The Jazz Guitar Chord Dictionary
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  1. #126

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    Hey, James! Well, you did it. Great.

    Okay, well, forget the tune, that's just playing it. Liked the octaves, just the ticket. In real life, of course, you'd fill in those rather long gaps.

    See, the only time you actually enjoyed it was when you went into your pents and that very effective bluesy sound. As it should be, naturally, because your brain's been trained for years to do that. You naturally want to just let go and feel good doing it.

    Between you and me, I'd like to see you play the whole thing in your normal style. Forget 'jazz', just do it how you'd normally do it. I bet it'd be good.

    One point is whether you actually do want to re-train the brain to do something it's unused to. It's quite a different ball game, to be honest, and difficult. What do you think?

    If it's yes then there's tons of advice here and in the lesson section of JGO. Arpeggios, scales, the list is long and arduous. It's really quite a difficult task and I don't think there's any quick way round that.

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  3. #127
    Quote Originally Posted by ragman1

    One point is whether you actually do want to re-train the brain to do something it's unused to. It's quite a different ball game, to be honest, and difficult. What do you think?

    If it's yes then there's tons of advice here and in the lesson section of JGO. Arpeggios, scales, the list is long and arduous. It's really quite a difficult task and I don't think there's any quick way round that.
    Yeah, I think that’s what I need to do though. That next step. It only took 32 years to get to here. Lol. I understand it’s difficult. I think that was the crux of my original post.

    But why produce a video talking about how simple a subject is, and then cop to the proposition that “it’s really quite a difficult task”? You’d have to see the conflict in that? And I don’t think I’m being obtuse here but maybe I am.
    Last edited by Jamesrohr1; 02-24-2018 at 03:52 PM.

  4. #128

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    The notes were fine but you don't have the feel yet. Do your transcriptions, play along with them and imagine that you're the one who plays the original.

  5. #129

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    Quote Originally Posted by Jamesrohr1
    But why produce a video talking about how simple a subject is, and then cop to the proposition that “it’s really quite a difficult task”?
    Because that way it is simple. Broken down to bite size chunks almost anything is simple. But from there to fluent jazz is another thing, obviously.

  6. #130

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    Quote Originally Posted by Jamesrohr1
    Yeah, I think that’s what I need to do though. That next step. It only took 32 years to get to here. Lol. I understand it’s difficult. I think that was the crux of my original post.

    But why produce a video talking about how simple a subject is, and then cop to the proposition that “it’s really quite a difficult task”? You’d have to see the conflict in that? And I don’t think I’m being obtuse here but maybe I am.
    It's like most things. It's complicated going in the front door, but after you've paid your dues learning the essentials, and some non-essentials, you can then step back from all that and see a couple things that are most important, the things that are "simple." Like Superman stopping a bullet. Easy. See bullet, step in front of bullet (you wont' have much time for this part), see bullet bounce off.

    Easy, simple, once you've nailed the "Be Superman" part.

  7. #131

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    Quote Originally Posted by Jamesrohr1
    Oh never fear, I did not, in fact, play it well. Lol
    I thought that was pretty good. If you just improved the time so all the notes locked into the groove (which I know is hard to do at first), that would have been a very decent solo.

    So just keep going, you’re already on the way if you ask me.

    It’s a good job you can’t hear the first time I tried to play Satin Doll!

  8. #132

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    James -

    There's another thing. You seem rather irritated that a simple introduction hasn't turned you into Wes Montgomery after 10 minutes. It won't, obviously.

    If I may suggest it, keep playing that tune. There are more Dm's, Em's, Am's, etc, etc, than at those positions. Explore them, explore everything. Try it faster, slower, try it in a bossa rhythm. Put it into different keys. Go up in 4ths - F, Bb, Eb. Try it between the dots.

    Did you understand that bit about the 2-5's? How and why Am dorian works over D7? And what the extensions are and how they sound? And why the Ab melodic sounds better than the Ab dorian Gb/F# major scale (which is quite wrong). In fact, do you understand the melodic minor scale at all? Do you understand that Db7 is a tritone substitution? And that you could quite happily play in C major over the Db7, and why?

    It's all there but you need to plug away at it. Rome wasn't built in a day and Satin Doll isn't played in an afternoon. Neither is anything much in life, really.

