The Jazz Guitar Chord Dictionary
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  1. #51

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    Quote Originally Posted by MikeS
    There Will Never Be Another You
    Improvisation Bars 1-32
    Conti Guitar
    Equity Model

    Still working on this one. Here goes.


    Mike
    Yet another milestone reached! Congrats on summiting this peak on our mountain range!

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  3. #52

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    My final installment. The head, played mainly as a melody line, the solo, and then the "out" chorus played chord-melody. I'm using the Hal Leonard Real Book backing track. I should also put in a good word for this set of tracks, which ships on a USB jump drive. The tracks are very nice and fun to work with.

    Clams abound, and some notes get "air picked" since I don't know where they went!

    Payed on my new Chicago Music Exchange 2016 Gibson ES175 "Figured" model.


  4. #53

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    Quote Originally Posted by lawson-stone
    My final installment. The head, played mainly as a melody line, the solo, and then the "out" chorus played chord-melody. I'm using the Hal Leonard Real Book backing track. I should also put in a good word for this set of tracks, which ships on a USB jump drive. The tracks are very nice and fun to work with.

    Clams abound, and some notes get "air picked" since I don't know where they went!

    Payed on my new Chicago Music Exchange 2016 Gibson ES175 "Figured" model.
    Way to finish big Lawson! Loved the tone of the new 175.

  5. #54

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    I have done something a little different this month. I recorded the Robert Conti version on "There will never be another you". i also recorded a version by Frank Vignola from book of his called "Jazz Solos" ( A book/series that I would love to one day initiate a study group for). I also recorded 3 versions by Matt Warnock. For those of you unfamiliar with Matt, he heads up study groups which focus on one song per month and he delivers assignments based on that song.

    Robert Conti's There will never be another you

    Conti's TWNBAY

    Conti's version is Classic Conti. I did not like it at first but as I got into it, I liked it more and more. A lot of chromaticism, a lot of arpeggios and some really nice phrasing.

    I like how the first two phrases (Bar 1 and Bar 3) do not start on the one.
    Bar 8 I ended that phrase on an Eb instead of a E. i just liked the sound better.
    I like the phrases on Bars 9 and 10
    I like the triplets in Bar 13.
    Bar 17 begins in a different in a new position. Great idea !!
    Bar 22 - more great triplets.
    Bars 23, 24 - Triplets across the bar line. They seemed cumbersome at first, but I grew to love them.
    I still don't love these double stops.
    Love the arpeggiated triplets in bars 27 and 29.
    Conti does not end on a downbeat. Very hip !!
    Last edited by Doublea A; 10-18-2017 at 07:06 AM. Reason: It did not fit, I am posting 5 separate posts

  6. #55

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    Frank Vignola's "There will never be another you"

    Vignola's TWNBAY


    Frank Vignola's version has lots of space in between the phrases, clever use of chromaticism and a good variety of different rhythmic phrases.


    Bar 3 - Chromaticism Bb to B resolving to G (over a G7b9) gives this lick a bluesy feel.
    Bars 9 and 10 - the same phrase repeated with one note changed in order to fit the chord.
    Bar 16 -The Bb is played on the and of 1
    Bar 17 - Frank Vignola had a Bb note in this spot. I played a Eb69 chord to fill it out a bit.
    Bar 18 - D, Eb, G, Bb (over Ebmaj7) resolving to a B on G7. Brilliant. Resolving upwards. A clever twist since most resolutions are downwards.
    Bar 24 - More Chromaticism
    Bars 25 and 26 - same chords as bars 9 and 10, thus Vignola uses a similar device. He plays the same phrase and only alters the notes that need to be altered to fit the chord.
    Bar 31 - The concluding phrase. A Bluesy lick. Great Ending !
    Last edited by Doublea A; 10-18-2017 at 07:05 AM.

  7. #56

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    Matt Warnock "There will never be another you" Melodic Development

    Melodic


    For those of you that are unfamiliar with Matt Warnock, he runs a study group in which the group studies a new Jazz Standard every month. He develops different exercises that tackle improvisational concepts and applies them to that month's song.
    I participate in his group from time to time. Sometimes I am just a bystander.
    Anyways, a few months ago Matt and his group dove headlong in There will never be another you. There are three solos here. Each solo is tackling a different concept.
    The first one is Melodic Development. This was by far the easiest of the three. From start to finish took me about 20 minutes. You can easily hear the melodic development as this piece moves along. Many of the phrases feature either the same notes or rhythm or both. Matt states a melodic idea in the first 2 bars and he develops it throughout the rest of the tune.


