Playing melody in thirds, fourths, etc.

[pamosmusic]

Now get AA to listen for f sake.

Jimmy. You're off your game tonight, my guy:

I feel like I am listening to Jeff. His video was closer to what I think I’m working on than Reg’s. But maybe it’s just that Jeff explained whats happening in more detail.

I really think I just need to sort out a system by woodshedding and practicing with another musician, then in a year I’ll be fine.

[Bobby Timmons]

[ragman1]

Then there are chords which are only partially altered, like 13b9's and Phrygian chords (7susb9). If I saw G7alt I'd have to assume a b13 and maybe a b9 or #9, but not a 13b9 or a 7susb9. Just saying.

[pamosmusic]

Then there are chords which are only partially altered, like 13b9's and Phrygian chords (7susb9). If I saw G7alt I'd have to assume a b13 and maybe a b9 or #9, but not a 13b9 or a 7susb9. Just saying.

Thats where the chord scale is handy, the former being from the diminished and the latter from the harmonic minor.

[AllanAllen]

That's true. That's a good tool to use. Do you get my point though? You said you're looking for a method for chordal stuff. It ain't reharmonizing the tune. You simply work out voicings to the written chords that you can rise and fall with a melody note.

Yeah, I do that. My question about reharmonizing was directed at Reg and his video. Or at least that's how I remember it. It's very hard for me to keep track of 5 conversations about 3 different things between all you guys.

[mr. beaumont]

Yeah, I do that. My question about reharmonizing was directed at Reg and his video. Or at least that's how I remember it. It's very hard for me to keep track of 5 conversations about 3 different things between all you guys.

I think the big takeaways that are in what everybody is talking about is:

1. When comping, a note on the 1st or 2nd string is heard as a counter-melody, whether you like it or not
2. You can move that countermelody around interestingly without completely reharmonizing the tune. There's levels to it...simple to much more complex. Starting simple is fine
3. Vanilla ice cream kicks ass

So basically, just treat every chord as major, minor, or dominant, and figure out a way to play any note on top of any chord. Create countermelodies while you comp, and be interesting rhythmically. And then work with that for 5 to 25 years

[pamosmusic]

Yeah, I do that. My question about reharmonizing was directed at Reg and his video. Or at least that's how I remember it. It's very hard for me to keep track of 5 conversations about 3 different things between all you guys.

Yeah I wouldn’t call what Reg was doing reharmonizing anyway. The changes are still the same, just embellished. Functionally not much different than mechanical voicings and whatnot

[mr. beaumont]

Yeah I wouldn’t call what Reg was doing reharmonizing anyway. The changes are still the same, just embellished. Functionally not much different than mechanical voicings and whatnot

Yeah, if I were comparing my vid to Reg's, mine is the vanilla in the plastic cup with the wooden spoon stick, Reg's is the vanilla with the little vanilla bean flecks in it.

[pamosmusic]

Yeah, if I were comparing my vid to Reg's, mine is the vanilla in the plastic cup with the wooden spoon stick, Reg's is the vanilla with the little vanilla bean flecks in it.

Yeah his definitely has a picture of a dried vanilla bean and flowers on the carton.

[pamosmusic]

I think the big thing is still rhythm.

So many times when you transcribe stuff, it’s just way simpler than you’ve built it up to be, and I don’t think comping is all that different until you get to Herbie. There are always exceptions—Bill Evans, maybe—but listening for the rhythms and trying to hear where they’re playing the chord, and when they’re playing something in passing seems like the thing that makes a lot of this click to me.

Thats the part I’ve struggled with and had to work on (and still have the most work to do on).

[mr. beaumont]

I think the big thing is still rhythm.).

And a perfect time for my favorite Emily Remler quote: "Nothing is corny if it swings."

[AllanAllen]

So basically, just treat every chord as major, minor, or dominant, and figure out a way to play any note on top of any chord. Create countermelodies while you comp, and be interesting rhythmically. And then work with that for 5 to 25 years

Drives me crazy we can summarize how to play jazz in like, 5 sentences but it’s years of work.

[ragman1]

Jens Larsen has many videos on jazz comping. You should definitely check them out.

[Reg]

hey... Allen... it does take work, but most guitarist put in much more time than it really requires... from never really finishing much and spending too much time talking about it...LOL

Here's another vid.... it think I have it together now for downloading and posting. I don't have that together...LOL

These are loose and I'm just pushing record and start.... so there are lots mistakes LOL.

