 |
| |||||||
|
Welcome to the Jazz Guitar Forums. You are currently viewing our boards as a guest which gives you limited access to view most discussions and access our other features. By joining our free community you will have access to post topics, communicate privately with other members (PM), respond to polls, upload content and access many other special features. Registration is fast, simple and absolutely free so please, join our community today! If you have any problems with the registration process or your account login, please contact contact us. |
 |
| | LinkBack | Thread Tools | Display Modes |
|
#1
04-22-2010, 06:28 PM
| |||
| |||
 soloing with chordal work the biggest problem i have with solo guitar stuff is the ability to stay intresting while soloing unaccompanied. I only do single line stuff and i think learning how to introduce some chordal devices into my soloing would keep the mind more intresting. how does one go about this? what are some tricks?     |
|
#2
04-23-2010, 08:04 AM
| ||||
| ||||
| I found this paper very helpful. http://www.angelfire.com/fl4/moneych...odylesson.html You might also think about throwing in some Wes Montgomery-style octaves to thicken your sound a bit. As with everything, use in moderation. |
|
#3
04-23-2010, 08:22 AM
| |||
| |||
| There are a few posts around here that deal with this very subject. I see you're new. Welcome. I recommend you spend some time reviewing old posts. Use the search function as well. Look in the Improv and comp sub forums. I think that's where you'll find the thread |
|
#4
04-23-2010, 10:09 AM
| ||||
| ||||
| Lots of threads on this topic like John suggests, but really, it comes down to chording, lines, melody, and walking basslines. You learn to mix these things up, so you are never playing the same thing twice, or playing the tune the same way. Long road, but I am not sure if there is anything more gratifying than being good at CM. Good luck |
|
#5
04-23-2010, 04:07 PM
| |||
| |||
| Quote:
|
|
#8
05-20-2010, 12:37 PM
| |||
| |||
| How would you solo using single notes? scales , arpeggios? You harmonize that very same scale or arpeggio using inversions and substitutions. A good book for this is the Joe Pass chord solo book. It has Misty, Ode to Billy Joe , Days of Wine and Roses. It's all chord solos. Spend some serious time with that book and it will give you a good idea. The other thing to do is start simpler by harmonizing the line with intervals. 3rds, 6ths and octaves are probably the most common but all intervals are all fair game. A lot of players, like George Benson, harmonize their octaves by adding a third , 4th, 5th or 6th to it. So you get CEC for example, on a C. To find these, play the scale in octaves but on the same strings (6 and 4 ex.) Then add a the 3 on the 5th. Then put it on the 3rd. ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|-4-|---|---|---|---|---|---| ||---|-1-|---|---|---|---|---|---|---|---|---| ||---|---|-2-|---|---|---|---|---|---|---|---| G B G move up to A C A then B D B etc (same strings) ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|-2-|---|---|---|---|---|---|---| ||---|---|---|---|-3-|---|---|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|-1-|---|---|---|---|---|---|---|---| G G B then AAC to BBD to CCE ect Do this with the other intervals. But remember , you're harmonizing a scale so you will be using major and minor 3rds as required to fit the scale. Don't forget to move these across the neck as well (strings 5 43 and 532 ect) ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|-3-|---|---|---|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|---| ||---|-1-|---|---|---|---|---|---|---|---|---| ||---|---|-2-|---|---|---|---|---|---|---|---| G B B to A C C etc Last edited by JohnW400 : 05-20-2010 at 09:38 PM. Reason: correct spelling |
|
#9
05-20-2010, 01:13 PM
| ||||
| ||||
| Quote:
I read this question on your other thread, and reading you ask it again, a bit differently, I think I understand you now. The melody note is selected for you. You start with a lead sheet, like those found in a Real Book. So let's use Satin Doll as an example. The first measure feautures a D-7 and G7 chord with the melody being A, G, A, G, A. You would play D-7 and G7 chords with those melody notes featured on either of the top strings typically. You could also substitute the D-7 and G7 for other chords within the rules of substitution. You then do this with every chord and melody note in the tune. You can really thicken up an arrangement by having a chord for every single melody not (Robert Conti teaches this), or you can thin it out by having more single notes without chords between those melody notes with chords. Hope this answers your question. If not, please restate the question. |
