The Jazz Guitar Chord Dictionary
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  1. #1

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    I’m primarily a Rock/Metal guitarist. I’m 45 and have been playing since I was 13. I started off with the Mel Bay books and classical lessons. And I briefly studied Classical and Jazz in college before going down the Shred rabbit hole.

    I’ve tried to study Jazz seriously over the years though, but unfortunately I get quickly overwhelmed. Jazz and Improv is such an intellectual pursuit, I usually get lost after a few minutes and move on to other things. But at this point in my playing, I’d really like to be comfortable improvising in different musical situations. I’d also like my playing to have more depth harmonically, melodically, and rhythmically. It seems like a serious study of Jazz would be the best vehicle for reaching these goals. But it’s so hard. I am so lost. And since turning seriously to Jazz about six months ago, I have made zero progress. In some ways I actually feel my playing has regressed as I seem more aware of how terrible it is and I’m actually afraid to study Jazz sometimes because it seems like such a mountain of work to overcome before you can play with even a modest degree of fluency.

    Being a family guy, I don’t have a lot of time to practice any more. So I’ve worked real hard to narrow my focus and work on just the essential stuff.
    1) Warm-up/Technique. I start by spending several minutes with Jack Zucker’s excellent “Sheets of Sound”.
    2) Repertoire. My goal is to memorize ten essential Jazz Standards by Summer. This includes chords and melody. I’m also writing arpeggios for each chart emphasizing the guide tones as well as playing along to the tunes in IRealPro.
    3) Ear Training. I’m transcribing tunes I like by artists I dig. But for each guitar player I transcribe, I also have to transcribe a horn player.
    4) Vocabulary. Slowly working through the Charlie Parker Omnibook. Very slowly. Lol
    5) Rocking out. My reward for completing that stuff is getting to spend some time making noise with my pedal board and playing whatever I want. Even my Heavy Metal shred BS.

    The thing is, I don’t know if this is enough. After six months, I barely know three Standards, I’ve only transcribed two tunes, and I’m still on page one of the Omnibook. If you asked me to take a solo over a tune right now, you would hear garbage. Utter garbage.

    How long before it isn’t garbage? Lol. I know that’s a dumb question but I can only tolerate feeling like an idiot for so long before it’s time to move on. I know I just need to surrender my ego and give myself permission to stink, but Lord this just seems to suck all the fun out of music. Does this happen to you guys?

    More specifically, is there anything I’m missing that would help speed this along? I tried Skype lessons with a Berkelee grad, but the internet connection was so bad I didn’t really pick much up. Keep in mind I live in a very rural part of the country. There are no Jazz musicians, let alone Jazz guitar teachers here. There are no jams to watch, let alone participate in. I’m stuck doing this on my own, after work, in the evening if I have an hour or so free.

    Seriously though, thanks for reading this far. I know I may sound a little unhinged, but I’m just not getting it. Is it possible some folks are never meant to get Jazz?

    Thanks again.





    Last edited by Jamesrohr1; 08-21-2019 at 08:22 AM. Reason: forgot link

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    1) 2) I, too, live in a rural area and only recently got an internet service capable of playing a three-minute video in under ten minutes. This site ( jazzguitar.be ) has a ton of resources. The program you have outlined seems pretty good to me, but remember things take time. learning Jazz is a big order. Maybe just learn songs, one at a time. Get them in your head and under your fingers, in multiple keys. Play songs you actually like. The Great American Songbook has a lot of material, for sure, but it's a lot to expect to master the whole thing ay once. The jazz thing is a process, and a journey. What you learn on any particular song can be applied to all subsequent songs. It'll come. Good luck!

  4. #3

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    Nothing wrong with the Omnibook but there are other options by now. Bebop needn't sound like Parker in all cases.

    Anyway, I agree that you should set a longer term goal. Give yourself a few years, but get started on a plan - and stay on course!

