The Jazz Guitar Chord Dictionary
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  1. #51

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    Our phrase over the IV chord.
    The note has a momentary breath even after a measure of space. This makes sure you're not taking the beat for granted. There's a breath there. Following the arpeggio up from a less predictable chord tone, the 3rd ascending up to the 7th. That 7th note is important, it gives the 7th chord that "edge". So even though you get there on the 3rd beat, the next 3 notes form a device called an upper lower neighbor combination, or an enclosure. We use this to bring us back to the note and really frame it. It's an important embellishment tool in classical and jazz. Get to know this note-upper neighbor-lower neighbor-note sound. You can also do lower and upper too. You know this and when you encounter it in a player or transcription, you're hearing the device and not the notes.

    The second line of the phrase mirrors the ascending line. Transposing a motif. Got a good idea? Move it around and develop it. It'll actually make the first time you played it stand out.

    We meet a triplet phrase. The triplet takes up the same amount of time as two swing notes, but instead of long-short, you've got two notes where the long note was. Try it; you'll understand why swing rhythms are actually strongly based on the triplet (tied triplet) feel.
    On that high A, you hit the peak of that phrase, or the goal of that line and it changes direction like a flourish. Try that in your own phrases. Those last two notes are a nice clever way of indicating the C7 chord without bringing too much attention to it. Chord tones but not the root, a short articulation to end the phrase concisely.

    To think about: A great phrase can be ruined by a weak ending. We don't always think about how to end a phrase, getting started and hitting the great notes is all we need to do right? Not so much. A weak ending is like a great wedding speech that gets everyone teary and then peters out into a "... um whatever..." Practice phrase endings. USE SPACE.

    All these ideas are packed so tightly into this etude, and do take time to think about them. You probably DON'T want to stuff every single space of a phrase with device after device, so get to know them and let them be a spice to a really well crafted dinner. Get them in your ear.

    Hope this gives you ideas. I'd love revelations, observations, disagreements, thoughts and frustrations. We learn more from good questions.

    David

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  3. #52

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    Learning improvisational language through practice, phrase, and etudes-screen-shot-2017-06-14-10-25-16-am-png

    So this is the last phrase of the first chorus. Let's look at the final phrase of the chorus. In the last sections, you want to be able to show a sense of purpose, tie things up neatly and strongly. When you create a solo, or end a chorus, be decisive and strong, and people will remember a great solo.

    In this section we'll meet scale passages, arpeggios, which I'd guess everyone is getting good at trying to use, but to that backbone material we embellish with enclosures, upper neighbors, lower neighbors, chromatic passing tones and direction change.
    In this passage, rhythm and space is not the most prominent feature; where space and short phrasing set up a sense of purpose and pattern, here the flow of eighth notes really shows up the drive towards a resolution.

    Starting on the A7, hey following a pretty long rest in the C7 measure, the first beat feels like a breath. Those three notes in the first half of the measure, yes they're scale notes, but they almost feel like a pickup to the 5th of the chord, beginning what might sound like an arpeggio, but wait, it changes direction and look at those two last eight notes, new direction feels like a new idea and those notes sound like a pickup... to...

    Dminor. Up the scale and turning direction on the 5th of the chord to come down the chord. This feels like a roller coaster set up and drop. Remember this contour, it is a really nice way to create interest. Note: you're soloing, and you're heading towards playing that SAME SCALE THING AGAIN! So when you reach an important note, change direction, contour or even dynamics, but change. It'll set your top note as the peak of that phrase.
    Play this measure and see what I mean. And make your own variation of these ideas.

    The G7 measure sets up the first note of the phrase with the 3rd of the chord. But wait? How about the C and A? Upper and lower neighbor, a nice way of setting up a featured note by encircling it and it arrives with a nice introduction. UPPER AND LOWER NEIGHBOR, remember this and learn to use it.. Then we go up the arpeggiated G7 chord up to the 9th (high A) and a direction change. From then on those notes following notes looking to the next measure; they're chromatic approach notes, upper and lower that sets up the...