  9. #133
    Quote Originally Posted by ragman1
    James -

    There's another thing. You seem rather irritated that a simple introduction hasn't turned you into Wes Montgomery after 10 minutes. It won't, obviously.

    If I may suggest it, keep playing that tune. There are more Dm's, Em's, Am's, etc, etc, than at those positions. Explore them, explore everything. Try it faster, slower, try it in a bossa rhythm. Put it into different keys. Go up in 4ths - F, Bb, Eb. Try it between the dots.

    Did you understand that bit about the 2-5's? How and why Am dorian works over D7? And what the extensions are and how they sound? And why the Ab melodic sounds better than the Ab dorian Gb/F# major scale (which is quite wrong). In fact, do you understand the melodic minor scale at all? Do you understand that Db7 is a tritone substitution? And that you could quite happily play in C major over the Db7, and why?

    It's all there but you need to plug away at it. Rome wasn't built in a day and Satin Doll isn't played in an afternoon. Neither is anything much in life, really.
    Who wouldn't like to play like Wes Montgomery? And are there any players that don't get upset when they don't think they sound good? I certainly did not expect to sound like Wes Montgomery. That would be silly. You yourself said it was ok to sound bad. And empirically it does. I think that was to be expected on both sides. I thought (like the tune) that I being humorous in my post.

    You went to the trouble to make that video though, so I thought I should at least take a swing at it to the best of my ability as it was indeed a concrete, measurable thing to undertake. I will continue to work on it as well as other items on the to-do list.

    Transposition will be difficult.

    I understood perfectly the theory behind what you were explaining (extensions, melodic minor, tritone subs, mild condescension, etc). For what it's worth (and I know it's not much) I have a degree in music and taught guitar six days a week for many years. I picked up a few things even if it was by accident. Lol

    Naturally it is the application though of those specific concepts that is difficult for the inexperienced/beginning improviser to pull off in real time (but I never played F# over that tritone sub, I promise I didn't. LOL). This gets to the heart of the concept of "nailing the changes", which we now know is very difficult.

    I made an entry in my calendar to stop back by this thread in a year and post an update. I'll let you guys know if I stayed with it or not.

    Thanks for everything.

    Thanks again everyone for all your help.

    Unless anyone has a specific question/comment I'm going to try to move on from this post and try do the work now.

  10. #134

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    Quote Originally Posted by Jamesrohr1
    Who wouldn't like to play like Wes Montgomery?
    Well, me for a start. Not because I don't think he's a stupendous player - he is - but because I'll never, ever play like Wes Montgomery - and neither will anybody else, not properly. What's the point in being a sound-a-like? Trying to be like somebody else is foolish. I thought the point was to find your own voice.

    I certainly did not expect to sound like Wes Montgomery. That would be silly.
    I wasn't being serious in that sense, it's just a figure of speech. I'm saying no one can expect to sound like a world class player in a metaphorical five minutes, that's all.

    You yourself said it was ok to sound bad
    I don't think I said exactly that. I said it was perfectly okay not to sound brilliant the first time one tries it, obviously.

    You went to the trouble to make that video though, so I thought I should at least take a swing at it to the best of my ability as it was indeed a concrete, measurable thing to undertake.
    I understand that, and good for you. Actually no one, including me, has said it was 'bad'. Quite the contrary.

    I will continue to work on it as well as other items on the to-do list.
    And that's one hell of an enormous to-do list, right? An impossible to-do list, I'd say. Start small, quietly, and grow.

    Transposition will be difficult.
    No, transposition is easy. From C to F? Like this:

    C - F
    D - G
    E - A
    F - Bb
    G - C
    A - D
    B - E
    C - F

    And then just read it off. Dm7 = Gm7. Or substitute whichever key-to-key you want. There are people who can do it instantly in real time but we're not aiming at that.

    I understood perfectly the theory behind what you were explaining (extensions, melodic minor, tritone subs, mild condescension, etc). For what it's worth (and I know it's not much) I have a degree in music and taught guitar six days a week for many years. I picked up a few things even if it was by accident. Lol
    Ah, the theory... but do you actually play it too?

    And why is transposition difficult if you have a degree in music?

    Naturally it is the application though of those specific concepts that is difficult for the inexperienced/beginning improviser to pull off in real time (but I never played F# over that tritone sub, I promise I didn't. LOL). This gets to the heart of the concept of "nailing the changes", which we now know is very difficult.
    That's what I'm saying. It comes with practice, practice being much playing time.

