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  1. #1

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    OK so a bunch of us have bought this course and it's something that I really want to get good at so hopefully this group will gain some momentum and we can all learn from each others (no doubt with our different styles).

    I'll be making a forensic science out of this course for myself so I'd rather go through the course slowly as opposed to going through it fairly fast. My practise time is limited but I'll do my best.

    We could practise each of Tim's exercises and apply the concepts to songs that we know or we can just improv to the progressions that Tim mentions.

    Maybe we can start ex 4 & ex 5 from the first segment add a basic melody and aim to have them down smooth for Sunday and do the Latin stuff in the next segment next week?

    Feel free to chime in..........

    Btw if you don't have a clue what were talking about Tim's course is here.
    Last edited by Liarspoker; 03-11-2020 at 03:21 PM.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #2

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    I did pre-order this way back when. Checked today and yes, I do have it.

    Love Tim's stuff but I am already working on the Patterns For Jazz and Garrison Fewell study groups (and my mom just broke her hip, had surgery, and is in rehab, and I picked up something while visiting her at the hospital and have been sick for ten days now----my life is not my own, it seems.)

    But I will track this group and also look at Tim's course (but not today or tomorrow, perhaps over the weekend.)

    Nonetheless, I'm glad this group is starting up and I wish it the best.

  4. #3
    Ah, that's a pity Mark. It would be great to have you participate.

    You can always jump in once life aligns yourself with this course.

    Best wishes to your mother and I hope that you feel better soon too.

  5. #4

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  6. #5

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    Hi Guys,
    I'm flattered that you would start a group to study the course. If there are any snags with the content and you need clarification please feel free to reach out .
    all the best
    Tim

  7. #6
    Hey fep, there's no better man for a study group than yourself!

    I haven't visited this forum for a while as I went and did some Trinity classical guitar exams but before I went I remember that you were playing some tasty altered licks. I can't wait to see how you've developed these.

    How do you envisage studying the course? After some thought I'd like to learn Tim's examples so that I can play them smoothly on the way to internalising them (there's great info in those examples such as syncopation and anticipation etc) AND apply the concepts to actual tunes.

    Tim - it's great that you found this study group and thanks for allowing us to reach out if the need arises.

    Anyway, enough typing.....time to practise before work.

  8. #7

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    Quote Originally Posted by Liarspoker
    How do you envisage studying the course? After some thought I'd like to learn Tim's examples so that I can play them smoothly on the way to internalising them (there's great info in those examples such as syncopation and anticipation etc) AND apply the concepts to actual tunes.

    Tim - it's great that you found this study group and thanks for allowing us to reach out if the need arises.

    Anyway, enough typing.....time to practise before work.
    How to study the course? With a Telecaster of course.

    Seriously though; I haven't spent enough time with the course yet to have a good view of how I might organize the study of the course. But I like your thoughts of internalising them. To that end and again as you already wrote, as part of the study I would like to apply the ideas to tunes outside of the course, whether they be standards or something I write myself. At least a tune or two, perhaps that would be extra credit

    Tim, thanks for checking in that is very generous of you.

  9. #8

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    I played through the whole course up until the tune examples start. What you end up with is a collection of voicings/positions (and some melodic ideas to steal) that point you toward where the sweet spots on the guitar are. The flexible/fluid spots.

    Tim chose essentially the bare minimum voicings to get you improvising on any tune. I've played around 10 tunes using the stuff. I have some prior experience with a lot of these exact shapes from Ted Greene's Modern Chord Progressions book, and have been playing this style (not nearly at Tim's level) for years, so I've been going through this quickly. For me this has actually been a reductionist process that allows me to really focus on melody and timing (my tendency is to be hyper focused on harmony). If I stick to these positions, I know I'm playing the most flexible areas for melody; will have the most melodic options.

    The best course on the subject I have ever seen and would benefit jazz beginners (because I think these should be the first voicings to learn) to pros.

  10. #9

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    Tim has a related minimalist tutorial at Jazz Guitar Society. And remember that the artist gets a few additional beans if you purchase this course through his web site.

  11. #10

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    Quote Originally Posted by Michael Neverisky
    Tim has a related minimalist tutorial at Jazz Guitar Society. And remember that the artist gets a few additional beans if you purchase this course through his web site.
    I will check it out. Speaking of related material, I highly recommend going through Modern Chord Progressions with this approach in mind (after you go through Tim's course and want more ideas).
    Tim Lerch - Solo Jazz Pathways - Chordal Improv Study Group-f02bca52-3154-4957-abdb-98e7c0f47985-jpgPlay the circles, then the x’s. Awesome stuff, recommend the book.

  12. #11

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    Speaking of Tim, there are a lot of great lessons at his site available for "something in the tip jar."
    Including his "Lost Mind Blues" chart and the "Sweet Lorraine" walking bass / comp lesson and many, many more.

    Website: timlerch.com

    Tim's a great player and teacher and a great guy too. He's a top level pro and we're lucky to have his lessons available to us anywhere on the planet for a few bucks. Take advantage! ;o)

  13. #12

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    Having fun with the Add a Basic Melody lesson this morning.

