The Jazz Guitar Chord Dictionary
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  1. #151
    For me, one of the biggest unforeseen benefits ofpracticing 2-octave patterns this way, starting/ending on the 6th string, the last couple of years, is how much it benefits RIGHT hand technique. The physical and rhythmic symmetries simplify things. Not as much "mental noise" from the RH.
    Last edited by matt.guitarteacher; 01-12-2017 at 01:13 AM.

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  3. #152

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    Quote Originally Posted by matt.guitarteacher
    For me, one of the biggest unforeseen benefits ofpracticing 2-octave patterns this way, starting/ending on the 6th string, the last couple of years, is how much it benefits RIGHT hand technique. The physical and rhythmic symmetries simplify things. Not as much "mental noise" from the RH.
    Matt, could you say a bit more about that? I think I know what you mean but as my dad used to say, "I've been wrong before..."

  4. #153
    Quote Originally Posted by MarkRhodes
    Matt, could you say a bit more about that? I think I know what you mean but as my dad used to say, "I've been wrong before..."
    Two octaves arpeggios, when they are exactly 2 octaves, can be played with exactly the same rhythm, and if alternant picked, you get a lot more symmetrical juju between positions as well.

    Especially when I started doing the arpeggios this way from first, third, fifth, and seventh, It really cleaned up a lot of my right hand. I had always assumed that I just kind of didn't have any right-hand technique. I mean, I've always played with my fingers. The symmetry itself just kind of took care of some of that by default.

    Once you start feeling that, it actually makes perfect sense. If you learn arpeggios or scale inversions on piano or another instrument , they always default to rhythmic and positional symmetry . It's mentally clarifying and helps with technique. Piano is always inversions in one octave, two octave etc. With band instruments, the conventional way of learning such things is to play two octave patterns, as range allows. Looking in band books, for example, the same exercise is written several keys in 2 octaves, and then, the ones which don't allow it due to range, are limited to one octave, with similar rhythmic elements. The extended range stuff is for later, less-basic.

    In multiple guitar books which I've seen over the years, the common convention is to start in a given position from the root, play up to the highest note in position, down to the lowest note in position, and back up to the root. All of William Leavitt, and a few others I've seen as well. The loss of rhythmic symmetry is difficult to describe , unless you've done it the other way. Anyway, I mean, if it's a drill, it's a drill. You shouldn't be thinking so much, if it's something which is purely technical, like learning the fretboard etc.

    In addition to that, if you're starting from the same finger and same string, all sorts of other things open up, which are not best understood in this verbal/symbolic medium of text. Two-octave 13th chord arpeggios, all played from a second finger reference, honestly, open up an understanding of chord theory - on your own instrument, without a sheet of paper - in a way which will make you a little less envious of pianists' visual layout.

    A 13th or b13 are very PHYSICAL places, and not just THEORETICAL, if you have a common physical reference.
    Last edited by matt.guitarteacher; 01-12-2017 at 08:28 PM. Reason: voice recognition craziness

  5. #154

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    Good explanation... Your creating a big default full neck position. The fingerings and picking all have a basic starting reference... the basic default from which you start. You don't need to think or figure out anything.

    You can change phrasing and feels if you choose... by using different fingerings and picking. Everything works together, naturally because the basic organization of playing... melodic. chordal etc...is designed with same basic fretboard design, organization and references.

    There are visual benefits... which do help make understanding music and relationships within music easier to get

    Again you can still use anything... but what ever you use or play has a reference.

    Instead of having to practice and memorize music... you can just play. (eventually)

  6. #155

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    I'm putting together a jazz comping approach... how I approach comping. Which again is also based on same basic guitar fretboard design. Anyway any thoughts of where to start thread... here or in the comping section.

    thanks for any suggestions

  7. #156

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    Quote Originally Posted by Reg
    I'm putting together a jazz comping approach... how I approach comping. Which again is also based on same basic guitar fretboard design. Anyway any thoughts of where to start thread... here or in the comping section.

    thanks for any suggestions
    Hey, Reg,
    The comping section sounds like a good place. Just make sure the title makes clear that you are the one starting it----you have a few good threads going in which you share your knowledge and field questions and people look for them. (And new people who stumble across one would like a handy way to find other ones.)

    The "Reg Method" is unfolding before our very eyes!

  8. #157
    Very cool. Definitely bolt on some of those voicings from that previous thread. Don't remember exactly where.... It was basic dominant, mostly diatonic. I'm very stoked about this, personally. I have a much better grasp on applying relative minor to major-than vice versa, for example, and am very curious about applying extended diatonic relationships the OTHER way.

    Anyway.... you kind of hit on DIATONIC DOMINANT. So, I'd definitely be interested in similar for basic major/minor. I know there's overlap in all.

    Might be cool to paste that previous voicings post into a new thread, and start from there? I think I may have even pasted that one into the "speed of jazz thread".

    The more basic Reg voicings people have in print or grids etc, the more accessible all of the comping videos are. An immediate value-add for what you've done previously.

  9. #158
    Quote Originally Posted by Reg
    Here are the next...
    I was familiar with most of this basically and have somewhat under my fingers . But the embellishments are something I didn't know. I took some time to sit down and look at these /play through today, and I've got to say how much I love the concept of a lick per scale degree. Something less mindnumbing than taking a single lick and applying to all different chord types etc. of course, it's obvious that you can apply these patterns to different chord/scale types as well, but again, I find the idea of a kind of a "lick scale" really compelling. Fun to play, especially with the rhythmic similarity.

