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  1. #31
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    Hey NSJ - I editted and expanded my post. It's a complex topic.

  2. #32
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    Quote Originally Posted by christianm77 View Post

    (BTW The big advances in my time/feel recently have come from samba and upbeats, playing percussion and being told off for having lazy upbeats when playing Cavaquinho. Nothing to do with triplets directly .... but really it's a constant experience of revisiting rhythms and getting deeper and more specific about them)



    And some players, irritating though it is, are just rhythmic naturals. (I am not.) I have taught some myself. It's humbling.
    me too man. I have so much work to do on this area. It's all about the "ands".

    Displacing a rhythm that originally started on the downbeat and putting it such that it starts on an upbeat is really hard for me.
    Navdeep Singh.

  3. #33
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    Quote Originally Posted by NSJ View Post
    me too man. I have so much work to do on this area. It's all about the "ands".

    Displacing a rhythm that originally started on the downbeat and putting it such that it starts on an upbeat is really hard for me.
    Then that is an excellent thing to practice for 5m a day.

  4. #34
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    Barry said to tap on the one and the three, because the two and the four are so important they should be already ingrained in your heart
    Navdeep Singh.

  5. #35
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    Quote Originally Posted by NSJ View Post
    Barry said to tap on the one and the three, because the two and the four are so important they should be already ingrained in your heart
    I've heard him say it a few ways - 1 and 3 is lower body, 2 and 4 is upper body. Or '1 and 3 is to keep the devil away.'

    Swing dancers get this actually.

  6. #36
    Hobbyist ramblings below.

    Some of this is pretty rough, but I couldn't get my thing to work today. Ended up just doing the webcam. Wanders a bit. Sorry. For some of what I'm doing in this video, I explained it more in another take and then forgot to add it into this one. Anyway, most of these triplet patterns I'm playing are of the "2nd 8th note triplet" variety that you guys are talking about. I learned to play it basically with fingers, but - with a pick - for me, it basically started as a ghost note on the downbeat. That makes it pretty easy with a straight physical reference like alternate picking or fingers. It's easier to aim for something on 1 than to aim for something "not on 1". At least for me....



    I need to check out the Mike Longo material. Which product is the starting point?
    Last edited by matt.guitarteacher; 09-15-2017 at 08:11 PM.

  7. #37
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    Quote Originally Posted by matt.guitarteacher View Post
    Hobbyist ramblings below.

    Some of this is pretty rough, but I couldn't get my thing to work today. Ended up just doing the webcam. Wanders a bit. Sorry. For some of what I'm doing in this video, I explained it more in another take and then forgot to add it into this one. Anyway, most of these triplet patterns I'm playing are of the "2nd 8th note triplet" variety that you guys are talking about. I learned to play it basically with fingers, but - with a pick - for me, it basically started as a ghost note on the downbeat. That makes it pretty easy with a straight physical reference like alternate picking or fingers. It's easier to aim for something on 1 than to aim for something "not on 1". At least for me....



    I need to check out the Mike Longo material. Which product is the starting point?
    Hes got 3 DVDs the crux of it is DVD 2, where he interacts one on one with students on all kinds of instruments I haven't seen the third one . The first two are well worth getting. As well as his little book on improvising a melodic line .

    preview

    Navdeep Singh.

  8. #38
    Quote Originally Posted by NSJ View Post
    me too man. I have so much work to do on this area. It's all about the "ands".

    Displacing a rhythm that originally started on the downbeat and putting it such that it starts on an upbeat is really hard for me.
    My instructor is always trying to get me to start and end way more phrases on the and. Something I'm working on. I've been working from a pdf 'Getting in Time' for the last 3 weeks and it's helped immensely.

  9. #39
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    I'm stuck at work til Midnight (!) so I conceive music in my mind and tap it out on the table, staring at a computer screen.

    I wonder if this is familiar?

    Quarter note triplet + 8th Note triplet + 2 8th notes?

    Split the bar into two two beat phrases:

    1st phrase: Duh-du-ga-da (quarter note triplet)
    2nd phrase: ta-ki-ta + ta-ka
    Navdeep Singh.

  10. #40
    Quote Originally Posted by matt.guitarteacher View Post
    Very cool. What specifically are the names of the products you're talking about?
    Here is the link to Mile Longo's site. http://store.fastcommerce.com/jazzbe...d556127-c.html

    Both Mike Longo CDs on this page, To My Surprise and Step On It, come with the extra CD for the drumming rhythms that go with his dvd series on the Rhythmic Nature Of Jazz. Great series. I have Series I, II and III of the dvds but haven't listened yet to III yet which is actually a download instead of a dvd. Great material. Would be awesome to use in group but haven't been in a combo since I went to Abersold last summer.

    Sent from my SM-N900V using Tapatalk

  11. #41
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    Quote Originally Posted by Bobby Marshall View Post
    Here is the link to Mile Longo's site. Jazz Education

    Both Mike Longo CDs on this page, To My Surprise and Step On It, come with the extra CD for the drumming rhythms that go with his dvd series on the Rhythmic Nature Of Jazz. Great series. I have Series I, II and III of the dvds but haven't listened yet to III yet which is actually a download instead of a dvd. Great material. Would be awesome to use in group but haven't been in a combo since I went to Abersold last summer.

    Sent from my SM-N900V using Tapatalk
    Don't see any link to DVD 3 content.
    Navdeep Singh.

  12. #42
    Here is the link to the main page
    The CDs I gave links to may just be for Volume II and III as Volume I is the introduction video.

    Jazzbeat Home



    Sent from my SM-N900V using Tapatalk

  13. #43
    Quote Originally Posted by wzpgsr View Post
    Anyone feel like recording some video of how they utilize 6 against 4 in the context of, say, practicing lines or comping? I hear rhythms in jazz as being quite a bit more complicated than how they're generally transcribed, and I appreciate the discussions and important of subdivisions, quarter and eighth note triplets, but so far haven't found a way of working them into my playing in a more meaningful way.

    Are we talking about things like, say, playing swing eighths that sound behind the beat because they are actually starting on the 2 of an eighth note triplet? Or even on perhaps the 1-and of an eighth note triplet?
    Thought about this question yesterday and wondered if I'd really addressed it properly. To your last couple of questions, I'd view using triplets to phrase behind/ahead is really the whole point of them. Anyway, I tried to play a mostly "behind" chorus of this tune using triplets. Maybe it makes some sense. I did another one more on process and how I learned to hear them some. (I'm still working on all of this.) This is in the context of chord melody or solo playing, but you can apply similar to non-CM as well. It would be cool to discuss that aspect if you're interested (or not interested in the CM part). Incidentally, the 2nd chorus of the first vid is just my cheesy comping using this feel, but it's probably a little more straight ahead and easier to hear, re. the triplet patterns etc.

    I'm just a student of this stuff myself, but I'm happy to answer questions on my thoughts etc. Thanks.
    [EDIT: At 3:26 of the 2nd one, I should have said "Quarter note triplets" instead of dotted quarter notes. Youtube has apparently 86'd annotations. So, I can't correct it on-screen.]

    Last edited by matt.guitarteacher; 09-16-2017 at 04:13 PM.

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