    A7 chord descending down from G. So you see here? You don't need to be thinking "This is the change I'm on, I MUST obey the notes of that change", you can look ahead and set up even the second chord.
    In that E- A7 measure, the A7 what you're thinking, down the arpeggio and then an upper neighbor to the 5th. Study this carefully, it's the art of not stating the obvious. Your use of embellishments lets you play the note you know belongs there, but set it up with figures you know by heart. And it SOUNDS GREAT!

    Last measure of the chorus. ' begins with a rest. This is the dramatic pause. then forget the changes that are written. What key is this in? Yeah C. How does it begin? In C. And look at that last figure, it's in C and it mirrors the pickup at the start of the chorus. Clever.
    So if you've got an idea you play in a solo, and it's a motif, or a line you play in a phrase, or even a pickup, remember it. Each time you repeat it, it becomes stronger and you have a greater sense of purpose in your solo. That's the power of motif.

    As far as using this, I've tried to identify and explain some of the embellishment devices. When you practice them, do so separately, finding the best finger position for that embellishment and its target. Use this when you're soloing and your lines will flow with strength.

    It'll take time but using these embellishments in your slower practice time will familiarize you with the way they're used and you WILL find them creeping into your playing. Learning the etude for the sake of learning the etude is fun but it's not serving its purpose.
    THink about these things and practice to get them in your ear. A better solo comes from a more informed awareness of your options.

    When I have time, I'll move to another chorus of Halsted Street.

    David

    Hey I need to add that this is just MY take on these notes. I didn't write the tune so the interpretation is all I can claim. All other questions, thoughts, interpretations, comments, need for clarification on devices I've mentioned... anything, is what this thread is for. Please add your thoughts and keep this thread as a conversation as well as a resource.
    Last edited by TH; 06-14-2017 at 05:32 PM.

  4. #53

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    David

    I want you to know I am paying attention to all of your helpful analysis. I'm practicing! Lots more on these topics later....

    Would you laugh if I said there is about a year's study in this one piece?

  5. #54

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    Quote Originally Posted by Michael Kaye
    David

    I want you to know I am paying attention to all of your helpful analysis. I'm practicing! Lots more on these topics later....

    Would you laugh if I said there is about a year's study in this one piece?
    You're right. What I plan to do is give the whole etude a once over, then pick the one phrase or part of a phrase that stands out to me the most and try to use it in as many ways as I can.

  6. #55

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    Quote Originally Posted by Michael Kaye
    David

    I want you to know I am paying attention to all of your helpful analysis. I'm practicing! Lots more on these topics later....

    Would you laugh if I said there is about a year's study in this one piece?
    These are tools. And in the glimpses of context and what they mean to me, they're a lifetime's work! So far!

    Yes I'm glad there's something living you've found in these etudes. There are also many more aspects in addition to the notes (and notes about them). I've gotten some wonderful feedback from members through PM on the forum. It makes me consider broadening the discussion of compositional soloing into areas I don't see in the toolset here, things I'm keeping in mind when I solo.

    These include things from my own personal "More than a lifetime's work" list of soloing considerations:
    Timbre
    Rhythm
    Melody
    Harmony
    Continuity
    Dynamics
    Pitch
    Density
    Duration
    Velocity
    Attack
    Space
    Contour
    Contrast
    Motif

    and maybe I'll bring them in for discussion, or not. I don't know, but each time I solo, awareness of these things keeps me from wandering or following my fingers into random. In the list of things to avoid at all costs, the first is unrealized random; random that never gels. Close after is playing someone else's ideas without earning that right or feeling what they felt when they played that. In other words not being a peer to the creative process of those you admire.

    We learn the toolset, and take the route of playing your self.

    This has been a lot of fun. We'll see where we go from here.
    Thanks!
    David

  7. #56

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    Ok guys, are you ready for a stupid question?......In the 2nd bar there is a G with a bar over it, and an E with a dot over it. Can someone here explain what the meaning of the bar and the dot over the E means.

    Thanks
    edh

  8. #57

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    The bar over is a tenuto, meaning to play the note at its full value or maybe even slightly elongated, and the dot is a staccato, meaning to cut the note short. So the two together is a sort of baaa-bup.

