The Jazz Guitar Chord Dictionary
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  1. #376

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    Quote Originally Posted by wzpgsr

    Also, I’m noticing that when playing at a slow tempo it is very hard for me to play eighth notes without my playing sounding stilted,
    When I stop thinking about the beats and open up, everything seems so much more natural and swinging. I will try to post a clip demonstrating this in a little while.
    This is a big point and when you move beyond it, your life will change. It’s moving to right brain thinking or big picture soloing even while you’re playing the details.
    I know you started this group in the Super Chops thread. That was limiting yourself to straight eighths. But here we’re not working on the proficiency of negotiating the changes, but learning what they mean beneath what you play, and making a fresh interpretation from that. REDUCE the number of notes you play. Make a statement with two notes, then answer it with two or even one. DEVELOP that essential idea by knowing what it’s made of rhythmically, and melodically and harmonically. In that order. Then vary it but the moment you lose track of the idea and development, mark that in some way in your recording and when you go back, look at what you might have done to stay on track.

    When an artist is making a drawing, it’s always the biggest fear to add one too many lines, and destroy the power of brevity with obsession. Musicians get a rush from playing, moving the fingers and making sound. You pass that point without even knowing.
    Develop an idea. It’s an art of playing. With that awareness, you will make each and every solo with a new challenge and you’ll learn to master it.

    Try it out. Everyone, let’s try some of these ideas. And share your journey!
    Thanks all for contributing so many great ideas and blocks you encounter. It helps more than so many lessons you might get from a teacher. It’s an important part of being an advancing guitarist.

    David

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  3. #377

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    Quote Originally Posted by WILSON 1

    My teacher told me long ago that you should recognize the tune (during a solo) inside of three minutes or one of two conditions exist; your repertoire is weak / the solo is poor...the soloist has lost the listener.

    We may need a step by step solo builder thread to take care of problem number two.

    sounds like wise advice.

    David started a thread like that 1st where we analyzed bebop lines. I really liked that thread but we migrated over to this one and I suspect we'll revisit that thread at a later date as it really did address the melodic qualities of playing the changes thru bebop etudes.

  4. #378

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    Quote Originally Posted by WILSON 1
    Yes, she said unless the soloist goes into outer space for 20 minutes and I forget the tune. I believe she described 90% of the average listener.

    We may need a step by step solo builder thread to take care of problem ...
    Quote Originally Posted by Michael Kaye
    sounds like wise advice.

    David started a thread like that 1st where we analyzed bebop lines. I really liked that thread but we migrated over to this one and I suspect we'll revisit that thread at a later date as it really did address the melodic qualities of playing the changes thru bebop etudes.
    Those threads are still out there. They were an offshoot of the Super Chops thread after we finished those 20 weeks (hey what ever happened to that other Super Chops thread somebody else started?)

    Honestly, I had planned that as we all went through this tune a week year long journey, our approaches would steadily gain confidence, inevitably expand to naturally encompass the bebop language. It all comes out of questions you guys ask to which I'll answer with thought pieces and maybe suggestions for study and practice.
    The way I see it is anything you're told to do by someone else, any solos you lift from a recording, any degree you get with someone else's time line isn't going to bring out the natural curiousity that your own frustration will bring you to.
    So if you have a question or stumbling block, share it here. This thread is a tune a week but more importantly, it's a step a week towards you being a better musician. Look at these pieces I give you. Each one reveals one more mystery of the improvisational language. Ask and we'll have things to work on.

    The way I see the big picture Michael, the first step is developing your ear so you can play like a child over major diatonicism. In grammar, this is the use of verbs of movement bringing you to and from nouns of stability.
    The second step is learning dominant functions. These are like the adjectives that add dimension to the diatonic key areas.
    The third step is the secondary dominant, that almost infinite set of dominants that are not in the key but describe each diatonic chord and add drama to the functional line.
    The fourth step is extending the approach to diatonicism beyond functional or rule based dominants, finding textures to flesh out the concept within an organic solo.

