The Jazz Guitar Chord Dictionary
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  1. #51

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    Quote Originally Posted by Liarspoker
    I bought the Job Ijzerman book a few days ago. It's a great book so far although I'm still on chapter 1.

    I'm going slowly, taking notes and making up my own examples based on the text and examples in the book.

    Does anyone else have the book?
    I have it but didn’t personally get much out of it (yet)

    That’s not to say someone else wouldn’t… it’s all good info…. But I kind of felt I knew most of that stuff already by the point I got it and the main thing for me was just to practice everything (which it still is.) Should give it another look though.

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  3. #52

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    Quote Originally Posted by Christian Miller
    the main thing for me was just to practice everything (which it still is.)
    I was in Frank Vignola's hotel room one time and he told me don't just learn theory but be able to play it so your quote is spot on.

    So far the Ijzerman book is counterpoint and the Descending sequence (suspension) as in chapter one of the Mortensen book but you know I'm having a great time writing little 4 or 8 bar pieces with everything that I'm reading.

    I know that the beginning chapters lay the foundation for later chapters so it's nice to get everything under the fingers and in the ear as opposed to just reading the text and working through the workbook without playing any examples.

    My ultimate goal is to go out and improvise with this stuff for an hour or two and gave it sound good. A lofty goal.

    Edit. One think that I found interesting is example 1.6 in harmonic minor where there is a descending leap of a diminished 7th in the melody to avoid an augmented second F - G# ( nothing special there). But the bass seems to be melodic minor. F# & G# ascending and natural minor descending ( usual classical treatment of MM).

    Why harmonic minor in the treble and melodic minor in the bass?
    Last edited by Liarspoker; 04-11-2022 at 03:28 AM.

  4. #53

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    Here’s my reasonably finished version of Fenaroli book IV, 5. Compare to earlier versions to hear how little I am improvising lol….



    However things do get tweaked as it goes on, so I think it’s still working towards that goal. It’s not like I have a score that must be honoured exactly.

  5. #54

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    Quote Originally Posted by Liarspoker
    Edit. One think that I found interesting is example 1.6 in harmonic minor where there is a descending leap of a diminished 7th in the melody to avoid an augmented second F - G# ( nothing special there). But the bass seems to be melodic minor. F# & G# ascending and natural minor descending ( usual classical treatment of MM).

    Why harmonic minor in the treble and melodic minor in the bass?
    well it’s all minor isn’t it? It’s not like you have to stick with one scale, provided you avoid false relations in the harmony.

  6. #55

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    Quote Originally Posted by Christian Miller
    Here’s my reasonably finished version of Fenaroli book IV, 5. Compare to earlier versions to hear how little I am improvising lol….



    However things do get tweaked as it goes on, so I think it’s still working towards that goal. It’s not like I have a score that must be honoured exactly.
    Sounds great Christian. Well done

  7. #56

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    Quote Originally Posted by Christian Miller
    well it’s all minor isn’t it? It’s not like you have to stick with one scale, provided you avoid false relations in the harmony.
    Yes but I'm still thinking in terms of one scale per section then another scale for the next section. Ie D Dorian followed by D Aeolian.

    It makes sense to combine them if the notes don't clash. Actually Ijzerman says that you can also play the melodic minor as Aeolian as well ascending if it sounds better.

    Makes sense....

  8. #57

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    Quote Originally Posted by Liarspoker
    Yes but I'm still thinking in terms of one scale per section then another scale for the next section. Ie D Dorian followed by D Aeolian.

    It makes sense to combine them if the notes don't clash. Actually Ijzerman says that you can also play the melodic minor as Aeolian as well ascending if it sounds better.

    Makes sense....
    you often have the melodic minor in ascending form descending too

  9. #58

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    Still messing with little rule of the octave compositions. Here is one of them

    Edit just to say that any critique of the composition is welcome

    Last edited by Liarspoker; 04-17-2022 at 06:14 PM.

  10. #59

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    Quote Originally Posted by Liarspoker
    Still messing with little rule of the octave compositions. Here is one of them

    Edit just to say that any critique of the composition is welcome

    Very nice! I like the way you are using embellishments to enliven the basic chords.

    i would say the chords at 5 seconds in sound quite medieval; is that a consecutive fifth in there?

