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That's awesome sg... congrats on the big band chart. That IS exciting!
Originally Posted by sgcim
Glad you brought up the double lead... that's another thing that often gets left out. We talk about octaves and drop stuff on guitar, but because we take it out of the context of where it came from, we don't often talk about the other techniques at play and how they might work on the guitar. I've sometimes wondered if it would be possible to utilize the double lead idea on the guitar mixed with harmonized shapes. Like to build the Wes style octaves inside chord shapes so that the top line is always being beefed up not just by an octave, and not just by a harmonized voicing.... but by both. I've played with looking at shapes on the guitar that include that a bit, but nothing overly extensive.
I'm glad you brought up the 'clarity' idea... that's a term I think about often. Do my ideas maintain a level of clarity. For me that's an important subjective measure. Whether I'm improvising single note lines, playing a chord melody, comping, writing arrangements, composing... whatever... I always want to maintain a certain quality of clarity to what's happening. Even when what's happening is chaotic and free and intense... I want it to be obvious that that's intentionally happening and clearly defined.
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03-21-2017 05:01 PM
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If it gets recorded, I hope you'll post it on the forum. I'd love to check it out. Originally Posted by sgcim
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Cool, although I don't have a recorder now, maybe in the future... Originally Posted by jordanklemons
I was very impressed with your writing on "Icarus"- beautiful voicings, and playing by everyone.
Don't tell me you're self-taught...
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Thanks so much. Yeah that was a really fun tune to arrange for my group. Used a lot of the ideas and techniques we're talking about all over that this... horn section writing, chord voicings, my personal solo section, the background parts during the sax solo, the bass line... and on and on Originally Posted by sgcim
As for self-taught... I have been at times in my life. But no, I've been very lucky education wise. I got my masters from New York University and got to study, work, and perform with some serious dudes that really forced me to take a look around. I think I got more out of those 2 years than I had during any 10-20 year self-taught period of my life. That said, I think what I learned from any of those guys was that the most important thing is to take things really personally and really build some kind of relationship with the music. In whatever way feels right. I've found the time I spend doing that type of work has proven to be far more fruitful than just about anything else I've done.
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One fun way to play thru inversions that isn't tedious and sounds beautiful is to play a diatonic cycle of 6ths on one string set. if you start up high say on the middle set of 4 and play a root position Maj7 then go thru the diatonic cycle of 6ths (only one note changes for each new voicing) by the time you get to the nut you will have played all 4 inversions for each degree of the key. Its fun and pretty and very useful to work on.
have fun
Tim
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Just watchin' and applauding...
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There's a jazz guitarist by the name of Steven Crowell who has a 4 part course that teaches harmony and theory and then immediately applies it to full length chord melody solos, single note improvised solos, and comping. I've personally learned a lot from his course and recommend it to other guitarists because of that.
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I like the ambition, but I think you'll realize pretty quickly that this is an infinitely large task, as vast as trying to play every melody imaginable. Originally Posted by nick1994
What's much more manageable and rewarding are to explore a wide variety of different types of sounds, figuring out what you like, and carving out your own "harmonic territory" that you can develop into a mature style (something that other posters have alluded to).
Every great player does this to some extent. Wes, Hall, Breau, Metheny, Frisell, Rosenwinkel, Monder, Goodrick... they all have their own ways of approaching it. Even our own Jordan Klemons has gotten a lot of mileage out of his triad concept and taking it as far as he can.
Remember that Goodrick actually wrote the Alamanacs, and then admitted that it was impossible for any guitarist to absorb all this material in a lifetime. And those are only triads and 4-note voicings diatonic to three scales!
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That's the point I was trying to make, only put in far fewer words! Thanks :-) Originally Posted by dasein
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