    Unless anyone has a specific question/comment I'm going to try to move on from this post and try do the work now.
    I'll repeat what others have said. Not the ones who say 'Learn 100 standards by tomorrow lunchtime' but the ones who said be realistic, keep it simple, apply common sense, etc.

    Okay, good luck. Maybe see you again :-)

  11. #135
    Quote Originally Posted by ragman1
    Well, me for a start. Not because I don't think he's a stupendous player - he is - but because I'll never, ever play like Wes Montgomery - and neither will anybody else, not properly. What's the point in being a sound-a-like? Trying to be like somebody else is foolish. I thought the point was to find your own voice.



    I wasn't being serious in that sense, it's just a figure of speech. I'm saying no one can expect to sound like a world class player in a metaphorical five minutes, that's all.



    I don't think I said exactly that. I said it was perfectly okay not to sound brilliant the first time one tries it, obviously.



    I understand that, and good for you. Actually no one, including me, has said it was 'bad'. Quite the contrary.



    And that's one hell of an enormous to-do list, right? An impossible to-do list, I'd say. Start small, quietly, and grow.



    No, transposition is easy. From C to F? Like this:

    C - F
    D - G
    E - A
    F - Bb
    G - C
    A - D
    B - E
    C - F

    And then just read it off. Dm7 = Gm7. Or substitute whichever key-to-key you want. There are people who can do it instantly in real time but we're not aiming at that.



    Ah, the theory... but do you actually play it too?

    And why is transposition difficult if you have a degree in music?



    That's what I'm saying. It comes with practice, practice being much playing time.



    I'll repeat what others have said. Not the ones who say 'Learn 100 standards by tomorrow lunchtime' but the ones who said be realistic, keep it simple, apply common sense, etc.

    Okay, good luck. Maybe see you again :-)
    To speak to your questions, and then I'll go away for real:

    I don't really mess with theory at all in my day-to-day playing. I studied quite a bit back in the day and on-and-off again when I have approached Jazz in the past. But Rock guitarists broadly just shoot from the hip. Same with transposition. I'm speaking anecdotally here, but I know of no rock or metal guitarists that practice things in all 12 keys. Why would we? We only play in a few keys anyway. And if we have to transpose sometimes we either retune or use a capo (a la Hotel California)

    Jazz theory specifically is something I am aware of from studying my favorite players (and high school Jazz band) but certainly have very little practical experience with. The horn keys are difficult for Rock guys because we simply don't use them. I don't think I'm going out on a limb saying that. Hope that explains my position a little more clearly.

  12. #136

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    Before you go - One of the best moves I ever made as a player was to program a few simple blues progressions into my drum machine (which had a bass instrument) in flat (or sharp, depending how you look at it) keys. I could still access my basic moves, but with an awareness that, "OK, this is in Eb, or Bb, etc." Of course I was maintaining an awareness of the interval functions within the given chord, i.e. "this note is the 6th of the IV" and so forth. Best of luck in your endeavors. Check in from time to time. There is much to be learned here.

  13. #137

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    Quote Originally Posted by Jamesrohr1
    To speak to your questions, and then I'll go away for real:

    I don't really mess with theory at all in my day-to-day playing. I studied quite a bit back in the day and on-and-off again when I have approached Jazz in the past. But Rock guitarists broadly just shoot from the hip. Same with transposition. I'm speaking anecdotally here, but I know of no rock or metal guitarists that practice things in all 12 keys. Why would we? We only play in a few keys anyway. And if we have to transpose sometimes we either retune or use a capo (a la Hotel California)

    Jazz theory specifically is something I am aware of from studying my favorite players (and high school Jazz band) but certainly have very little practical experience with. The horn keys are difficult for Rock guys because we simply don't use them. I don't think I'm going out on a limb saying that. Hope that explains my position a little more clearly.
    You think I don't know that? I started out doing classical, then folk, then country, then blues, then bluegrass and Old Time. It was all G, C, D, E, A and capo 4 for B which is a lovely key for bluegrass songs.

    I never even thought about jazz till much, much later. I had to start again, no capo, between the dots, learn the scales and theory... I did the work.

    You think I don't know what you're talking about? Sheesh! That's why I'm talking to you like this. What do you want, sympathy? You've got to start again and you either do it or don't do it. It's that simple.