[Reg]

I've said this for decades...

2) learn chord patterns
learn how to adjust chord patterns to imply different targets
learn how to organize harmonically chord patterns within tunes and forms of the tunes.

1) This stuff is after you already have chords down, all of them and can play them anywhere on the fretboard... at least a few places.

3) And again after you have chords down, be able to play any note on top.
The top note is usually the most important, then the bottom and lastly the middle.

4) Now your actually ready, or have the skills to actually play, be able to apply your technical skill with musical organizations..

I use Functional organization.... Function is just how note react to each other and which notes have the Power in harmonic contexts... tunes and styles of playing tunes.

This is where the term Vanilla actually comes into play.... it's not just what to play... it's also what your implying.

And obviously... rhythmic skills helps make it all work when playing live.

[AllanAllen]

So what’s a chord pattern?

Do you mean identifying things like I vi ii V.

Or are you talking about changing two bars of D into something like
|Dmaj7 D6 |Em A13|

or both?

[Reg]

So what’s a chord pattern?

Do you mean identifying things like I vi ii V.

Or are you talking about changing two bars of D into something like
|Dmaj7 D6 |Em A13|

or both?

Yea all of the above.
Think... I VI II V in maj changes to I bVI II-7b5 V7alt in nat. Minor ... basic nat Min tonal target. Not always,,, but for starting to understanding how Chord Patterns can adjust to different tonal Targets.
You still have and usually use subs within the chord patterns to help create forward motion, feel of repeat.

Where it becomes a little more complicated is with organization of extensions....

here's another vid... Perdido... it's again loose, I'm working around my house...LOL
I'll keep adding more tunes and start verbally labeling where I'm using chord Patterns etc...

[djg]

[AllanAllen]

Yea all of the above.
Think... I VI II V in maj changes to I bVI II-7b5 V7alt in nat. Minor ... basic nat Min tonal target. Not always,,, but for starting to understanding how Chord Patterns can adjust to different tonal Targets.
You still have and usually use subs within the chord patterns to help create forward motion, feel of repeat.

Where it becomes a little more complicated is with organization of extensions....

here's another vid... Perdido... it's again loose, I'm working around my house...LOL
I'll keep adding more tunes and start verbally labeling where I'm using chord Patterns etc...

Thanks, I just wanted to make sure I have the right vocabulary.

The videos are really helpful too

[AllanAllen]

Haha go play in a big band then. You'll be begging for ambiguity after two hours of reading charts where the arranger has put the horn arrangement in the chord symbols (pro tip - ignore that stuff.)

I was going over big band charts Sunday night and looking at a D7b9b5 I thought to myself "this would be easier to read if they just put Alt."

So I guess some of the conversation sunk in.

[mr. beaumont]

I was going over big band charts Sunday night and looking at a D7b9b5 I thought to myself "this would be easier to read if they just put Alt."

So I guess some of the conversation sunk in.

When it's that specific, it's either A. What the overall sound is based on what the horns are playing or B. The composer being very specific.

Big band chart A. is your answer.

But at any rate, I see that in a big band situation, and I'm playing an F# and a C.

[pamosmusic]

When it's that specific, it's either A. What the overall sound is based on what the horns are playing or B. The composer being very specific.

Big band chart A. is your answer.

But at any rate, I see that in a big band situation, and I'm playing an F# and a C.

I think a better choice would be C and Gb.

[AllanAllen]

I think a better choice would be C and Gb.

That reminds me, nothing trips me up like seeing Cb on a chart.

[Christian Miller]

I was going over big band charts Sunday night and looking at a D7b9b5 I thought to myself "this would be easier to read if they just put Alt."

So I guess some of the conversation sunk in.

Bwahahahaha

Tbh when I see that I just translate into ‘alt’ - which is probably not best practice in all situations lol


Sent from my iPhone using Tapatalk

[AllanAllen]

When it's that specific, it's either A. What the overall sound is based on what the horns are playing or B. The composer being very specific.

Big band chart A. is your answer.

But at any rate, I see that in a big band situation, and I'm playing an F# and a C.

I grabbed 3x23xx but tried to hit the middle only, since G is a natural 5th. I need to start practicing grips without my root security blanket.