what I dig about Aaron's playing and teaching is he puts so many possibilities on display, both musically and mandolinistically. For instance:
there's more than one way to play any given chord
there's nothing that says you have to play a chord all the time, you might include a contrapuntal sort of melodic line, or a "bass" line
Similarly, there's any number of ways to play or illustrate the chord changes of a tune
beyond strumming chords on beats using just the chords you see in a fakebook or that your friend told you. Sure, changes can be boiled down to "basic", "vanilla", "correct", "functional" or "sheet music" changes, but things can be added such as connecting chords, color tones, tensions/alterations, even tonalities not found in the original that yield a different "route" from point A to point B
Lots of possibilities. I hope everyone is digging his latest offering, "The Very Thought of You". You don't have to like jazz, the approach, concepts, and vocabulary can be applied to whatever your thing is. In the end it's all music and where to find things on the fretboard of our greatest instrument in the world.
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