    Assuming that we don't have to talk about scales and arpeggio basics, there are several things to focus on in the beginning and intermediate stages of jazz improv. Modal tunes, blues and variations on same, and then various changes (II-V-I, Turnarounds and Rhythm changes, Dominant cycles, Coltrane changes). You needn't conquer them all at once, in fact, don't try!

    Send me a PM and I'll help you as best I can.

  5. #4

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    It sounds like you need to focus. You're spending several minutes with Jack Zucker’s excellent “Sheets of Sound”, trying to memorize Jazz Standards, writing arpeggios for each chart, playing along to the tunes in IRealPro, transcribing guitar parts, transcribing horn parts, working through the Charlie Parker Omnibook, and spending some time making noise with your pedal board and playing whatever you want.

    You need to walk before you can run. I would pick one standard method, either Carol Kaye or
    Leavitt and spend an hour a day focusing on that. Learning to play jazz, even at the most elementary level is a lot of hard work. It's not so much that some people aren't meant to 'get' jazz as it is that most people don't have the time and dedication to do the hard work required to 'get' jazz.

    Good luck. We always find a way to do the things we really want to do if we want to do them badly enough.

  6. #5

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    My $.02.

    I'd figure out how to get a teacher. Back in the 'old days' there were teachers who offered correspondence lessons by mail. Charlie Banacos was one of them. He'd mail you a cassette and lesson written on paper, you'd practice it, record it and mail it back to him. It worked well for a number of his students like Mike Stern, Jeff Berlin, Neil Stubenhaus. The website Truefire does a similar thing but with video. It's not one on one in real time, they record a video and send it to you. You record the lesson and send it back.

    Personally I think it works better than video conferencing software such as Skype. It might not be in real time, but there's nothing like recording yourself practicing an exercise or playing a tune to really show whether you have it down.

    Perhaps you need to lower your goals. Instead of 10 standards by summer, try one standard per month. If you're frustrated, it's probably because you're biting off more than you can chew. Stop being in a hurry. It doesn't matter how old you are, or how long you've been playing. Stop thinking, 'by this time (enter value here) I should be able to (enter value here). From my experience it doesn't work this way. A teacher of mine used to say 'it takes as long as it takes'. Try to enjoy the process without worrying about the end result.

    IMO, you're practice schedule seems a little chaotic to me. I haven't heard you play, but if you were my student I'd try to determine how well your knowledge is on the fundamentals and start there.

    Good luck.
    Last edited by Dana; 11-15-2020 at 07:32 PM.

  7. #6

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    Learn the 10 standards through saturated listening.
    Use the resources of Spotify, youtube, etc. to check out multiple versions.
    I would suggest concentrate on the theme at first.
    In addition to learning the melody flexibly, this will organically teach the song form when improvising.
    That which is solidly internalized will be much easier to play when a guitar is back in your hands.

  8. #7

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    Quote Originally Posted by Dana
    My $.02.

    I'd figure out how to get a teacher. Back in the 'old days' there were teachers who offered correspondence lessons by mail. Charlie Banacos was one of them. He'd send you a cassette and lesson written on paper, you'd practice it, record it and send it back to him. It worked well for a number of his students like Mike Stern, Jeff Berlin, Neil Stubenhaus. The website Truefire does a similar thing but with video. It's not one on one in real time, they record a video and send it to you. You record the lesson and send it back.

    Personally I think it works better than video conferencing software such as Skype. It might not be in real time, but there's nothing like recording yourself practicing an exercise or playing a tune to really show whether you have it down.

    Perhaps you need to lower your goals. Instead of 10 standards by summer, try one standard per month. If you're frustrated, it's probably because you're biting off more than you can chew right now. Stop being in a hurry. It doesn't matter how old you are, or how long you've been playing. Stop thinking, 'by this time (enter value here) I should be able to (enter value here). From my experience it doesn't work this way. A teacher of mine used to say 'it takes as long as it takes'. Try to enjoy the process without worrying about the end result.