  11. #60

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    I daresay you already know but this just dropped


  12. #61

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    Fenaroli Book IV, 2 progress. This one's a bit shorter lol.


    Partimento-screenshot-2022-04-26-19-21-16-png

    Some sections I just have to learn as fingerings - that stuff with the chromatically descending bass is not going to be improvised on haha. But other bits are more flexible and subject to change, which I like.

    I thought it might be interesting to compare and contrast my version with Nicola's in the interview I posted above. I've looked at a few ways to play this one, but I'm opting for higher bass as I really enjoy the quasi - contrapuntal shape it gives to a composition when the bass goes right up to an E above middle C, as it does here.

    Some transpositions for D R A M A, but on the whole I take a different approach to Nicola, more keyboard like I suppose (but I'm thinking of Bach transcriptions for guitar mostly TBH).

    I'm thinking though of doing my next realsation more like him. I'm working on some Guiliani at the moment - the fughetta as it happens is a nice and not to difficult piece with a lot to teach about suspensions chains and so on.

  13. #62

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    Sounds great Christian.

    I'll have a proper listen later. Am loving suspension chains alright. A simple technique with a big return.

  14. #63

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    Excellent work

  15. #64

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    I made a new Partimento related video


  16. #65

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    Here is my first Realisation. Furno n1.

    I've been too busy with a renovation to dive deeply into Partimento but am on holidays now so will have a week or two to get into it then hopefully daily or almost daily from the start of September onwards.

    I'll check out your video when I have better wifi Christian. Broadband is shocking here in the West of Ireland.


  17. #66

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    Quote Originally Posted by Liarspoker
    Here is my first Realisation. Furno n1.

    I've been too busy with a renovation to dive deeply into Partimento but am on holidays now so will have a week or two to get into it then hopefully daily or almost daily from the start of September onwards.

    I'll check out your video when I have better wifi Christian. Broadband is shocking here in the West of Ireland.

    well done - sounds like you are using a two part texture mostly?

  18. #67

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    Quote Originally Posted by Christian Miller
    well done - sounds like you are using a two part texture mostly?
    Mostly, yes. I have a Ukrainian guitar playing friend so to keep her spirits up and to distract her, or at least provide an escape, from her daily life we are going through the RO chapter in Mortensen's book.
    Even improvising with simple RO sounds good although I know that with future basso continuo things get very, err, interesting
    Are you spending much time on Partimento at the moment Christian? For me it seems like there's always something else to do, both with life and with the guitar, but then I push those things aside for a little while to do my Partimento. I certainly wouldn't be doing hours with it atm

  19. #68

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    Quote Originally Posted by Liarspoker
    Mostly, yes. I have a Ukrainian guitar playing friend so to keep her spirits up and to distract her, or at least provide an escape, from her daily life we are going through the RO chapter in Mortensen's book.
    Oh that’s a nice idea. There is something very soothing about this stuff.

    Even improvising with simple RO sounds good although I know that with future basso continuo things get very, err, interesting
    Are you spending much time on Partimento at the moment Christian? For me it seems like there's always something else to do, both with life and with the guitar, but then I push those things aside for a little while to do my Partimento. I certainly wouldn't be doing hours with it atm
    yeah, here and there. Tbh I’ve gone a little bit more in the direction of improvising on Bach’s basses using RO, moti etc and them comparing to what he did. I’m also very interested in focussing in two part texture to get away from the chord thing a bit.

    That way I can look at what Bach does and the sequence just figures through the RO and so on, ad well as seeing the neat little tweaks he makes to the basic harmony. But Ro is quite a long way there.

    id also like to get better at harmonising existing melodies. This seems like a big but missing from partimento; I think this would have been handled with solfeggio maybe?

    Tbh Keyboard Partimenti are often a bit too florid to act as a good basis for improv for me at the moment (I just end up harmonising stuff in thirds and tenths and so on) a simpler bass like ones in guitar and lute repertoire is a bit easier to use.