The Jazz Guitar Chord Dictionary
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  1. #126

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    Second attempt at The Triplet - page 37 - this time without repeats.

    I'll have to come back with The Waltz, still not liking it.

    Cheers.

    Last edited by Jazzstdnt; 10-15-2019 at 06:56 PM.

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    The Jazz Guitar Chord Dictionary
     
  3. #127

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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.


  4. #128

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    Quote Originally Posted by Jazzstdnt
    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.

  5. #129

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    Quote Originally Posted by D3MONC
    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; 10-16-2019 at 09:19 PM.

  6. #130

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    Well here is my Waltz in F. More like a drunk stumble in the woods only to come out on the other end not smelling like a rose. But oh well. I will come back to this piece. I will not let it get me down. Here it is big ole warts in all its glory.


  7. #131

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    Here's my Waltz in F.


  8. #132

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    Quote Originally Posted by georgebanketas
    Well here is my Waltz in F. More like a drunk stumble in the woods only to come out on the other end not smelling like a rose. But oh well. I will come back to this piece. I will not let it get me down. Here it is big ole warts in all its glory.


    I think you did just fine George. When a slight error was made you kept going, which is one of those "live performance 101" kind of things, survival mode and all that. Well done!

  9. #133

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    One thing for us to consider is the following:

    1. The standard approach for private lessons is a quarter or semester of study, with a recital and/or a semester test at the end (3-4 months total duration).
    2. The recital is where the student is supposed to nail it - or do their very best to nail it.
    3. In weekly lessons the student does their best for the teacher, but of course it's in private and mistakes are made.

    But what we're doing is uploading recordings of our weekly "lessons" to the internet. That is a different ballgame altogether, especially for students/amatuers/hobbyists. There is pressure to perform at the recital level because it's not in private and there is a kind of permanence to the whole thing.

    So, what we could do is:
    (1) Upload "weekly lesson versions", with the typical mistakes and flubs.
    (2) At the halfway and end points of the book upload "recital versions".

    Recitals would include both "technique" and "repertoire", or simply repertoire. In the case of this book the Solos and Etudes are good choices for repertoire. Each player would choose 1-3 selections for their "recital", and in the recital would do our best to "nail it".

    Would welcome your thoughts, cheers!

  10. #134
    I can’t say I feel pressure to nail the exercises, etude and solo piexpces.
    It is true though, that I try to upload them only when I have recorded them right ( or almost right).
    That takes a lot of time, but it is also what makes me keep practicing.



    Inviato dal mio iPad utilizzando Tapatalk

  11. #135

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    I hear ya. My suggestion would likely get one through the book faster, but you never know.

    Whatever keeps one motivated is the best thing.

    Cheers.

  12. #136

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    Quote Originally Posted by Jazzstdnt
    One thing for us to consider is the following:

    1. The standard approach for private lessons is a quarter or semester of study, with a recital and/or a semester test at the end (3-4 months total duration).
    2. The recital is where the student is supposed to nail it - or do their very best to nail it.
    3. In weekly lessons the student does their best for the teacher, but of course it's in private and mistakes are made.

    But what we're doing is uploading recordings of our weekly "lessons" to the internet. That is a different ballgame altogether, especially for students/amatuers/hobbyists. There is pressure to perform at the recital level because it's not in private and there is a kind of permanence to the whole thing.

    So, what we could do is:
    (1) Upload "weekly lesson versions", with the typical mistakes and flubs.
    (2) At the halfway and end points of the book upload "recital versions".

    Recitals would include both "technique" and "repertoire", or simply repertoire. In the case of this book the Solos and Etudes are good choices for repertoire. Each player would choose 1-3 selections for their "recital", and in the recital would do our best to "nail it".

    Would welcome your thoughts, cheers!
    I've always looked at it the way that you described. I.E. our submissions are more of our weekly "lessons" in a public online fashion. I still try to do as good as I can but, I try not to get hung up on perfection. I move along so I'm not too far behind the timeline we've set. I think this also helps me stay more accountable in terms of actually practicing the material. I don't think "recital versions" is a bad suggestion either though. I'd think of that as more of a supplement to going through the material. I know that if that was all we did I'd only work on those pieces. I'm just not disciplined enough personally to follow the rest of the material.

  13. #137

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    Hey guys, for "Pretty Pickin' (duet)" are we suposed to do something with the "Chord Preparation"? Is that supposed to be a backing track looping behind the duet or something? Also, could someone explain the Al Coda, D.C. Al Coda, & Coda. I'm a little confused on which sections I go back and which sections I go back to. Thanks guys!
    Last edited by D3MONC; 10-22-2019 at 02:46 PM.