|
#10
05-20-2010, 08:06 PM
| ||||
| ||||
| hello derek you miss understood me I know the melody note are there with the chord what I was asking is if I wrote a piece myself how would I pick melody note to go with my chord progression? is there some kind of formula for picking the melony note?..chico62 |
|
#11
05-20-2010, 08:32 PM
| ||||
| ||||
| Chico, Making a melody is not science and there is no formula (at least that I know of). It requires a good ear and an instinct for the genre you're writing in. That comes with time spent listening to that kind of music. But there are a lot of songwriting books out there. You might get some ideas from those. |
|
#13
05-21-2010, 10:59 AM
| ||||
| ||||
| Writing a melody doesn't really have a lot to do with theory. It has to do with your ear. You come up with an idea in your head and sing it, then write it down. Presto - a melody. Think of it this way: when a child learns to speak, do they have to know a formula, or linguistic theory, to start talking? No, they don't. They learn to speak by imitating other people around them. They listen all the time, and start to assimilate the nuances of the language they are immersed in. And then they try to communicate by speaking back the sounds they have heard. Learning music is similar. You listen to lots of it, and let it get inside your head. At some point, a musical idea will come to you and you can use that as the basis for a melody or a whole song. And it doesn't have to be fancy or complicated or obey any "rules", just as long as it sounds good to you...many, many great songs have simple melodies. Don't overthink it - just let your instincts guide you. |
|
#15
05-21-2010, 12:00 PM
| ||||
| ||||
| I hate to say it - but I'm not finding any shortcuts. :-( Not in anything related to jazz, anyway. I keep looking for that magic bullet that will make me a better player/musician, but what it comes down to is (1) time spent playing the instrument, (2) listening to great jazz recordings, (3) studying various concepts and theory. None of this comes for free, I'm afraid to say. |
|
#16
05-21-2010, 12:11 PM
| ||||
| ||||
| Quote:
And it is a shortcut in a sense: you're standing on the shoulders of those who've come before you. But if I had to choose between writing a melody entirely by ear versus entirely by theory (without playing it), I'd chose by ear, knowing that I'm still applying some theory-type stuff intutively in that case, anyway. Example: suppose you are asked to write a new melody for the standard "On Green Dolphin Street". Whether you have got your slide rule out or you're just using your ear, I don't think you'd do it in 5 bar phrases! (Unless you were going for quirky. I think there is a Handel opera where a madman sings an aria, and it's in 5/4!) Theory would tell you you're trying resolve phrases on the wrong chord, while your ear would just tell you "it's wrong". On the other hand if you construct a chord sequence deliberately to have 5 bar phrasing, it would sound just as odd to play a melody with 4 bar phrases over it. Last edited by BigDaddyLoveHandles : 05-21-2010 at 12:17 PM. |
|
#18
05-21-2010, 01:49 PM
| ||||
| ||||
| Yeah, I'm generally confused now, too. |
|
#19
05-21-2010, 11:20 PM
| |||
| |||
| chico62, try this way of looking at it. If you have written a chord progression that you like, there is a melody already inside it. It sounds like a progression, rather than just a sequence of chords, because of that melody that it carries. So you just need to pull it out. Make a recording of your chord progression and experiment with playing single notes over it. Start with the tonic of each chord. Then try the highest note of each chord. If two chords share a note, hold it over the change. Sing it as well as play it — all good melodies have a vocal quality. It may take a while but eventually you will have a line that is a single-note version of your chord progression. And there is your melody. |
|
#21
05-22-2010, 10:07 AM
| ||||
| ||||
| Quote:
As the others have said, different people do it differently. More importantly, I think getting into a creative space mentally has more to it than a formula. |
|
#22
05-26-2010, 07:09 PM
| |||
| |||
| Quote:
I posted an article on this very topic on this forum a while ago (How to combine single lines and chords in your soloing) However, I suggest you study Marin Taylor and Joe Pass. That will answer lots of your questions.
__________________ |
Linear Mode
