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Hi all,
I played a tiny bit more than 20 years ago, and want to pick it up again (just for fun this time). The last time around I focused on single note playing almost to the exclusion of any chord-melody playing at all.This time around I'd really like to try my hand at more chordal things (since my purpose now is just to make music, not prove that I can play more muscularly than someone else!).
Does anyone have any recommendations for transcribed solos and/or audio/video programs? Also, are there any good recorded solos (on actual albums) that you would recommend that might be with in the reach of a beginner-ish type person (i.e., something musical, but that doesn't require technical wizardry)? My taste in music is pretty broad, if that helps. Primarily, I listened to bebob and hard bob, but certainly listened to earlier and later jazz as well.
Thanks for any help!
Brian
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12-20-2010 02:03 PM
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> bebob and hard bob,
Of course that was supposed to be bebop and hard bop! Please don't speculate on what the former might mean!!!
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Get the BArry Galbraith books. "solo jazz classics"
Not too difficult, comes with CD's so you can hear 'em as well as see them in notation.
Then, as I always say in a chord melody thread--mae your own arrangements. The process teaches you SO MUCH.
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Many thanks!!! I take it that this is the same as the following title on Amazon:
Amazon.com: Mel Bay Barry Galbraith Guitar Solos (9780786665082): Jim Lichens: Books
Brian
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Those Galbraith books are amazing.
A big thing for chord-melody is figuring out what you like. Arranging a tune in Joe Pass style is a different challenge than arranging a tune in Lenny Breau style. I have been reviewing a lot of the chord melody instructional material, and would be happy to let you know what I have found most useful for different styles.
The common denominator is the art of putting a melody note on top of a chord. Mapping out majors, minors, and dominants, (to start with) with all of the common melody tones that pop up in standards (or even with every note of the chromatic scale) is not a bad idea. You might ask yourself: how many places on the guitar can I play a Bmin7 with an 11 on top, a G7 with a 5 on top, e.g. to find out where you need to build facility. I like to have at least 2 "no-brainer grips" for these situations, although there are many more possibilities.
One thing people don't talk about enough (perhaps this merits a separate thread) are those chord-melody situations that are hard to satisfy on the guitar without sounding corny: the most common are a root or a third on top of a major chord, or a third on top of a dominant. There are a variety of ways to handle this: using quartal harmony, substitutions, clusters, and open strings. Sometimes using really big six string voicings helps reduce the clunkiness of, especially, drop 2 voicings with 3rds on top.
But just working through the Galbraith books is plenty of education in and of itself.
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Amazon.com: Building a Jazz Chord Solo: A Guitarist's Guide to the Art of Chord Melody Playing (Guitar Educational) (0073999958683): Fred Sokolow: Books
Probably perfect and cheap if you happen to not like it.
He explores four songs in increasing levels of complexity
and you see lots of standard moves.
Best of luck.Last edited by rabbit; 12-22-2010 at 07:01 AM.
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Try the flute.
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Seriously though, I don't have the Barry Galbraith books, but this one has helped me to- some extent. The styles and quality varies a lot between arrangements, which can be a good or bad thing. At some point, you just have to go ahead and try it.
Amazon.com: Mel Bay Jazz Guitar Standards Chord Melody Solos (Book & CD) (0796279092579): various: Books
A few other tips. Take them slowly and record yourself constantly. Take one arrangement and get it down really perfectly. Don't make the mistake I made when I first started with any chord-melody. "Oh yeah, I got I got it memorized, I know all the chords." Record yourself so you can actually hear if you are playing cleanly, in time, etc... If you have trouble with some specific stretch, either work on that or subsitute something more accessible at first. Play the whole thing through and then listen back. Etc...Last edited by franco6719; 12-23-2010 at 05:56 AM.
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Good evening...
Originally Posted by franco6719
A+ for this book, and I agree with franco about the variance (not a problem, as several 'levels' are represented...). I even forgot I had it, and recently bought it again..! (dummkopf...). The Cd's supplied are a pain (for me...), as I hear these impossible CM's performed with no apparent effort, fluently. Then I pick up my box and limp through a few bars. 'No way', I say. More frustration than stimulation, I'm afraid (but that's down to me, of course...). Spiral binding should be obligatory, imho, as is demostrated by this book's ease of use.