    IMO, you're practice schedule seems a little chaotic to me. I haven't heard you play, but if you were my student I'd try to determine how well your knowledge is on the fundamentals and start there.

    Good luck.
    Great post.
    Some of the best advice I ever got was, "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.) It seems maddeningly slow but as Howard might put it, "If you don't need to do this, fine; but if what you're doing is not working you might need to reconsider whether it's the best way for you...")

    The more I work on fundamentals, the easier everything else gets and the quicker I learn it.

    As for TrueFire lessons, I have one coming with Frank Vignola. Got a discount and figured, why not? There's prep work. Which is good. I think you're right that it may be better NOT to do things in real-time b/c (as with math class) it seems so easy when a pro is showing you something and you think, "Yeah, I got that," but later, when trying to play it, you realize you don't. It really is about getting it under your fingers, not "knowing" what to do but actually DOING it.

    Good luck to the OP. Aim lower, keep at it. Realize how much you already know.

  9. #8

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    I think number 2. should be number 1.

    Learn the tunes. Listen to a lot of version of them and be able to whistle or sing the melodies and understand their form and structure. (AABA?, where are the ii V I's, what sections repeat? what other songs do you play that share some of these traits? et.)

    The songs will be your canvas to paint on.

    Above all be patient but persistent.
    Last edited by Gramps; 02-14-2018 at 01:01 PM.

  10. #9

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    I've edidet ypur post ...
    Quote Originally Posted by Jamesrohr1
    ...
    1. I’d really like to be comfortable improvising in different musical situations.
    2. I’d also like my playing to have more depth harmonically, melodically, and rhythmically.
    3. It seems like a serious study of Jazz would be the best vehicle for reaching these goals.
    4. Repertoire. My goal is to memorize ten essential Jazz Standards by Summer.
    5. Ear Training. I’m transcribing tunes I like by artists I dig. But for each guitar player I transcribe, I also have to transcribe a horn player.
    6. Vocabulary.
    1. Does Jazz have to be one of those situations? You do not need to play any Jazz to be able to improvise in different musical situations.

    2. You do not have to be able to play any Jazz and still you can have more depth ...

    3. Why would you think so? Study some theory and experiment on your own.

    4. Why would you need any Jazz repertoire for any of the goals mentioned above? You do not.

    5. Ear training is OK, if you already do not have a good ear as well as if you have ear good enough to be trained. Whatever the case, why would you transcribe both horn players and guitar players? For goals you proposed you do not need to transcribe anything. For some practice, just transcribe anything you like. Do not force yourself to do things that ultimately make you feel bad.

    6. Don't do it. Playing 70 years old licks in 70 years old context won't help you sound deep. It'll make you sound old, worn out and unoriginal. It's cool to know couple of basics so to use them in different context, or as vehicle for, say,
    Rocking out. ... making noise ... pedal board ... Heavy Metal shred ...

  11. #10
    Much appreciated. I’m meeting with a Jazz guitar teacher I found about 50 miles east of me this weekend for a one-off lesson. Hopefully, he can help set me straight.

    Some of you mentioned that hearing me play would help, so here is a YouTube vid of a Grant Green transcription I did. Keep in mind, I can’t actually improvise like this. I’m just copying him.

    Last edited by Jamesrohr1; 02-14-2018 at 12:15 PM. Reason: Grammar

  12. #11
    I'm rural as well, and I've decided that it's probably going to take playing with others to get to another level, there's nothing that would probably get me there as fast . Works with ever other style I play. Just have to find the time and the people. Probably not this year. over busy.

    There is a tremendous amount of value in playing with people about three different levels: better than me, on par , and not as good as me. You learn a lot from teaching, and the other levels are probably obvious , but the more you play with other people the better . I'd continue to try out different jazz teachers for sure.

  13. #12

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    What is jazz improv?: Fundamentally, it's the ability to construct and play a line (s).

    What does this take ? Have to know...