    All of these things can be learned through pieces that demonstrate these things, and all of these things can make you into a very complete musician if you learn the pieces and not just the tune.
    Look at the weekly songs carefully. There's a catalogue and guided hints as to what concepts are introduced.

    Yeah it's all here. Just ask.

    David

  5. #379

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    The lyricist should have his license taken away for this line:

    "Green Dolphin Street supplied the setting"

  6. #380

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    Quote Originally Posted by TruthHertz

    The way I see the big picture Michael, the first step is developing your ear so you can play like a child over major diatonicism. In grammar, this is the use of verbs of movement bringing you to and from nouns of stability.
    The second step is learning dominant functions. These are like the adjectives that add dimension to the diatonic key areas.
    The third step is the secondary dominant, that almost infinite set of dominants that are not in the key but describe each diatonic chord and add drama to the functional line.
    The fourth step is extending the approach to diatonicism beyond functional or rule based dominants, finding textures to flesh out the concept within an organic solo.


    David
    nice analogy.

  7. #381

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    Last night found some time to start with OGDS. The trade offbeing simple: have some nice Friday’s night dinner with wine, or just fruit andcoffee, clear mind and more time awake. Chose the latter.
    At bed with the P Bass unplugged made a few passes throughthe changes and then took a Paul Chambers transcription. Studied just bars 1 to16.
    This morning played three hours on my P Bass, in Eb, thosebars 1-16 (sections A and B) by memory against a BIB track trying to add/mix myown lines.
    A few moments ago concluded my C version including a fewsimple substitutions borrowed from Paul Chambers. Didn´t do the functional analysis,just liked how they move/sound:
    Section A (ms. 1-8): inm. 6 play directly G7; in m. 8 Emin7/A7 (leading to the Dmin7 in m. 9);
    Section B (ms. 9-16) : in m. 11 Gmin7, m. 12 C7; and in m. 16 Dmin7/ G7.
    Tomorrow morning likely to tackle ms. 17-32, give the bass arest an hopefully switch to the guitar.
    At my turtle pace, enjoying it.
    Have a good weekend!

  8. #382

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    Here's from tonight's session. I am playing at a pretty slow tempo, but I got the tune totally off the page, which is rare for me.


  9. #383

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    One of the great honors of my life was knowing the great drummer Alan Dawson. He was a melodic and lyrical player and every solo he played followed, played with and actually created a more interesting version of the original tune. He was an inspiration that playing a solo should respect a tune, understand a tune and be a personal composition based on every aspect of that tune. One night he was setting up for a gig and he began playing a tune on the drums (he was also a really great piano and vibes player) and I heard as clearly as any horn player would play it, the tune Cherokee. After that, he went back to adjusting his drums and he said to me "Back in the day, that tune was the 'Giant Steps' for players."
    This week's tune is the Ray Noble tune Cherokee. Those of you who did the Super Chops 20 weeks with me will remember this tune. Use this to measure how you've grown as a player. For those meeting this piece, it's so full of things to bring into your vocabulary that it's well worth it to begin slow and gradually bring it up through the week.
    Traditionally played at a fast tempo, this piece is a workout with several notable devices that you'd do well to familiarize yourself with.
    The piece is in Bb, and the piece is in AABA.

    A section begins in the tonic, and immediately goes to the IV chord via II V turnaround, that's where you get that V- sound from.
    Then it comes back to the tonic via an alternative (see modal interchange if you care) bVII7 chord. Learn this sound. It's important.

    The B section starts with a II V I a HALF STEP UP from the tonic. Nice, eh? Totally different key! Then that tonic becomes the II- of another turnaround a whole step down... then THAT tonic becomes the II- of a new key...etc. All these key changes are why the piece was challenging for players. For a guitarist, though, the key area and the shapes by which you negotiate them can be remarkably similar (just shift down two frets) and you can get a nice workout on position shifts and ear training modulations.
    The bridge eventually leads you back into the original key of the A section where you are back to Bb as you know it.

