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  1. #1

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    Taking on more pages as these threads aren't getting as many posts as they used to. So it will be maybe two weeks or so before the next thread is started.

    This will complete lesson 9 of the book.

    Remember to review.
    Last edited by fep; 06-11-2012 at 05:08 PM.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #2

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    another duet in F:

    https://www.box.com/s/3dcacbcaf916144e6d58

    I recorded the 2nd guitar first, played it through my computer and played 1st guitar over it, so the 2nd part sounds more muffled. I'm frustrated I can still make mistakes in the such a simple tune as 1st guitar here. This time round I decided to go for the 'sensible' F and the change in hand position threw me a little. I used to do that nae bother... grumble grumble

  4. #3

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    Quote Originally Posted by ten left thumbs
    another duet in F:

    https://www.box.com/s/3dcacbcaf916144e6d58

    I recorded the 2nd guitar first, played it through my computer and played 1st guitar over it, so the 2nd part sounds more muffled. I'm frustrated I can still make mistakes in the such a simple tune as 1st guitar here. This time round I decided to go for the 'sensible' F and the change in hand position threw me a little. I used to do that nae bother... grumble grumble
    Yahoo, Laura! Your picking is just becoming better and better. Strong. Very good time, of course, everything right where it ought to be. Quite musical, too - I enjoyed it! Don't ever stop - you'll be giving lessons in a couple of years. And Rob will hate you then. Ha!

    Peace,
    kj

  5. #4

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    Why, thankyou Kojo!

    Quote Originally Posted by Kojo27
    And Rob will hate you then. Ha!
    Naturally, this is my sole motivation for practice.

    I went to the shop today to try out guitars. Asked the man to bring me some archtops, a strap and a stand. He brought me a guitar-stand. No, I meant a music stand to put my book on, I had to explain.

    What I discovered is the diameter of the body doesn't matter so much - just the depth. With a shallow body, anything is comfortable.

  6. #5

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    Quote Originally Posted by ten left thumbs
    another duet in F:

    https://www.box.com/s/3dcacbcaf916144e6d58

    I recorded the 2nd guitar first, played it through my computer and played 1st guitar over it, so the 2nd part sounds more muffled. I'm frustrated I can still make mistakes in the such a simple tune as 1st guitar here. This time round I decided to go for the 'sensible' F and the change in hand position threw me a little. I used to do that nae bother... grumble grumble
    Sounds good, that must be tough without the metronome to play the duet this way.

    Have you ever thought about trying a computer recording setup with multitrack recording. If I understand correctly, you're doing the multitrack recording the same way Les Paul originally came up with it. Brilliant minds think alike.

  7. #6

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    Quote Originally Posted by fep

    Have you ever thought about trying a computer recording setup with multitrack recording. If I understand correctly, you're doing the multitrack recording the same way Les Paul originally came up with it. Brilliant minds think alike.
    How would that work then? Les Paul came up with a few things I don't think I would ever have got.

  8. #7

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    Quote Originally Posted by ten left thumbs
    How would that work then? Les Paul came up with a few things I don't think I would ever have got.
    If I remember what I read correctly, Les Paul started multitracking by using two recorders. He'd record in one and then play it back through a speaker and record the speaker and his playing to the 2nd recorder.

    Sound familiar?

    I think he had something to do with the actual invention of a multitrack tape recorder also.

  9. #8

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    I record to my computer software simultaneously with my recording to the web cam. I then normally delete the webcam audio as it is subpar and has noises.

    This time the recording software failed so I'm using the sound from the web cam software. You also can't hear the metronome, I was using one. This is sight reading so there are no 2nd takes.

    I made some mistakes that you might notice.



    Page 73 (with my audio recording software)


  10. #9

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    Quote Originally Posted by fep
    I record to my computer software simultaneously with my recording to the web cam. I then normally delete the webcam audio as it is subpar and has noises.




    Page 73 (with my audio recording software)

    What's to be said?!! Absolutely beautiful playing as far as I'm concerned.

  11. #10

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    Quote Originally Posted by ten left thumbs
    another duet in F:

    https://www.box.com/s/3dcacbcaf916144e6d58

    I recorded the 2nd guitar first, played it through my computer and played 1st guitar over it, so the 2nd part sounds more muffled. I'm frustrated I can still make mistakes in the such a simple tune as 1st guitar here. This time round I decided to go for the 'sensible' F and the change in hand position threw me a little. I used to do that nae bother... grumble grumble
    Sounds great, TLT. Your progress is to be commended.

