Jazz Blues 1 and 2 - plus more. From Jazz Guitar Online.

[digger]

Here's my take on Page 25: Example 7 (Lick 1)

I played the lick over a 12 bar blues (page 16) in Bb at 100 bpm. I played it straight just to get something posted.

That was great, losaltosjoe. Beautiful sound!

Derek

[fep]

Thanks, Rob.
I agree - i definitely have to work more on this. This sound is a combination of pick hitting mostly top 2 strings and nails brushing the rest. Sometimes I get very balanced and smooth rhythm doing it this way- with even skip notes articulated by pick or nails, but here it didn't go so well.

Another thing is that I tend to tense up when recording myself and I instantly become a lot more heavily handed. This throws off volume balance, makes notes go sharp and string buzz, affects time.
i hope, the more one practices, the less one is suspectable to this. So recording and placing the result into a public is a tool if self assessment. That is why I appreciate everyone doing this regardless of the fineness of their playing

Hi Danil,

Good job on recording that. I agree with all you said in the last 3 sentences.

Cheers

[fep]

Attachment 86165OK so my workstation is down at the moment so here is an older recording of a Warren Nunes blues study with 4-to-the-bar rhythm guitar like we have in Chapter 1 plus a simple walking bass line using my "Drop" pedal.

Sounding good.

Thanks Also!

But of course that was all Nunes’ material not mine.

Steady eighth notes is a common tool to teach jazz language. After working with that the player can vary the rhythms (triplets for example) or simply drop notes/add rests. In other words, play less, but less of what? Competent jazz language.

For me... Steady eighth or steady triplets makes it easy to feel the measures/beats and that carries over to when you later drop notes. It also trains one to hear or feel the paths to the next chord change. It was difficult at first. It has been very valuable.

[AlsoRan]

Alright, folks.

I am finally starting to "get" that Major Blues feeling. Playing Major Blues scales with no Minor Pentatonic, when done as I heard it in a recent song (can't remember the name), really sounds nice to my ears.

I can hear a 2-5-1 effect hear and there. It's a beautiful sound for me when done right.

Unfortunately, now I have to learn these other scales. I am working on the Bb7 in more than one position, but that D7b9, I will just look at as the course recommends, D7b9 Pentatonic. I am pretty good with the scales and arpeggios for the C7 and Gmi7 chords.

I hope to post another a solo using this approach, along with one using the Major/Minor Blues mixing approach. I give myself a month or so before I give it a shot.

[Rob MacKillop]

I think the pdf starts with the minor blues scale initially as a point of familiarity with most of the readership who come from a Rock Blues background. But I’ve always thought the Major Blues scale was more used by jazz players, certainly so with Swing-era players. It’s definitely worth spending more time with.

I personally would have started with arpeggios, R357, for each chord, but once you’ve worked through Chapter 4 I think you will have a real sense of getting into the jazz approach. So hang in there!

[AlsoRan]

I think the pdf starts with the minor blues scale initially as a point of familiarity with most of the readership who come from a Rock Blues background. But I’ve always thought the Major Blues scale was more used by jazz players, certainly so with Swing-era players. It’s definitely worth spending more time with.

I personally would have started with arpeggios, R357, for each chord, but once you’ve worked through Chapter 4 I think you will have a real sense of getting into the jazz approach. So hang in there!

Thanks again. I probably need to double-back, as I do want to follow the course.

I am learning and trying to internalize those wonderful minor licks, and then play the in a little solo they way our other member did. It was very inventive making the licks fit. I really don't want to scurry too far ahead.

[AlsoRan]

For the sake of accountability, here is roughly the first half of chapter 2.

I've tried to apply example licks to Bb (you can see poor brain cells behind the glasses trying to recall the next one and to find a place to fit it in - sometimes corrupting them in the process). Also i apologize for some atmospheric shoe noise, didn't realize i'm doing this and that it would come out so loud

The other part of chapter 2 among other things suggests learning major blues scale in 12keys - i'm going to spend some time with this before moving further

Danil, great job incorporating the licks into a solo. I learned the licks and I just can't include them all in my solos, even with transposing. Some are too long or just in a key that when I transpose it, does not fit well. Great job. I am going to bed, after messing around with this for a couple of hours. I did learn something about using licks, however.

[digger]

After learning the licks # 2 & 3 I've forgotten # 1.... This has always been my problem with learning licks.

So I've just downloaded all the off-line audios. It takes up a lot of space but for me I think it will be worth it. I know from experience that if I learn a lick from tab then I'll forget it overnight - as mentioned above - whereas if I listen and figure it out myself then it sticks. Alas, I have such poor ears that to do the latter I need to be able to loop the phrases / scales / solos - hence the need to download them so I can plug them into Transcribe.