    Bar 1 and 2 is very melodically and rhythmically similar to bars 3 and 4
    Bars 9 and 10 - similar to Vignola's idea of changing just a few notes
    Bars 13 and 14 contain the same rhythm
    Bars 17 and 18 same rhythm as bars 1 and 2
    Bar 21 has the same rhythm and notes (almost) as bar 27
    Bars 29 - 32 Great ending phrase. He repeats that rhythmic phrase that he used in bars 17 and 18 in bar 30. Brilliant
    Last edited by Doublea A; 10-18-2017 at 07:04 AM.

  8. #57

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    Matt Warnock "There will never be another you" Vocabulary

    Vocabulary


    Matt's "Vocabulary" version takes licks and phrases from jazz recordings and applies them to this chord progression.


    Bars 2 and 3 - Nice phrase. It begins on the and of one, crosses the bar line and ends on the and of 1. The eighth notes at the end of Bar 3 are cleverly placed so that they phrase resolves half a beat before the chord arrives. The line uses mostly chord tones.
    Bars 4 and 5 - Another nice phrase. It begins on the and of one and ends on the and of two in the following bar. this line also uses mostly chord tones.
    Bars 9 - 11 - Yet another nice phrase. Beginning on the and of 4 crossing two bar lines and ending on the and of one in bar 11. The line also features some nice chromaticism
    Bar 14 - a nice arpeggiated triplet right in the middle of the bar
    Bar 15 - implies a Bb7b9 over the Fm7 (Ab, Bb, B, D) then bar 16 implies a F7 (C, Ab, F, Eb) over and Bb7b9
    Bar 16 also features an implied B7(9) (Db/C#, B, A) over Bb7 which resolves to the G over a Ebmaj7 in bar 17. Brilliant !!
    Bar 20 and 21 - Along phrase over 2 bars. The G7(b9) is really the dominant chord of C-7. Therefore it is logical to connect these two chords via a long phrase
    Bar 25 - A long 4 bar phrase which is mostly arpeggios. This is by far the trickiest part of the song.
    Bar 31 - I like this phrase to end the song
    Last edited by Doublea A; 10-18-2017 at 07:03 AM.

  9. #58

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    Matt Warnock "There will never be another you" Weekend Challenge

    Weekend Challenge




    Matt's monthly study often includes a weekend challenge, which is exactly that. A solo that he puts out on Friday and participants post it by Monday. This particular challenge contained some great phrasing once again. Very few phrases started on the 1 beat. Very few phrases ended on the one beat.


    Bars 3 and 4 - The phrase runs from the second beat of bar 3 to the and of one in Bar 4
    Bar 5 - The phrase starts on beat 3
    Bars 9 and 10 - the rhythm is . . .. rest 2 & 3 4 & 1 rest 3 & 4. Very hip !!
    Bar 13 - rising F and G triads, again with a displaced rhythm
    Bar 23 - A triplet appears. Since this is the first triplet appearance in this song it really stands out
    Bars 25 and 26 - Once again the licks are very similar. Matt alters the notes slightly to fit the moving chords
    Bar 28 - Accentuating the C7 by playing 3 E natural notes in 3 different octaves
    Bars 29 and 30 - a very busy flurry of notes to end the piece. Both scaler and arpeggiated.


    In conclusion, these 5 pieces all bring something different to the table. Conti's version is by far the busiest of the bunch. Vignola has a much more laid back approach. Matt Warnock approaches each version with a singular concept in mind.


    Anyways, I hope you enjoyed that. That was a lot of work/fun !!

  10. #59

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    @ Doublea A thank you for that. One thing I’ve struggled a little with is that I just don’t like RC’s musical phrasing. It was nice to hear other approaches.

    Now, don’t get me wrong. As a teacher I think RC is excellent. I’ve gotten more out of his materials than just about every other jazz instruction books in my collection combined. I just wished the solos grabbed me more.

