of money I paid
to be on here just like throwing us oh
my gosh yeah yeah I hope they gave that
lady a new room so I think they did they
tried something we never saw her again
everybody so you guys are you’re playing
you’re not like playing on are you
you’re not playing like the pool or
anything like that your guys usually in
the club or in there right it’s always
the same in the club okay so it’s always
in the club okay yeah yeah that’s I’m
saying they have like literally it’s
called the BB King’s Blues Club now used
to be queens Long’s now it isn’t the BB
King Blues Club the I don’t know if
they’re working on designing some of the
rooms better because some of the rooms
are not necessarily designed for this
okay although this is a fairly new
project there’s only been a and this BB
King Blues Club at C is like four years
now so so free for you if you’re not for
years so I mean this you know this was
implemented onto these ships some of
them already being 15 years old so they
had to do what they can to redesign so
sometimes the sound could be a bit if
you have to make do with what you got
there we were in terms of sound
technicians and some people that aren’t
totally well equipped to be able to
handle all sorts problems and some guys
that just you know like they can get the
job done but there’s certain things that
are just gonna be a little over their
head so you can somebody’s you got a
deal with you know sound issues and
electrical issues do what I don’t think
that’s a normal you know it supposed to
be like this is supposed to be setting
you up for like being tour ready you
know I guess you can say it’s a very
good gig it gets you tour ready but
sometimes people forget that we’re still
not a professional tour you got a you
got a you got a let yourself know I
understand that you’re working with some
people who not know this is not the only
thing they do especially with the sound
technician to serve some of these guys
I’ve been doing this for like 89 years
but they don’t they only do it like a
smaller scale like sometimes get to
larger scale seven-piece band and
everything is just not mixed right in
there and so you have to be without that
somebody’s gonna deal with with certain
things like that but overall it’s it’s a
great experience between the travel and
all that that works but that’s a six
month contract the first one was because
they fly out to Memphis and rehearse for
two weeks and then we go out so my first
one why I float to Memphis
27th and then I was on this ship like
December 7th or something like that
so was some dissent I was gone November
27th of May 1st and then this one I was
gone July like 10th or something to
number 14 so like between like four and
six months usually four to five months
okay yeah
and the money’s money is pretty good um
yes actually tell me what the money is
but money pretty good okay yeah it’s a
weekly pay that is good and I have to
say yeah it’s very good it’s because
it’s very easy to save you know it’s
very easy to spend to save yeah you’re
on a ship where you gonna spend your
money find ways man all right
50% off of booze and stuff so sometimes
it could be lazy to get carried away and
then just being around certain parts of
the world with like you’re the currency
exchanges in your favorite you know she
go on buy a bunch of clothes and buy
soups or whatever you know just to have
fun but yes it’s very easy to say
because you can eat for free but this
particular I’m just like a guest look at
you you know the stuff they get to
explore I just you know I work at night
and we’re always at sea at night usually
you know some ports were there till 8:00
p.m. or 10 p.m. some very rarely but
sometimes we will have overnights we did
stay overnight in Russia a couple of
times
mmm but yeah when I was in the Baltic
Sea this past time was ridiculous like
you’ve had a rough life man I didn’t cry
bein for three months of the
Mediterranean which is Spain degrees and
then I’ll take this which is Copenhagen
an ice in Greenland Canada and be in
Asia Shanghai Japan Vietnam let me know
if you stopped in Hawaii next year Yeah
right
the I’ll be over there nice I just got a
new contract for this ship as well I
just took a new one yesterday going to
Asia that’s awesome so I haven’t no I
had to decide between you know taking
this next tour and and going to Asia and
not just not just for the itinerary but
just to go and play with some people I
already know or to kind of continue to
do my own thing you know although in the
back
about a month already not even a month
right so I kind of wanted some downtime
you know kind of shake off this ship
rest a little bit because I mean I
thought I have enough time to go over to
push yourself I’m wanting to go over
whether it’s like some more solo guitar
and you know that’s a chord solo
melodies one that whether standards or
doing like some jarred stuff but it’s
okay you know I’m just I’m feeling ready
to go back out I just have originally