    That's the piece in a nutshell. Try this piece out slowly, aim to get it off book and get to know the flow if it. Have fun!
    David
    Commit to a song a week. What could a serious student hope to learn?-screen-shot-2018-03-11-7-36-16-am-png
    Clifford Brown


    Charlie Parker


    Barry Harris pointing out the structure that makes up the bridge


    A Wes Montgomery version


    Early (Jazz guitarist) George Benson


    Hank Garland


    Because this was a "barline standard" of a certain era, it was played a lot and you can find many other examples. After a certain point in time it was not played so much, not recorded so much, but it's still a template for many tunes to follow. Hope you have a good time with this one!

    Note: Wilson1 and the rest of you, there was a request for a step by step solo building exercise. I kinda avoided that in this thread but I could take one particular tune and for a week, suggest one way that a solo could be built. It'll include stuff that will take time to internalize, but we could make our conceptual leap from changes to solo playing at some point. Maybe even on this tune. Would this be useful?

  10. #384

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    This is the one tune from Superchops that is constantly running through my head. I’m going to take it with the real book changes this time—I think I will progress better keeping the changes mostly vanilla this time around.

  11. #385

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    Quote Originally Posted by TruthHertz
    Note: Wilson1 and the rest of you, there was a request for a step by step solo building exercise. I kinda avoided that in this thread but I could take one particular tune and for a week, suggest one way that a solo could be built. It'll include stuff that will take time to internalize, but we could make our conceptual leap from changes to solo playing at some point. Maybe even on this tune. Would this be useful?
    Wait, I thought this was the blueprint:


  12. #386

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    Quote Originally Posted by wzpgsr
    Here's from tonight's session. I am playing at a pretty slow tempo, but I got the tune totally off the page, which is rare for me.

    For some reason I can't play your soundcloud post.

  13. #387

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    This has been a fun week so far. I must say the real book version is WAY easier to manage than the Superchops version!

    Thanks for keeping this going, David. Sorry I haven't been around and contributing... It's been a crazy couple of months, so I've pretty well just been ducking in to see what the tune of the week is, and playing when I grab a free moment.

  14. #388

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    Quote Originally Posted by TruthHertz
    Note: Wilson1 and the rest of you, there was a request for a step by step solo building exercise. I kinda avoided that in this thread but I could take one particular tune and for a week, suggest one way that a solo could be built. It'll include stuff that will take time to internalize, but we could make our conceptual leap from changes to solo playing at some point. Maybe even on this tune. Would this be useful?
    I can't speak for the others, but I'd like that a lot.

    This is a tune I've avoided mostly because when it gets played (which, I think in all my years going to jam sessions, I think I've heard it called maybe twice), it gets played at a ridiculous tempo.

    I want to think I read somewhere that Tal's version is over 300bpm. The recent Christian McBride version is not quite that fast, but I don't think I've ever heard a bassist play straight ahead stuff any faster than how he did it. Certainly faster than I can play. But I should learn it. Maybe I'll do a version like Metheney's version of Giant Steps. Slow latin. (Hm. Maybe not.)

  15. #389

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    I love this immersion in the forms of tunes and standards. Up until now I've addressed some points and avoided too much controversial advice (I really believe everyone learns differently and this is as personal a process as ever) but there's been some interest in putting together a group session on solo construction. So April begins with our basic fundamental song in a few weeks. THat'll be I'll Remember April and I'll do something different that week. I'll do a 5 or 6 day daily step through on creating a solo, each day focusing on some exercise that brings us to a meaningful process and a thoughtful solo.
    It'll be fun, and if you're up for it, that's the first week of april and anyone is encouraged to post their progress.
    Sound good?

    David

  16. #390

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    Quote Originally Posted by TruthHertz
    I love this immersion in the forms of tunes and standards. Up until now I've addressed some points and avoided too much controversial advice (I really believe everyone learns differently and this is as personal a process as ever)
    I can see where you're coming from on that, but I'm curious about your approach. Of the folks I know, you're probably the least hemmed in by the written chords, and I'd love to see how that manifests in a concrete way.