  12. #11

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    Solid, as usual, Frank. Very few mistakes.

    I have done the reading studies, I make mistakes. I'm not really bothering to record them.

    Frank - how much time do you spend on the speed studies?

    Oldhead - thanks for listening!

    As regards recording, this is fairly much what I do. I have one recorder. I record to it, put the file in audacity on my laptop, play that back while recording again. The technical hitch is the quality of speakers on my laptop. I use external speakers, but they're not great. I even have better ones, but they're a real hassle to set up. Somehow, when I'm recording, I just don't want hassle.

    I have a question. Leavitt has a thing about presenting chords with the 5th in the bass. Why is that? Was that a popular thing around the time the book was written? It's driving me nuts.

    So on page 77, the dom9 and the maj6(9) are both given with roots on 5th string bracketed - in favour of bass note (5th of the chord) on 6th string.

  13. #12

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    Quote Originally Posted by ten left thumbs
    I have a question. Leavitt has a thing about presenting chords with the 5th in the bass. Why is that? Was that a popular thing around the time the book was written? It's driving me nuts.

    So on page 77, the dom9 and the maj6(9) are both given with roots on 5th string bracketed - in favour of bass note (5th of the chord) on 6th string.
    The bass player will normally be playing the root of the chord, a HUGE *thump* of tonic - so my guess is that Leavitt makes the root an option (or not) for this reason. The 6th string roots are actually in the bass player's range, I think. Besides, on guitar, with Four on Six, (fingers on strings) it's inevitable that some of the chord tones in jazz will be omitted. The root (thanks Mr. Bass player) is often most expendable. Also, the fifth is a very stable note in any chord, and our ears are accustomed to hearing it on or near the bottom, more than, say, a third.

    That's my attempt to sound more educated than I am.

    kj

  14. #13

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    Quote Originally Posted by Kojo27
    with Four on Six, (fingers on strings)
    Ah! I never knew what that meant! duh...

    it's inevitable that some of the chord tones in jazz will be omitted. The root (thanks Mr. Bass player) is often most expendable. Also, the fifth is a very stable note in any chord, and our ears are accustomed to hearing it on or near the bottom, more than, say, a third.
    You may well be right (as in, that's what Leavitt was thinking), but if I'm going to go rootless then I'd rather leave out the 5th too. Just seems strange.

  15. #14

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    Quote Originally Posted by ten left thumbs
    Solid, as usual, Frank. Very few mistakes.

    I have done the reading studies, I make mistakes. I'm not really bothering to record them.

    Frank - how much time do you spend on the speed studies?
    Thanks.

    Speed studies; I spend very little time on these. Just part of me reviewing where I start on page one and work my way forward to wherever I'm at (which is Lesson 9 right now). I'm at page 55 of my review, I do maybe 5 pages or so of review a day.

    Quote Originally Posted by ten left thumbs
    As regards recording, this is fairly much what I do. I have one recorder. I record to it, put the file in audacity on my laptop, play that back while recording again. The technical hitch is the quality of speakers on my laptop. I use external speakers, but they're not great. I even have better ones, but they're a real hassle to set up. Somehow, when I'm recording, I just don't want hassle.
    Have you tried recording directly to your computer and audacity with a mic?

    Quote Originally Posted by ten left thumbs
    I have a question. Leavitt has a thing about presenting chords with the 5th in the bass. Why is that? Was that a popular thing around the time the book was written? It's driving me nuts.

    So on page 77, the dom9 and the maj6(9) are both given with roots on 5th string bracketed - in favour of bass note (5th of the chord) on 6th string.
    The 5th in the bass of a rootless chord like the Dom9; that seems to assume that one is playing with a band as Kojo said. On that chord with the 5th in the bass you could strum away without worrying about hitting or muting the open 6th string.

    The other place is if you are playing a pattern (like a bossa) where you do a 1 - 5 - 1 - 5 bass pattern. In that case you're using both notes so the root is established in the bass pattern and I'd hear it as a C9.

    However, stand alone without a band, just playing that chord, it sure seems like a Gm6 to me.

  16. #15

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    Quote Originally Posted by fep

    Have you tried recording directly to your computer and audacity with a mic?
    Yes, lots of clipping. That's why I bought the zoom. I suppose it depends on the quality of the mic.