had some plans to kind of do some
writing and this and that but it’s
alright I can’t pass up this opportunity
right that’s it’s it’s a tough thing to
do you know you always want to go and
make the money and I always want more
time to practice always exactly means
eight hours isn’t enough in a day no it
really isn’t
I tell you what especially this past
year I really learned a lot about time
management how much time I really have
in the day when it comes down to it
because everything you want to get done
because it’s not just music you know
once you start playing so much music per
week you have to find time for yourself
to go out whether it’s exercise walk
around and not and and totally take
yourself out of a and has to do with
music I’m a person
no human being like you know when I was
at school when I was at Berkeley it was
music
you know everything music yeah it’s no
time to do anything else and didn’t want
to have time to do anything else you
know because that’s how it was just
totally immerse yourself yeah that can
be very deadly to just only be doing one
thing all the time you’re not gonna pull
enough inspiration they’re not gonna
pull them they’re not gonna be able to
just sit down at one spot for for me
personally I can’t just sit down on one
spot for six hours a day without getting
restless and needing something else I
can’t just yeah the same thing all the
time yeah you have to force yourself out
of that situation yeah and like you said
in order to experience life and have
things to kind of pull from you you kind
of have to go experience life did you do
I mean it’s like you know take someone
for instance who is going to school for
like creative writing you can’t you can
be a good artist and you can be a good
writer but there’s always you only go so
far you have to you have to go out
experience stuff on your own you have to
be always like you said pull
something otherwise you can’t just learn
this and that learn a bunch of stuff
that so I’ve been talking bunch of the
people that you might you know take it
to your own hands and make it new but
you’re still how you don’t have anything
they pull from you got to go out and
explore meet new people and see new
things as scary as it seems at first you
know change is like the scariest thing
for most of us oh yeah yeah yeah the big
like yeah that’s necessary though it is
it’s a big conflict right now I mean
like you know I could’ve decided to say
you know I want to go to Nashville I
don’t like undo the crews thing I want
to go straight to Nashville because I’m
really thinking about going and checking
out Nashville and check it out some
other cities and seeing what’s going on
there but right now this is good this is
good romance that’s awesome so what what
a sound
I mean god I’m thinking about how much
money I would save not being able to go
to Guitar Center and stuff but oh yeah
like what equipment do you use on the
ship when you’re performing other than
your Telecaster right so they provide
all the backline oh they have them for
you yeah what kind of amp do they have
used this time thank God it was a Fender
Deluxe oh you heard but the first one
they had the Fender Deluxe that was a
coal he shot the tubes were just awful
it’s like you know the clean tone sounds
gritty you know when to that bad so I
was using the Roland jazz course jc1 20
or the little one it was a big one but
like it would like project sound
wherever the antlers turn and you
literally couldn’t hear like from the
side of the app it was like so the way
it was tough the way the band could
never hear me you know it was tough to
the year to get the mixed would be you
have to get the mix just right so
everybody here but i justifying some
night restoring solos but you didn’t
have a mic on like a g6 at 9:00 or
something on your amp
yeah we do sometimes the monitor mixes
where we’re not always right on point
that goes back to mostly earlier some of
those guys is the mixes I read they’re
like the board will get like white clean
every now and then you ever just redo
the whole mix like something it’s crazy
stuff will happen which is the most
just like it’s all in like one big board
like everything will just crash and then
you have to like redo again it’s having
a middle of shows for other people
before
yeah but solve the bad guys provided
though and they’ve been doing a lot of
upgrades the past couple months past
year which is great but I just bring I
bring out I have a dual mono case so I
bring a high on my d’angelico my
semi-hollow body I bring and I have my
Telecaster but I really a touch of
d’angelico like I said this tell you so
versatile and once you dial them and
tone but you can really you can really
let me say that I was 3d looking at some
reason like it doesn’t matter what gear
you have as long as it’s you really know
your way around it
have you already you really know your
way around you can get as much time as
one out that I think it meant to be
