The Jazz Guitar Chord Dictionary
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  1. #51

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    I hit the wrong string, hit the right one but fret the wrong one, both hit *and* fret the wrong one together, and separate. Sometimes I think my mistakes sound better than what's written.

    It does get easier, though, so does the evenness. Just be glad you're not learning violin - sounds much worse at the scratchy stage (apologies to anyone learning violin).

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    The Jazz Guitar Chord Dictionary
     
  3. #52

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    wow, I can see everyone's been busy. My contribution for today is fep's ho ho ho duet. I recorded the first part, then recorded the second part on top (probably not the best way to do it...)

    ho down duet.mp3 - File Shared from Box - Free Online File Storage

    Nice going, fep, it's all good practice.

    Well-guessed, Tony, I'm Scottish. Eraser is a word that doesn't come naturally to me.

    To reply to fep, I am absolutely suggesting paper and pencil, rather than software to those who are new to music-reading. The reason? First, software does so much of it for you. Second, reading is all about instantly recognising, and that is a *passive* activity - but writing is an *active* activity, so by writing, you can make the notes your own.

    I want to write a G, so I need to think about where the G goes and put my circle in the right spot. I need to deal with how big to make the circle, and getting the line through the middle, and working out which way to put the stem. (With my software, I type G and the software does it for me).

    we don't need to make fabulous compositions, but stringing a few notes together, making them obey the rules, then playing them, and hearing what they sound like - I think it's a good idea.

  4. #53

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    Just to say I think both C stroll and C-saw are great! Well done to Strumcat and Tony. They follow the rules and I really like the harmonies.

    I recorded C stroll (just worked out how to mix and align tracks in audacity):
    C stroll.mp3 - File Shared from Box - Free Online File Storage

    Apologies for the inaccuracies in picking, twas the best I could do! I will try to record C saw tomorrow.

    My update: I find I can now play without pain so I think the acute problem with my r thumb is over. However, the whole thing has left me very careful about rh technique, and I am careful now to hold my rh straight and relaxed, not to let it anchor *anywhere* for the sake of accuracy. This leaves me picking a lot of wrong strings but i would rather make mistakes than screw up my hand again.

    I'm also rationing practice time.

    I'm just glad I can play, really, I am.

  5. #54

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    Quote Originally Posted by ten left thumbs
    I recorded C stroll (just worked out how to mix and align tracks in audacity):
    C stroll.mp3 - File Shared from Box - Free Online File Storage

    Apologies for the inaccuracies in picking, twas the best I could do! I will try to record C saw tomorrow.
    I think you're doing great. Both right-hand and left-hand coordination will improve with practice. I wish I had half your determination, self-discipline, and musical knowledge.

    Quote Originally Posted by ten left thumbs
    My update: I find I can now play without pain so I think the acute problem with my r thumb is over.
    A rule of thumb (pun intended) is: "If it hurts, ease off." Good to hear you playing.

  6. #55

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    thanks, guys.

    when i recorded to the click, each part sounded in-time on their own. but when combined, you can really hear the little things that make them not in-time. i expect this to become a larger problem as the pieces become more difficult.

  7. #56

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    I've been working on the arpeggios that are presented from the chords and memorizing the scale and it's relationships.

    W-W-H-W-W-W-H C-D-E-F-G-A-B-C

    More Specifically I am trying to memorize what the 1st, 3rd, 5th, 7th, 9th, 11th, and 13th of the scale is. c-e-g-b-d-f-a In that order. I think this kind of study for myself will pay off in the long run. We don't change into another key until pg 27 where we go to G Major. So, I should have it down pretty good by then.

  8. #57

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    Greetings!

    I found this thread on Monday and was motivated to join in. Thank you to everyone that has contributed!

    Years ago I made it part way thru MM Vol. 1 but gave up for some reason. I think it was lack of discipline and sheer boredom. Hoping this thread solves both of those problems.

    I'd describe myself as an intermediate reader, been thru Hal Leonard books 1 & 2 with students more times than I can count, and I need to get better at sight reading and position playing.

