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not sure if anyone mentioned Tom Quayle already... he's another awesome guitarist using P4.
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nice thread!
I switched a few years ago and it is a leap of faith that pays off more and more over time. Not only are there more 'shapes to learn' in standard, but you are always practicing one shape to the exclusion of the others ... you are playing a zero-sum game. The degree of unification that you can achieve between aural conception and motor output is really staggering ... I'll post some chord-melodies in the near future that will (hopefully lol) dispel the notion that P4 is not commensurate with solo jazz guitar.
Before the switch, I'd describe my chord vocabulary as a hodge-podge of Galbraith voicing, things various instructors taught me, Joe Pass voicing, shell, 3 7, 3 7 + 1 ext, 3 7 + 2 ext, ... but in a word 'hodge-podge.' Making the switch is like a fire in an old growth forest, clearing the way for something fresh and revivified. It's as if you are going on a camping trip and you get to decide what to bring. What do you NEED? What do you really want/like? Although one could make a fearless inventory of their resources without leaving standard tuning, I think coupling such an activity with 'straightening out' the fretboard can be very powerful indeed.
Moreover, I believe that there are symmetries / connections that are ONLY visible / obvious on a symmetrically tuned guitar. Even piano, which is no doubt a very powerful tool for visualizing and understanding music, fails to have the property that visual/tactile/aural patterns are 100% invariant on transposition. My hope in the coming decades is to put my money where my mouth is and become a renowned player and teacher (despite not being overtly talented), building on the insights that have accompanied making the switch.
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Quote:
"I'll post some chord-melodies in the near future that will (hopefully lol) dispel the notion that P4 is not commensurate with solo jazz guitar."
Looking forward to it. I spent 2 years in 4ths before switching back to standard tuning. One influence was the relative inadequacy of chord voicings in 4ths.
Some much used chords in standard: Diminished: xx5656
Minor 9th: x5755
Minor 7th: 5x555 (or reach up and hit top-pitch string too etc.) -- are much harder in 4ths.
Major 7th: 5x665 is much twistier in 4ths, less ergonomic.
Still it is a regular temptation because the math is so much better in 4ths.
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Okay, if you're looking for feedback -- it was pretty good, but I didn't hear the lushness of a really full chord melody.
(I have posted examples of my playing, but not solo)
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It seems you're feeling attacked. I don't think JazzinNy has that intent.
FWIW, I thought your version was good too. I liked the dyad approach at the beginning, the chord work and slight reharms for the 2nd section. My only criticism is that it was too loose with the time for my taste.
Regardless, you're a good player who is clearly dispelling with the myth that chord work isn't possible with P4.
Keep it up and post more 
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Thanks, I appreciate that. Apologies for getting all cranky 
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4NPS NotBop Patterns for 4th tuning.
To use the patterns, play the chord tones on the down beats and link each chord tone using non-chord tones and non-scale tones.
Here are some more patterns:
Last edited by GuyBoden; 06-01-2023 at 05:29 AM.
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I don't quite understand your "neubop" patterns. It seems you're adding chromatics to the scales, which is fine, but independent of harmonic context I don't see the point. I don't know what "neubop" is either, so my comments are likely missing your point. Lastly, I thought this thread and P4 tuning in general died quietly in this group a long time ago.
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4NPS NotBop Patterns for 4th tuning.
They sound great, but for the best result you have to stick to this rule: use the patterns by play the chord tones on the down beats, then link each chord tone using non-chord tones and non-scale tones.
Here are some more patterns:
Last edited by GuyBoden; 06-01-2023 at 05:31 AM.
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