  9. #58

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    Quote Originally Posted by Jehu
    The bar over is a tenuto, meaning to play the note at its full value or maybe even slightly elongated, and the dot is a staccato, meaning to cut the note short. So the two together is a sort of baaa-bup.
    Great question and great answer. I think I'll need to add Articulation to my list of things to be aware of.
    So you've got a great line, maybe you got it from a transcription, maybe you got it from paying dues practicing permutations of figures and putting them into a phrase of your own. You play it and it's really nice; but it doesn't jump out at you.

    Guitarists don't need to breathe through their hands. There's a lot more debate over whether to use sweep picking or alternating than there is on articulation of individual notes, or even using dynamics to make a line "breathe".

    Individual notes can be shaded, phrases can be made to whisper then speak louder when there's something you want to emphasize. Those notational cues are not uncommon for horn players to think about.
    Try using dynamics (loud and soft) to change the phrases you create. Maybe your scale line leads up to a peak and an arpeggio, followed by either a space or pickup to another idea. How might you use dynamics to show your intention, your purpose in the phrase?
    How might you use the subtle note length and placement to change a note in a line from just a line of notes chosen for scale "correctness" into something that speaks and announces? That's a great question edh! Play with this. It not only helped me to make a line come alive, but it also helped me to have purpose in what I was playing. When the expression, or the meaning comes before the note choice, I play differently; more naturally.

    Just something to think about.

    David

    This is Greg Fishman (I'm not his agent or affiliated with him -honestly :-) ) talking about articulation. He's referencing another etude, one I'm not likely to work with or post anytime soon, so if you want to follow or study that one, I do recommend the book.
    Hope this gives you things to think about:

  10. #59

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    One example of articulation from this etude that stood out to me is how the guitar player in the clip emulates the sax on the triplet b9-9-#9 sort of gliding up to the 3 before ending the phrase on C7 with 5-3.

  11. #60

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    Quote Originally Posted by TruthHertz
    This is Greg Fishman (I'm not his agent or affiliated with him -honestly :-) ) talking about articulation. He's referencing another etude, ...
    There is a Fishman video where he refers to the first three notes of the Halsted Street etude and their articulation (starting around 1 min in):



    Robert

  12. #61

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    Yes. I'm trying to translate the articulation myself in the phrasing. That is a lesson all itself

  13. #62

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    Quote Originally Posted by diminix
    There is a Fishman video where he refers to the first three notes of the Halsted Street etude and their articulation (starting around 1 min in):
    Great video, thanks.

  14. #63

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    Quote Originally Posted by diminix
    There is a Fishman video where he refers to the first three notes of the Halsted Street etude and their articulation (starting around 1 min in
    Robert
    Thats great! Y'know I wasn't aware of these videos when I started this thread. Great stuff! This is all master class material.
    Love it
    David

  15. #64

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    I just came across this thread - excited to catch up! I've had the guitar book (and ignore the TAB!), and I've worked on this tune, so I have a lot of it down. I'll read through the discussion, though.

    Thanks, David!

    Marc

  16. #65

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    Quote Originally Posted by marcwhy
    I just came across this thread - excited to catch up! I've had the guitar book (and ignore the TAB!), and I've worked on this tune, so I have a lot of it down. I'll read through the discussion, though.

    Thanks, David!

    Marc
    Hey welcome aboard! I was just thinking about you, how these tools are very in league with that side of me that loves Sonny Stitt, but also how issues of phrasing, embellishment and linear consideration are also SO essential for players that we consider more modern, those players like Mick, Ben, and all our favourites who owe so much to Jim Hall.
    I look forward to your presence and participation!
    As you will tell, I use the etudes not as pieces to learn, but as springboards to our own techniques of solo construction. I welcome anybody's insights into deconstruction, personal strategies of solo composition or preferences into helpful approaches to making a good solo.

    Let's have fun!
    David

  17. #66

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    Okay. I've made a newbie discovery that is akin to, I don't know, maybe discovering your finger is attached to your hand, something earth shattering like that.

    Bar 6 - F#dim. - at first this run kind of baffled me. For no particular reason, really. I mean I could hear it was a diminished run and all leading up to the C7 chord. Okay we're good. No brainer there. But I was really trying to see how this line was constructed.

    so I wrote down the F#dim arpeggio. Then placed that against the two possible diminished scales and saw the beautiful symmetry of this riff when I saw C chord tone up the W-H diminished thru the next chord tone (Eb) on up to the next chord tone (F#) and then chromatic steps straight on up to the 4th chord tone (A) - all the chord tones falling on strong beats, and then down a chord tone (F#) which happens to be a beautiful b5 approach to the 5 - 3 of C7. Sweet, right?

