The Jazz Guitar Chord Dictionary
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  1. #1

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    I’m putting a bit of work in on arpeggios and open triads here are a couple of exercises I got from Lage Lund mymusicmasterclass. Hopefully they are pretty self explanatory. Try the open triad exercise from the top left in order lathe way through to the end. I’m using DDU picking. Have fun




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  3. #2

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    Not that anyone wants to hear this considering their already extensive personal investment, but a symmetrical tuning simplifies the crap out of this...and Lage Lund has no ownership of the ideas either.

  4. #3

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    Nice interface.

  5. #4
    Quote Originally Posted by P4guitar
    Not that anyone wants to hear this considering their already extensive personal investment, but a symmetrical tuning simplifies the crap out of this...and Lage Lund has no ownership of the ideas either.
    Hi P4

    Yeah I’m sure tuning your guitar differently helps but like you say I’m too far gone, plus I do a lot of reading gigs I feel it would possibly screw me up.

    Not sure what you mean by ownership of the ideas? It was just something I transcribed and thought I’d share, it just happened to be him playing it.

    55


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  6. #5

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    Quote Originally Posted by 55bar
    Yeah I’m sure tuning your guitar differently helps but like you say I’m too far gone, plus I do a lot of reading gigs I feel it would possibly screw me up.
    Agreed, it would screw you up for awhile. I converted after 20+ years and it definitely took some time and effort to get back to where I was. I only made the comment because I see so many struggle learning the same thing in three different forms, when with symmetrical tuning there's only one form.

    Quote Originally Posted by 55bar
    Not sure what you mean by ownership of the ideas? It was just something I transcribed and thought I’d share, it just happened to be him playing it.
    That was in response to a subsequent post to yours, now deleted apparently, that suggested you shouldn't be sharing your diagrams.

  7. #6
    Quote Originally Posted by P4guitar
    Agreed, it would screw you up for awhile. I converted after 20+ years and it definitely took some time and effort to get back to where I was. I only made the comment because I see so many struggle learning the same thing in three different forms, when with symmetrical tuning there's only one form.



    That was in response to a subsequent post to yours, now deleted apparently, that suggested you shouldn't be sharing your diagrams.
    Ah interesting, well I thought it was safe to share this as it was an off the cuff bit of improvisation not included in any of the pdf material, just something that caught my ear.

    Any how if anyone has a problem with me posting chord diagrams I’m happy to take it down.

    Thanks for the clarification your post now makes more sense to me

    55


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  8. #7

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    Thank you 55. I play those same triad arpeggios. I don’t know why this insistence on perfect 4 tuning. Sure I guess it makes sense. But so does standard, if you’ve been doing it that way your whole life. I don’t think it inhibits me at all. Plus I think it’s a little weird criticizing you for posting this and taking to opportunity to promote it. If it works for great. If not great.


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  9. #8
    Switching to P4 tuning seems to me to be somewhat like cutting off your feet to deal with athlete's foot.

    Standard might not be consistent, but it can be explored in a systematic fashion, and the major third interval allows some sweet voicings.

  10. #9

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    Yeah. But standard is very consistent within itself. You just gotta know it.


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  11. #10

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    Quote Originally Posted by Shadow of the Sun
    Switching to P4 tuning seems to me to be somewhat like cutting off your feet to deal with athlete's foot.
    I found it more than worthwhile and no amputations were required.

    Quote Originally Posted by Shadow of the Sun
    Standard might not be consistent, but it can be explored in a systematic fashion, and the major third interval allows some sweet voicings.
    Agreed, but equivalent voicings are available in P4 and P4's fretboard map is much simpler to learn and utilize.

    Quote Originally Posted by henryrobinett
    Thank you 55. I play those same triad arpeggios. I don’t know why this insistence on perfect 4 tuning. Sure I guess it makes sense. But so does standard, if you’ve been doing it that way your whole life. I don’t think it inhibits me at all.
    Great! My only point is that for any triad form a P4 tuner learns, std tuners have to learn three. Clearly, std tuning "works" as so many great players have demonstrated.

    Quote Originally Posted by henryrobinett
    Plus I think it’s a little weird criticizing you for posting this and taking to opportunity to promote it. If it works for great. If not great.
    Twas not I criticizing, it was someone else who commented and subsequently deleted their post. That person seemed to suggest that it was inappropriate to share Lund's teaching material when it was all basic stuff for the std fretboard map. I responded and since I didn't quote them as I have here, my post was left hanging in the air.

  12. #11
    Quote Originally Posted by P4guitar
    I found it more than worthwhile and no amputations were required.



    Agreed, but equivalent voicings are available in P4 and P4's fretboard map is much simpler to learn and utilize.



    Great! My only point is that for any triad form a P4 tuner learns, std tuners have to learn three. Clearly, std tuning "works" as so many great players have demonstrated.



    Twas not I criticizing, it was someone else who commented and subsequently deleted their post. That person seemed to suggest that it was inappropriate to share Lund's teaching material when it was all basic stuff for the std fretboard map. I responded and since I didn't quote them as I have here, my post was left hanging in the air.
    I’d just like to clarify, it was NOT part of his teaching material. It was a 3 second improv on the video where he just talks about open triads. I liked it so I transcribed it then put it in my practice book.

