The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by znerken
    Is the point of the chord etude to understand all of the chords? With some analysis I can get some/most of them, but not everyone is easy to get. Strange that the book focuses so little on reading chords from sheet music really.
    No, not entirely. He is building your guitar arranging/chord melody playing from the ground up.

    But - "understand" the chords? What do you mean by that exactly? What is implied by "understanding"?

    Finally, he shows you lots of chords through the series, and you will notice that he has a lot of charts with symbols written above (see page 71 for example). How can one play complex music with effective voice leading from symbols alone if they never learned the various chord voicing choices in the first place? This isn't pop/rock barre chord land anymore.
    Last edited by Jazzstdnt; 12-28-2018 at 10:40 AM.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by Jazzstdnt
    No, not entirely. He is building your guitar arranging/chord melody playing from the ground up.

    But - "understand" the chords? What do you mean by that exactly? What is implied by "understanding"?

    Finally, he shows you lots of chords through the series, and you will notice that he has a lot of charts with symbols written above (see page 71 for example). How can one play complex music with effective voice leading from symbols only if they never learned the various chord voicing choices in the first place? This isn't pop/rock barre chord land anymore.

    Well, poor choice of words by me. I of course understand the theory behind all chords. I was referring to "picture" recognition, when looking at notes stacked on tops of each others. Perhaps that makes it more clear. So when you play that Chord Etude no 2, should you spend time analysing which chords they all are, and how they work harmonically? You could also just play through the etude and don't spend too much time thinking about what chords you play, of course.


    Like this:

    A Modern Method For Guitar Volume 1 Pages 70 to 72-screenshot-2018-12-28-15-23-31-jpg



    In very few situations have I had the need to recognise chords from sheet music, so I guess that's why I am not that good at it. I mean, using real book for example, you always have the chord spelled out.

  4. #28

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    Quote Originally Posted by znerken
    Well, poor choice of words by me. I of course understand the theory behind all chords. I was referring to "picture" recognition, when looking at notes stacked on tops of each others. Perhaps that makes it more clear. So when you play that Chord Etude no 2, should you spend time analysing which chords they all are, and how they work harmonically? You could also just play through the etude and don't spend too much time thinking about what chords you play, of course.


    Like this:

    A Modern Method For Guitar Volume 1 Pages 70 to 72-screenshot-2018-12-28-15-23-31-jpg



    In very few situations have I had the need to recognise chords from sheet music, so I guess that's why I am not that good at it. I mean, using real book for example, you always have the chord spelled out.
    OK a few items.

    1. Yes, picture recognition of chords from notation only is a skill to build. Pianists have to do that. Classical guitarists have to do that. Latin guitarists have to do that, etc. If you play jazz in a big band you may encounter some charts with specific voicings. But more to the point - if you study, play, arrange, or compose harmonically sophisticated music for solo guitar you will need to possess that skill.

    2. Playing first and analyzing second is fine for now. There is a LOT of hand training going on at this point (Volume 1). Later in the series you will learn more about how to approach the creation of such arrangements yourself.

    3. In the Real Book you "always have the chord spelled out"? I think it's just the opposite. You almost NEVER have the chord spelled out - you have a symbol. And in that instance it is left to you to voice it effectively. Such books are not piano or guitar books. No singer, drummer, horn player or bassist will ever have to bother themselves with chord voicings when playing the tune. That is left to the pianists and guitarists, and they are expected to be very resourceful on the spot.

  5. #29

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    Quote Originally Posted by Jazzstdnt
    OK a few items.

    1. Yes, picture recognition of chords from notation only is a skill to build. Pianists have to do that. Classical guitarists have to do that. Latin guitarists have to do that, etc. If you play jazz in a big band you may encounter some charts with specific voicings. But more to the point - if you study, play, arrange, or compose harmonically sophisticated music for solo guitar you will need to possess that skill.

    2. Playing first and analyzing second is fine for now. There is a LOT of hand training going on at this point (Volume 1). Later in the series you will learn more about how to approach the creation of such arrangements yourself.

    3. In the Real Book you "always have the chord spelled out"? I think it's just the opposite. You almost NEVER have the chord spelled out - you have a symbol. And in that instance it is left to you to voice it effectively. Such books are not piano or guitar books. No singer, drummer, horn player or bassist will ever have to bother themselves with chord voicings when playing the tune. That is left to the pianists and guitarists, and they are expected to be very resourceful on the spot.
    Regarding #3
    You have to use the spelled out "parent" chord, together with the melody underneath to choose the appropriate chord. So for example a C7, and there is a G in the melody note, so you voice the chord with G in top. This is what you refer to, right? At least as an example.