    The 5th in the bass of a rootless chord like the Dom9; that seems to assume that one is playing with a band as Kojo said. On that chord with the 5th in the bass you could strum away without worrying about hitting or muting the open 6th string.

    The other place is if you are playing a pattern (like a bossa) where you do a 1 - 5 - 1 - 5 bass pattern. In that case you're using both notes so the root is established in the bass pattern and I'd hear it as a C9.

    However, stand alone without a band, just playing that chord, it sure seems like a Gm6 to me.
    I suppose, it's just another way of looking at it.

    Leavitt is careful to make us work out the chord first, as he does here, at the bottom of page 76, before giving us the quick answer.

    So I recorded here Play it pretty and page 77:
    https://www.box.com/s/47cf2902859bc0e74d79
    https://www.box.com/s/febe46ddd67e4592fa6b

    Nothing is perfect, but passable, I think.

    I have been doing the speed studies a bit each day. Up to a grand speed of about 80bpm. But something tells me this doesn't matter, and the patterns on page 46 were much more important.

  17. #16

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    Quote Originally Posted by ten left thumbs
    Yes, lots of clipping. That's why I bought the zoom. I suppose it depends on the quality of the mic.
    I was having that problem and I found that on the computer sound mixer there was a playback and recording mode and I was able to turn the mic way down on the recording mode to get rid of the clipping.

    Your recordings sound fine. It is awfully fun to record into computer software with all the editing and multi-track recording. It would be fun for you composing.

  18. #17

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    Quote Originally Posted by ten left thumbs
    So I recorded here Play it pretty and page 77:
    https://www.box.com/s/47cf2902859bc0e74d79
    https://www.box.com/s/febe46ddd67e4592fa6b

    Nothing is perfect, but passable, I think.

    I have been doing the speed studies a bit each day. Up to a grand speed of about 80bpm. But something tells me this doesn't matter, and the patterns on page 46 were much more important.
    Good work, you are making lots of progress. Those chord changes are not easy on Play if Pretty, in particular mm.2-3 of s.4.

    I wouldn't be to worried about speed, it comes over a long time I think.

  19. #18

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  20. #19

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    I'm glad you cleared that up. I wasn't sure you'd manage those chords.

    So what was that? 150bpm?

  21. #20

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    Quote Originally Posted by ten left thumbs
    I'm glad you cleared that up. I wasn't sure you'd manage those chords.

    So what was that? 150bpm?
    Thanks for listening.

    That was a pretty good guess, exactly 150bpm.

    As I was doing this I was thinking about your previous question and had some thoughts regarding page 78 & 79.

    - Take each one of those repeats and treat them as their own exercise and repeat it a bunch of times gradually working your up the metronome's tempo.

    - Take it to were it's a struggle, spend a little time there, and then back off the tempo to were it's not so hard again.

  22. #21

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    Good ideas. I'll stick at them, but I don't think I'll bother recording just now

  23. #22

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    Good job folks. I have a question regarding Play It Pretty (duet) page 76: in the bar 17 where it says 'DS al coda' -the second guitar part-, you have tou play a G in the first position (open G string) but at the same time you have to play a Bb in the same string, as part of a Gm7 chord, so it clashes, how did you solve it? thank you.

  24. #23

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    Hi Nomelite and welcome. If you're talking about bar 16 (system 4, bar 4), that's a B natural you can play open. Tricky spot that, but sounds great!

  25. #24

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    Quote Originally Posted by ten left thumbs
    Hi Nomelite and welcome. If you're talking about bar 16 (system 4, bar 4), that's a B natural you can play open. Tricky spot that, but sounds great!
    Thank you ten left thumb! I started with William Leavitt five years ago and I take it from time . Im glad you are advancing in the same chapter as me.

    OK I am confused mostly due to the flat sign that appears beside the B note, so is it a typo? thanks again!

  26. #25

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    Quote Originally Posted by nomelite
    Thank you ten left thumb! I started with William Leavitt five years ago and I take it from time . Im glad you are advancing in the same chapter as me.

    OK I am confused mostly due to the flat sign that appears beside the B note, so is it a typo? thanks again!
    Hi Nomelite, thanks for listening to our recordings. The group has found typos in the various printings of this book. I have a book I purchased in Dec. 2011.

  27. #26

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    Hi Fep . That makes totally sense!!!!! thanks a lot and I am really happy this group exists! thanks a lot! (by the way I have the compilation of the 3 Leavitt books in one - the white cover).