    Heavens to Betsy!


  14. #138

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    Quote Originally Posted by Jamesrohr1
    Oh never fear, I did not, in fact, play it well. Lol

    Heya. This is a solid basis, and I think your playing is sounding pretty pleasing to the ear.

    You are starting to get the triplet swing feel, some lines to play on the changes and you can play the melody convincingly.

    Of course there are 8 million things I could recommend but as you are already probably reaching into overload I will make two recommendations:

    1) do a short video like this every month. Don’t watch them right away but keep them on file. Then after six months or a year, look back on what you have done. I think this may go some way towards combatting a sense of futility. Maybe even post it up here, would be great to see.

    2) keep your wrist straight for the octaves. You may need to move your thumb a little higher so it’s just peeking over the neck. This is fine (electric guitar necks are narrow) and important for your playing health.

    Other than that, keep us updated on your development. Nice job!

  15. #139
    Hey. Not trying to resurrect this this thread or be a nuisance. But some folks asked me to follow up a year later to see how I was doing. So I am.

    I have honestly made little to no progress, but I’m still chipping away as I can. I’ve been involved in quite a few musical projects over the last year, but none of them were Jazz.

    I did learn a Parker head.


    And I started working on some comping.


    I’m also exploring a few things recommended elsewhere in this forum:

    I bought a copy of Comprehensive Jazz Technique for Jazz Musicians. It goes about as far down the rabbit hole as anyone would like to go. Intimidates the hell out of me. Might be good for reference if I can work up to it.

    Currently on chapter 5 of Introduction to Jazz Guitar Soloing. Effective, difficult, but it seems like a linear method I might be able to comprehend.

    I found a list of 10 important standards here as well and printed off the lead sheets. I know you guys want me to learn them by ear. And I could probably get the melody and some licks, but I’d never figure out the harmony. So yes, I’m working on standards from the lead sheet. (I understand the written music may be incorrect). I also have rhythm changes, and Bb and F blues changes printed.

    I listen to Jazz recordings every day as time permits.

    I still couldn’t improvise a coherent solo over Autumn Leaves however and that’s probably the biggest failure. Two things: 1) I cannot nail the changes even at a very slow tempo. And even when I can....2) I have no language. I know the problems but I’m not sure how to fix them.

    I found a Charlie Christian best of on ITunes and I’ll try to start transcribing it as maybe I might be able to hear the harmony if it’s simple enough.

    I’m hesitant to include this but this is an improv of a static funk grove. It’s not Jazz and there are no changes but it is 100% improvised.



    I have not played with any other Jazz musicians and have had no additional private lessons. I don’t see that changing any time soon.

    I’m not looking for any advice and again, not trying to resurrect the thread. I had set a reminder on my phone to follow up a year and got a laugh when it came up today.

    I’ll try to hit you up in other year. Maybe by then I’ll have some Jazz together. Thanks. Take care.

  16. #140
    This is one of the best, most articulate, honest, helpful posts I’ve ever read. I am also a newcomer to Jazz, but from a “folk” “3 chord” background. [ I did study clarinet and learned basic theory 5 decades ago. ]
    i haven’t yet read the 30+ replies to your question yet but I offer one perspective, as a 66 year old man/father:
    I’m pretty sure you won’t walk out of your house one day and see a skywriter proclaiming “You’re on the right track.” Or “focus more on modes”. The universe doesn’t cooperate and provide such reassurances.PROGRESS CAN BE IMPERCEPTIBLE. Yet, progress can appear without warning! as in “WOW. When did I learn how to do that?”

    Obviously, one’s expectations must be reasonable. I still wait for Bob Dylan to call me and ask me to review the lyrics of his next album.
    Maybe he can’t find my phone number.

    I can’t see how you couldn’t be improving. I do think you have a particular challenge: isolation- no Jazz musicians nearby. But in the world of Internet, you can better address that challenge than early, isolated musicians could.
    Good luck.
    i respect your effort.

    one follow-up: I believe the reason we practically diefy Charley Parker, Pat Martino, Art Tatum, many JazzGuitar.be contributers, Donald Fagen ... is ... simply because of their amazing accomplishments in an extremely challenging art (Jazz). If it weren’t so impossible, we’d hardly notice these giants.

