The Jazz Guitar Chord Dictionary
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  1. #26

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    Nice nice man!
    I love Mickey Backer Book!
    It was my first jazz studying book, long time ago.
    Just this morning I had thought about it ... and now i read your thread ... so this videos of the book are welcome!

    Rob

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Rob, side note here. Im interested in learning more about the romantic guitars that you're playing on This page. Could you post some links and details about these guitars? Maker, models, shopping for one - that sort of thing.

    Thanks!

  4. #28

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    I've answered Evan elsewhere, but for the record I am using a Manuel Rodriguez y Hijos, short-scale Senorita (yes, a girly guitar!). The string length is 60cms, and I'm using Aquilla Gut and Silk strings. I'm also tuned down a semitone or two.

  5. #29

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    Quote Originally Posted by Rob MacKillop
    ...I'm also tuned down a semitone or two.
    You mean you don't know..? Take lessons, sir; take lessons..!

    (Just joshin', of course...)

  6. #30

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    Hey Rob... Just wanted to say how much your doing for guitarist by going through Bakers books. Any Jazz guitarist should have or needs to go through those books. I still have my copies from the 60's.
    Thanks Reg

  7. #31

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    Quote Originally Posted by Dad3353
    You mean you don't know..? Take lessons, sir; take lessons..!

    (Just joshin', of course...)
    LOL. Well, to find out I would have to listen to them again, and I really have better things to do than listen to myself, believe me.

    Hey, Reg, thanks for your comment. Much appreciated.

  8. #32

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    I love this book. Like someone said earlier, I've owned a few times but the first fcouple, I gave up too soon. Last year I took a lot of time working through all the lessons. (Though in retrospect, I didn't get some things down as well as others.) So it's time for a review, and your vids are just the spur I need to do it.

    I don't know of another intro book that can touch this one. For one thing, he gives you lots of cool intros to play and most beginner books don't cover intros at all! Of course there's the chord work that stymied many of us the first time through. The solos are tasty and varied. If you work through this book well, you can play rhythm changes and blues in several keys, take solos, and intros, comp, and be creative. Best $7.95 I ever spent!

  9. #33

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    Hello guys...I'm working through lesson number 22 (it's a chore but I'm certain well worth the effort) and I have several questions. In part one of the lesson, although much of it is written as arpeggios, given the nature of the instrument and the lack of a sustain pedal, would it be more appropriate to hold the notes down rather than simply "arpeggiate" them? Seems to sound a bit "over staccato" otherwise. I'm actually doing both. Also, in part two of the lesson, I find that in several instances in order to play the correct notes, I've had to find several new ways of playing chords that have not been previously and specifically detailed within the book, in particular the C MAJ 9th chord called for in the second part of the lesson. Can anyone shed a bit of light on this or Is anyone else having the same experience..? Let me know and thank you..!

  10. #34

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    Quote Originally Posted by stanman
    ...Can anyone shed a bit of light on this...
    Good evening, stanman...

    This may help...

    Page 22
    Line 6, measure 1, The notes under the Fmi are
    incorrect. These should be the notes for the Dmi run
    transposed up a minor third. For the first set of
    eight notes under Fmi, each lower note should have a
    'b' symbol. (Bb to Ab). The next set of eight notes
    should have a 'b' symbol for each top note.
    (Each note is Ab the minor third of F)
    Line 8, measure 1, the G7 changes are actually G7#9 to G7b9.
    Line 8 measure 2, the Cma9 chord is labeled incorrectly.
    It is a C6/9 chord.
    Line 9, measure 3, the chord is labeled incorrectly,
    it should be a C6/9 chord.
    Line 9, measure 3, the fourth eight note is incorrect.
    The note should be D on the fourth line, not E as
    shown. This is an arpeggio of Chord 22.
    Line 10, measure 3, the chord is C6/9 not Cma 6 as
    shown.

    ...not my own work, of course, but taken (without permission, sorry...) from the...

    Mickey Baker Errata and comments, by Frank Mele
    Sacramento School of Jazz Guitar


    It would be worth your while to procur a copy of this (I have it as a pdf file...).
    The Michael Joyce site is very helpful, too, if you've not yet come across it.

    Hope this helps...