    Regarding your other points. I think that's part of the problem with this book, to be honest. It's not easy enough for a beginner, and it's not challenging enough(on some points) for someone who have played a while. However, I think it's great for learning to read, and building strength and technique. Still, I practice arpeggios as soon as I have closed the book. I also practice 5 position stuff, as soon as I have closed it. It's like I am in church on sundays, but doing drugs on weekdays. Anarchist


    Anyway, I picked it up to practice what I just mentioned, so for me it's great. All the other stuff I practice after I have closed the book. Volume 1 is almost taking me a year with 1-2 hours every day, so it's not like it's easy to play the pieces. Even though I have played guitar for some years.

  6. #30

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    Quote Originally Posted by znerken
    Regarding #3
    You have to use the spelled out "parent" chord, together with the melody underneath to choose the appropriate chord. So for example a C7, and there is a G in the melody note, so you voice the chord with G in top. This is what you refer to, right?
    It depends on what you're doing.

    Chord melody - yes.

    Comping? Probably not because you'll interfere with the soloist/lead.

    But even for chord melody/solo guitar it's more than just the melody note and some kind of spelling below. There are many options for what is spelled below. Just look at what Leavitt does. It may be one note below the melody, or 2,3,4 etc.

  7. #31

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    Quote Originally Posted by znerken
    Regarding #3
    You have to use the spelled out "parent" chord, together with the melody underneath to choose the appropriate chord. So for example a C7, and there is a G in the melody note, so you voice the chord with G in top. This is what you refer to, right? At least as an example.

    Regarding your other points. I think that's part of the problem with this book, to be honest. It's not easy enough for a beginner, and it's not challenging enough(on some points) for someone who have played a while. However, I think it's great for learning to read, and building strength and technique. Still, I practice arpeggios as soon as I have closed the book. I also practice 5 position stuff, as soon as I have closed it. It's like I am in church on sundays, but doing drugs on weekdays. Anarchist
    I understand.

    Firstly, no it is not a beginner's book - BUT it has never been depicted by the author as one. He has two books for them (Berklee Press). Once upon a time it was used by Berklee freshman, and who ever said that a music major freshman was a "beginner"?

    Regarding the order of things, if you will look at Berklee Guitar's 8 levels you will have a little insight into how they teach now. (8 levels of semester end "barrier" exams). Of note - both triad and seventh chord arpeggios are included right from the start, to your point.

    That said, Leavitt's books are still very valuable to a developing jazz guitarist, with some edits/adjustments.

    Cheers.

  8. #32

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    Quote Originally Posted by Jazzstdnt
    I understand.

    Firstly, no it is not a beginner's book - BUT it has never been depicted by the author as one. He has two books for them (Berklee Press). Once upon a time it was used by Berklee freshman, and who ever said that a music major freshman was a "beginner"?

    Regarding the order of things, if you will look at Berklee Guitar's 8 levels you will have a little insight into how they teach now. (8 levels of semester end "barrier" exams). Of note - both triad and seventh chord arpeggios are included right from the start, to your point.

    That said, Leavitt's books are still very valuable to a developing jazz guitarist, with some edits/adjustments.

    Cheers.

    Well said

  9. #33

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    Quote Originally Posted by Jazzstdnt
    I understand.

    Firstly, no it is not a beginner's book - BUT it has never been depicted by the author as one. He has two books for them (Berklee Press). Once upon a time it was used by Berklee freshman, and who ever said that a music major freshman was a "beginner"?

    Regarding the order of things, if you will look at Berklee Guitar's 8 levels you will have a little insight into how they teach now. (8 levels of semester end "barrier" exams). Of note - both triad and seventh chord arpeggios are included right from the start, to your point.

    That said, Leavitt's books are still very valuable to a developing jazz guitarist, with some edits/adjustments.

    Cheers.
    On the chance that you still check this thread, do you have any supplemental material in particular that you recommend? I have a lot of free time for practice lately, so am working through the book as quickly as possible. I ordered the Modern Method Jazz Songbook, so for the time being that will be my supplemental work once it arrives. Do you think that + MM1 is sufficient?