The Jazz Guitar Chord Dictionary
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  1. #1

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    Hi, I was looking on YouTube for some "jazz lines ideas" and found this video:




    He is promoting the book "Jazz Guitar Lines Of The Greats by Steve Briody"

    Has anyone tried it or some similar resource before? I listen to a lot of jazz, know the scales and arpeggios but are lack of ideas and to make a song sound like jazz. Would you recommend such a resource? Any other ideas on how to get more "jazzy sound", jazz lines ideas, etc.?

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Pat Martino-"Linear Expressions"...great staff!

  4. #3

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    I haven't seen the book you're speaking of but I like the "lines in the style of..." series by Corey Christiansen. Particularly the Joe Pass and Grant Green ones.

  5. #4

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    I would suggest forgetting about the books and doing some transcription instead. Books have their time and place, but I think overall guitarists tend to attempt to rely on them too much. I have learned things from books, no doubt about it, but "sounding jazzy" is not one of them.

  6. #5
    Many thanks for your answers @kris @hallpass & @coolvinny

    Coolvinny, I think I'm going with the books. I think your suggestion is the best one, but transcriptions is too hard and time consuming for me right now, and I don't want to get demotivated I need some fast-re-start

    Many thanks again, I'm buying Corey Christiansen in the style of Grant Green !

  7. #6

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    I would like to 'resurrect" this thread for reasons I'll put forth for any fellow guitarists with similar interests or situation.

    I've been a member and contributor for some time here on this forum and am grateful for the amount of helpful information from more experienced and qualified players.
    I've read and followed with interest many comments on theory, practice, study habits and suggestions on: books, learning sites, teachers and equipment.
    I've recently completed a one-year study on Barry Harris Harmonic Method for Guitar by Alan Kingstone here, that proved to be time well spent including helpful hints from the author.

    I've always been interested in increasing my jazz vocabulary and taking linear ideas into practical use; the problem was procedure.
    In this area of course transposing always comes up and I need to touch on that for a moment.

    I did transpose the solo from "I've Got A New Baby" by Charlie Christian. It took me over a week from first hearing to getting it down on paper and playing clean at tempo.
    Just yesterday (Nov. 14 2017) an online instructor Jamie Holroyd put up a lick study and I was very proud to recognize it as coming from "I've Got A New Baby".
    I soon realized though that that was the extent of my weeks worth of study....I'll alway hear it. I had nothing in my fingers. In hind site I should have divided it into phases and applied that to playing; I get it...but the time was gone.

    Don't get me wrong everyone should attempt transposing in the traditional way. It's all the good things everyone says it is.
    But I felt if I could just get some transpositions and study them in terms the steps, skips, jumps and redirections used and drill that into my fingers I could glean more with less aggravation and in less time.

    Then I stumbled onto this thread and bought the book.
    I've only begone on the first two from the vid put in by the OP and already something is happening.

    So I intend to internalize as many of these as possible and see what develops. I'm hoping to drill in some vocabulary via repetition.
    I will reproduce the ones I'm studying in MODE MAPPING form which is how I visualize the fretboard.
    I'll only do a few from each section as I would not like to invite copyright infringement and/or discourage purchase.

    I can also include a iRealPro loop that starts in learning mode @ bpm90 and increases slowly @bpm150.

    I'm doing the graphics and making tracks for my own note book so posting is not a problem.
    I will post these unless there is no interest.

    Thanks..that was long, sorry..get back to your instruments.

    DH

  8. #7

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    I’ve got that book, got it a few years ago. I must admit I’ve only dipped into it a bit. But I can see it might be useful, I like the way he keeps the examples quite short and also categorises them, e.g. major 2-5, minor 2-5, etc.

  9. #8

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    What CoolVinny said. Too many people have the habit of learning to read from a book, but not learning to phrase.

    Start with a 10 second section from a solo you like. Transcribe it and learn to play EXACTLY like the record. Once you do that, record yourself playing along with the record. Make sure you sound EXACTLY like the record. You can learn to have your phrasing timing sound good this way.

    PS if a solo is too fast to learn, add the Google Chrome add-on called Video Speed Controller. You can play YT videos at 50% speed while keeping the same tone

  10. #9

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    The only way I can get a new lick into my bag is to force it into every solo I play at every opportunity. It generally sounds awful for the first few weeks, and I'm sure my bandmates and my girlfriend get sick of my new lick. But eventually it starts coming without me having to "will" it so much, and I'll back off on how much I'll play it. But it's a tough process and not much fun.

