The Jazz Guitar Chord Dictionary
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  1. #26

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    It would be fun to compile a list of classic jazz-blues heads that are in C. I am going to use this project as a chance to learn a couple that are typically played in C.

    My first will be "Relaxin at Camarillo" which I've always loved but never learned.

    What other classic jazz-blues heads typically get played in C?

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  3. #27

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    relaxin at camarillo I think

  4. #28

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    Quote Originally Posted by joe2758
    relaxin at camarillo I think
    Yes, that is the one I'm working on right now. Any other jazz/bop blues in C?

  5. #29

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    Blue Monk is in C.

    Bb is not far away, open that key up and there are a lot of blues jazz standards.

  6. #30

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    Quote Originally Posted by fep
    Blue Monk is in C.

    Bb is not far away, open that key up and there are a lot of blues jazz standards.

    Bb and C are close. Many solos / heads that I've learned in Bb are fingered the same in C, just up two frets.

  7. #31

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    Quote Originally Posted by lawson-stone
    It would be fun to compile a list of classic jazz-blues heads that are in C. I am going to use this project as a chance to learn a couple that are typically played in C.

    My first will be "Relaxin at Camarillo" which I've always loved but never learned.

    What other classic jazz-blues heads typically get played in C?

    I think Bird's "KC Blues" is in C too.

    O, and Duke's "C Jam Blues." ;o)

  8. #32

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    yes, Charlie Parker's "Cheryl" is in C

  9. #33

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    Also, "Things Ain't What They Used To Be" is sometimes played in C. (If it's a horn band, it probably won't be, but otherwise, some people play it in C. Bb and Db too...)

  10. #34

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    Quote Originally Posted by losaltosjoe
    Way to introduce yourself to the group Frank! Fine playing and tone. This project is going to be fun.
    Thanks for the welcome and that was fun.

    A thing of note for me, the concept of starting an arpegio off of some chord tone other than the root, as in bar 4 creating the Bbmaj7 arp off the the 7th of C7... Conti does that several times in that solo.

    Bar 4, I didn't recognize this until I changed the rhythm, Charlie Parker often used that line but with the triplet like I did. Exact same notes but a different rhythm:
    Attached Images Attached Images The Blues! Robert Conti Ticket To Improv Volume 3, Project 1-4th-measure-png 

  11. #35

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    Quote Originally Posted by fep
    Thanks for the welcome and that was fun.

    A thing of note for me, the concept of starting an arpegio off of some chord tone other than the root, as in bar 4 creating the Bbmaj7 arp off the the 7th of C7... Conti does that several times in that solo.

    Bar 4, I didn't recognize this until I changed the rhythm, Charlie Parker often used that line but with the triplet like I did. Exact same notes but a different rhythm:
    I find myself "triplet-izing" that phrase as well, it just seems to "want" to be played that way. We listen to so much music, some of these phrasing ideas just get ingrained.

  12. #36

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    Hey, guys, I'm in! I learned the TTI volumes 1 and 2 solos a few years ago and got a little ways into this volume and then got busy with work and family obligations. I really want to pick up my guitar again. I wish I could have done volumes 1 and 2 with you guys because I've forgotten all but the Satin Doll solo. Maybe if I have time, I'll relearn the volumes 1 and 2 stuff and post in the appropriate threads. I look forward to hearing some more solos from you guys soon!

    -Chris

  13. #37

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    Quote Originally Posted by Dio666
    Hey, guys, I'm in! I learned the TTI volumes 1 and 2 solos a few years ago and got a little ways into this volume and then got busy with work and family obligations. I really want to pick up my guitar again. I wish I could have done volumes 1 and 2 with you guys because I've forgotten all but the Satin Doll solo. Maybe if I have time, I'll relearn the volumes 1 and 2 stuff and post in the appropriate threads. I look forward to hearing some more solos from you guys soon!

    -Chris
    Welcome, Chris! Happy to have you aboard.

  14. #38

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    Here's my first take at this.
    Using an Aebersold play-along track which is a little slower than ideal, I think. I'll look for something else to use next time. (Though Jamey's Volume 42, "Blues In All Keys" is a great play-along. I play the head he wrote for this 'tune' after the 'comp' chorus, before playing the first chorus of the solo a second time.)

    The second beat of bar 5 is my main trouble spot here. So much so, I just stopped trying to play those two notes (C and G) with my 2nd finger and play them with my index.) There are other clams too, but that's the part that gives me the most trouble.