inexpensive you can make it work you can
make it your own if you really know it
so I really had a good hand on my rig
and then we get a lot of taller I mean I
bring my my pellet rig with me but
there’s some upgrades but I just write
actually this past time I had I had a
compressor which I use a lot little tiny
compressor and made by fulltone these
that like this make like all the time do
you is that an always-on yeah I think
that has become almost an always on
pedal now because I love the the tight
compressed sound and this particular
compressor gives but it also really can
boost the tone of the brightness and the
overall the beefiness to it when you
need a little extra oh if it almost acts
as like a boost pedal more than a
compressor it’s really interesting like
I never was in the compressor pedals at
all this thing was totally opened up my
plane yeah and I’m doing to get like a
lot of different tones and stuff so
that’s almost like I always online have
this new dumb blade overdrive specialist
I got overdrive and boost pedal in one
but it’s this big overdrive mm pedal it
looks beautiful and then I actually
brought it another I broke my other
distortion pedal so I just replaced it
with an an OCD I had laying around but
those OCD pedals no you see them all
over the place they’re not bad you can
get some good tones of those live up to
it and then I just use for like on the
rogue so now I’m kind of making two rigs
right now at home slash studio use and
then
right Greg and like the TC electronic
Hall of Fame Weaver when the TC
electronic flashback the red and blue
the blue is that the red is the reverb
they’re really a great combo for Delaney
Weaver you don’t need a whole lot when
you’re on stage I mean it’s very small
like simple pedals not a lot of effects
on it so I can just be able to go and
get my sound stout and quick and keep
rolling did you rather use that the the
pedal rather than the fenders spring
reverb yeah so my reverb broke I like a
month into the past context I just used
the reverb through the amp and that was
great but that Reavers this particular
amp would linger even on three three and
a half the plucks reverb they went
winger yeah anyway one one thing it will
just keep going that’s when the first
thing they noticed that seems like a
problem yeah yeah yeah son Norman two
and three and then for some BB King saw
until they’re slower blues Tunes or
whatnot you know boosted me up a little
bit
I didn’t use the Reaper through the amp
pretty much that entire time and then
you know volume pedal I use quite a bit
mm-hmm
wha pedal of course got to have that I
have a boss SE
course ii ii ii okay the blue one so the
eighties original from the 80s yep
amazing sound I love that thing it’s so
nice I have one as well somewhere around
yeah I have a Yankee power supply that I
use that is amazing I highly recommend
those I got one you can actually adjust
the voltage for your last four outputs
so you have a obscure pedal or something
that requires some of the other than
mine right mind Bowl or whatever you can
change it 14 or 12 that’s right and then
I also bring stuff just to practice but
I got a ditto x4 Loop Station that I
used to loop stuff and practice you know
I like to sometimes when I started
getting into like adding and like some
sort of base screws and let’s just play
play a line the base line my guitar like
an odd time like five four seven seven
eight or something and then practice my
modes go for that because everyday I do
a key noise you know so today’s apps
Mars G flat next days jeans go up and
every day do all the modes there all the
keys so like just
major mode melodic minor harmonic minor
how about a major and that’s like
something I do every day
hmm just kind of bringing some tools to
help get I have some fun when you know
just a loop stuff and practice when
you’re stuck on the ship you know a lot
of time you hear you have a looping
pedals like the number especially with
Christmas being right around the corner
a lot of my students parents have been
asking me like yeah hey you know we’re
thinking about getting something for you
know for the guitar for Christmas what
should I get him like a cord and you go
I just would play it on the loop pedal
then just figure out how to solo around
it yeah something that John McLaughlin
did religiously actually he would take a
cord with a little more color to figure
out how to solo around it how many
different ways I could solo around it
could take at a seven sorry five sharp
nine okay what modes for me first of all
where does exist and what other cool
things can I do over that to blow over
make it look cool so I think a looper is
essential to somebody who’s really
wanting to help open up they’re solely I
think it’s very much essential so you
can sit down and just spend like two
hours just just putting everything in
your head out there over maybe one quart
three ports without the pressure of you
know being in a live situation or even
