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  1. #121
    Join Date
    Jan 2009
    Location
    Chicago, IL
    Posts
    3,418
    Watching Jimmy Bruno's daily videos on YT, reminds me what he said, there's not a million different songs, you can get anywhere if you know how to play turnarounds and have different ways of playing turnarounds.

    My way of getting to a minor6 chord:

    Cm6-Cdim-Gm6

    or

    Eb7-D7-Gm6

    Practicing Drop 2 versions of this on the top stringset (1-4) and inner stringset (2-5) offers plenty of options and variety.

    Staying on the G-6 for a few bars ? alternate the dim chord between inversions of the G-6, which creates MOVEMENT.

    Basic, simple, digestible concepts and ideas that create movement and variety.
    Navdeep Singh.

  2. #122
    Join Date
    Mar 2013
    Location
    London
    Posts
    9,496
    Cm6 = Am75
    Co7 = D7b9 (no root)

    Legit voice-leading. I use it a lot.

  3. #123
    Join Date
    Mar 2013
    Location
    London
    Posts
    9,496
    One thing I do a lot it instead of playing a simple dim7 chord, I go through the inversions but add a note borrowed from the 6 or -6 etc chord.

    You can get the C6 dim scale, but harmonised just on the o7 chord.

    So, in C6-dim

    I play (bottom to top)
    D Ab B F
    D Ab B G
    F B D Ab
    F B D A
    Ab D F B
    Ab D F C
    C F Ab D
    C F Ab E
    etc

    Of course you could do this very simply with the W-H scale, and sometimes that sounds good too (esp for non-leading tone diminished chords like bIIIo7) I think we can call this scale the dim7-dim? :-)

  4. #124
    Join Date
    Jan 2009
    Location
    Chicago, IL
    Posts
    3,418
    I was testing out my new Shure MV 51 iOS microphone and decided to use F6 and G diminished for this Beatles melody “ you’ve got to hide your love away“

    Navdeep Singh.

  5. #125
    Rob, you may have already gone through this process but I found it useful to treat diminished chords as a 4-way interchange for major 6th chords (and their relative minor chords) placed a min 3rd from each other. Once you're comfortable with these, try playing all the minor 6th chords in the same fashion.

    Here they are in the most common drop 2 & 3 voicings from the 4th, 5th and 6th strings covering all the keys:

    Starting Barry Harris Studies-m6dim3-jpgStarting Barry Harris Studies-m6dim2-jpgStarting Barry Harris Studies-m6dim1-jpg

  6. #126
    Join Date
    Apr 2010
    Location
    Edinburgh
    Posts
    3,431
    Navdeep, that was nice. I can see your vision, so to speak. The mic sounds decent too, though the camera angle could be improved somewhat ;-)

  7. #127
    Join Date
    Apr 2010
    Location
    Edinburgh
    Posts
    3,431
    PMB - thanks for that. I haven't had my porridge yet, but I think I can see what you're getting at. I'll try it out later. Cheers.

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