  17. #141
    Quote Originally Posted by GuitarStudent
    This is one of the best, most articulate, honest, helpful posts I’ve ever read. I am also a newcomer to Jazz, but from a “folk” “3 chord” background. [ I did study clarinet and learned basic theory 5 decades ago. ]
    i haven’t yet read the 30+ replies to your question yet but I offer one perspective, as a 66 year old man/father:
    I’m pretty sure you won’t walk out of your house one day and see a skywriter proclaiming “You’re on the right track.” Or “focus more on modes”. The universe doesn’t cooperate and provide such reassurances.PROGRESS CAN BE IMPERCEPTIBLE. Yet, progress can appear without warning! as in “WOW. When did I learn how to do that?”

    Obviously, one’s expectations must be reasonable. I still wait for Bob Dylan to call me and ask me to review the lyrics of his next album.
    Maybe he can’t find my phone number.

    I can’t see how you couldn’t be improving. I do think you have a particular challenge: isolation- no Jazz musicians nearby. But in the world of Internet, you can better address that challenge than early, isolated musicians could.
    Good luck.
    i respect your effort.

    one follow-up: I believe the reason we practically diefy Charley Parker, Pat Martino, Art Tatum, many JazzGuitar.be contributers, Donald Fagen ... is ... simply because of their amazing accomplishments in an extremely challenging art (Jazz). If it weren’t so impossible, we’d hardly notice these giants.

    Thanks for your reply and encouragement. This is an older thread, but I'm still hacking away slowly. You are correct about the isolation, there are no jams here, but about every three to six months Jazz fans in neighboring towns host a Jazz Crawl that I try to attend. It's a good way to at least see some live Jazz.

    I'm still not able to improvise over beginner standards but I'm trying. I really am. Just finished Robert Conti's "Ticket to Improv" Vol 1. Not sure what I was expecting to have happen with that one. And I'm exploring Jazz Blues. My thought being that if maybe the standards are too difficult to start with I'd have an easier time on Jazz Blues numbers. Jury is still out. But thanks again.

  18. #142
    Would you kindly provide the title of the Clint Strong, YouTube video you mentioned? Thank you

  19. #143
    James,
    May I offer one more piece of “advice”? You probably harbor some idea of what a “top-tier” jazz guitarist is, looks like, plays, studies, etc.
    Consider relaxing or discarding that “picture”.

    Or said another way: Stop aspiring to be a “good jazz guitarist” according to one image only.

    First of all, in today’s internet world, 1,000 talented people probably started learning jazz guitar in the time it took to write this. Some will become renowned.

    Whereas there may have been a great-jazz-guitarist-prototype in past years (Wes, Joe Pass, Pat Martino), in 5 years (or months) there will be brand-new “masters”.
    So consider easing up of that type of self-imposed-goal (if you have it). Approach your mastery as if you, yourself were your only audience. Disregard those ghosts.

    James, I may read what I’ve just written and see it as pompous nonsense. So if it has value to you, print it because I’ll likely delete it.

    I’m suggesting we adopt a pioneer mentality (no role-models available) - to trust our own hearts, “callings” and tastes and aspire, gently, towards our own pinnacles (forgetting the past “greats”).
    “Be the first” to do it a particular way. Somebody has to be the first!

    Even if you don’t buy this completely, maybe doing it a little might relieve drudgery and add joy to your cool quest: MUSIC.

    The never-ending road to music-mastery is glorious. But we’ll always be “approaching the (next) beginning” in a sense.
    I don’t mind that!
    Enjoy.
    Last edited by GuitarStudent; 08-20-2019 at 10:58 AM.

  20. #144

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    Quote Originally Posted by GuitarStudent
    James,
    May I offer one more piece of “advice”? You probably harbor some idea of what a “top-tier” jazz guitarist is, looks like, plays, studies, etc.
    Consider relaxing or discarding that “picture”.

    Or said another way: Stop aspiring to be a “good jazz guitarist” according to one image only.

    First of all, in today’s internet world, 1,000 talented people probably started learning jazz guitar in the time it took to write this. Some will become renowned.

    Whereas there may have been a great-jazz-guitarist-prototype in past years (Wes, Joe Pass, Pat Martino), in 5 years (or months) there will be brand-new “masters”.
    So consider easing up of that type of self-imposed-goal (if you have it). Approach your mastery as if you, yourself were your only audience. Disregard those ghosts.