(...and it contains an n-ieme version of 'Misty' for me to try; I'm starting to 'get' it..!)
Hope this helps...
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I am strongly convinced that you can it by yourself. (Of course, I believe this basically true of everything in life).
Anyway, a few tips. Take the arrangements (or any arrangements) one at a time for as long as it takes to really nail it. Don't make the mistake I made when I first started: "Oh yeah, I got it all memorized and close enough." Play the whole thing through and record yourself, then listen back and correct problems. repeat the process...
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One thing I might suggest : take a song that you can hear in your head, something you are very familiar with. Then play the melody line using single notes. Once you have the melody line under your fingers play it again only this time on the notes that you feel would be appropriate to have a chord, find a chord with that melody note on top (the highest note) or a chord that can be altered or extended to contain that note. This is the very simplest way to begin exploring chord melody and it also helps you develop your ear.
Last edited by sundogg52; 12-23-2010 at 10:44 AM. Reason: misspelling
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Thank you to all. These were very helpful!
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Hello friends,
I'm apologize for the cross posting, but a while back a posted several queries (about inexpensive archtops, USB Audio Interfaces, & books of chord melody arrangements). I ended up with a Peerless Monarch (from Lou at Guitar 'n Jazz who was just great to me!) a Line 6 POD GX, and the beautiful Barry Galbraith Solo Guitar books. I couldn't be happier with each of them. Thank you very much for your advice and help!
Here's a (very rough!) sample on Youtube:
BrianLast edited by Brian B.; 04-15-2011 at 07:59 AM.
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I agree. Originally Posted by mr. beaumont
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Here's a (very rough!) sample on Youtube:
Nicely done. You sound good.
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I used Robert Conti's "Chord Melody Assembly Line" book...shows you how to place a diatonic and Non-diatonic melody note on top and chords underneath..not a transcription book, but a very based method on how to create basic chord melody arrangements. By the end of the book, I could open up the Real Book and at least create a chord melody of a song...and it really helped in better understanding what a transcription was doing musically when I do look at a transcription..a lot of chord melody is solving a problem..how do I get this chord under this melody note? Conti's book talks about using maybe a relative minor, or Tri-tone sub, etc...at leat gets you thinking along those lines...
Have fun with it!
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+1 Originally Posted by bass2man
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I tried the books, I tried arranging my own chord melodies. It was like running a marathon, until my most recent guitar teacher told me a couple of things. First learn the melody all over the neck, then learn the changes. After that keep things simple, meaning simple sounding, the ideas you play can be difficult to execute but shouldn't be too muddy or busy, every melody note doesn't need a chord attached to it. After that play the tune in time, and comp along with yourself, root, 3rds and 7ths to start, then once you build your chord vocabulary add those in. Pepper and salt melody notes with drop 2 voicings, and you'll be able to improvise a chord melody with ease, that sound great. I am very excited to delve into this over the summer break.
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I have been wondering if there is any guideline/rule of thumb on which note in a phrase sounds better with or without a chord attached to it? For example, would it sound good to have chord at the beginning of the phrase? How about upbeat vs downbeat? Originally Posted by sc06yl
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The notes that are held longest make good attachment points. (Often that's the last note.) But like so many rules of thumb that one is a learn-it-to-break-it scenario.
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There is no rule of thumb but you might want to put a chord under every note in the beginning. This will advance your chord vocabulary the fastest. Then you can go from there. Use triad, 4-note, and larger voicings when convenient. After you get a dozen or more tunes under your belt you will have a good chord vocabulary available to play most tunes. Originally Posted by momotor
It will be slow going at first. The dexterity will come with time. You need to learn quite a few tunes. Strive for 30 tunes minimum in your "bag" that you play over and over. Try to learn one new tune a week. Play through your repertoire often.
Learn the lyrics to the tunes and sing them as you play. It will help you remember the tunes.