    1.what makes a good line
    2. how to get it out...convincingly

    Re: 1., need harmonic understanding to play strong lines---identify chord tones and "juicy" resolutions...and ability to create/understand/manipulate tension release, and do this in time, with good tone


    Re: 2., need some chops and technical facility...ability to play without hesitation



    How to get 1. ? Study good e.g.'s ....either from actual improv, or just tunes.

    "Bernie's Tune" is just a little riffy thing with some chromatic slides and a resolution....had to have started out as a riff, and turned into a tune. Lots of Charlie Parker stuff are riffs that were good enough to turn into tunes, e.g. "Billie's Bounce", "Ornithology" HAD to have come from "How High the Moon", and Charlie P., used some chromatic tones and enclosures and an octave shift, and the result is just almost perfect. Take it apart note by note, bit by bit, and you'll see what he is doing. Other tunes, "The Lady is a Tramp"....listen to that first phrase...sounds C major to c minor to me....makes the whole thing work. "Flamingo" does this too...Cole Porter does this minor/major switch thing a lot.

    Another idea....do what was done in the history of jazz....first embellish the melody. Listen to Louis A., Johnny Hodges, or Gene Ammons, or Ben Webster....they can just take a plain melody and alter it a wee bit...by attack...slurs, rhythmic displacement, etc. Listen to Hank Garland's group play "Pop Goes the Weasel"....silly little ditty, but its jazz...what makes it so? Why does it work?

    Another idea....take a riff and re-work it, to make it fit different underlying harmony. Jerry Coker advocates this....you'll find that sometime changing the natural 3rd to a flat third, for say, a minor progression changing from a major progression works almost automatically...sometimes not. Dominant riffs are kind of more forgiving, which makes sense, as you can harmonize ANY chromatic tone with a dom. chord. (Even natural 7 against flat 7 (!) sometimes...it's in some Jimmy Van Heusen tunes, and Richard Rogers tunes.)

    Another idea....sketch in the half-step chord tone resolutions in a progression. If you get to be good, and accomplished, you'll come to learn these automatically. I read that Benny Carter did this even after playing for 40 yrs. In the beginning you need to be conscious about it. (This can also reveal interesting voice leading possibilities.)So, take a straight 2-5-1....why does a dm7-g7-c maj sound different than dm7, g7 alt, c maj? Depends on the alteration, so identify and hit it in your line. (Interesting when tunes with pretty straightforward melodies have dense underlying harmonies, e.g. "April in Paris" or "All the Things You Are" or " Stella by Starlight" are pretty easy melodies to pick out by ear...then you look at a lead sheet, and whoa....is makes you think a bit.)

    The rhythmic bit---essential. Blues had that strong shuffle thing but the phrases are more definite and emphatic, and less flowing....good swing melts one phrase into another, and good bop melts notes within a phrase into one another. (I think rock kind of reversed this....much more straight time feel...its why I don't like a lot of rock---the time feel stifles the music, IMO. The rock I do like, Allman Brothers and The Who, have bassists and drummers who are less stifling...Entwistle is great bassist, I think.)


    The next part----constructing several lines into satisfying whole solos, is harder, IMO.

    Dexter Gordon seems to do it effortlessly. Lots of little tricks here....octave displacements, inverting runs, rhythmic displacement, hanging on a tension tone, or a common tone, tri-tone subs. He has the ability to have larger idea in mind, while still taking care of all the little pieces along the way. Miles D., too. This is real mastery, and even more so, is being able to completely switch up a feeling from one chorus to another, or within a chorus. (Dizzy G. is great at this, whereas someone like Art Pepper seems to vary a lot less.)

    Finally, listen a LOT....some of what you hear will be learned, even if you're not aware exactly, of what you KNOW. This sounds strange but is nonetheless true....also very true with sporting motions....great athletes KNOW things even if they cannot describe exactly what they're doing.