    I like that the first half of each pattern is basically the same and then 2nd half has the variation. Thanks.

  10. #159
    Quote Originally Posted by Reg
    I'm putting together a jazz comping approach... how I approach comping. Which again is also based on same basic guitar fretboard design. Anyway any thoughts of where to start thread... here or in the comping section.

    thanks for any suggestions
    Man, I would still love to see this. Watched a bunch of these videos a couple months ago , and I think the comping videos are among the most accessible of all the Reg material. I transcribed a good bit of one of the easier ones, but an idea occurred to me at the time: to do something I'd heard someone else talking about doing... I think it was mentioned somewhere that Robert Conti basically just plays his ticket to improv solos insanely fast, transcribes them, and then re-records them as normal-speed, entry-level material. Would love to see a superfast Reg video, which is slowed down in high quality on the front end, before upload. By the time you slow down a Reg video to "human" speed (in YouTube itself), the quality makes it almost unusable. Anyway, hope all is well with reg. I owe a lot to him personally for many years of guidance and teaching.

  11. #160

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    So I'm opening this thread up again.... I'll start posting material again, but will answer questions for beginners and intermediate players here.... I'll get into whatever you want...

    I'm also opening my theory thread section Live at the speed of Jazz, for more advanced players and more complex concepts and approaches when playing and performing jazz.

    I want to use this thread to help get the skills together, so you can perform. I can help... anyway, feel free to jump in.
    Reg

  12. #161

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    Thanks for opening this thread again, Reg, and for being open to questions!

    My question is about starting to use melodic minor in my playing.

    I learned your 7 positions of the melodic minor scale. I haven't been able to incorporate much of this scale in my playing though, except for getting altered sounds on the V-chord.

    It would help if you'd name say 3 exercises of other instances but the V-chord in which to use the Melodic Minor sound, preferably ones that make it easy to wrap my head around the sound.

  13. #162

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    Hey Patrick cool,

    So the somewhat standard use of MM... is using the Dominant chords... and they're subs .
    G7 to C6/9... Modal interchange to G7alt. There are many ways to go from G7 to G7alt..... I'm using MI because it's fast and simple

    Start simple... When using altered V7 chord... the sub is.... tritone or augmented 4th away and is bII7#11.
    example Target of C6/9... If your using G7alt as V chord the sub is bII7 or Db13#11.

    Altered implies 7th degree of MM... so the note collection is AbMM, and both G7alt and Db7#11 are chords pulled from that AbMM.
    And in reverse also, with bII7, which is usually Lydianb7 or Lydian Dominant, bII7#11) the sub is V7alt.

    So a practice exercise could be....

    Play two or four bar loop....here 's 4 bar loop...

    // C6/9..../ C6/9..../ D-9..../G7alt ...// You can play whatever over the C6/9, then play Dorian for the D-9 and then pull fro MM for G7alt. Don't think Abmm... your playing G7alt. G7 alt. Has C blue notes of #9 and b7 ... so that's your easiest access to target "Cmaj." blue notes;

    Then add the bII7#11 chord...
    // C6/9.../ C6/9..../ D-9..../ G7alt Db9#11../ So your using V7 and subV7 both pulled from MM note collection. Again work with the Blue notes... you'll hear how the D- dorian relates and sets up the G7alt with Blue notes... then leads to blue notes during the C7/9 chord.

    Now change it a little... // C6/9..G13sus./ C6/9. G13sus./ Ab-9. Db9#11./ Ab-9. Db13#11//

    This short chord pattern is rich with use of Maj/min... Melodic Minor and Blue notes...

    This process of using subs and Modal interchange... and creating Chord Patterns.... that can pull from MM for access to blue notes.... naturally creates organized harmonic motion. There are many options... Your limited by how many different subs you know how to use, (harmonically), and how many Chord Patterns you know and how to make Chord Patterns imply existing changes.


    The next step is to extend the application... this get complicated with MM so I'll make a different post. I'll make a example when I get back tonight... of the above.

  14. #163

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    Thanks so much Reg! I'm gonna have to read this over a bunch of times, and great that you want to make an example, it's surely gonna help big time.

  15. #164
    Quote Originally Posted by 57classic
    Thanks for opening this thread again, Reg, and for being open to questions!

    My question is about starting to use melodic minor in my playing.

    I learned your 7 positions of the melodic minor scale. I haven't been able to incorporate much of this scale in my playing though, except for getting altered sounds on the V-chord.

    It would help if you'd name say 3 exercises of other instances but the V-chord in which to use the Melodic Minor sound, preferably ones that make it easy to wrap my head around the sound.
    Hey Patrick. This is a pretty cool post re your question, especially re II-7 Dorian/V7#11 subs for minor or dominant chords. Something I'm playing around with now. A lot here in post#113: Reg's Thread... live at the speed of Jazz
    Last edited by matt.guitarteacher; 03-29-2018 at 01:01 PM.

  16. #165

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    Salut Matt, thanks for that! I'm gonna read and watch. It's gonna take some time to get my head around this, but I'm gonna keep at it and post my questions here.

  17. #166

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    I'm going to keep the "Practice Plan" thread material material I started going on this old thread of mine. There is probable a lot of material already, but I'll start a new collection of drills and information that I personally believe is needed to play jazz. It won't be for everyone... but that's good, we all play differently etc...

    I'll put together some more drills tonight and tomorrow morning that will also help with picking and fingerings.

    Should be fun and helpful.
    Reg