    I also try to figure out permutations of it. Start it on different beats/half beats. Play it backwards (more precisely, take the backwards form and rework it into something that sounds decent). Flip it upside down. etc.

  11. #10
    Quote Originally Posted by WILSON 1
    Just yesterday (Nov. 14 2017) an online instructor Jamie Holroyd put up a lick study and I was very proud to recognize it as coming from "I've Got A New Baby".
    I soon realized though that that was the extent of my weeks worth of study....I'll alway hear it. I had nothing in my fingers. In hind site I should have divided it into phases and applied that to playing; I get it...but the time was gone.
    Not necessarily disagreeing with the other things you're saying in this post, but I wouldn't see that event - making this connection to what you transcribed very recently to actual music in ANOTHER context - as evidence that it's not that valuable. The cool thing about having it in your ears/fingers, even at a basic level , is that you can kind of go back and analyze/develop later, really the rest your life.

    It's cool to try different angles etc.,but I would also be slow to judge to harshly the potential long-term value of something that you've only just done recently.

  12. #11

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    Quote Originally Posted by WILSON 1
    I would like to 'resurrect" this thread for reasons I'll put forth for any fellow guitarists with similar interests or situation.

    I've been a member and contributor for some time here on this forum and am grateful for the amount of helpful information from more experienced and qualified players.
    I've read and followed with interest many comments on theory, practice, study habits and suggestions on: books, learning sites, teachers and equipment.
    I've recently completed a one-year study on Barry Harris Harmonic Method for Guitar by Alan Kingstone here, that proved to be time well spent including helpful hints from the author.

    I've always been interested in increasing my jazz vocabulary and taking linear ideas into practical use; the problem was procedure.
    In this area of course transposing always comes up and I need to touch on that for a moment.

    I did transpose the solo from "I've Got A New Baby" by Charlie Christian. It took me over a week from first hearing to getting it down on paper and playing clean at tempo.
    Just yesterday (Nov. 14 2017) an online instructor Jamie Holroyd put up a lick study and I was very proud to recognize it as coming from "I've Got A New Baby".
    I soon realized though that that was the extent of my weeks worth of study....I'll alway hear it. I had nothing in my fingers. In hind site I should have divided it into phases and applied that to playing; I get it...but the time was gone.

    Don't get me wrong everyone should attempt transposing in the traditional way. It's all the good things everyone says it is.
    But I felt if I could just get some transpositions and study them in terms the steps, skips, jumps and redirections used and drill that into my fingers I could glean more with less aggravation and in less time.

    Then I stumbled onto this thread and bought the book.
    I've only begone on the first two from the vid put in by the OP and already something is happening.

    So I intend to internalize as many of these as possible and see what develops. I'm hoping to drill in some vocabulary via repetition.
    I will reproduce the ones I'm studying in MODE MAPPING form which is how I visualize the fretboard.
    I'll only do a few from each section as I would not like to invite copyright infringement and/or discourage purchase.

    I can also include a iRealPro loop that starts in learning mode @ bpm90 and increases slowly @bpm150.

    I'm doing the graphics and making tracks for my own note book so posting is not a problem.
    I will post these unless there is no interest.

    Thanks..that was long, sorry..get back to your instruments.

    DH
    Not transposing- you meant to say transcribing. Transposing is changing the key.

  13. #12

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    Quote Originally Posted by Hep To The Jive
    Not transposing- you meant to say transcribing. Transposing is changing the key.
    Whoa! Thanks for catching that! And upon reflection I'll say, in my own defense, that that was a "Freudian slip".

    I was thinking that I'll transcribe and then should be able to transpose that into any key.

    You are correct and thanks for catching it.

    DH
    Last edited by WILSON 1; 11-16-2017 at 11:07 PM.

  14. #13

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    Jazz lines ideas-mode-key-png

    Here is the key for graphics I will put up.

  15. #14

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    Jazz lines ideas-joe-pass-phrase-pg-69-ga-png

    Here is the first example from the vid by Steve Briody.

  16. #15

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    This is a practice loop for the Joe Pass phase pg 69.

    It is a II-V-I in Bb6 with an added VI7 one chord turn.

    The loop is in learning mode and plays @ 90 twice increasing 3 bpm until reaching 150 bpm.

  17. #16

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    Jazz lines ideas-jp-phrase-pg69-png

    Here is the phrase inside Aeolian and Locrian.

  18. #17

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    Jazz lines ideas-jr-phrase-pg-49-g1-png
    Here is Jim Raney's phrase from ex. two of the video.

    Note the chromatic embellishment in the box that is also explained here in Mike Titlebaum's lecture:



    Also note that movement from D approaching the G of the Tonic chord is something that I believe will stay with me.