  15. #39

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    I just got the DVD this morning and had a listen. I can tell I am really going to like this project. As a side note, poor RC really seems to struggle in the playthrough of the first example keeping the tempo down for us. He gets ahead of himself a couple of places and you can see a quick flash of irritation pass on his face. I've heard that he records these solos at twice the tempo that he demonstrates on the DVD and then transcribes it and plays it at a more human tempo. Playing it slow enough for us must have been a real chore on this one!

  16. #40
    Quote Originally Posted by rlrhett
    I just got the DVD this morning and had a listen. I can tell I am really going to like this project. As a side note, poor RC really seems to struggle in the playthrough of the first example keeping the tempo down for us. He gets ahead of himself a couple of places and you can see a quick flash of irritation pass on his face. I've heard that he records these solos at twice the tempo that he demonstrates on the DVD and then transcribes it and plays it at a more human tempo. Playing it slow enough for us must have been a real chore on this one!
    Yeah. I watched this a couple of days ago and was struck by the same thing. The places where he plays them twice as fast sound great. Also his run-throughs after teaching bars 12 and 24 are much better than the first one. I would definitely check out THOSE versions to get a better feel.

    But I think he basically develops these TTI arrangements from transcribing himself playing at very fast tempos and then teaching them back slowly.

  17. #41

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    Quote Originally Posted by matt.guitarteacher
    But I think he basically develops these TTI arrangements from transcribing himself playing at very fast tempos and then teaching them back slowly.
    I think so too.
    If you ever look at his book / DVD "Jazz Lines," you will see the "nuts and bolts" of many of his lines. He plays a lot of the same things over and over in slightly different ways depending on the context. Pat Martino is like that too. So was Wes and Grant Green.

    The older I get, the more I think "style" (musical style) means doing the same thing a lot, with panache. ;o)

  18. #42

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    I must say that The Blues are not my specialty.

    Here is my take on version 1

    Version 1

  19. #43
    Here's my take on the first 12 bars. I played it pretty straight except for bar 4 where I varied the phrasing slightly.


  20. #44

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    Quote Originally Posted by losaltosjoe
    Here's my take on the first 12 bars. I played it pretty straight except for bar 4 where I varied the phrasing slightly.

    Like it. I also have changed the phrasing on m. 5 to more of an 8th note delays followed by a pickup and triplet figure: "da bi-pi-ty doop dee doop" or something. I think this little chorus has some nice ideas in it. I also have naturally started playing the Charlie Parker head "Billie's Bounce" with this, even though BB was originally in F, it seems a perfect little blues line to lead into this solo.

  21. #45

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    @losaltosjoe, well done, played cleanly and in the pocket. Enjoyed the listen.

    Los Altos, fellow Californian. I think I read too fast, until just now I thought you're forum tag was Lotsofjoe, as in I drink a lot of cofee.

  22. #46

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    Okay, I recorded both choruses plus a third bonus chorus which is Robert Conti's free 12 bar blues lesson he has online. I also recorded the backing track which I learned a long time ago, I think from an Emily Remler video. I was hoping to do a split screen with with the solo and the comping, but apparently my software can't do that and I'm too cheap to upgrade to the next tier that can. I'm open to any constructive criticism, I have a pretty thick skin.


  23. #47
    Quote Originally Posted by Dio666
    Okay, I recorded both choruses plus a third bonus chorus which is Robert Conti's free 12 bar blues lesson he has online. I also recorded the backing track which I learned a long time ago, I think from an Emily Remler video. I was hoping to do a split screen with with the solo and the comping, but apparently my software can't do that and I'm too cheap to upgrade to the next tier that can. I'm open to any constructive criticism, I have a pretty thick skin.
    Nice job Dio666! I'm also working on the free Conti 12 bar blues lesson. Cheers.


  24. #48

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    I'm working on putting this Conti line into my vocab, it's from measure 4 of Solo 1. Here it is in A7 but starting on the 3rd of the chord (the C# after the pickup note).
    Attached Images Attached Images The Blues! Robert Conti Ticket To Improv Volume 3, Project 1-lick-bit-png 

  25. #49

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    So I played around with that bit in previous post starting on different chord tones. The idea was play the line and resolve it with various somethings... I wrote out what I guess is a lick etude if you will.

    Attached Images Attached Images The Blues! Robert Conti Ticket To Improv Volume 3, Project 1-lick-bitter-bit-png 

  26. #50
    Here's my take on bars 1-24, the full solo. All in all, I played it pretty much as written.



    For next week's assignment I will try working in some of the rhythm examples presented in the "Let's Talk Changes!" chapter of project 1.