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Ok, my wife has popped down to the shop so a quick take of what you can do with those shapes. This is example 5.
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10-30-2021 07:23 AM
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Originally Posted by AlsoRan
1. One can spend years before they sound like a compelling improvisor - so let's not do that.
2. Play solos as expertly or as modestly as we can. Play with a slow backing track if need be.
3. The idea is to get a flavor of the scale, arpeggio, or patterns and come up with a little something of your own - then move on! If you have to cheat a little bit and memorize your best solo - so be it.
4. This approach is NOT about learning 25 solos and 250 jazz patterns before attempting 5-10 notes of improvised jazz blues. This is about learning a little bit, trying to assimilate it a little, and coming up with a little something that is conceptually correct.
5. After all - (a) There is practice advice in the course that one can spend more time on as one goes forward, and (b) not every scale or idea will necessarily become your "go to" source anyway. There are many other choices to explore down the line.
So have fun and give it your best but don't get bogged down by reaching for total mastery.
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Backing tracks to page 9 and page 11, three tempos each, 100 120 140bpm, six tracks:
Box
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Page 11 140bpm. I used my Godin Multiac nylon guitar fingerpicked, just the piezo with no EQ, added a little reverb to it. I think it has a pretty good sound for this four-to-the-floor style.
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Okay. Bought the book and will try to hang in. Working on Page 9: The Basic Chord Progression in different keys.
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Rob,
You (and Liarspoker and Don) have me rethinking my approach here. I love to comp, and this is an excellent chance to practice transposing to different keys. It would also be very beneficial to apply these shapes to various other songs and practice them.
Comping is so important.
Thanks
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I wonder, when transposing these patterns to different keys, do you maintain an awareness of what chord you're on? Does it matter?
What I mean, is us guitar players can turn off the brain and simply apply patterns. I'm trying to get away from that, but it's quite easy to do it without even realising. Take the final version of the blues, with the quick change and the ii-V and the diminished passing chords. I've been playing it in all keys, but by the time I get to, say, Db or Ab, the pattern is so ingrained I end up doing it without being aware of what chords I'm playing - they're simply geometrical patterns. I guess its just a matter of concentration.
Derek
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How about a few minutes of the master...I think this video (aside from being massively brilliant) is a great supporting resource for chapter one. Not only is Freddie Green's guitar high enough in the mix that you can really hear those chords, he's sat right behind Diane Schuur and thus you can see him, too. Travelling Light (9:20) has a number of choruses throughout that are just bass/guitar or bass/piano/guitar so on that tune you can really experience the master of the rhythm guitar. I did read Freddie Green passed away just four days after this recording on March 1, 1987.
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Derek, thanks for the FG video, which I hadn’t seen before.
Regarding your post previous to that:
In soloing I am definitely more conscious of intervals as opposed to note names. If I want to hear a 9th, say, against a chord, I know where to find that - but the hearing comes first.
But you really asked in the context of comping. I think it’s essential to know what chords you are playing, for the primary reason that you might be given the nod to solo on those chords at any moment. You don’t want to hesitate, wondering “wtf have I just been playing?!” LOL.
So, chord names, their Roman numeral identifiers, what key you start in, interval designations: they all get added to the mix. Oh, as well as channeling the sun god, Ra, if that’s your thing!
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Oh yes, I know what key I'm in and I understand the Roman numerals - but what I meant was in the midst of a tune as the fingers jump to one of those passing chords how much knowledge of that chord is sitting in your awareness at that moment? I think I probably need to start saying the chord names, and maybe naming that chord's intervals as I play it. Do this enough and I'll be as quick to call out the chords in a jazz blues in Gb as I am Me and Bobby McGee in C...
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Yes, calling out loud chord changes - or indeed scale/arpeggio notes/intervals - helps reinforce what you are doing. It also helps keep you awake: I yawn a lot these days, and not just during my practice sessions
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Are we still staying with chapter 1? I don't mind if we do
Would be great to see some vids of people playing as that's a good test if you know the material or not.
Thanks to fep for his vid and backing contributions.
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Originally Posted by digger
Thanks for video.
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Originally Posted by Liarspoker
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You folks are talking about other keys, so, I put drum tracks in the folder, same as the page 11 blues files except just drums, 100 120 140 bpm. Have at it.
Box
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Originally Posted by Liarspoker
For chapter 1 I'm just going with the last comping example (page 16) since it has all the chords in it. YMMV
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Originally Posted by Donplaysguitar
Maybe we could follow that format here as well so that everyone stays together.
fep has been the main organiser of the other groups that I've been involved with and I've found him to be a good judge of study group speed. Maybe he can have some input as per amount of material to learn per week.
I skimmed through all of book 1. Looks like I'll be learning loads
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This isn't as easy as it looks. I found it hard to remain steady through 3 choruses. More time with the metronome is needed for sure.
Key: F | BPM: 120
Key: A | BPM: 120
I am a slow and methodical learner, so I expect to spend some time with Chapter 1. Please don't let me slow you down.
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Originally Posted by Liarspoker
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Good tempo too, Joe.
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Originally Posted by Liarspoker
So I can’t see us all moving at the same rate. Even if we did, some of us need more time with some of the chapters, but would be pressured to move on before they should.
It’s going to prove difficult to keep everyone happy and entertained, but I have no problem hearing uploads or questions from any chapter in either book.
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Originally Posted by digger
This was also good for me to hear as far as playing the Freddie Green Style. Those first two tunes, he is playing "on top of the beat", can't help but tap my foot, heck it makes me want to dance. (On top of the beat = slightly ahead of the beat).
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Originally Posted by losaltosjoe
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Ex 6 with pick instead of my usual fingerstyle
F @ 120bpm
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Originally Posted by Rob MacKillop
Flexibility for all seems best to me...
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