writing friends or your right you know
bandmates like you know word in front of
them right you don’t have to invite over
that friend anymore to play some chords
yeah for you yeah right and then and
then you you know you’ve got the drum
machine inside as well see if there’s
your drummer you know they got a whole
band within you know pedal nowadays and
yeah it’s extremely important for you to
explore how to utilize either scales or
chords or just kind of having some fun
yes what so what what does your practice
routine look like what are you doing a
family basis so no matter what it’s got
to be the most everyday like it’s going
with the keys every day it’s like I said
so so today I’ll start back at square
one because I actually for the first
time in a while they played so much as
year I took off like
I got my practice routine so it’s been
like a week since I’ve done my usual
practice routine I’m just like noodling
but it makes me it really hurts my heart
to my teacher coming or not even his
because he’s a guy to miss a year a day
practicing like 27 years I also read
this is Carrie burton biography in the
book he wrote about his life and legacy
and everything and where he’s been but
like how he thinks about music and he
won tracks everybody’s different you
know yeah there is events sometimes it’s
good by anyway so let’s say today is a
key of F so I sit down we have our major
mode so that’s Ionian Dorian Phrygian
Lydian you know all the ones everybody
knows and then you go through melodic
minor I go through blog minors then
that’s you know just a major scale with
one note change and then you go to a
harmonic minor so then you have now you
have two notes change and then you go to
harmonic major which is the main scale
with one note change so really you’re
working with in very close proximity to
what you probably already know but you
know melodic minor harmonic minor and
harmonic major offers so many more
possibilities when you really think
about it break it down because I will
spend time saying out loud for each mode
what the tangents are because every we
think about it as like major mode Ionian
very basic so I say 9 11 13 every every
chord within the mode as tensions 9 11
and 13 and you you know people get
confused and like what is a flat 11 so
flat lemon really is just a erased third
so like if we’re talking about harmonic
minor for instance we have the flat 6
major 7th but we’re gonna have a sharp 9
over a major chord sharp 9 sharp 11 13
so I would say those tensions out loud
before I even play the course if we’re
in the key of C 5 6 major 7 and I Chris
are an a-flat you play them oh I say 5 6
major 7 sharp 9 sharp 11 13 for the mode
I’d do that for all them and sometimes
even the hard challenge is actually call
up attentions while you’re playing them
so a flat 9 say when you hit b-flat you
yell out 9 and you keep going that’s for
those very challenging but I always
start out with do the modes and
I said attentions for each one because
that helps just kind of open up and
think about more cord possibilities and
whatnot like I’m just doing that so that
in the context of like a jazz solo or
whatever else you can purposefully like
over the – you know or say over the five
chord you can play that sharp nine on
purpose and yeah like be able to know
exactly what it is and where it is right
having to have any delay in your thought
process yeah exactly and then just like
the fact knowing that okay well I’m in
the key I can play a minor something
that’s in the harmonic minor even though
I’m going back to a major chord I can
place was totally minor because I know
my way around that I practice these
modes and resolve its major and like
harmonic minor has some beautiful sounds
and colors of it that are used all the
time but not realize it like the four
minor four minor major seven comes off
in the harmonic minor and the most
beautiful stuff comes from there I mean
there’s something the diminished major
seventh sounds really scary but it’s
really pretty it gives you a lot of
really cool sounds from harmonic maybe
that’s what harmonic major is is the
Herbie Hancock and a lot of these
players they’re all up and down the
harmonic major 7th two minutes major
seventh stuff like it’s really cool so
it’s opening up more possibilities to
play still very straightforward
theoretically wise if you know exactly
where you are but how to open up certain
chords and well I’m gonna play I’m gonna
keep her mining minor you can still play
the five chord with the flat 13 so you
know even even if you stack of the G
chords you know you’re doing it just on
the guitar you’ve gene that’d be a flat
an equation e resolving to let’s just
say C sevens you can borrow chords some
other some other tonality is to help
give you a little more color and that’s
just a really easy and accessible way
just to the simple use of modes to
figure out how to take these other
little routes and like a lot of stuff
exists within those four modes oh so