    It is 100% his ideas and I did put on the book where I got it from. Really hope everyone is cool with this!
    55


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  13. #12

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    Quote Originally Posted by 55bar
    I’d just like to clarify, it was NOT part of his teaching material. It was a 3 second improv on the video where he just talks about open triads. I liked it so I transcribed it then put it in my practice book. It is 100% his ideas and I did put on the book where I got it from. Really hope everyone is cool with this!
    55 Sent from my iPhone using Tapatalk
    You did nothing wrong in my book nor is there anything proprietary about what Lund is teaching, at least from what you've shared so far. I'm sure it will benefit many here.

  14. #13

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    Thanks for the post, 55bar!

    I transcribed a good portion of that video, as well, and I still run through the introduction he did all the time and try to fit that type of framework to other tunes.

    The Bret Wilmott (sp?) book about theory and voicings doesn’t get enough love around here, imo, and you might really get a lot out of it if you haven’t already seen it - especially if you liked the Lage video. I picked it up because I saw Bako mention it once. I’ve spent a lot of pen and paper time with it. You should check it out.

  15. #14

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    Quote Originally Posted by 55bar
    I’m putting a bit of work in on arpeggios and open triads here are a couple of exercises I got from Lage Lund mymusicmasterclass. Hopefully they are pretty self explanatory. Try the open triad exercise from the top left in order lathe way through to the end. I’m using DDU picking. Have fun




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    I had a rubber stamp like that but I lost it a few years back ...reminds me to get another.

  16. #15
    Quote Originally Posted by Robertkoa
    I had a rubber stamp like that but I lost it a few years back ...reminds me to get another.
    ?? I’m lost?


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  17. #16

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  18. #17

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    Thanks ..yes but I need 6 frets ...

    My left hand is 1/2 " longer from stretching for cool
    Voicings ..and sometimes I connect them in different ways and forget next day...lol.

    I have an old Book I made with voicings and main 4 or 5 Resolutions for the cooler and more versatile Pivot chords etc. which I want to add to for writing etc.

  19. #18

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  20. #19
    Quote Originally Posted by Robertkoa
    Thanks ..yes but I need 6 frets ...

    My left hand is 1/2 " longer from stretching for cool
    Voicings ..and sometimes I connect them in different ways and forget next day...lol.

    I have an old Book I made with voicings and main 4 or 5 Resolutions for the cooler and more versatile Pivot chords etc. which I want to add to for writing etc.
    I see, I actually drew them free hand. But a stamp is a good idea.


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  21. #20

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    Quote Originally Posted by Robertkoa
    I had a rubber stamp like that but I lost it a few years back ...reminds me to get another.
    Free Guitar Chord Chart Blanks to Fill In Your Own Chords

  22. #21

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    I have a stamp. It's well good.

  23. #22

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    Thank you...

    I cannot catch the logics of the second excercise.. I mean I see it's all open trids in different inversions... I see some patterns repeated... and some sequeces repeated in different neck areas...
    But I cannot catch how they follow each other... first they hook on the last note... then not... some are major but some are are minor and some diminished...

    I mean it could be just fine as it is - just as an excersise... but maybe I missed something?

  24. #23
    Quote Originally Posted by Jonah
    Thank you...

    I cannot catch the logics of the second excercise.. I mean I see it's all open trids in different inversions... I see some patterns repeated... and some sequeces repeated in different neck areas...
    But I cannot catch how they follow each other... first they hook on the last note... then not... some are major but some are are minor and some diminished...

    I mean it could be just fine as it is - just as an excersise... but maybe I missed something?
    I wouldn’t worry to much from what I remember it’s just inversions of Cmaj7 he was just improvising, so will have gone off piste. If you like the sound then all is good.


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  25. #24

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    Quote Originally Posted by 55bar
    I wouldn’t worry to much from what I remember it’s just inversions of Cmaj7 he was just improvising, so will have gone off piste. If you like the sound then all is good.


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    That's what I thought it was..

    Thank you!

  26. #25

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    1) After playing it a bit I found that the 1st excecise with consequent triads from R-3-5 on 6th string is a very good mnemonic setup..

    It can be used to any pattern or shape actually ...

    though musically they sound often awkward together, a student seems to memorize inversions forms and notes much faster this way than just playing inversions of the same arp or chord consequently...

    I tried with a couple of advanced beginners (those new to jazz but who can more or less play)..

    And also myself with some chords and inversions that I felt not really secure about...

    Probably it's because you just move half-step one voice and you have to think what the root is every time... (I made a guy speak the root tone out loud to be sure)..

    The same can be applied to melody voice too...

    Again it's not always really musical sequences to come out.. but then you begin to mix them all up and you clearly see the root through any inversion...

    2)
    I used 1st excercise in a mixed form - using the same 2 patterns:
    - you start playing G triad arp and then from any note you play another arp that has this note in common...
    like g-b-d... and from d you do on playing d-f#-a and from a you go on a--d-f ... etc.
    You can do it in any order up down in any combination
    but always considering roots of the arps you imply