Doing it "manually" means I might get the fingering wrong, but it also means the lines then sit within my favourite scale/arpeggio/chord shapes so that saves me having to learn someone else's shapes. I know I should have much more flexibility in shapes and scales but having spent quite a lot of time learning the ones I use I'm always turned off when a book suggests that I learn different ones.

Derek

[Danil]

AlsoRan, you are most welcome, glad you find something useful there

Yes, adjustments are needed, i don't think anyone will object if a lick is not quoted in its entirety

Besides some unintended messing I did the following to make it fit together:
Transposed to Bb is because first licks go into the same octave as root of shell chord if played in F (might not be an issue with backing track, but not so nice with loop pedal doubling the same instrument). I've swapped the order of two, because the first lick is more symmetric and resolved (sounds more of a restatement, than a point of departure). The 'answer' with doublestops had to be shortened (i cut the middle to preserve nice ending idea new to me). Repeated major was lick cloned by moving it upper and upper to set up the beginning of two octaves lick.

So, I would say if one gets one or two new ideas from a lick - rhythmic or melodic, that is good enough.

[Rob MacKillop]

Just a quick observation for those exploring the minor and major blues scales...



The first is A Minor Blues Scale with the root on A, the second is the C Major Blues scale with the root on C. Roots are in red circles.

Obviously the fingering is the same. So, what's the difference? The focus notes.

When playing rock-style blues, a lot of players will use the minor blues scale, with the first finger focussed on the fifth fret, and that kind of works. They tend to bend notes such as the 7th fret 3rd string, or the 8th fret 2nd string, and do vibrato on the 5th fret 3rd string. All well and good for general blues playing. I do it myself.

The problem is that some also try this when playing C Major Blues Scale. But the main focus notes have shifted. The key Root is on the 8th fret of strings 1 and 6, and also on the 5th fret, string 3. It requires a mental shift not to see the same shape and do the same old things. The 3rds and 5ths are also focus notes. It's a bit like looking at a map of your home town: it looks familiar, but all the street names have changed.

I was debating with myself whether or not to upload this video, as the quality is very poor, and you can't hear me talking. But you can see and hear the guitar. It starts with me playing the scale in Swing rhythm, then choosing C as the focus note, using approach notes a fret below some of the focus notes, and ending with a common lick. I'm not sure if it will be helpful or not, but I'm pushed for time.

[Donplaysguitar]

Nice observation about the major/minor blues scales. I recognized that at one time but forgot because I don't think about the major blues scale very much.

BTW - what software did you use for those diagrams?

[fep]

Great observation Rob.

[Rob MacKillop]

Cheers, lads.

I use Neck Diagrams: Neck Diagrams – Chord chart and fretboard diagram software for guitar, bass, banjo, ukulele and ANY fretted instrument

[losaltosjoe]

Trying to keep up! Here's my final take on Chapter 2: Minor Blues Scale

• The chord progression is from page 16 transposed to Bb, 100 bpm
• For the first 3 choruses, I used the minor blues scale licks from Audio Examples 7, 8, 11, and 12.
• For the 4th chorus, I dug out a Mimi Fox solo from her Jazz Anatomy course. Here are her notes on the solo:
  
  • Over the I7 and IV7 chords: Used the blues scale.
  • Over the IIm7 and VI7 chords: Used arpeggios, since the blues scale doesn't bring out the full color of those chords.
  • Over the V7 chord: Used the blues scale because your coming home to the I7.
  
  

Thanks for all of the inspiration. I'm now moving on to the Major Blues Scale.

[AlsoRan]

After learning the licks # 2 & 3 I've forgotten # 1.... This has always been my problem with learning licks.

So I've just downloaded all the off-line audios. It takes up a lot of space but for me I think it will be worth it. I know from experience that if I learn a lick from tab then I'll forget it overnight - as mentioned above - whereas if I listen and figure it out myself then it sticks. Alas, I have such poor ears that to do the latter I need to be able to loop the phrases / scales / solos - hence the need to download them so I can plug them into Transcribe.

Doing it "manually" means I might get the fingering wrong, but it also means the lines then sit within my favourite scale/arpeggio/chord shapes so that saves me having to learn someone else's shapes. I know I should have much more flexibility in shapes and scales but having spent quite a lot of time learning the ones I use I'm always turned off when a book suggests that I learn different ones.

Derek

You said a lot there. I focused on your first statement about forgetting licks and your later statement about fingering. I share both your sentiments.

I think all my problems can be solved with lots of time playing at a very slow speed. I am talking playing the chord progression at around 45 - 50 beats per minute.