    Constructing a solo is something that no teacher has ever gotten into with me. It's always been nuts and bolts, but never driving the car, as it were.

    I think advice would only be "controversial" if one were expected to treat it like holy writ. You can share your opinions. If someone differs, that's OK too, as long as it stays friendly. I'm digging into the Barry Harris thing right now, but that doesn't mean I suddenly hate CST.

    I like having examples and templates to work from. I like seeing how the parts fit together, and understanding the thinking behind it. If I can see that, then I can work out alternatives.

  17. #391

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    Quote Originally Posted by Boston Joe
    I can see where you're coming from on that, but I'm curious about your approach.
    ...
    I think advice would only be "controversial" if one were expected to treat it like holy writ.

    I like having examples and templates to work from. I like seeing how the parts fit together, and understanding the thinking behind it. If I can see that, then I can work out alternatives.
    OK, so I'll plan that and we'll do it!
    Controversial. I mean I'm not going to encourage transcribing, I'm not going to suggest licks as a solution to the fear of the unknown.
    In short, I will take I'll Remember April (in G) and break it into identifiable sections, look at what is suggested melodically and harmonically for each section, (if you can be familiar with the sound of this tune before we begin, you'll be ahead of the curve) and look at that tune as a series of breaths we can build sentences with.
    Similar to the original, more minimal, different ways to play what is given, that kind of stuff.
    During the week we'll stick to a few ideas that you came up with and I'll introduce embellishments, passing notes, passages as tools by which you'll all construct connecting ideas, always with the topography you came up with at the start (striving for simplicity at the beginning, maintaining clarity at each step). We'll look at how we choose from a tool bag of lexicon (which we'll make together) and make different ways to make musical "questions" and clever and appropriate "answers". Towards the end of the week, we'll see how our clearly thought out ideas can be profoundly changed through the use of rhythmic vocabulary.
    All the time, we'll never lose track of the honesty of the original tune, and what the composer offered, and how we can re-write it as we move to own it. You're gonna work for your thoughts, no help offered from somebody else's solo. That's the exercise.
    It's my hope that if this works for you, it will change the way you can embrace all the tunes that follow in the last 6 months of this year together.

    Sound like a plan?

    David

  18. #392

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    Yay! And it's a tune I like and am already familiar with!

  19. #393

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    Awesome thread TruthHertz.

    I'd like to join, just not sure where to start. The beginning on my own or just jump in where you all are at...

  20. #394

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    Quote Originally Posted by fep
    Awesome thread TruthHertz.

    I'd like to join, just not sure where to start. The beginning on my own or just jump in where you all are at...
    Read the first few posts so you get what we're doing. Each month is the same cycle, a tune with basic structures, then a standard with more complex construction, the third week is a challenging piece and the fourth week is an interesting tune you may not know.
    You can start anywhere, and browse through past weeks for insightful questions and if you're curious for topics that can make the music more thoughtful, check out the thoughts of the week.
    There's no strict progressive order but in the beginning, I pointed out new harmonic and commonly encountered things that, once recognized, become an integral part of our vocabulary.
    The point is not to master each tune, per se, but to meet them with enthusiasm and, in doing so, realize that all tunes have certain fundamental features that make them surprisingly similar once you know how to see them.
    Begin anywhere and just by giving yourself the challenge of an hour a day with self prioritized practical playing, you'll surely learn in doing and asking, more than a decade of dictated instruction without follow through.
    It happens that recent questions regarding falling into practice ruts has been a catalyst for a post addressing meaningful solo construction.

    Hey, do you guys know Lee Konitz's 10 steps to improvisation?
    Jazz Guitar Lessons: Lee Konitz 10-Step Method for Jazz Improvisation
    DEFINITELY worth checking out.
    Yes there are many ways to approach improvising and composing a solo on the fly. That's Lee's. Mine will be in a few weeks.

