Great demo Kirk - and thinking of a chord as spanning the full length of the fretboard is a brilliant concept. It includes EVERY possible shape within that 'super chord'. It makes something which to most people is vague and indefinite, very definite and precise.
When soloing you add passing notes between those chord tones as decorative 'icing on the cake' - adding colour and flavour.
My question is: How do you decide which passing notes to play. For example, Let's say a G major is being played and you are playing the note G as a melody note. The chord changes to C, and you decide to move to the chord note 'E' - but you want to include a passing note between G and E. which will be either F or F#.
The one that will sound most 'natural' (for want of a better word) will depend on the key. If you're in the key of G, the expected passing note would be F# but if you're in the key of C the expected passing note would be F natural - (unless you want a chromatic flavour and then you'd use the unexpected one). But in either case you would have to know which one will produce which effect.
So, apart from being aware of the chords played at any time, are you also keeping an eye on the key? Or do you feel the passing notes 'by ear' and anticipate whether the best one will be a semitone or whole tone away from the note you're currently playing (or going to)? However you do it, it always sounds natural and inventive.
The only confusing part of the video is that I thought you were a fair dinkum Aussie - but you sure didn't sound like I expected.