1). At first, I have problems just staying with the notes in the shapes I choose for each chord, but I slowly get fluid - but at 45 beats per minute, it is not time to celebrate quite yet
2). At this slow speed, I can develop different vocabulary and ideas/motifs that I like
3). I learn great starting and ending points that are my fallback
4) I can slowly conquer the progression
5) I will slowly change the chords inputted until I can do the whole progression.
6) The Blues that I like best, it seems are the lyrical solos that mix the more Jazzier sound of arpeggios with the more dirty sounds I expect to hear in blues.
7) Progress is slow, but I am inching forward

It takes a lot of time and patience. Back to my practice...!

[Donplaysguitar]

Trying to keep up! Here's my final take on Chapter 2: Minor Blues Scale

• The chord progression is from page 16 transposed to Bb, 100 bpm
• For the first 3 choruses, I used the minor blues scale licks from Audio Examples 7, 8, 11, and 12.
• For the 4th chorus, I dug out a Mimi Fox solo from her Jazz Anatomy course. Here are her notes on the solo:
  
  • Over the I7 and IV7 chords: Used the blues scale.
  • Over the IIm7 and VI7 chords: Used arpeggios, since the blues scale doesn't bring out the full color of those chords.
  • Over the V7 chord: Used the blues scale because your coming home to the I7.
  
  

Thanks for all of the inspiration. I'm now moving on to the Major Blues Scale.

Nice playing and sound! Did you record straight into your audio interface or use an amp?

[Rob MacKillop]

Yes, very nice playing, Joe! The Mimi bit jumps out as being different from the rest, but as long as you analyse it, see why she chose those notes over those chords, then you will be able to come up with similar things, or a slight variation on it. The rest was really nice too.

[losaltosjoe]

Donplaysguitar

Nice playing and sound! Did you record straight into your audio interface or use an amp?

Thank you Don. Yes, I recorded straight into an audio interface (a Boss GT-001) with no Compression, no Amp Simulation, and No Speaker/Cabinet simulation. I just add a bit of EQ and Reverb.

Rob MacKillop

Yes, very nice playing, Joe! The Mimi bit jumps out as being different from the rest, but as long as you analyse it, see why she chose those notes over those chords, then you will be able to come up with similar things, or a slight variation on it. The rest was really nice too.

Thanks Rob! Yes, Mimi's bit certainly pops. I find licks are good for getting certain "moves" under my fingers but they are no substitute for a well constructed solo. At this point in my musical journey, I am resigned to having to steal stuff.

[Donplaysguitar]

Yep, there's a really clean sound one gets by excluding the amp from the equation. I'll have to try that when I start recording again.

[Rob MacKillop]

Everybody steals stuff, Joe. But it’s just how toddlers learn language. And when it comes to jazz, we’re all just kids.

[AlsoRan]

Trying to keep up! Here's my final take on Chapter 2: Minor Blues Scale

• The chord progression is from page 16 transposed to Bb, 100 bpm
• For the first 3 choruses, I used the minor blues scale licks from Audio Examples 7, 8, 11, and 12.
• For the 4th chorus, I dug out a Mimi Fox solo from her Jazz Anatomy course. Here are her notes on the solo:
  
  • Over the I7 and IV7 chords: Used the blues scale.
  • Over the IIm7 and VI7 chords: Used arpeggios, since the blues scale doesn't bring out the full color of those chords.
  • Over the V7 chord: Used the blues scale because your coming home to the I7.
  
  

Thanks for all of the inspiration. I'm now moving on to the Major Blues Scale.

Bravo! And I especially like that guitar!

[Rob MacKillop]

Indeed. What is the guitar, Joe?

[Donplaysguitar]

Looks like an L5CES to moi.

[losaltosjoe]

AlsoRan

Bravo! And I especially like that guitar!

Rob MacKillop

Indeed. What is the guitar, Joe?

Donplaysquitar

Looks like an L5CES to moi.

It is a 1996 Gibson L5 CES with some provenance as it was owned by the late Jazz Guitar Online Forum member Patrick Amato (aka Patrick2).

There are a couple of vanity shots starting at post #50.
Jazz Archtop Photos

But as you can hear in my videos, a guitar can only do so much!

[AlsoRan]

AlsoRan


Rob MacKillop


Donplaysquitar


It is a 1996 Gibson L5 CES with some provenance as it was owned by the late Jazz Guitar Online Forum member Patrick Amato (aka Patrick2).

There are a couple of vanity shots starting at post #50.



But as you can hear in my videos, a guitar can only do so much!

Woah, that was a nice thread of guitar photos. You already look good playing that guitar, imagine how nice it will be when you have reached some of your goals musically!