The Jazz Guitar Chord Dictionary
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  1. #26

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    Sorry folks, been a bit busy (actually with gigs and stuff - like buses they seem to arrive all at once, then not so many) but thank you so much for all the great posts and suggestions since I was last on here. Amazed how much material this thread has produced, this is a brilliant place, cheers!

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    This is a cool thread.

    I have maybe two thoughts. One of them isn't mine. Maybe neither are.

    1) You can do this playing scales too! It's a good way to getting a piano-pedal sound. Frisell had a short lesson on this in Arcana. I can copy a couple of pages from the book but I don't want to infringe on copyright. The gist is: play two octaves up the c major scale. try to hit as many open strings as you can (while sustaining the previous note).

    2) Since you're going for open strings, don't forget about harmonics. I'll try to take the time to modify Jake's google sheet to include harmonics. Sometimes it's tricky to get the harmonic you want, but it's especially useful if you're into cluster voicings but the guitar doesn't lend itself easily to what you're trying to achieve.

    Consider this chord

    3
    6
    x
    7h
    7h
    x

    where "7h" stands for 7th fret harmonic. This lets you play a cluster of all the (diatonic) notes from E to A. Since you can't modify the harmonics, try moving the G and the F around, you get another cluster. Maybe make it an F# and a G#.

    There's all sorts of cool stuff like this in Toru Takemitsu's music. There's a treasure of unexplored harmonies for jazz.

  4. #28

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    Quote Originally Posted by docbop
    I prefer Ugly chords guess that why I'm a big Monk fan, but I read that Jim Hall liked playing in flat keys because now the open strings are tension colors and he can just let open strings ring to add color to chords. Sneaky guy that Jim Hall.
    That's a good one! Jim WAS a sneaky guy, for sure. Also, I never considered the discordant tensions 'Ugly', but something to investigate tonally. I 'tonnaly' get that part of it.

    I'm an ear player, and also very visual, and when I start down an analytic path staring at the charts or cord books, it really throws a kink in my link so to speak. It can become sort of like musical stuttering, and my wife will ask afterwards, are you having difficulty today with your playing? And I smile and laugh. So, my practice sessions are typically defined variously as searching sessions, where I'm trying to work out patterns that incorporate the dissonances that I find appealing, and others, where I leave the books and charts behind, and simply go with it. I often wonder how Jim Hall or others that I've grown to deeply appreciate have practiced or discovered those sounds we love.

  5. #29

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    How about a rootless F Maj13(9)#11? Looks like this: 000000

    Very useful!

  6. #30

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    Quote Originally Posted by Rob MacKillop
    How about a rootless F Maj13(9)#11? Looks like this: 000000

    Very useful!
    Everyone knew I had a talent for music when I picked up my first guitar and immediately played that chord.

  7. #31

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