    But then I realized, because of the symmetry of the diminished chord, that it just might be possible that this run could be symmetrical as well. So I built the same phrase as Bar 6 from each scale degree of the F#dim chord and what do you know (doh!) - perfectly symmetrical. No diatonic transposition needed. Then the trick was to find a way back in to the C7 chord from each phrase ending.

    I then spent the better part of a couple of days working out the positions for symmetrical diminished phrases off chord tones leading to various target chords. I don't know, a door opened up for me here. I guess really understanding something painfully obvious somehow made me feel a little less stupid.

    Really sorry for the wordy post. Probably be more fun to write them out or record them and post them. I'll work on that.

  18. #67

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    Quote Originally Posted by Michael Kaye
    Bar 6 - F#dim. - at first this run kind of baffled me. For no particular reason
    For me, the reason for being baffled is that I am on a stage where a Blues is constructed from I7, IV7 and V7 chords. This Halsted Street Blues harmony is way over my head, but I am gnawing on it. Thus, for basic blues in bar 5 and 6 I would expect the IV7 chords, so the diminished seventh chord in bar 6 may be some kind of substitution. My notation looks like this (I have written it down in Bb):

    Learning improvisational language through practice, phrase, and etudes-hsse_bar5-gif

    To get the notes hooked up with the arpeggio patterns I am trying to learn, I write the scale position above the note. So, in relation to the expected IV7 chord, bar 6 is running up 5 > b7 > b9 > 3 on the downbeats, filled with some scale notes and chromatics lying on the way. It skips down to the root as an approach to the 5 > 3 of bar 7.

    Robert

    ps: My post is kind of a reaction to Dana's thread "Open letter re: Study Groups..." in the chit chat forum. I am one of these guys who is interested in some of the study groups. Usually, I am left behind early, and try to churn through somehow. I am learning a lot anyway. In most cases, I don't think that I have to contribute anything valuable for other forum members, which are way ahead of me.

    The above post shows that a lot of thinking and shedding is going on due to this study group, but it doesn't get posted, usually. I'm drifting behind silently...
    Last edited by diminix; 06-20-2017 at 03:11 AM.

  19. #68

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    Any thoughts on the natural 9 over the A7b9 chord in measure 8? A while back, David wrote:

    Starting on the A7, hey following a pretty long rest in the C7 measure, the first beat feels like a breath. Those three notes in the first half of the measure, yes they're scale notes, but they almost feel like a pickup to the 5th of the chord, beginning what might sound like an arpeggio, but wait, it changes direction and look at those two last eight notes, new direction feels like a new idea and those notes sound like a pickup... to...
    As a pickup to Dm7, it's interesting to note that the last three notes are still connected to the idea of A7, but not necessarily A7b9 as you might expect when resolving, or playing a pick-up, to Dm7. I also found it interesting that the only altered note played over the A7b9 is a b13, not a b9.

  20. #69

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    Quote Originally Posted by wzpgsr
    Any thoughts on the natural 9 over the A7b9 chord in measure 8? A while back, David wrote:



    As a pickup to Dm7, it's interesting to note that the last three notes are still connected to the idea of A7, but not necessarily A7b9 as you might expect when resolving, or playing a pick-up, to Dm7. I also found it interesting that the only altered note played over the A7b9 is a b13, not a b9.
    Right! But check this out - the A7b9 chord also spells an Edim chord and the first four notes descending spell a descending diminished line with the strong notes being E and C#, the 5th and 3rd of A7. Then in that sense the following three notes act more like a pick up to the Dmin7, as you say, as if the A7b9 is long gone now and we're heading somewhere else.