    Marty

  9. #58

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    Just some words of encouragement. The versions of C-Stroll were all extremely acceptable and even enjoyable to listen to. Kudos to the composition and playing. Well done all (I think Rock, TLT and Lvdz).

    Rock - when I was successfully doing computer-based multi-track recording a few years ago, I found that I had to use the metronome or a drum track for the first guitar part. Then, my software allowed me to play back the first part so I could hear it, also hear the click (although it wasn't recorded), AND then record the second part as a separate audio file. In this way, the two parts were as much in time as I was capable of, but there was no lack of synchronisation between the parts. Sorry of that all sounds a bit unclear, but it's just to suggest that maybe there might be an alternative way for you to record.

    Pirate - just downloaded C-Practice and it looks good. I'm going to try it out just as soon as I get the guitar in my hand.

  10. #59

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    Quote Originally Posted by tonyknight
    Frank - thanks for the link - I downloaded Muse and got the hang of it very quickly. So here's my tune "C-Saw". I'd forgotten how long it takes to compose music! However, I should say that I did not follow any specific structure, but just played with chords and a few variations. Some of the chords may look complicated at first, but they are an excellent way to work on some of the sight-reading skills, even if it requires slowing down a little before carrying on.

    I still cannot get my sound interface to function, so I can't get audio up yet but I will record this as soon as I'm able. In the meantime, if it would help Muse does allow me to create a midi file - but that feels like cheating.
    I took a shot at Tony's C-Saw


  11. #60

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    Wow, Frank - that made my day! You did a great interpretation of the tune - timing and tonality were both excellent.

    I can't wait to try it myself: I'm playing each part of course, but without the backing part and I'm certainly not capable of playing both parts at once :-)

  12. #61

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    Quote Originally Posted by peejay
    Thanks to TTL ( TLT ?) then as well ! By the way, the link to TLT's pdf file in post #55 doesn't appear to be working any more - file removed. Any chance of a repost please ? Many thanks to all, peejay.
    sorry do you mean this one?

    easy guitar duet.PDF - File Shared from Box - Free Online File Storage

    I changed a note, so i removed the old file.

    I wrote another today, will try to get it up on boxnet.

  13. #62

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    I think this sound brilliant! And if I may add a little theory without getting too deep. All we have learned so far is the notes of the major scale. And if you put the notes of a major scale together, they sound good. Sometimes harmonious, sometime crunchy, sometimes juicy, but really, fairly much always good. And - you don't need a PhD in composition to do this.

    Quote Originally Posted by fep
    I took a shot at Tony's C-Saw


  14. #63

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    OK, so I wrote a little blues progression earlier and recorded and mixed it just now.

    sheet:
    I got D blues.PDF - File Shared from Box - Free Online File Storage

    separate parts:
    Got D Blues pt 1.mp3 - File Shared from Box - Free Online File Storage
    got D blues pt 2.mp3 - File Shared from Box - Free Online File Storage

    and full mix:
    I got D blues.PDF - File Shared from Box - Free Online File Storage

    It is a blues progression, however without swing quavers and without the blue note, it comes across more as modal. Listening to it mixed for the first time, I get images of a dank medieval castle with no central heating, and an angry king about to execute his lute-player...

    I am pleased with the title, though.

  15. #64

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    On this point I think it's worth quoting from the introduction to Mr. Leavitt's book:

    This book has been specifically designed to accomplish two things...
    #1. To teach the student to READ music.

    #2. For the gradual development of dexterity in BOTH hands.
    This is the physical part of learning to play the guitar and as
    such cannot be rushed. Practice all material slowly enough
    to maintain an even tempo
    . Do not skip or "slight" anything,
    and also do not attempt to "completely perfect" any one lesson
    before going on. Playing technique is an accumulative process
    and you will find each time you review material already studied
    it will seem easier to play. (Slow, steady practice and constant
    review will eventually lead to speed and accuracy.)

    I refer back to this often!