    David

  21. #395

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    This week will be the equinox, the days and nights in balance and the start of Spring. I thought it'd be a great time to take a look at a tune from State Fair, Rogers and Hammerstein. The piece plays within two main key areas, C and F. The form is A A B A and the B section is where you'll hear the change to F. Be aware and make that shift a smooth one.
    Because this piece is pretty basic (it's what makes so many tunes singable and memorable) there's a lot of space to take liberties, with additional chords, interesting harmony (listen to Bill Evans below) and it's also a good chance to actually build a solo working with the piece itself (check out the Clifford Brown solo).
    Listen to the tune, get to know the sound of the tune without the chart, and mark out the changes in your own head. Practice this process and let it be a take-away from our yearlong journey here. Only after you feel you can hum, sing or recall the piece, then find out how closely you can identify the actual harmony and tune by looking at the changes. For the versions in different keys, do try to identify the contours of the piece by harmony (Roman numeral relative chord names).
    It's a really nice piece and quite straight forward. Maybe I'll suggest some ways you can create variety if it's of interest. But for now take it by ear, then by your own ways.
    Jump in, play along, have fun and ask questions. And the days are getting longer. Spring is here!

    David


    Commit to a song a week. What could a serious student hope to learn?-screen-shot-2018-03-18-2-06-16-pm-png

    The complete show version with that rare verse included



    Bill Evans and his great harmonic treatments of the tune



    Ella's version



    Herb Ellis



    Clifford Brown Listen to what he takes from the original when he solos, and listen to how he builds with and returns to the original


  22. #396

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    It's just like mother says...
    I sit around and mope.
    Pretending I am wonderful.
    And knowing I'm a dope.


    source: It Might as Well Be Spring Lyrics - State Fair Soundtrack Lyrics

    Yes that just about covers it...

  23. #397

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    Gershwin's lovely ballad Someone To Watch Over Me is a tune I wanted to learn to play from the first time I heard it. The melodic line has such a singable and expressive quality to it. Listen to the words, the way the melody reflects and builds from the natural inflections of the way you might speak those lines. Listen to the "peaks" of the spoken lines, and how they are "orchestrated" by the music beneath it. This is something that deserves some thought, do your solo lines have any relation to the ways you express yourself in words? Our words have a music to them too, the rhythmic way we create questions, emphatic statements, comments, strong statements.
    I love this piece for the space it allows me to try out ideas like this. See if you can change the feeling of this tune in a thoughtful solo that has your own spoken take on it. Don't just think scales and arpeggios, but search for a sung line through the chorus.

    The piece is A A B A, and that #4 half diminished line we encountered comes into play again. We should be getting that sound down by now.
    The bridge B section goes to the IV chord, then descends to the III- which is like a II or the II- (familiar device? We've met this before too.) All in all this doesn't introduce anything radically different, but it uses sounds we know in beautiful ways.
    It shouldn't be too hard to learn, but use your ear on this. See if you can pick out the landscape, the important changes, and mark the places that give you trouble. When you figure them out, they'll teach you a lot about the music in the process.
    Use your ear.
    Solve the mystery.
    Check it with the music.
    Get off book.
    Play it by ear and find your voice in it.
    That's the goal.
    SHare your comments and observations please. Even if to say "I hate this piece. I'm not doing it!" That gives me some indication too of whether I'll work with similar tunes in the future.

    David

    In a common key it's often played in, Ab

    Commit to a song a week. What could a serious student hope to learn?-screen-shot-2018-03-24-4-52-17-pm-png


    Ella FItzgerald

    Keith Jarrett


    Sco's version in Ab

  24. #398

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    Been on vacation. Can’t wait to pick up my guitar again.

  25. #399

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    First time I heard this version was on the radio. I thought "Who IS this, she has a great voice?" . Nice version with the verse too



    David

  26. #400

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    Two quick observations. I was not familiar with this tune until this week. Learning a tune you don’t know when you only have a week is a different ballgame than brushing up on a tune you already know, or are at least familiar with. But, all the harmonic movements that we’ve been exposed to this year must be gelling somewhere in my mind, because overall I’m finding that I’m internalizing progressions a lot faster than I did at the beginning.