  28. #27

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    Hi nomelite, Glad you got it sorted.

    Stick around, I plan to get through at least the first two volumes, but it might take a while.

  29. #28

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    Continuing through...for the moment, I'm only posting recordings of songs I particularly like. Most days, I'm reviewing / practicing new stuff that I can't play well enough to record just yet. Rest assured, I am going to finish this book, and Volume 2 as well!

    Here's Play It Pretty: https://app.box.com/s/wy05b1vvrbf3105y2mut

    I'm really happy with the way my legato technique has improved - it's really hard for me to notice in-the-moment, but now when I go back to older recordings I cringe at the enormous gaps between notes. I love all the new pieces, they just get better and better.

  30. #29

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    Hi thetruewheel,

    Nice job on Play it Pretty. You planning to keep going through the book? How are you doing review? Just the pieces you had more trouble on or everything? About how fast are you working through the book and what portion of your playing time does MM take up?

    I ask because I'm at about the same place in the book as you are and want to keep going, but find that if I give it the time I think it requires it leaves less time than I'd like for other playing.

  31. #30

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    Quote Originally Posted by steve d
    Hi thetruewheel,

    Nice job on Play it Pretty. You planning to keep going through the book? How are you doing review? Just the pieces you had more trouble on or everything? About how fast are you working through the book and what portion of your playing time does MM take up?

    I ask because I'm at about the same place in the book as you are and want to keep going, but find that if I give it the time I think it requires it leaves less time than I'd like for other playing.
    Thanks! I've been playing around with different review techniques as I work through the book. At this point, my process is generally:

    • Warm up / review with recent pieces that I feel fairly comfortable with.
    • Always review the most recent technique-building exercises (picking etudes, speed studies, and chord etudes)
    • Review other pieces depending on how much more work they need
    • Push forward to new pieces once I can play everything with a metronome (no matter how slow, speed will come with review and I feel I get more out of moving forward)

    Once I feel really comfortable with a piece I try not to review it as frequently. I do try to go through the entire book once every week or two, to see improvement on older pieces.

    I'm spending far more time with this book than other practice tools at the moment, just because I feel that getting this material down will accelerate my learning in other areas much more quickly. I have a WHOLE lot of sheet music that I really want to play, but it takes me far too long to decipher the notation so I'm trying to get my reading to a passable level before I waste a lot of time there. I think the return-on-investment with this book is really high, so I'm neglecting other things for now. As I develop this base of sight reading / technique and start going through volume 2, I plan on balancing my practice with other content.

    My pace definitely changes depending on how difficult the current section is. It feels like I go in chunks of 4-8 pages at a time, spending some time on those and then moving forward whenever I feel comfortable. I'd feel pretty good doing 3-5 pages a week, but I definitely don't treat that as a rule.

    Let me know what you're doing with the book...I've been thinking about the practice method / playing with it and think there's plenty of room for improvement!

  32. #31

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    With the last 5 lessons, seems like all of them are monster lessons. I just finished editing all the recordings and I couldn't help posting them up just like that already because I want get momentum back in this.

    I's a 25+ minute video .... Good luck making it to the end of it

    Last edited by Langs; 01-17-2015 at 04:15 AM. Reason: 2x the word video in the same sentece

  33. #32

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    I started to listen, but then realized I didn't want to be hearing the reading studies before I get there!

  34. #33

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    Quote Originally Posted by michael-m
    I started to listen, but then realized I didn't want to be hearing the reading studies before I get there!
    That says a lot about your ear and how well it is connected to your playing.

  35. #34

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    For the F major scale in position two (page 79), I can't really manage the f-g-a / b-c-d notes on strings 5 and 6 without sliding my hand. Should I keep working on stretching and trying not to slide at all? I watched Frank's masterful video and see barely any movement.

  36. #35

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    Quote Originally Posted by sun
    For the F major scale in position two (page 79), I can't really manage the f-g-a / b-c-d notes on strings 5 and 6 without sliding my hand. Should I keep working on stretching and trying not to slide at all? I watched Frank's masterful video and see barely any movement.
    Just keep at it! Leavitt prefers stretches to keep the hand in position at all times and minimize the chance of flubs. Personally, I had some trouble with fingering type 4 but got used to it fairly quickly. If you have access to the videos they are worth watching. Larry Baione gives a lot of insights and tips which aren't included in the book.