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Too late, I've already seen it. I have not a beanie nor a 335 (it's akshully a 330) nor a delay pedal, so it's totally different. I'm not like those other guys.
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09-10-2025 02:45 PM
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Thanks for walking me though. I'm working on melodic minor 3nps and this might be a cool way to run them after I get the fingerings down.
Originally Posted by BreckerFan
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Nostalgia? I got lots of that, right up to adolescence. From there on, just remember (when the time comes) that the pushing away is part of their development as people and don't take it personally, as many parents do Originally Posted by Christian Miller
Regarding having no time to play when they're babies, many I suppose can relate. In my particular case, my daughter's birth coincided with part of my brain deciding it wanted to start composing music and that it needed to find out a lot more about jazz harmony. Both have occurred, above all the former, and many a night was spent plinking away on an unplugged solid body so as not to wake the little one. This is not recommended if you're the kind of person who actually likes to sleep.
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Yeah, sleeping 6 hours a night is one way to find time. LOL.
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Yeah practice til after midnight. Getting smoked at Pokemon by 6:30. Originally Posted by AllanAllen
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side slipping after being beat with a yardstick by the teacher : )
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Got all my charts together for the big band gig tomorrow, went out and bought a black button up for their dress code. Just wet my toes a little on the 3-1 patterns BreckerFan explained to me.
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Sounds familiar Originally Posted by Peter C
Nostalgia? I got lots of that, right up to adolescence. From there on, just remember (when the time comes) that the pushing away is part of their development as people and don't take it personally, as many parents do
Regarding having no time to play when they're babies, many I suppose can relate. In my particular case, my daughter's birth coincided with part of my brain deciding it wanted to start composing music and that it needed to find out a lot more about jazz harmony. Both have occurred, above all the former, and many a night was spent plinking away on an unplugged solid body so as not to wake the little one. This is not recommended if you're the kind of person who actually likes to sleep.
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Good luck with the gig tomorrow! Originally Posted by AllanAllen
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Thanks, the big band stresses me out. I don’t want to let down 16+ other really talented musicians. Originally Posted by DawgBone
I’m every bit of the guitarist stereotype, can’t read, too loud, don’t understand key changes, can never find the D.S.
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Be relaxed and stay in the pocket and I'm sure it'll go a lot better than you think. After all, they hired you to do the gig so they must be confident in your ability to get it done. Lotta opportunity there just being a team player with a good attitude. 16+ other musicians could turn into a network of many more gigs and quality musicians on your contact list. Up next, recording and promoting your first record. There is more support out there for jazz than I would've believed. Originally Posted by AllanAllen
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Armando's Rhumba, in particular working on the theme to get it tight and up to tempo. I'm doing a guitar trio gig next month at a street jazz festival and the chart we're using, based on one in Cm from the Jazz Standard Bible Volume 2, begins from a 4 bar intro with bass and guitar in unison, then an 8 bar A section in harmony and a 12 bar B section partly in harmony and partly with the bass accenting or accompanying, and an 8 bar interlude back in unison. We'll work out the form later, including how to approach the ad-lib section, once the drummer joins us in a couple of weeks. For now, I'm practicing the above sections on my own, getting the fingerings together and then bringing it up to tempo gradually. I've done some loose readings of the chart a few times at joint practices a while back but this morning I started using a metronome at about half tempo. We'll have our weekly guitar / bass joint practice after the weekend, and we'll see how far I've gotten to tempo by then.
This is somewhat of a departure from how I practice tunes, normally GAS standards. On those, I usually start with the theme, taking a more personalized approach, and working out voicings for comping before trying it at jam sessions. But Armando's Rhumba is not a tune that gets called spontaneously at jams, at least not in my very limited experience. With the unison and harmony parts, I'll need to play it how it's written. I think the bassist, who has worked as an arranger, is more used to that kind of format than I, and they're also a better reader. The JSB includes tunes that I think the bassist would like to do, including his arrangement of Dear Old Stockholm. But it's a somewhat new experience for me to play something so precisely from a chart. So far it's been fun and I'm embracing the challenge.
