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There seems to be broadly speaking two camps when it comes to learning to play the changes: o The chord shapes and licks approach (that no doubt produced many great players). o Maniacal mastery...
Yes, of course, I use the parallel approach most of time. If I'm playing over the Vim7 (for instance) I will normally play 1,2,b3,4,5,b6,b7, where 1,b3,5,b7 are basic chord tones, 9 and 11 could be...
ES-150 DCN: I had one back in the '70's. Yes, it had a narrow neck - probably a 1-9/16" nut - but I don't recall ever actually measuring it. It was sort of like a fat hollow ES-330. That's all I...
Im going to take Christian’s figured bass explanations and formulate it into a question: If figured bass and species counterpoint and voiceleading had been figured out long ago when theorists...
1. Not as much as I should have 2. Every day 3. Not a full solo, but I've composed lines over a ii-V-I progression
Sorry for an indirect answer…but I have found my answer to be…learn the melody and then alter and expand upon it. There is the basic concept of 7th moving to 3rd of next chord and the idea that...
How much transcribing/copping things from recordings have you done? How much jazz do you listen to? Have you ever tried composing a solo over a jazz tune?
I don't know, I don't do that. I go by the chord, then what scale you want to use is secondary. I guess it could be helpful in describing a tonality because there's a complete amount of notes. I...
The last one I tried (several years ago) had a noticeably slim neck. I didn't measure it at the time, I remember noticing how narrow the string spacing felt. Some online specs say they have 1-9/16"...
There are actually three ways to view a functional tune, not two. Parallel, derivative and the key signature view. In the third case (I made up the name but it intuitively exists), you view the...
It’s one of two or three standard issue harmony textbooks in the states. Analyze chorales. Chromatic mediants. etc.
As sidebar, when I did ATTYA with Barry I was quite surprised that he fit a chord scale to every chord. He called them different things but it was pretty much, F Aeolian, Bb Dorian, Eb Mixo etc
Even if you are playing a strictly diatonic tune (of which there aren't very many) wouldn't you employ the parallel view at times? So Suppose a tune is strictly diatonic and you're soloing using only...
Kostka Payne's a new one on me?? Is it like Piston etc?
Also cue Christian to tell you that Tonal Harmony a la Kostka Payne is a post facto description of organic voiceleading that really has nothing to do with Roman numeral analysis etc
Learning to Solo over Jazz Changes [QUESTION]
Today, 08:05 AM in Improvisation