  16. #65

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    Quote Originally Posted by leonard_c
    On this point I think it's worth quoting from the introduction to Mr. Leavitt's book:

    This book has been specifically designed to accomplish two things...
    #1. To teach the student to READ music.

    #2. For the gradual development of dexterity in BOTH hands.
    This is the physical part of learning to play the guitar and as
    such cannot be rushed. Practice all material slowly enough
    to maintain an even tempo
    . Do not skip or "slight" anything,
    and also do not attempt to "completely perfect" any one lesson
    before going on. Playing technique is an accumulative process
    and you will find each time you review material already studied
    it will seem easier to play. (Slow, steady practice and constant
    review will eventually lead to speed and accuracy.)

    I refer back to this often!
    point #2 is so very important. i'm working a little further in the book right now, and there's one exercise that's giving me fits. it's not that i can't play it, but my fingers just don't want to move in a certain way at a certain point. you've got to train them to move they way the brain wants, instead of the way the muscles want. and nothing will do that for you other than practice over time.

  17. #66

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    Quote Originally Posted by strumcat
    My humble music offering...
    This is really a pretty tune. I took a shot at recording it and I wanted a rit at the end; so without a metronome:


  18. #67

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    Quote Originally Posted by fep
    This is really a pretty tune. I took a shot at recording it and I wanted a rit at the end; so without a metronome:
    Thanks, fep. That really made my day, man. You play beautifully.

    The third beat in the 10th and 14th measure is hard to play with a pick (requires muting the D string). I forgot that we're using pick only. But the C on that beat can easily just be left out.

    Thanks again. Hey, now I know what a 'rit' is.

  19. #68

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    Folks, make sure that your expectations are realistic. Reading chords takes quite a lot of time, it's exactly like reading words, it takes quite some time reading single syllable words before one has a chance to immediately recognize long, complex words. You are not only learning a new language, but, in essence, a new way of "speaking", with all of the mechanical and coordination challenges to overcome just to speak in simple terms.

  20. #69

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    Looks like a lot of you have moved onto composing! Cool... All I have to offer is yet another Sea to Sea. I recorded the guitar 2 part with my trusty Olympus recorder (which I highly recommend) at 80bpm. Still find it odd to strike just 3 strings with a flat pick so I get a little inconsistent on how long the chords ring. I also probably should have turned up the G2 part. Anyway, thanks a bunch for listening!


  21. #70

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    hi mjsarlington (I had mis-read your name as 'miss arlington' - and therefore expected less facial hair, but hey, nice to meet you!)

    Nice going on the recording. I thought your rh technique looked pretty solid, but if it doesn't feel that way, then I think you're in good company! I felt you were rushing the metronome a little (I do exactly the same thing), maybe if G2 was turned up more, it would be easier to feel the beat?

    As an aside, is anyone else overwhelmed by Modern Method's youtube presence? This book seems to be a bit of a rite of passage.

  22. #71

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    Quote Originally Posted by strumcat
    What I was trying to achieve when I wrote that piece was to introduce some different chords without breaking the rules of staying within the C scale. Obviously we can open up discussion on the different chords/triads/intervals used in the different offerings, but as I haven't read ahead in the book yet, it might be too early. Thoughts, any one?
    Compositions can be kind of personal, so I wasn't going to say anything regarding the material other than what I wrote in the post where I initially prompted those that felt incline to try to write tunes.

    Any writing is good writing, it's creative and it's a 'play' activity, at least to me. I like the image of kids playing in a sand box. And some of you ran with your compositions and let them take you were they may. That's cool from a composition and a 'play' perspective.

    But since you asked...

    I was trying to write something that would be as easy to play as Sea To Sea. I wanted to create some appropriate supplemental reading material for where we are at right now in Leavitt's book. Remember the objective of these threads is to study MM1 to learn/improve reading skills and our dexterity. The compositions are a supplemental idea to have some fun but to also support those primary objectives. I also think composing, while helping the group by providing additional material, is also a way to keep the more advanced students interested/busy as we work through the first part of the book.

