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  1. #501

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    Quote Originally Posted by rbcampbell1 View Post
    Thanks Jack. So Mickey's B7 run goes B-D#(Eb)-F#-A-C-B, which spells 1-3-5-b7-b9-1 of a B7(b9) chord, but also 13-b9-3-5-b7-13 of a D13b9 chord. I'm loving both the simplicity of Rob's explanation and the complexity of yours!
    I'm not smart enough to give simple answers.

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    The Jazz Guitar Chord Dictionary
     
  3. #502

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    Quote Originally Posted by Jack E Blue View Post
    I'm beginning to appreciate that the more ways one can see these relationships the more they can be understood.
    I checked out some Barry Harris things awhile back and had another look at them again today. According to Barry, chords that are a minor third apart are related (he calls them 'brothers and sisters'). Mickey calls this a symmetric cycle in Lesson 14 of Book 2. So moving in minor thirds from D7 gets D7, F7, Ab7 (b5 sub) and, voila, B7! (please excuse my French )

  4. #503

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    Regarding that minor 3rd shift: a V7b9 chord without the root (G)BDFAb - G7b9 - has a diminished 7th chord on top: BDFAb. You probably are aware that diminished 7th chords repeat every three frets. So, it's the same thing.

  5. #504

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    Quote Originally Posted by Rob MacKillop View Post
    Regarding that minor 3rd shift: a V7b9 chord without the root (G)BDFAb - G7b9 - has a diminished 7th chord on top: BDFAb. You probably are aware that diminished 7th chords repeat every three frets. So, it's the same thing.
    Yes, so cool! I think the minor 3rd shift idea is also useful, at least for me, to get a handle on Mickey's 'Cmi run over D7' habit (Blues no. 2, Lesson 31, Run Connections, Lesson 35 etc.). Mickey often uses an Ami run over D7. Applying the minor third shift to Ami gets Ami (important minor of D7), Cmi (Mickey's fav sub), Ebmi (Altered dominant sub) and F#mi (important minor of B7 - B7 sounds better to me) as a family of minor subs for D7. Again, I learned the 'important minor' concept from Barry Harris. As you can see, it's the minor chord built from the 5th of a dominant chord. Like Mickey, Barry views the 'important minor' as being interchangeable with it's dominant.

  6. #505

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    Quote Originally Posted by rbcampbell1 View Post
    Yes, so cool! I think the minor 3rd shift idea is also useful, at least for me, to get a handle on Mickey's 'Cmi run over D7' habit (Blues no. 2, Lesson 31, Run Connections, Lesson 35 etc.). Mickey often uses an Ami run over D7. Applying the minor third shift to Ami gets Ami (important minor of D7), Cmi (Mickey's fav sub), Ebmi (Altered dominant sub) and F#mi (important minor of B7 - B7 sounds better to me) as a family of minor subs for D7. Again, I learned the 'important minor' concept from Barry Harris. As you can see, it's the minor chord built from the 5th of a dominant chord. Like Mickey, Barry views the 'important minor' as being interchangeable with it's dominant.
    Interesting observations. Yet so many dismiss Mickey Baker's book because it's "outdated" and he wasn't a "Jazz" guitarist.

  7. #506

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    I'm not sure if this is the right thread to post this but, for anyone who's starting out with Mickey's book and is having trouble getting going, I'd suggest having a look at "Guitar Roots: Swing" by Paul Howard as an excellent primer/companion. Paul's book is laid out the same way as Mickey's, with a rhythm section followed by a soloing section. Unlike Mickey, Paul focuses mainly on 3-note 'rhythm voicings' in his rhythm section which makes it easier to get started IMO. Paul's soloing approach is exactly the same as Mickey's - he gets you to practice a bunch of runs (many taken directly from Mickey's book???) and then shows you how to apply them over a few choruses of blues, rhythm changes and a standard. Paul's book has more theory than Mickey's, if that's appealing, but its big plus I think is that it comes with a CD which includes demonstrations of all the comps, runs and solos as well as play-along tracks for practice.

    Edit: I forgot to mention that the runs and solos are written in TAB as well as standard notation.
    Last edited by rbcampbell1; 04-16-2021 at 04:15 AM.

  8. #507

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    I saw that book. It's very good, despite the goofy cover.

  9. #508

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    Hello Everyone,
    I am in book 1 lesson 2. Could someone please look over my work for the 4th line, where chords 2,3,4 and 5 are combined?
    Following Mickey's progression this is what I get :
    || Gmaj7 Gmaj6 | Ami7 Ami6 |
    Abmaj7 Abmaj6 | Bbmi7 Bbmi6 |
    Amaj7 Amaj6 | Bmi7 Bmi6 |
    Bbmaj7 Bbmaj6 | Cmi7 Cmi6 |
    Bmaj7 Bmaj6 | Dbmi7 Dbmi6 |
    Cmaj7 Cmaj6 | Dmi7 Dmi6 ||

    Thanks in advance!
    George

  10. #509

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    Yes that's correct.