  14. #138

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    Sure.

    The chord preparation is just to help you familiarize yourself with the chords before tackling them head on as broken chords/arpeggios. That's not a bad idea, it helps with classical guitar too. That said, I don't recall ever playing through it, although I may have once. Play it if you want to/if it helps, or skip it if you want to.

    Regarding the coda stuff:
    Play all the way to the end of the 6th line (next to last line) (D.C. al coda),
    Go back to the top, then play to half way through the 4th line (al coda),
    Then jump to the 7th and final line (Coda)

    Slightly translated that means - play through the measures until you're told to go back to the "head" ("Da Capo" in Italian, or D.C.), from where you will play until you see a sign that tells you to jump to the coda. The Coda is the last line.
    Last edited by Jazzstdnt; 10-22-2019 at 11:54 PM.

  15. #139

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    A Minor Scales

  16. #140

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    A Minor Rhythm Accompaniment

  17. #141

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    Sounds nice and clear George. One small point - the first chord has an "A" as its top note, 5th fret. You played G# on the 4th fret.

    So, the melody line on top of the first six chords descends by half step from the fifth fret down to the open string. A down to E in other words.

    Playing sounds good though.

  18. #142

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    Quote Originally Posted by Jazzstdnt
    Sounds nice and clear George. One small point - the first chord has an "A" as its top note, 5th fret. You played G# on the 4th fret.

    So, the melody line on top of the first six chords descends by half step from the fifth fret down to the open string. A down to E in other words.

    Playing sounds good though.
    My mind must have been wondering when I was playing this. I could have sworn my little finger was on the 5th fret. LOL. Thank you for pointing that out to me.

  19. #143

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    Yeah man.

    All, and I mean - ALL - of William Leavitt's chord studies are tough, in their own way.

    He really had a knack for that.

  20. #144

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    My rhythm accompaniment redo

  21. #145

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    I am currently using Leavitt's modern method for for guitar book 1. I have been trying to identify the chords used as a learning exercise. There is one so far that has me a bit stumped, that is in measure 7 of sea to sea duet. The notes of the triad are F, G and C. The chords up to this one I have figured out, this one I am not sure about. Can anyone explain this one to me?

  22. #146

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    I'll call measure 7 Csus4 and resolves to C in measure 8...?

  23. #147

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    Quote Originally Posted by cosmic gumbo
    I'll call measure 7 Csus4 and resolves to C in measure 8...?
    Thanks, I didn't get the Csus4, the C in measure 8 I picked up on since its just the root C that moved into the treble side. If you move that C down it makes a perfect stack. I think maybe I need to just focus on the exercise right now and not worry too much about the chords, although it is an interesting exercise sometimes just trying to identify things.

  24. #148

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    I was stuck on section one for awhile but i was using 3 other books along with it covering all the major, minor scales including the harmonic and melodic, tunes etc in 1st position which got me really intune.
    Then i practised C,F,G,A and D 2nd position and Arpeggios without to much reading them. Then with a`lot of reading and scale the patterns on page 46 for all the 5 keys and the octaves. It has helped out a`lot for Melodic rhythms and reading studies. Now i use section 2 for my own needs and development and as i finish book 1 i am prepping myself for book 2. ( l think the Modern Methods are just a How to text book)
    All i know now is i`ve got my own sound, and have my own goals.... its Fantastic.

  25. #149

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    Howdy MMFG'ers! I have been working on Vol 1 independently (with Larry Baione's videos) for the last year and am nearly done. I'm feeling good about what I learned and thinking about moving on to Vol 2 this summer. I have found that the online content (YouTube vids, forums) is very limited for Vol 2 so maybe we could get a group together to tackle it?


    Quote Originally Posted by atarchin
    Hello All,

    the original study group used to work on a defined number of pages per week.
    I am not sure of the speed of the students in this new group: I will start by assigning the same number of pages as they did in 2008 and, based on your feedback, we will be able to adjust to our pace.

    This week, through Jul. 30th, we will be discussing and working on pages 1 through 7 (next week will be pages 8 through 11).

    This links point to a couple of thread where a lot of discussion about the method happened:

    anyone else using Leavitt?

    This link:

    [Study Group] NEW A Modern Method for Guitar
    points to the main thread of the new study group.

    Have fun,
    Alex

  26. #150
    You have certainly picked some good useful material to learn. Best Wishs. Im old enough to remember Bill in his office playing the guitar!