    (There is a picture of Coleman Hawkins listening to a playback from a session, and Charlie P. standing beside him, laughing, because Hawkins did something but couldn't repeat it, or explain it, and Coleman H. was a very highly trained, and schooled musician, with a lot of classical training.)

  14. #13
    ....I can maybe understand about 1/4 of what you’re saying. Lol

    Please keep in mind I’m new to Jazz. The devices you mentioned are well beyond my capacity right now. I know you are only trying to be helpful, but you have taken something as huge and intimidating as Jazz and somehow made it MORE intimidating.

  15. #14

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    Don't get intimidated....you know probably most of these already, but you don't have the vocabulary name for them, is my guess.

    "Enclosure"---say you want to end a phrase on g, you might play f#, G#,then g....can be done with stuff that is diatonic to the phrase, or not....if you play blues stuff, you hear chromatic slides ALL the time. Or in country, the 2, sharp2, into 3 phrase is almost a cliché....listen to slide players or steel guitar players, they use it a ton.

    "Tension"---play a chord and then play the 12 tones against the chord...some will sound good, some not so good....when you do that in a line, your ear wants to resolve the "not so good" tones to the good tones.
    (that would be harmonic tension)

    Rhythmic tension: Go listen to "Senor Blues" on YT by Horace Silver....tune starts out with strong Latin kind of rhythm (not sure what it's called)....hear the piano and trumpet play along with rhythm, and then trumpet starts to play against the rhythm....this creates rhythmic tension....like tapping 3 in the left hand and 2 in the right hand....sometimes they hit exactly and sometimes not

    Do you know how to harmonize a basic major scale...as in what chords come from which scale tones?

    Basically, there is a pattern to this....and you need to know this. Go to "Lessons" section on this site, and read about it, if you're not sure. (Nobody is born knowing this stuff---everybody had to learn it at some pt.)

    This is absolutely essential...and the first part of learning to play against chord changes.

    Half of music stuff is...putting a 9-dollar name on something not all that complicated. Some theory helps to take things apart, and if you can that, it helps to learn...and to play better.

    Don't get freaked out...by terminology.

  16. #15

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    Quote Originally Posted by Gramps
    I think number 2. should be number 1.

    Learn the tunes. .

    This is good advice. There is some related advice that may be better for some players: play songs you already know! That is, folk songs, Christmas carols (-though some of them have some demanding changes), nursery rhymes, TV theme songs, whatever. Melodies that are deeply familiar to you. Play them. You know how they go. Can you play them? If one works at that, it speeds up the learning of songs you don't already know.

    Barney Kessel gives this advice in the video series that has been restored and is now free on YouTube (in bite-sized chunks.)


  17. #16
    Quote Originally Posted by goldenwave77

    Do you know how to harmonize a basic major scale...as in what chords come from which scale tones?
    Yes. I can harmonize a major scale and play chord scales. I’d have to think about it in horn keys though.

    Enclosures and Chromatic approach are still a mystery. I have been introduced to them but I don’t understand how to methodically study them.

  18. #17
    Quote Originally Posted by pkirk
    Sounds good, you're well on your way. Learning a grant green solo is exactly the right thing to do (especially this one, which is chock full of great ideas, and his phrasing and articulation is great), as getting the right feel is the hardest thing about jazz guitar. Trust yourself and you'll be fine.
    Thank you. I appreciate the encouragement.

  19. #18
    Quote Originally Posted by Vladan
    I've edidet ypur post ...


    1. Does Jazz have to be one of those situations? You do not need to play any Jazz to be able to improvise in different musical situations.

    2. You do not have to be able to play any Jazz and still you can have more depth ...

    3. Why would you think so? Study some theory and experiment on your own.

    4. Why would you need any Jazz repertoire for any of the goals mentioned above? You do not.

    5. Ear training is OK, if you already do not have a good ear as well as if you have ear good enough to be trained. Whatever the case, why would you transcribe both horn players and guitar players? For goals you proposed you do not need to transcribe anything. For some practice, just transcribe anything you like. Do not force yourself to do things that ultimately make you feel bad.