Learn a few intros and endings to go with your tunes.
Patience, patience. The journey is the goal.Last edited by Drumbler; 04-20-2011 at 08:29 AM.
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When a melody note is played with a full chord underneath, and other notes are not, the one with the chord is heard as an accented note. If it's an off-beat accent, make sure it's that way only because that's what you wanted, and not because of some unintended voicing/fingering issue. Originally Posted by momotor
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Hi Brian. Originally Posted by Brian B.
I've been through a similar process, ending up with a Peerless Manhattan. I just want to play some nice tunes for my own enjoyment, and maybe learn a little along the way.
So on hearing your tune I thought - wow, that sounds lovely, and seems within my capabilities.
So I got the books last week and love them.
I am unfamiliar with quite a few of these tunes, and just being able to hear them on the CD's as they are transcribed is perfect for my needs, and really motivates me to nail the piece.
I'm working on My Funny Valentine which is fairly easy but I've only had a couple of hours at it. Hopefully I'll have it sorted it over Easter (or butchered - I'll call my version My Bloody Valentine).
Many thanks for the inspiration.
Don't hold your breath for my video though...
Phil
PS I can also recommend 'Bill Hart's Solo Jazz Guitar - The Complete Chord Melody Method'.
20 songs in that one with a fair bit of theory as well. But you'll have to work out the fingerings as they're not given, unlike the Galbraith books. I would say that the standard is a bit more advanced than Galbraith.
I have just noticed My Funny Valentine in that - I'll check it out versus the Galbraith version - should give me some chord variations without even thinking!Last edited by Philly112; 04-21-2011 at 04:14 AM.
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Originally Posted by Philly112
What I love most about this book is how darn musical everything is. It's all very simple -- and well within the reach of a middling player like myself -- but none of it (really not one measure!) sounds like exercises. It's music from start to finish. Also, if you're out to learn a bit in addition to play some lovely music, what could be a better lesson than how to play simply but musically? I also bought a couple of other books: one is so busy that I can't hear where the arranger is going (it sounds to me like stuff for the sake of stuff … or to fill up space … or to prove how muscular a player he is); the other book sounds like exercises. Not so for the Barry Galbraith books -- they are both simple and musical.
I like having the fingerings as well, though much of the time I don't use them -- most of the chords are so simple -- and in such common usage -- that the fingerings aren't really necessary.
The simplicity of most of the arrangements also brings up what I love most about these books: when I played last (more than fifteen years ago) I used nearly every one of these chords regularly (there's hardly a chord in these arrangments that I didn't use at one time or another). But I was such a knuckle head (maybe so bent on being hip or a burning player -- or whatever) that I never -- not even once! -- stopped to notice how beautiful these chords can be by themselves! You don't have to fill up the space with all kinds of pyrotechincs; you don't have to play the hippest, most outside chord you can find. As a great example, I just started playing the Galbraith arrangment of I've Grown Accustomed to Your Face. From the very first measures -- a plain old D Maj7 Chord to plain old G13, etc. -- it's just pure beauty! But these chords are all old work-horses! I was just too thick-headed to pay attention to how beautiful they could be! There were diamonds laying about at my feet and I didn't even notice!
By the way, if you only have the first book, I highly recommend the second: most of my favorites are there.
Bonam fortunam!
Brian
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I agree with just about everything you say - although some of the tunes are a bit more demanding than I first thought. Which is good of course. Originally Posted by Brian B.
And yes, I have both books. My main problem is working through one tune at a time because there are so many I want to try out.
So I am now doing two at a time; I 've just 'finished' My Funny Valentine. Not totally fluent but I've learnt it and can more or less play it as per the CD.
And working on 'Last Night...' which I am determined will sound as good as yours...
By the way, there are also some good arrangements on the Matt Warnock site which are well worth looking at.
I come from rock guitar, so I have to admit I am pretty unfamiliar with many of the chord forms - 'err, you call that a Gm7
'. But that's good for me, as I get my note pad out and work out that indeed it is a Gm7.
Cheers
Phil
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