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  1. #1

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    F Major

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Here's page 35 and page 36 stuff. More quick take read through/mailing it in. (I whiffed a few ones here, lol). I'm going to move on and focus more on page 37.




    Leavitt Volume 1 - Page 35 - Chords by Jazzstdnt | Free Listening on SoundCloud

    Leavitt Volume 1 - Page 36 - Gtr 1 by Jazzstdnt | Free Listening on SoundCloud

    Leavitt Volume 1 - Page 36 - Gtr 2 by Jazzstdnt | Free Listening on SoundCloud

  4. #3

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    As I just posted in week 1, I'm doing two 'weeks' per week, the current one and a catch up. As I mentioned there, this is my first time really recording my playing, and I notice some things. In particular, my attack is way too strong and the duet got out of sync at times. That'll give me something to work on in the coming weeks! I think I'll try to be more consistent about practicing with a metronome, and make multiple recordings throughout the week instead of just recording at the end of the week. I found playing with the recording going somehow was much more difficult than without.

    Sorry for background noise and feedback on low notes. I also stupidly recorded the metronome in some of the tracks.



    P. 35 Rhythm Accompaniment - 29.09.19, 16.04 by Sam Phillips | Free Listening on SoundCloud

    P. 36 Duet In F - 29.09.19, 16.04 by Sam Phillips | Free Listening on SoundCloud

    P. 37 The Triplet - 29.09.19, 16.04 by Sam Phillips | Free Listening on SoundCloud

    P. 38 Waltz In F (solo) - 29.09.19, 16.04 by Sam Phillips | Free Listening on SoundCloud

  5. #4

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    Key of F major in first position:

  6. #5

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    Here are the two rhythm accompaniment exercises.

    Exercise 1:


    Exercise 2:

  7. #6

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    Duet in F Guitar 1:


    Duet in F Guitar 2:


    Duet in F:

  8. #7

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    The triplet exercise:

  9. #8

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    Hey guys, I had a question about the Waltz in F (solo). If you look at the 2nd measure (1st actual measure?) it's a F(Dotted Half Note), A(Dotted Half Note), C Quarter note. So the F & A should ring out 3 beats for the full measure. However, the second beat gets another A Quarter note. Does this cancel out the A from ringing out on the 3rd beat? Why didn't they do a F(Dotted Half Note), A Quarter Note, & C Quarter Note?

  10. #9

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    I have not looked at it that closely in a long time. The way it's written makes the melody line stand as a "voice" on its own (stems up), and the the lower notes as lower "voices" (stems down). As such, there is some independence in the way that duration/note value is marked. And to answer your question - the A note sounds for all 3 beats.The point about independent voices has additional implications too. It indicates that they can/should be played with some independence/individual distinction. It's all played by a solo guitar of course, but you could have two guitarists play it if you really wanted to.
    Last edited by Jazzstdnt; 10-11-2019 at 12:14 PM.

  11. #10

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    This piece is kicking my butt My fingers are getting tangled up. I have a brain disconnect when going from measure 13 to 14, this is not counting the anacrusis. The Bb-D-F in 13 to the Bb-C-E in 14 is murder for me. I can not get my fingers to work right. LOL. I keep moving the wrong fingers. Grrrrrr.

  12. #11

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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.

  13. #12

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    Key of F Major (First Positon)


    Rhythm Accompaniment Ex. 1 & 2

  14. #13

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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.


  15. #14

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    Here's my Waltz in F.


  16. #15

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    Quote Originally Posted by georgebanketas View Post
    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!

  17. #16

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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!

  18. #17
    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.



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  19. #18

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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.

  20. #19

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    Quote Originally Posted by Jazzstdnt View Post
    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.

  21. #20

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    I traded my Charvel for a Tele and it's really shiny. I have been struggling to figure out how to stop everything from reflecting off of it! Here's my stuff for Week 10. The triplet was extremely difficult for me in a strict V^V pattern. I had some mistakes but I am leaving it. I definitely did a couple up strokes when they should have been down strokes as well. I'm so used to economy picking! I'll try to get the alternating one at some point but I might just leave it alone. The waltz was also very rough.

    Duet in F - Gt. 1


    Duet in F - Gt. 2


    Duet in F - Duet


    The Triplet V^V, V^V, V^V, V^V


    Waltz in F (Solo)