    6. Don't do it. Playing 70 years old licks in 70 years old context won't help you sound deep. It'll make you sound old, worn out and unoriginal. It's cool to know couple of basics so to use them in different context, or as vehicle for, say,
    Thank you for your reply. In order to attempt to answer your questions:

    1) No, Jazz does not need to be one of those situations (though I see no good reason to rule it out.) However, I can think of no other genre of Western music that places such a premium on improvising. Yes, I assume, there is improvising in other musical genres. (I can personally attest though that for the most part, Metal solos are usually composed or comped in the studio) But it seems like Jazz, with its roots in improvising, has more tools at hand for the student. I personally love Fusion guys like Holdsworth and McLaughlin. And I’m ok with my Rock chops. I think I now need to put the Jazz in my Jazz Rock.


    2 & 3) I suppose there are other genres to study to help “build depth” (if such a thing is possible). My thinking on this is that the emphasis on playing with great time and the study of extended harmony might lead to a richer palette. Are there other genres where these are studied as deeply? I don’t know. I studied a little Classical composition in college while working towards a music degree and I do sometimes see deep connections between Classical and Jazz however. Gershwin anyone? Any suggestions here would be appreciated.

    4) Because in Jazz (and correct me if I’m wrong here) the tunes serve as vehicles for the improvising. I mean yes, if I were to study something other the Jazz, I probably wouldn’t bother.

    5) Transcribing doesn’t make me feel bad. Sorry if I gave that impression. Sure, it’s tedious. But it seems to be one of the few things I can do OK. But surely you can see the benefit of learning lines from an instrument other than your own? As an example, again, I love Holdsworth. But his lines are notoriously difficult to transcribe. However, he stated on numerous occasions that he preferred the sax, and I think most people notice a distinct horn-like quality to his lines. So if I can’t transcribe his lines, what is the next best thing?

    Honestly, is there ever such a thing as too much ear training?

    6) I see what you’re saying. And believe me, I have no desire to be a poor mans copy of a Jazzbo. However, I’ve been at a plateau in my playing for many many years. Rudderless jamming has got me no where. It seemed like just the act of trying to discipline my practice in a completely different direction would have to have some benefit. I mean it certainly can’t hurt.

    And I’m 45. I recognize that tuning to Drop-B and slamming out Heavy Metal power chords is every bit as silly as setting out to play “old, worn-out, unoriginal music”. I’m just trying to find my way and be the best player I can during the time I have left. Hence the original post. And any specific study suggestions anyone may have are always greatly appreciated.

    Most of my frustration stems from the idea that I’m just not smart enough to “get jazz”. And I’m not so sure that’s incorrect just yet. Lol
    Last edited by Jamesrohr1; 02-14-2018 at 03:55 PM.

  20. #19

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    Look around this site and find playing examples from Vladan and pkirk in order to weigh whos advice might be more valuable to you. I can't believe someone would counsel you not to investigate established jazz repertoire.

    No offence meant to Vladan. We all have opinions and mine has less weight than most, but.........

  21. #20

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    Quote Originally Posted by Jamesrohr1


    The thing is, I don’t know if this is enough. After six months, I barely know three Standards, I’ve only transcribed two tunes, and I’m still on page one of the Omnibook. If you asked me to take a solo over a tune right now, you would hear garbage. Utter garbage.

    How long before it isn’t garbage? Lol. I know that’s a dumb question but I can only tolerate feeling like an idiot for so long before it’s time to move on. I know I just need to surrender my ego and give myself permission to stink, but Lord this just seems to suck all the fun out of music. Does this happen to you guys?

    More specifically, is there anything I’m missing that would help speed this along?

    I’m stuck doing this on my own, after work, in the evening if I have an hour or so free.

    Seriously though, thanks for reading this far. I know I may sound a little unhinged, but I’m just not getting it. Is it possible some folks are never meant to get Jazz?