  21. #70

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    So many thoughts brought into the fore with these past posts. First, I was very curious about Dana's thread about study groups. I admit, I haven't used that resource in the forum; I have the luxury of finding so many kindred souls in my town here, and that keeps me busy. I did want to form the Roberts and this thread as a way to form a study group where paradoxically, everyone finds their own way and the guidelines are broad and self discovery is essential. I'm really pleased that some are finding their own place with their instrument through these studies. Maybe the digression is never really a digression when we're all sharing a broad gem with many facets.

    diminix... YES! I have pages of charts that look like this. I did find that as my ear got better, I found smaller and smaller units of tonal gravity. I also found that in analyzing a piece, solo, etude or line this way, it made logical sense to move my fingers, my hand position, with the phrase I was hearing. If I heard the relationship as being two bars long, I tended to stay in one place for a longer period of time. When I FELT the movement, the change of urgency from change to change, or phrase, then I'd locate my left hand position with my ear, keeping strong fingers where they're needed to improvise. This, combined with single string linearity, launched me into a very active fretting hand shifting. (Mick Goodrick's unitar also helped). That's why I didn't want to use the fingerings given by the guitar version of the etude. Think in phrases, play in phrases.

    Michael, this is an amazing discovery! One of those things people talk about but it doesn't mean a thing until you discover it. I'm glad you found it yourself. At music school, there were those who learned their musical tools by inheritance, they were taught and they used it. Then there were people that came to school with a strong intuitive and unique way of creating lines. They tended to be the ones that discovered, delighted and never stopped turning over a musical tool 'til they found some way to use it that nobody else would have thought of. The Dominant/diminished relationship is a big iceberg under there. Out of that came things like symmetrical scales as ways to play patterns out, then come back within changes, and a whole way of looking at dissonance and resolution. I hope your discoveries never rest, there's a whole lot you can get out of self discovery!

    I'm loving taking this etude apart. I'll get to the second chorus tomorrow. For myself, I'm finding ways to combine Intention/Dexterity and informed sound. Taking less for granted and looking at phrases that can have a greater "navigation" to them. By that I mean not playing a line or a solo (NO NOT THAT AGAIN) unless I have an awareness. Intimacy with a functional toolset is the key to steering your lines away from cliche.

    There's a conversation I heard long ago that has changed my attitude on soloing. It was the first gig Bill Frisell played with his great first quartet, with Joey, Kermit and Hank. It was at a small club here in town. Bill was nervous, nobody had heard his music before. The Band was nervous; they had never performed his music before. But before they took the bandstand, he told them simply: "Play what you want, but if there's somewhere you find yourself going, ...don't" and that was that band for as long as I knew them.

    I'd love for everyone to find that kind of freedom. 'hope the hang here helps.

    David

  22. #71

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    Learning improvisational language through practice, phrase, and etudes-screen-shot-2017-06-23-8-12-02-pm-png

    Chorus 2 begins with a steady rolling stream of eighth notes, and a feeling of rhythmic continuity.
    Again, we've got a breath of space that begins the C7 measure, and a nice bluesy launch into the chorus. Though the phrase outlines the 3rd and 5th degrees of the chord with chromatic approach and passing notes before and after, I hear very much a bluesy flavour with that b3 and 5, b5 combination. I think it's really nice to wind up the arc of the phrase which then descends...

    ...with the sound of the Dmi7 chord running down the scale until you hear the G7 chord beneath you. Then a change of direction using a chromatic approach tone to the G from below and the measure leaves with a passing note going into ...

    ...G mi7. I like the way the movement and direction of this ascending line crosses the bar line. Try this at home, DON'T change your direction just because you pass from one chord to another; follow your idea across the bar line. It lengthens the run of an idea and it really ties the changes through line continuity. So we're in Gmin7, and a combination of scale steps and arpeggiated steps takes you up the 3,4,5,7, 9 or the Gmi chord, that 9 switching direction as it acts as an upper neighbor to the G chord tones.
    Try creating and practicing lines that combine scale and chord tones, and embellished notes are nice places to change direction.

    That C7 and augmented measure is really nice and ends the "zone of C7" of the I7 section.
    It descends a chord tone to the 5, then an upper neighbor to further emphesize that G, then a leap to the C which descends down the C augmented arpeggio.

    The F7 measure I hear as a separate idea or phrase that happens to adjoin without a rhythmic break. You see it begin with the F, but that appears after the embellishment above and below (called an enclosure, or upper and lower neighbor) and then proceeds to run up with a really nice melodic combination of scale and leap.