    James, I may read what of I’ve just written and see it as pompous nonsense. So if it has value to you, print it because I’ll likely delete it.

    I’m suggesting we adopt a pioneer mentality (no role-models available) - to trust our own hearts and tastes and aspire, gently, towards our own pinnacles (forgetting the past “greats”).
    “Be the first” to do it a particular way. Somebody has to be the first!

    Even if you don’t buy this completely, maybe doing it a little might relieve drudgery and add joy to your cool quest: MUSIC.

    The never-ending road to music-mastery is glorious. But we’ll always be “approaching the (next) beginning” in a sense.
    I don’t mind that!
    Enjoy.
    Thanks you so very, very much for this. It was extremely uplifting for me.

  21. #145
    Quote Originally Posted by GuitarStudent
    Would you kindly provide the title of the Clint Strong, YouTube video you mentioned? Thank you
    I'm sorry I don't remember mentioning this. Maybe another commentator did?

  22. #146
    Quote Originally Posted by GuitarStudent
    James,
    May I offer one more piece of “advice”? You probably harbor some idea of what a “top-tier” jazz guitarist is, looks like, plays, studies, etc.
    Consider relaxing or discarding that “picture”.

    Or said another way: Stop aspiring to be a “good jazz guitarist” according to one image only.

    First of all, in today’s internet world, 1,000 talented people probably started learning jazz guitar in the time it took to write this. Some will become renowned.

    Whereas there may have been a great-jazz-guitarist-prototype in past years (Wes, Joe Pass, Pat Martino), in 5 years (or months) there will be brand-new “masters”.
    So consider easing up of that type of self-imposed-goal (if you have it). Approach your mastery as if you, yourself were your only audience. Disregard those ghosts.

    James, I may read what I’ve just written and see it as pompous nonsense. So if it has value to you, print it because I’ll likely delete it.

    I’m suggesting we adopt a pioneer mentality (no role-models available) - to trust our own hearts, “callings” and tastes and aspire, gently, towards our own pinnacles (forgetting the past “greats”).
    “Be the first” to do it a particular way. Somebody has to be the first!

    Even if you don’t buy this completely, maybe doing it a little might relieve drudgery and add joy to your cool quest: MUSIC.

    The never-ending road to music-mastery is glorious. But we’ll always be “approaching the (next) beginning” in a sense.
    I don’t mind that!
    Enjoy.
    Thanks I appreciate the sentiment. That's quite a bit of baggage your asking folks to drop but I get what you're saying. Sometimes I need to just stay out of my own way.

  23. #147
    Quote Originally Posted by MarkRhodes
    "Aim lower." Howard Roberts would take this as far as one could: get the first note right. That's it. One note. Then the next. Then the first and second together. Then the third. And so on. (There's a YouTube video of Clint Strong talking about this. Well worth seeking out.)
    Would you kindly provide the title of the Clint Strong, YouTube video you mentioned? Thank you

  24. #148

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    Anybody who can play the head of "Confirmation" with Bird, at tempo, is doing pretty doggone good. That's well done. You learn 8 or 9 Charlie Parker tunes, you'll have a deposit of fabulous jazz vocabulary. Sort out the phrases by chord progression, play them by position so you can move them around and change keys, and mix-and-match them in other settings.

    A guy who learns a dozen or so Charlie Parker phrases and can really use them is well on the way.

  25. #149
    Quote Originally Posted by lawson-stone
    Anybody who can play the head of "Confirmation" with Bird, at tempo, is doing pretty doggone good. That's well done. You learn 8 or 9 Charlie Parker tunes, you'll have a deposit of fabulous jazz vocabulary. Sort out the phrases by chord progression, play them by position so you can move them around and change keys, and mix-and-match them in other settings.

    A guy who learns a dozen or so Charlie Parker phrases and can really use them is well on the way.
    Thanks a lot. I really appreciate it. Those Parker heads are no joke! I'll make sure to try to get some more of them under my fingers.

  26. #150

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    Quote Originally Posted by Jamesrohr1
    Thanks a lot. I really appreciate it. Those Parker heads are no joke! I'll make sure to try to get some more of them under my fingers.
    Well "Confirmation" is a certified BEAR. So if you backed off and nailed a few blues heads, like "Relaxin at Camarillo" or "Billie's Bounce" you'd likely find them pretty easy.