much stuff you can get out of that
really practice works and I’ll start
doing I’ll start doing a scale exercises
like whether they’re dead but they’re
dead whatever they would like doing a
descending you’ll play two triads and
you play the scale down and this is I
will stay within my my mode fingering
too because one thing I totally changed
I realize had a big problem and I I got
used to playing wrong was
not thinking about fingering so much so
like we’re doing Dorian you know so I’ll
you actually use these three fingers
right here for the first three notes so
we’re doing dough in the key of G I’ll
go a BC and I’ll do a stretch with this
finger just so my middle finger my index
everything stays in the same fret so
everything is lined up on the same fret
so yeah it’s easier when you’re reading
and just with the dexterity you get my
hand it’s got a lot more comfortable and
I’ve start to utilize my ring finger as
opposed to a pinky a lot more because I
noticed especially a lot of these are
being gospel players I’m studying a lot
like Isaiah Sharkey and jubu Smith they
utilize the ring finger a lot more in
the pinky a lot less but I think it
actually provides a little more strength
and dexterity oh yeah you know I used to
use my pinky so much but now I’ve been
changing the way I play these modes and
getting a lot more space between those
numbers strength and I opened up a lot
more different
mm-hmm Ellis to play the same thing I’ve
been playing but a lot more comfortably
and also for the sake of saving your
hands because I mean I had a teacher at
Berkeley Jack peasant Nelly great do we
put a lot of people he actually gave you
be King Charles at some point it’s a
really funny story but he’s a great guy
and he’s been since surgeries and like
five six surgeons both his hands already
from just like you have to take care you
have to realize what you’re doing
like I haven’t fat I’m never gonna not
do it when I play this pinky just like
tenses up there people look like this
what I’m playing
so is something like I started really
getting into like playing the modes
right and getting the thinking’s right
and practicing arpeggios one octave too
often 3ox of arpeggios and make sure you
play alright you play everything through
all of the different now inversions to
you have to make sure you do that cuz
all of a sudden you you play some you
play a half diminished arpeggio but you
play it from like second inversion or
you play it off the flat five or some
and then all of a sudden you’re confused
you know how to play regularly but you
can’t play the same thing on inversion
because you’re doing free octave it gets
confusing you know a lot of classical
stuff is really fun to do on the guitar
yeah any na styles I’ll get that’s the
consistency of perfection down playing
knowing that get your shape style that’s
a really big thing I’ve said a lot love
arpeggio
and courts of two like thinking about
chords as intervals as opposed to
thinking them like as like this is a
minor something about the key of C and
you’re gonna play all the chords is
actually another concept for my teacher
Berklee called trans trans and triads
where he would do a second and then a
fourth and he’d go through the scale so
you start on a let’s just say for
example now we’re in the key of a we’ll
start on one certain and you’ll play it
through the scale all the way up and
neck like three octaves you use a second
the fourth so your score will be stacked
a second between a so A to B and the
fourth of B’s then you have B e so a B
they’re right there when you analyze
that that’s just a add add to or eight
says to everyone think about it these go
up the scale doing that and this ways to
think about chords in harmony that is
more of a interval based approach but
you’re not you know look you’re not
having to think like once you get that
everything is safe thing all these
different shapes let me get all these
different chords are you complying on
your life and that kind of makes sense
when you think about it enter faculty
but also just within the scale stuff I
think I do that with like I altered
Pentatonics a lot yeah like you get so
good at that like everybody knows their
basic that like am I can pentatonic box
of the fifth fret but like the a
mixolydian pentatonic boxes like me I
don’t know if that’s really a thing but
I do it all the time I kind of got it
from this having a lot of Eric Johnson
but okay just just go from A to C sharp
get the major third and it’s otherwise
it’s just an even box
yeah it is kind of like thinking about
the intervals yeah not a fan of like
learning scales to octaves all the way
across because like when I ever play rip
a scale all the way across like it
doesn’t sound musical most of the time
no this is a man of study respectively
small technique perspective I tend to
think about like from if I know where my
root is at any one point I’m in the
middle of a solo I know where my
everything is within the chord structure