    Now things you might practice. So many different sounds to add to your vocabulary, but one thing I love about this particular passage of 4 measures is how to create drama, contour, a feeling of purpose within a string of steady eighth notes.
    Take a look at how combining scale steps, narrow leaps from chord tones, changing direction and embellishments create and break up a feeling of line.
    I found it really useful to plan and even write out little phrases that employed a few devices and then play them slowly until they got into the fingers and the ear. For every phrase or device here, you can rewrite your own line and replace or re-order the notes in many ways. Make up three alternatives and you'll really use this etude as a way of learning the language. Use it after you own it.

    I do like to sing a line too, though my voice is horrible(!), and in that way I get a really good feeling of how I can shape a contour of a solo. The notes don't have to be exact but the contour of up and down, or repeated pattern, of leading towards a goal, is very evident when I'm singing a passage.

    Just some random thoughts on chorus 2. Let's share what we hear, things that seem to impress us from listening to the recording, and other contributing ideas.

    Thanks
    David

  23. #72

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    I might give the Halsted Street etude a look at tomorrow. Very cool material!

  24. #73

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    I'm still going strong on this etude. Just loving it.

    i spent more time this week working on it as a whole piece, the idea being to get the "feel" of playing through changes. This is important to me as well. I've reworked my fingering patterns in a couple of places as I've found that as my tempo improves I have to make some adjustments in fingering to keep the right feel and groove.

    After several days of excursions on diminished scale theory and practice, especially borrowing it for dom7b9 chords, I'm back to analyzing the phrases over the changes. Love the flow of the stream of eighth notes on the B section. I play that all in one position and it's interesting to me to be able to play a line with such melodic direction and content all in one position. I love how you can hear the changes just from playing the lines.

    I'm definitely experiencing some growth and ear improvement in this exercise. I can tell because I recognize that my old habits of rambling on perfectly good scales over these chord changes pretty much sucks. Recognizing where you suck, as painful as it is, is the first step towards sounding better. That much I know. Breaking old habits is almost as hard as learning fresh new ones.

  25. #74

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    Before I take an analytical look at the final section of this etude/chorus, and maybe close out the thread at the conclusion, I want to share some ideas on a few of the take aways I got, and see what anybody else got out of this. Who knows, maybe we can do another.
    About 9 years ago I began a program of drawing and playing with a friend of mine, Mick. We set up a weekly session of music and drawing with a group of artists and a group of models. Through that I probably learned more about music than I ever could or did through music school. One of the things I learned was how to "see" and how that also relates to how to "hear".
    One thing I got and tried to develop was this idea: Go into a drawing with an idea of what you're seeing-don't move until you see something. As I saw this through drawing, I realized how much of my own playing was coming out of the fingers before I had an idea of what was ahead. And it's taken me many years to develop that sense and relationship- a sense of intention.

    In playing, that meant being aware of options. These etudes give options of using notes. We learn the scales or choice of notes and in these etudes are options on how to use them: as points of convergence, as embellishments, as figures, as phrases, as sections, as choruses. Being aware of the many forms within a form means you can plan a phrase, and option or even guide a chorus as it unfolds, and not be a slave to habit. That's what I take from Halsted Street.

    In terms of process, begin at the beginning. How I choose to begin a phrase, where in the measure, with what kind of sound, direction or articulation... those become the building points like the first gesture of shape on a paper. They are points to build on. So I've come to see the start and the end of a phrase as essential to a sound for me. It'll be different for you of course-you find your own approach.
    It's just a personal note of how I've used the things that this etude has revealed.

    Mick never told me to transcribe, and personally it's not his approach. It's a choice. He listened really carefully and knowing how to recognize the melodic devices within a good etude, the vocabulary of the improvisor, he said find your own context and know the musicians' tools as the great soloists know them...as options. So with this open mind, you can build your own library of licks if you want and more importantly, make it different each time. Practice variety. Break the habit of not embracing variation. Really express something from the first note.

    Just a bunch of two cent thoughts.
    What's on your mind as you go through the etude?

    David

  26. #75

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    Quote Originally Posted by Michael Kaye
    Breaking old habits is almost as hard as learning fresh new ones.
    For me, harder. Much harder.

    David