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I can say, these last three months I’m spreading myself thin with all the gigs from my own success. It’s a strange problem to have. Originally Posted by DawgBone
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It means you're doing something right. I mean, you've gone from being a guy playing at home, to hitting jams, to having a band with gigs, to having too many gigs in two or three years. That's outstanding, actually. Now you can start picking your spots which is a position of strength. Eliminate the lesser gigs. Start asking for more money. You might be surprised when they cough up the $. Originally Posted by AllanAllen
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I like this thread.
I have a warmup list of heads I play the melody to back to back making note of parts that I need to review. This takes me about 5 minutes.
Oleo
Billies Bounce
Now's the time
Blues for Alice
Ornithology
Dexterity
Yardbird Suite
Joy Spring
Take Five
Then I did some more melodic minor scale exercises on 2 of the fingerings. Added this Coltrane pattern 1 b1 1 3 2 b2 2 4 3 b3 3 5 ect. up and straight 3rds down.
Played through the new songs for Thursdays quartet gig When Lights are Low and Lullaby of The Leaves. Trying to use top string chords from this video and the Early Jazz Chord Soloing book.
Lullaby of The Leaves has a lot of minor harmony, which I sub freely over, for example Eb(9) over of A7(#11). So I shoehorned some of these subs over Satin Doll.
That was Monday night.
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What's slightly irritating is the pitch on this recording is about a quarter tone flat (i.e somewhere between B flat and B). Originally Posted by James W
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So many Chet Baker takes are like that too. I don't get how piano players can transcribe stuff when so many classics are un-true to pitch. I think it also forgives some of the old fakebook mistakes. Originally Posted by James W
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Hardly any time for serious practising today... so, just warming up/chilling out on a ii V
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been working on wolf marshall's jazz course the past ten months. lines from his 'solo' on manha de carnival past few days....
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After a 9am big band gig and a 8 year old birthday party, I sat down with Flying Home. It falls so nicely on the fretboard, I can’t believe it’s credited to Hampton/Goodman and not Charlie Christian.
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Once again wondering if I'm over-extending myself. I have a bunch of ideas I practice, and rotate them through one of six tunes every few days. I know four of the tunes pretty well, and two I'm still learning. I'm still trying to refine the time I spend on each, since by the time I move from one to the next I'm finding I've forgotten a little of it. On each, I'm working on scales, scales in thirds, scales in triads, scales in 7th arpeggios, enclosures on individual scale notes and on triads, leading tones on each note of the 7th arpeggios, pivots on same. Then a bunch of M7 and dom7 licks I've picked up from George Benson and Charlie Parker on a chord or two of whichever tune I'm currently working on. Also working on having the metronome on 1 and 3 so I can play at higher tempos without stressing out. Oh, also broken scales where I play a couple of notes in one octave before skipping to another for 2-3 more notes - an idea I picked up from George Benson's solo on ATTYA that I really like.
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This seems like a lot for each song. Chunking tunes into ii-V or turnaround to IV and then applying what you know to the chunk might smooth things out for you. Originally Posted by CliffR
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Oh, for sure. I'm already working in chunks, hence several days per tune. Yesterday I started back on All Of Me, and worked on CM7 and E7. Today I'm looking at A7 and will probably look at making lines from that to Dm7 (I've already done the arpeggio work for Dm7 yesterday with all the diatonic arpeggios off CM7 - phew!). My main worry is how much of this I'm retaining and if it'd be more efficient to narrow my focus. Having said that, I do feel like the fretboard is slowly opening up for me and I see more opportunities and ideas in real time, so it feels like some part of all this is working. Originally Posted by AllanAllen
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I'm noodling with Hendrix. It keeps me sane.
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Speaking of Jimi, I bought this guitar, not because of this demo, but it didn't dissuade me from doing so. Originally Posted by Stevebol
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