    In doing that I only included chords and chord fingerings that Leavitt had already introduced. Since chords are hard to read and one needs to be able to 'see' them like they see a word, I didn't want to introduce any new chords. Also from a composition perspective, harmonically we are starting with a I IV V, a very logical place to start.

    As far as new material, rhythms, chords, etc. I'll leave it to Leavitt to introduce it through the book.

    I also think limiting oneself to these basic materials is a good composing exercise. As additional material is introduced we will be able to grow from basic to more advanced compositions in a logical sequence. And, perhaps writing tunes will help our ears to grow in this same logical sequence. Kind of like learning to walk before you try to pole vault.

    Just my 2 cents and that's what I plan on doing. But I don't want to dictate that on anyone else.
    Last edited by fep; 01-07-2012 at 01:14 PM.

  23. #72

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    Quote Originally Posted by mjsarlington
    Looks like a lot of you have moved onto composing! Cool... All I have to offer is yet another Sea to Sea. I recorded the guitar 2 part with my trusty Olympus recorder (which I highly recommend) at 80bpm. Still find it odd to strike just 3 strings with a flat pick so I get a little inconsistent on how long the chords ring. I also probably should have turned up the G2 part. Anyway, thanks a bunch for listening!

    Nice job. Everything looks to be right on track. Thanks for posting a video.

    This playing chords on inside strings with a pick is a bit awkward for me also as I usually use hybrid picking or fingerpicking for that. But I'm working on it. Looks like you're doing well at developing that technique.

    Is that a rest stroke you're using? I think that is what I see, but even with a video it's a bit hard to be sure.

    As Ronjazz wrote in post #40, rest strokes are the way Leavitt intended for the chords to be played.

  24. #73

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    Quote Originally Posted by fep
    ...Remember the objective of these threads is to study MM1 to learn/improve reading skills and our dexterity...
    Yeh, and I think I've been letting the composition thing distract me from what I really need to be doing, which is spending more time on the exercises. So I'm swearing off for a while and getting back to the straight and narrow. It's the only way to achieve what I want out of this: 1) learn to sight read to some decent level if I can, and 2) to be able to play fluently whatever sequences and/or combinations of notes that come into my head, on the spot.

  25. #74

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    Quote Originally Posted by HighSpeedSpoon


    I interpret "rest stroke" to mean doing what is indicated in the boldface type above. I hope this is correct and I hope it helps. FWIW, it has helped me.

    Funny, I interpreted it quite different. When I tried the arc I noticed I was doing something very different from a rest stroke. I don't think the rest stroke idea is intended as 'this is how you should play through your whole guitar career' - just 'this is how you should start'. As soon as things speed up, there is no resting!

    The arc has more rotation of my wrist (which was impossible when I was anchoring).

    i've been through so much with my rh just in the last week, it's all quite exciting.

    Question for ronjazz - could you please clarify re rest strokes and the arcs you mentioned? thanks.

  26. #75

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    Quote Originally Posted by ronjazz
    Bill showed me that the pick moves in a "flicking" motion from the wrist, and an arc is created. The lowest part of the arc should be on the final string you're playing, with the pick coming to rest on the next string. This is a Van Eps/Johnny Smith dictum as well, and the ideal result is that the highest note in the chord will be the loudest, generally the best for melodic voice-leading, and demands quite a bit of control and practice to become natural. If you have a chance to watch the great rhythm guitarists on youtube, you'll see that they "flick" across the strings in a seemingly effortless fashion, bringing out the highest note and creating a harmony part with the bass. An alternate method is to mute the unused strings with the left hand; this gives you the ability to "bounce" over the strings for a lighter feel. In any event, hybrid picking will not work in this context, although I have no objection at all to it as a technique, but it is not strong enough for this type of playing. Having said that, there aren't any rules not made to be bent!
    Between this video and Ron's post, perhaps we can piece this together. I also searched for Van Eps but I could only find him playing chords fingerstyle.