of the mode that I’m playing it around
that note you know I might know like an
octave either direction
yeah like really you’re not like yeah
the most musical things often are like
but I’m like a root flat 7 kinda little
riff and then play a speedy run to get
to another area that word or something
but like yeah you know picking out the
tasty notes but just kind of knowing
where the root is I mean I the
pentatonic scale that was so extremely
useful so many different settings in
every single setting doesn’t matter what
sound music you’re playing and there’s
so many ways you can utilize that the
size of what most people do it for
because like I was saying earlier you
can take an a minor pentatonic scale and
you can play that over many different
colors of chords whether it’s a minor
whether it’s C major E flat means there
could be five major seven exactly I love
that it’s a great sound it’s a beautiful
sound and you can know but the key to
that I’ve found yeah like I used to work
on that but like the key to that is
still knowing where your root because
there’s no b-flat in that shape you have
to you have to be able to like do some
of the basic pentatonic yeah runs and
licks you know but be able to land on a
b-flat or a chord tone that makes sense
within playing over yeah not conflicting
with the bass you know that’s one thing
I didn’t really think about a lot and I
started changing the way I play chords
and chord voices because you don’t need
to play the bass note when you’re
playing with groups like ma I but I got
so good at corn mounting just like it
you know you take one note and you play
all the different you can play you know
go chromatic Li all the way down from E
to E and keep a high note of a play yeah
you’re starting to eat and you play east
us and it goes down to e-flat with sharp
11 he goes down to an E minor and then
it goes down this note hey over she’s
always out it’s like the key to to Joe
Pass is playing really exactly it’s
being anything about theory he’s like
this is the 13 chords like it’s not my
seven he’s no anything it’s all about he
figured out the sounds I figured out
when you take that note just and and
moving especially for him it’s very like
a lot of the Duke Ellington kind of
style thing we can moving around like
dominant sevens a lot of moving Thomas
Evans down chromatically yeah really big
sound it’s really really big sound we
call that a
in school chromatic embellishment of
static harmony yeah it’s just a lot in a
big band orchestral music you know that
sounds really good let me bro use that a
lot too you just take you deconstruct a
chord and you just take the flat seventh
and the third and then you probably use
other things to play the melodies if
you’re playing see you’re playing let’s
say playing some sort of melody line
where you’re kind of comping and playing
the melody at the same time you have
your index finger on b5 you have your
middle finger on e so you have the
tritone there any of your ring finger
and your pinky free to add other
embellishments and other chord tones and
melody lines while the basis is hitting
sinon stuff around it so you can give
yourself a lot more room to embellish
kind of open it up a little more not
clash so much because you get such a big
sound of a certain little things in the
guitar especially seconds seconds have
such a big sound especially when you
play on the G and B strings it for me
that’s the beefiest sound the D G and B
string and playing a chord that involves
like a second and a fourth execution
force have big big sounds that’s like
getting a lot of that chord so
modal harmony down and you’re playing
can take you really far and loss miles
and that all circles around pentatonic
stuff – yeah it’s it’s been wonderful
getting to talk to you I say this every
day it’s like make new musical friends
over the Internet yeah you know awesome
thing I’m starting to get warm up to
this now – I’d like to do it again you
know well yeah I was just gonna say well
we’ll definitely have you back what does
the what does your future look like well
as far as right now I’ll be leading for
Memphis January 2nd and then sort of
rehearsal before the cruise yeah and
then the time difference will be drastic
like 12 to 14 hours I guess right in
lemonade thank you very much Cole for
joining us if you want any information
on Cole obviously visit
hollandazemusic.com You can also find me on
Instagram and Facebook
awesome and we’ll put the link at the
lot of deaths in the episodes yeah
alright well this is really fantastic
thank you guys very much for having me
you know would love to do it again it’s
really nice as you can get the stuff out
talk about anything anything music well
there’s this business theory or just
being stuck and whatever it is so yeah
love to be back awesome
Thank You Cole really do appreciate it
thank you y’all have a good one alright
see you guys next week!

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