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  1. #1

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    Leavitt introduces the key of G Major. It will be followed by F Major, A Minor and E Minor.

    I will try to keep a pace of one key per week.

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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  4. #3

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    Key of G Major :


    Rhythm Accompaniment 1 :


    Rhythm Accompaniment 2 :


    Rhythm Accompaniment 3 :

  5. #4

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    Pg 31 sixteenth notes exercise

  6. #5

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    Page 32 - Duet in G, plus another attempt at St. Thomas with timing still off.





    Leavitt Volume 1 - Jazz Song 1 - St Thomas - At 160 by Jazzstdnt | Free Listening on SoundCloud

  7. #6

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    Here is my shot on Duet in G. I have started to realize that I am just playing the pieces and not really taking in what they are trying to teach. So I have started to slow down. Studying the piece a bit more plus slowing down on the bpm. I am trying to count along with the piece as well. Tapping foot is ok but sometimes I will get lost in the count. So I am mouthing the count. Trying to add another part of the body into the mix so I know where I am in the measure.

    Duet in G : Guitar 1


    Duet in G : Guitar 2


    Duet in G

  8. #7

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    Yeah, I struggle with time, and also struggle with playing legato. I redid page 32 Duet in G to address those shortcomings. I did a little bit better (maybe).


  9. #8

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    [QUOTE=Jazzstdnt;979645]Yeah, I struggle with time, and also struggle with playing legato. I redid page 32 Duet in G to address those shortcomings. I did a little bit better (maybe)./QUOTE]

    Both sound good to me. I know what it is like to be on the "not liking what I play" side. You know where the mistakes are and they are just blaring sounds of ugliness when you listen to them.

    Picking Etude No 2:

  10. #9

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    I really enjoyed this piece. Something about it just really clicked with me.

    Another Duet in G Guitar 1:


    Another Duet in G Guitar 2:


    Another Duet in G:

  11. #10

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    Here's page 34, just a quick read through of both parts. I'm going to move on and focus more on page 33.


  12. #11

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    Trying to get caught up with you guys.

    Key of G Major (First Position) -


    Rhythm Accompaniment - Ex. 1, 2, & 3 -


    G Major - Sixteenth Notes -


    Duet in G - Gt. 1


    Duet in G - Gt. 2


    Duet in G - Duet
    Last edited by D3MONC; 10-14-2019 at 04:05 PM.

  13. #12

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    I have a lot of mistakes in the Picking Etude No. 2. I figured I'd leave it to show growth later hopefully.

    Another Duet in G - Gt. 1


    Another Duet in G - Gt. 2



    Another Duet in G (Duet)


    Picking Etude No. 2

  14. #13

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    Howdy D3MONC, sounds nice and clear.

    On that picking Etude it is intended that you let both the upper and lower notes ring for a full beat. The bidirectional stems indicate voice independence. This study is not unlike a lot of elementary classical guitar pieces, which Leavitt seemed to value. You may want to give it another try, up to you.

    EDIT: I put mine in the other thread by mistake so will post it here. Also, I just noticed that it has instructions about this under the first line, and over the fourth line (about holding the notes).

    Cheers.


  15. #14

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    Quote Originally Posted by Jazzstdnt View Post
    Howdy D3MONC, sounds nice and clear.

    On that picking Etude it is intended that you let both the upper and lower notes ring for a full beat. The bidirectional stems indicate voice independence. This study is not unlike a lot of elementary classical guitar pieces, which Leavitt seemed to value. You may want to give it another try, up to you.

    EDIT: I put mine in the other thread by mistake so will post it here. Also, I just noticed that it has instructions about this under the first line, and over the fourth line (about holding the notes).

    Cheers.

    Thanks for the feedback. I'll definitely go back and clean it up in the future. I'm trying to keep moving forward for now as I feel like I'm really behind. I took the note "hold down top note" to mean only hold the C during that section. I'm a little confused by your reply. Are you suggesting that both the high and low note be held, the notes shown as eighth notes are actually intended to be held for quarter note values, or just I'm moving my fretting fingers to fast instead of holding them out for a full eight note?

    EDIT: Damn yours is very fast & clean. I definitely need to get better lol.

  16. #15

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    Quote Originally Posted by D3MONC View Post
    Thanks for the feedback. I'll definitely go back and clean it up in the future. I'm trying to keep moving forward for now as I feel like I'm really behind. I took the note "hold down top note" to mean only hold the C during that section. I'm a little confused by your reply. Are you suggesting that both the high and low note be held, the notes shown as eighth notes are actually intended to be held for quarter note values, or just I'm moving my fretting fingers to fast instead of holding them out for a full eight note?

    EDIT: Damn yours is very fast & clean. I definitely need to get better lol.
    Yes hold both the top line and bass line notes, without clipping them off like eighth notes. The bass line notes are to be played like quarter notes that start on the beat, and the top notes like tied eighth notes that extend until the next eighth note is struck on the off beat.

    I'll provide a few classical examples later tonight, although some of them move out of the pattern pretty quickly. (The pattern being a moving bass voice with a steady upper voice (pedal point?) that is).

    Giuliani Allegro in A-Minor does it 5 times.




    Sor studies, Estudio #4, Segovia edition. The top line has double stops as opposed to a single note.




    Finally, this has some more, but the top line moves a lot too. You get the idea. Carcassi Etude 17

    Last edited by Jazzstdnt; Yesterday at 09:19 PM.