Robert Conti Assembly Line from zero

[Jonah]

I decided to write here instead of creating a new thread.

My friend – mostly just pop song comping player, with not much formal knowledge – wanted to learn to play jazzy tunes as a solo guitarist and asked me to help. I know a lot and can do a lot but do not consider myself a teacher and especially from zero. So I decided to use Robert Conti’s books – just to go through it together, to help him where needed (I looked at them quite a few years ago but I was not really interested then and just based now on recommendation that it is good for this case because it has strict practical guideline one should follow).

I actually like to analyze and go to the essence and try to see all possible solutions, I also like ‘strict guidance methods’just because it is fun to discover the result (and often gives unexpected ideas).

So I got both Chord Assembly Line and Formula and of course I quickly played through all the material but then I decided to go through it methodically anyway.

I will not explain organization of material as it is a part of method that belongs to Robert

Interesting that his chord voicing are often unpredictable and sometimes strange choice (and also difficult in higher positions) but also with some experience you can substitute them with any chord voicing you prefer that just works for this note.

Sometimes the consecutive chords could really weird in concern of voice-leading: lots of parallel motion and some times very big jumps without any organization. I understand that he has to define one chord per note and also that it is more in terms of a chord as a cluster (a fat colourful note) rather than voice-leading at this point. But still I had to force myself to do what he says sometimes)))

Another thing is that in CAL he does basically the opposite to what he does in The Formula.

I understand that the first book is a preparation for novices but what it teaches is actually to play chords under any melody note in relation to the chords in charts. So if there is a C in a chart for 2 bars you just play various C chord forms with different melodic note on top (and mostly with a root in the bass, not always by the way). So it has different colours (because these are not just inversions but very different chords that can function as C maj) but harmonically it is very static.

In his fists example he even goes as far as just harmonizing with one chord the melody where you just by ear hear 3 chords (and most would probably play them). Then later he adds another one and another one – so it has didactical purpose of course to show how the method works.

But anyway CAL almost does not go any further than that – I say almost because he is not formal so he makes some notes how to expand harmonization especially in dim, half dim and aug chords section.

And final arrangement of Danny Boy actually shows this approach.

And The Formula is both the development but also the opposite thing.

The opposite because it teaches how not to play a chord in the chart under every note (to avoid static harmony and to re-harm intensively: the tools are quite standard jazz tools just maybe put in the individual form).

The development because it actually teaches you how to find a new chord and to harmonize the melody note with it.

So this is where the creativity begins… basically you can use any voicings you like and any harmonization or substitution principles you wish and build up your own vocabulary based on the same idea.

You can also use Robert’s method chords literally and change texture: skip the bass, or other voices or make it a walking bass… a lot depends on how far you are already on your own.

But also surprisingly I enjoyed playing those thick and a bit unpredictable changes from the book under every note, they made me hear things differently.

As result I actually think that this book can be useful for quite advanced players who like exploring and trying new ideas.

And I think one should not skip CAL, because if you have knowledge and you go directly to The Formula it will look a bit confusing: just a recap of the things you already know… but if you switch from CAL it makes sense as a continuation.



Another thing I noticed – besides fretboard training and other things - it trains the ear to hear and recognize melodic interval against the chord very well.

[Aiq]

I looked at Assembly Line before streaming and pdf, passed.

Just revisited and fun and easy to use on the pad.

Slowly going through the C group, I like the forms and the attachment to a melody note.

No hurry.