-
Oh yeah all those classic etude guys do that — Sor, Giuliani, Carulli. Probably Carcassi too but never played much of him.
Ive taught this one before.
https://www.classicalguitarshed.com/...k5OS4wLjAuMA..
-
05-01-2024 07:14 AM
-
Perhaps Barney can be of help?
-
Originally Posted by lydian_dorian
Just for info. Your 1st finger defines what position your in. Playing 3rds as you described above generally requires changing positions.... which is again how you start.
Next... play the same pattern of 3rds... but using different scale.... Dmin. Dorian, then another scale etc...
Obviously you need to KNOW your scales. And these are technical exercises.
As far as playing tunes or "notes" that you don't understand what they are or how they function in a tune.
That is more complicated and requires understanding how to make an analysis of a tune. The analysis is just how you decide how the Melody and the Chords are working together within the "Tune".
You can just do this by ear or trial and error approaches...but it takes years to get your library of Plug and Play collection of Analysis of Tunes together. And generally most never get it together.
As compared to learning the theory of Analysis, which takes a year or two. Notes you might be thinking or hearing as chromatic etc... generally are just part of the harmony reflected by the Tune and Style your playing that Tune in.
Using chromatic approach is generally more of a Vanilla harmonic approach, a choice but more of an effect.
It takes time.... but it just will never happen without going through the technical process...
If you want to get it together... I'll help when I can. I got all this BS together decades ago. There are really no short cuts and you generally need help educating your ears...
-
Here’s the full Barney video:
-
Originally Posted by lydian_dorian
All right, take Autumn Leaves. Can you hear where a two-note sound would be good? Experiment with it. Also remember that you should use different intervals for different places, not just use all thirds or all sixths. Use what is the best sound at the right place. And you don't need to put them in on every note, just where it's effective.
See, one problem here is that I, or rather we, don't really know where you are with it, what you can already do and where you're at. Using octaves is a good start and now you need to vary it. Can you read music?
What key are you playing AL in? Probably Em... and you're practicing in D. Move to G and remember that Em has a D#.
The trick is with tunes that use chromaticism, etc. and what harmonic intervals to play.
-
Originally Posted by ragman1
-
Originally Posted by ragman1
Better (and more easily) understood as rootless shells, a la Ed Bickert. Just search his name (or rootless shell) in the JGO search tab and go to town.Last edited by pamosmusic; 05-01-2024 at 01:22 PM.
-
PS. Take this, but don't let it throw you... yet :-)
What interval is that F# and C? It's your exam!
-
Originally Posted by pamosmusic
As for the chromatic rundown, I'd say that's the same thing - if you're going to use two-note punches for that. Which I'm not sure I would, personally. It's not about comping with shells.
-
Listen to the punches. Of course, Bill's doing it quick and modern so take it with a pinch of salt :-)
-
Originally Posted by Kirk Garrett
-
Originally Posted by Jimmy Smith
-
Originally Posted by ragman1
I’m also talking about notes in the melody that are chromatic in that they don’t come from the chord or scale and require a different strategy than harmonizing with a third or sixth from the scale.
I was referring earlier to the D# in m16
-
Originally Posted by ragman1
-
Originally Posted by pamosmusic
I’m also talking about notes in the melody that are chromatic in that they don’t come from the chord or scale and require a different strategy than harmonizing with a third or sixth from the scale.
I was referring earlier to the D# in m16
-
Originally Posted by Jimmy Smith
-
Originally Posted by ragman1
Ed Bickert calls it comping, for whatever that's worth.
-
Originally Posted by ragman1
-
Originally Posted by pamosmusic
I call 3-7s guide tones? But some people use the term for something else.
Sent from my iPhone using Tapatalk
-
Originally Posted by pamosmusic
Sent from my iPhone using Tapatalk
-
Originally Posted by Christian Miller
-
Originally Posted by Christian Miller
-
Originally Posted by pamosmusic
Playing a melody in thirds, fourths, and various intervals is something I'm very interested in doing
So he has to be clear. As I said before, we don't know exactly where he is with the guitar. Maybe he should play Amazing Grace or something just as simple so he can get off the ground with this.
But, of course, there are very few tunes where you're going to play the whole thing using intervals. He probably ought to start learning chord melody of which intervals are a basic part (rather than just intervals by themselves). Or, indeed, classical guitar.
In fact, I'm going to tell him that when he comes back!
-
The approach... "learning how to play jazz tunes, in a jazz style with out learning the Skills to do so approach",
leads to ... Not being able to play jazz tunes in a jazz style.
Not really great advice
Here's a simple example of "Autumn" with simple intervals of "A" section. Boring, simple would never use.... but is example of using simple intervals with organization... not good or bad, but with use of organization of shape using intervals to imply Tune...using 3rds and 6ths , a 5th and a tri-tone.
pickup
X X 5 X 5 X
X X 7 X 7 X
X X 9 X 8 X
tune
--------------
X X X 9 X 8
-------------
X X X X 8 10
X X X X 7 10
-------------
X X 4 X 3 X
X X 5 X 5 X
X X 7 X 7 X
-------------
X X X 7 X 7
-------------
X X 7 X 7 X
X X 9 X 8 X
-------------
X X X 5 5 X
X X X 7 7 X
X X X 9 8 X
-------------
X X X 11 10 X
--------------
X X X 9 X 8
X X X 8 X 7
-------------
X X X 4 4 X
X X X 6 5 X
X X X 8 7 X
-------------
X X X 6 8 X
-
Originally Posted by pamosmusic
Sent from my iPhone using Tapatalk
Wheelhouse Beats
Today, 06:38 PM in Guitar, Amps & Gizmos