  19. #18

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    Here is a track for the above phrase. It's in "learning mode" and will start at 90 bpm increasing to 150.

    There is a VI 7 turn in the form of a dim 7.

  20. #19

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    @WILSON 1, I’ve been doing Robert Conti’s Ticket to Improv study group with @lawsonstone for the same reasons. Although I find RC’s solos corny at times (ok, often!) there is something amazing that happens when you get a good educator walk you through a transcription of an improvised solo.

    He tells you what he was thinking, how he applied it to the harmonic context, where else he used it, etc. — all in this “Goodfellas” accent straight out of a gangster movie (fogeddabaoutit!!!) Combine that with his “theory” book “Jazz Lines” and I feel I’ve opened a treasure trove of new phrasing ideas.

    I do wish there were other educators following the same format. Unfortunately none of these solos is anything I would pay money to go hear at a club. I would love something similar on a solo I would be more inspired by.

    Even so, I just ordered “Ticket to Improv” volume three. Check it out. If you can suspend some critical thinking and just accept Conti for who he is there is a lot to be had from his, “I’m just some dumb kid from the streets” schtick.


    Sent from my iPhone using Tapatalk

  21. #20

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    Quote Originally Posted by rlrhett
    @WILSON 1, I’ve been doing Robert Conti’s Ticket to Improv study group with @lawsonstone for the same reasons.
    Hello again good friend.

    I've "highjacked" this thread because it seems just the thing I was looking for to read phrases through the modes in an attempt to internalize some embellishments and fingerings.

    I've only worked over the first three, from the vid and using the tracks I'm seeing some fingering that I never even thought of before.

    As I'm makeing the graphics for my own notebook along with the tracks posting them is no trouble.

    I would like to see more dialog and will stop wasting bandwidth if there is little interest.

    I will make one vid on mode mapping as you never know when someone will stumble onto the thread and decide to look deeper.

    Good to "hear" from you and hope all is well this holiday season. Keep in touch.

    DH

  22. #21

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    Quote Originally Posted by WILSON 1
    Jazz lines ideas-joe-pass-phrase-pg-69-ga-png

    Here is the first example from the vid by Steve Briody.
    I thought we had agreed to banish “II-IV-I”. Kindly re-label that, “IV6-movement-I6”

    Jazz lines ideas


    Sent from my iPhone using Tapatalk

  23. #22

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    Quote Originally Posted by coolvinny
    I would suggest forgetting about the books and doing some transcription instead. Books have their time and place, but I think overall guitarists tend to attempt to rely on them too much. I have learned things from books, no doubt about it, but "sounding jazzy" is not one of them.
    more than 3.5 years later, I have still hardly learned anything from books...

    Currently the only books I use are: some random stuff for sight reading "practice" (more like trying to improve my terrible sight reading - hey, at least I can usually get through easy-ish Real Book heads now...) and "Expansions" by Gary Campbell which I use to come up with practice ideas. Right now just working on trying to reference the melody more in my solos. Don't need a book for that!

  24. #23

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    Quote Originally Posted by coolvinny
    Right now just working on trying to reference the melody more in my solos. Don't need a book for that!
    Brother,

    You have hit the nail on the head!

    After they finish tearing down enough statues and decide to build one to jazz musicians, they should put that line on the pedestal !

    I see too much playing of one etude into another with total loss of melodic continuity. So much so that the people playing start looking out the window for the UPS guy or the pizza delivery.

    Don't get me wrong...a lot of very talented people with skill levels far greater than my own. But why do I turn the solo off after a minute of two? Very disappointing.

    Here I'm attempting to acquire "finger memory" that will fill into the melodic line through rote practice. Also I'm attempting to "short circuit" the time consuming transposing BUT do NOT besmirch the importance of same.

    I'd like to hear the melody in the solo..like these guys...


  25. #24

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    Quote Originally Posted by rlrhett
    I thought we had agreed to banish “II-IV-I”. Kindly re-label that, “IV6-movement-I6”

    Jazz lines ideas

    Yeah!

    How refreshing is that when somebody pops up and suggests that harmonic functionality!

    I'd even say: F6 Dm6/B (borrow E) Fm6/D (borrow G) G#m6/F (borrow Bb) I6/9

    OK brother! Here's hoping some others here get the code.

  26. #25

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    Quote Originally Posted by rlrhett
    I thought we had agreed to banish “II-IV-I”. Kindly re-label that, “IV6-movement-I6”




    Sent from my iPhone using Tapatalk

    Ha. I wouldn't hold your breath. But seriously, why would we do that?