    6 months in with hour or so in the evening - thats what.. 150ish hours total? When starting up, those 150 may not be smartly spent also. I mean, learning how to learn all that crazy pile takes more than 150 hours itself. That's just trying out the suggestions, see what works for you or not so much. There are countless ways to improve, some of them are instantly obvious but not all of them. And surely, can't do everything even with unlimited time. Keep your head clear, figure out exactly what you're after and try to find as many approaches as you can. Don't get too frustrated knowing too few standards right now, that will change. First 10 is pretty hard, then they get way easier to learn. If you quit before that, then yep, you're not meant to get jazz

  22. #21

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    Quote Originally Posted by gramps
    look around this site and find playing examples from vladan and pkirk in order to weigh whos advice might be more valuable to you. I can't believe someone would counsel you not to investigate established jazz repertoire.

    No offence meant to vladan. We all have opinions and mine has less weight than most, but.........
    lol!

  23. #22

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    Your Grant Green transcription sounds good. Keep working on stuff like this. You can't improvise like that now, but you're getting your fingers used to the kinds of places you'll want them to go, and more importantly, you're making connections between the sound and the physical side.

    I agree with the people who say "learn tunes". But don't just memorize the chords and the melody. Really dig in. Figure out what the chords are actually doing. For example. If you have a tune that starts with CMaj7, and then goes to EbMaj7, what's happening there? EbMaj7 is the relative major of C minor. So you actually have your C going from major to minor. That's the kind of stuff you want to tease out. When you hit something unexpected, what is the purpose of it? Figure out as many ways to play the chords as you can. (Big difference between rock and jazz: In rock, chord voicings tend to focus around the root and fifth. In jazz they tend to focus around the 3rd and 7th).

    I don't know too much about shredding, metal-style, but there may be technique differences you want to look at. If I'm not mistaken, metal players use a VERY light touch. You may need to grip a bit more to get a good sound.

    The other big thing would be the rhythm. Obviously, jazz swings, so there's that. A lot of jazz players tend to play a bit behind the beat. Listen to a lot of bebop to get some of the rhythmic language into your body.

    Also (and I wish someone had told me this when I started working on jazz), Don't neglect your comping. Comping in jazz is very different from comping in rock. You need flexibility in your voicings, and you need to know how to use substitutes. I found the book "Contemporary Chord Kahncepts" by Steve(?) Kahn to be very helpful. There's also a comping course on TrueFire by Fareed Haque which covers a lot of the same ideas. When you play with a group, you'll spend way more time comping than soloing, so you might as well get good at it. (Plus, other players like to play with guitarists who comp well).

    That's a lot of stuff, but you can do it. Pick a tune. Learn it. Learn to comp on it, learn to play the melody, really break down the harmony, and then try some stuff with it. Yeah, it's going to take a while. But stick with it.

    One word of warning: Like you, I started studying jazz to improve my rock playing (though I'd always liked jazz). It didn't take long before I stopped worrying about the rock part all together. Jazz is seductive. The more you learn, the more you want to know. The more you listen, the more you want to hear.

  24. #23
    Thanks for the advice. Glad you liked the transcription as well!

  25. #24

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    Quote Originally Posted by Jamesrohr1
    Most of my frustration stems from the idea that I’m just not smart enough to “get jazz”. And I’m not so sure that’s incorrect just yet. Lol
    You're smart enough and have a musical foundation from playing other styles, which will help.

  26. #25

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    Quote Originally Posted by Jamesrohr1
    Thank you for your reply. In order to attempt to answer your questions: ...
    Whatever, but to recapitulate, in your OP learning Jazz was not a goal, it was what you thought of as being possible vehicle to reach certain goals. I tried to point out that your choice of vehicle might be wrong, and may bring you to where you do not want to be. That's all. You are warned, can not say you did not know. All the best and good luck with all the pathetic advice you will get from benevolent cohorts.