    I am also spoiled by his video format. I bought FV’s Rhythm Changes book, but it just was so dry trying to work out these long transcriptions of the same song just from a book and once through audio. I wish more jazz educators would use the same format of a guided video transcription of real improvisation over standards.


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  11. #60

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    Quote Originally Posted by rlrhett
    @ Doublea A thank you for that. One thing I’ve struggled a little with is that I just don’t like RC’s musical phrasing. It was nice to hear other approaches.

    Now, don’t get me wrong. As a teacher I think RC is excellent. I’ve gotten more out of his materials than just about every other jazz instruction books in my collection combined. I just wished the solos grabbed me more.

    I am also spoiled by his video format. I bought FV’s Rhythm Changes book, but it just was so dry trying to work out these long transcriptions of the same song just from a book and once through audio. I wish more jazz educators would use the same format of a guided video transcription of real improvisation over standards.


    Sent from my iPhone using Tapatalk
    I could not agree with you more. I love Conti’s videos. I like his solos. I am learning a lot and Conti stuffs a lot of stuff in his videos, I just wish the solos were more musical.

    I agree that Vignola’s 16 versions of Rhythm Changes is not for everyone. I am in (sort of leading) a study group based on that book and it is sometimes hard to get motivated to do yet another version of RC.

    I highly recommend Frank Vignola’s Jazz solos. Although there is no video there is audio and the tunes and solos are great. That is where this solo came from. I am planning on heading up a study group based on that book/series by Frank Vignola once I have completed the RC book. Let me know if you (or anyone else) would be interested.


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  12. #61

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    Quote Originally Posted by Doublea A
    I have done something a little different this month. I recorded the Robert Conti version on "There will never be another you". i also recorded a version by Frank Vignola from book of his called "Jazz Solos" ( A book/series that I would love to one day initiate a study group for). I also recorded 3 versions by Matt Warnock. For those of you unfamiliar with Matt, he heads up study groups which focus on one song per month and he delivers assignments based on that song.

    Robert Conti's There will never be another you

    Conti's TWNBAY

    Conti's version is Classic Conti. I did not like it at first but as I got into it, I liked it more and more. A lot of chromaticism, a lot of arpeggios and some really nice phrasing.

    I like how the first two phrases (Bar 1 and Bar 3) do not start on the one.
    Bar 8 I ended that phrase on an Eb instead of a E. i just liked the sound better.
    I like the phrases on Bars 9 and 10
    I like the triplets in Bar 13.
    Bar 17 begins in a different in a new position. Great idea !!
    Bar 22 - more great triplets.
    Bars 23, 24 - Triplets across the bar line. They seemed cumbersome at first, but I grew to love them.
    I still don't love these double stops.
    Love the arpeggiated triplets in bars 27 and 29.
    Conti does not end on a downbeat. Very hip !!
    Hi Doublea A -- Great job on the Conti solo and thanks for the analysis! Conti's solos certainly keep the fingers moving and have done wonders for my technique. Cheers, Joe

  13. #62

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    I was away while this solo was learned. ("One Note Samba" too.) Lot of nice things in it.

    I'll start work on that this coming week, which means starting tomorrow (Sunday, 10 Dec). I won't post vids of my progress on each section but I do hope to post a video of the whole solo once I feel comfortable with it. Hope to have that done before Santa comes.

  14. #63

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    Work on this is coming along. I hope to post something by (or over) the weekend.

  15. #64

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    Haven't plugged my guitar into the new practice amp since the last video. I'll have to devote some time to monkeying around with it to find a more suitable sound but, realistically, that's unlikely to happen until after the holidays. This performance gets boomy in a few places, for which I apologize.

    Looking forward to the next project so I can start from the beginning! I like a lot of the lines in this solo, especially the one I kept flubbing today, ms 27 and 28.

    Note. Several times during these takes I play one note where Conti played two. (Same note twice to end a phrase.) It's just the way I wanted to play it today.

    Note Number Two: I apologize for chewing gum while recording. I hadn't realized I was doing that until I looked at the video after playing the solo.

    Note Number Three: I also apologize for muttering "Sh*t" before the starting to play.


  16. #65

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    FWIW, I too have been playing those end of phrase repeated 1/8ths as a single 1/4. Sounds right to me at these tempos too.


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