    It's working well for me and these are good platforms to work into variations.

  14. #13

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    One of the great things about Tim's approach is that his improv is primarily melodic. He thinks less in terms of scales and arpeggios (-which he knows) than of melodies. His blues lessons really bring this out. His chord moves are easier to learn and recall when you pay attention to the melodic line on top. (Not that all his chord moves are easy for me to learn... ;o)

  15. #14

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    Count me in.

    After playing through the examples in section 1, I have just learned the first 8 bars of "Improv in C".

    Quote Originally Posted by Liarspoker
    How do you envisage studying the course? After some thought I'd like to learn Tim's examples so that I can play them smoothly on the way to internalising them (there's great info in those examples such as syncopation and anticipation etc) AND apply the concepts to actual tunes.
    Since all the material is already videotaped, I don't think it is necessary to post videos of ourselves playing the exact same examples. May be we should focus more on improvising our own lines?! Or "composing" solos over tunes using the given (or our own) examples?! What do you think?

  16. #15

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    I wanted to add, impressed with the course quality. The material is good, well explained, and the notation is the best I've seen so far on truefire.

    (To be fair to truefire, the notation has been good on the other courses I've spent time with except for some enharmonic spelling errors, things like calling the flat third of a C chord D# when it should be an Eb. Seems nit picky of me, but those kind of things do cause a pause when I'm reading notation.)

  17. #16

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    Thanks for starting this study group thread. I'm a big fan of Tim's playing and teaching, and got the course on pre-order as soon as True Fire offered it.

    I realize now, however, that I'm really hampered by the fact that I never developed my right-hand pinky finger to articulate a top melody note on the high E string. I'm mainly a pick player, but even when I was doing some steel-string fingerstyle, or going through Scott Tenant's Pumping Nylon, the right hand fingering was always limited to p-i-m-a. So that right hand pinky just feels useless at this point....

    Does anyone have any suggestions, lesson material or other ideas about how to develop this laggard digit? For now, I'm trying out a few arpeggio exercises of my own, but there's probably a much more efficient way to tackle this problem.

    Thanks in advance.

  18. #17

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    I hope I don't need to use the pinky too much. I don't think I ever use the pinky independently.

    I mostly use it with the other fingers when going for a 5 note chord so it just kind of goes along for the ride with the third (a) finger. Before picking the strings all my fingers are placed on the strings (I believe that is refered to as "preparation" by the classical folks) and then there is an attack with all the fingers together or also sometimes in a raking fasion.

  19. #18
    Thanks for all the dialogue guys.

    Welcome to those coming along for the ride.

    Are we all working on the Add a Basic Melody lesson? My Ex 4 is getting there and have made a start on number 5.

    When it comes to videos maybe we could post some of ourselves playing diatonically (for the moment) over ii V I's?

  20. #19

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    I think we'll get by with PIMA. What's important, I think, is the concept. Get the melody note and the 3rd/7th and *maybe * the root and it'll sound good.

  21. #20
    Quote Originally Posted by Michael Neverisky
    I think we'll get by with PIMA. What's important, I think, is the concept. Get the melody note and the 3rd/7th and *maybe * the root and it'll sound good.
    Yes, bass notes on 1 & 3 plus use syncopated chords.

  22. #21

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    Quote Originally Posted by fep
    I wanted to add, impressed with the course quality. The material is good, well explained, and the notation is the best I've seen so far on truefire.
    I agree with you about the material and the presentation.

    This is my first true fire-course, so I don't have any experience with their notations, but so far I've found wrong notes in almost any of the examples.

    In the "Improv in C" for example, in the second measure, he plays a g on the and of one, while an a is notated.

    And sometimes I've found the notation a little cumbersome. In the first measure of "Altered Dominant" Tim plays a quarter note triplet, which is notated as two eight note triplets with ties and rests. That makes it way harder to read, I think.

    But since it is well filmed, I use the notation just as a clue and use my eyes and ears.

  23. #22
    Ok, I'll get the video thing of to a start.

    This is pure improv no pre planned moves as you'll see when I do a fancy chord sub move ( ie I lose my place a bit).

    I need to work on making it more jazzy sounding, slow it down a bit, use the fretboard more, alternate the bass more etc etc but my playing will only go upwards from here.


  24. #23

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    Quote Originally Posted by Liarspoker
    Ok, I'll get the video thing of to a start.

    This is pure improv no pre planned moves as you'll see when I do a fancy chord sub move ( ie I lose my place a bit).

    I need to work on making it more jazzy sounding, slow it down a bit, use the fretboard more, alternate the bass more etc etc but my playing will only go upwards from here.

    I look forward to seeing your progress.

  25. #24
    Quote Originally Posted by corpse
    I look forward to seeing your progress.
    Thanks, I'm looking forward to progressing.

  26. #25

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    I jumped right to Blues Around the Block and picked up some great moves already.....looking forward to working with all the lessons.