  11. #35

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    Dad3353: Thank you for your response...and apologies for not acknowledging it more promptly...I've been "time challenged" for the past week. While I certainly respect and appreciate Mr. Mele's interpretation of Bakers work, I have to say that I'm sort of convinced that throughout lesson #22 the standard musical notes are correct and should take precedence over the chord notations. Moreover, in line 6 (first example of endings in C Major) I actually enjoy playing it as written. The dissonant that occurs in the second measure (C natural/B natural played simultaneously) resolves rather nicely at the end of the sequence. It also is helpful with my process of "internalizing" various intervals so that they become more intuitive with practice, etc. The lesson has been a tremendous help in building my ability to stretch my left hand (pshew...all those Maj. 7th. chords) as well as utilizing more of the various positions of the chords learned in previous lessons. Overall though, I am so grateful to Mickey Baker for having taken the time to write the book in the first place, that I kind of feel it's best to play it as written. While I may not always enjoy all of his particular musical styles, his "teaching style" is truly extraordinary, and it has literally transformed my own playing capabilities.

  12. #36

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    My take on this, the sixth line down, the first line of the "Endings In C Major" is this...

    The underlying chord movement is a ii/V/I in C - Dm / Galt / Cmaj7. It is a bebop cliche to move whatever you do over the Dm chord up three frets and repeat it over the altered V7 chord, so Dm moves to Fm. The dissonance over the G7 chord gives a flat 9. Therefore, I would say that the first two-note chord Mickey places under the Fm chord name should have a B flat. Actually, it should really be an A#, not a Bb.

    It's a fun thing to do, this Dm run being repeated three frets higher over the dominant chord. You can also the drop it one fret and do it over the I chord. Great for sequences.

    So, over Dm/G7/C play a lick outlining Dm/Fm/Em

  13. #37

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    Would anyone else be interested in creating separate threads for the Mickey Baker lessons similar to the "Study Group: A Modern Method..." threads?

    I think that would be really helpful. It sounds like others here are working through the book and are on different lessons.

    I'm still on #2 (though also continuing to study the chords from lesson 1).

    Others who have gotten through more of the book than me would know best how to split up the threads, but I imagine that some could be combined into one thread while others may be significant enough to warrant a single thread dedicated to just one lesson.

  14. #38

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    Quote Originally Posted by Dad3353
    Mickey Baker Errata and comments, by Frank Mele
    Sacramento School of Jazz Guitar


    It would be worth your while to procur a copy of this (I have it as a pdf file...).
    The Michael Joyce site is very helpful, too, if you've not yet come across it.

    Hope this helps...
    Have recent editions of the book been corrected? I don't see any dates or edition information inside the book, but I recently ordered a new copy from amazon.

  15. #39

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    Quote Originally Posted by Evan
    Would anyone else be interested in creating separate threads for the Mickey Baker lessons similar to the "Study Group: A Modern Method..." threads?
    I would be interested in this. One challenge I see is that the first lesson requires leaning a lot of grips, so the group would have to start out by giving folks time to acquire the book and learn the grips. I think that is certainly possible to do, I just don't know how much time it would take people to do this.

    I'm in if it goes forward.

  16. #40

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    Quote Originally Posted by ah.clem
    I would be interested in this. One challenge I see is that the first lesson requires leaning a lot of grips, so the group would have to start out by giving folks time to acquire the book and learn the grips. I think that is certainly possible to do, I just don't know how much time it would take people to do this.

    I'm in if it goes forward.
    I think lesson 1 should be a separate thread. I already have several questions that I'm sitting on for now. I imagine that I'll continue to have questions about lesson 1 even after moving on to other lessons.

    Mickey doesn't clarify the level of understand he expects for chords in the first lesson. I may be going too far by deconstructing chords at this point. I don't know though and finding out what others are doing would really be helpful.

  17. #41

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    Well, I just treat Lesson 1 as a reference. Start with Lesson 2 and refer to the chord chart when you need to.

  18. #42

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    Rob: Thank you...I was really looking forward to listening to those particular lessons...nice job! Quick note re. lesson 22: With all the speculation regarding the C Maj 6th vs. C maj 9th chords, I've simply been playing a C Maj 6th chord up on the C fret but also covering the A string on the B fret which seems to accomplish covering all of the notes detailed in the staff, not to mention that it leaves me well set up for the C Maj 7th ending. Now, if I can just make it all sound as good as you do..!

  19. #43

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    Not sure what you mean by the C fret - do you mean the eighth fret? That should be fine. To my mind, it doesn't really matter, as long as it is some kind of C Major chord.

    Keep working. Some good stuff in this book.

  20. #44

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    Rob: Yes....8th fret...then cover the a and d string on the 7th fret, the, the b string on 9th fret and the g string on the 8th. Seems to correlate with the musical notes on the staff and get the job done. I certainly need to "clean up" my guitar language..! Thank you again. Stan III PS: What archtop instrument is that you're playing in those lessons (20-22)? Sounds good...looks like a vintage Loar?
    Last edited by stanman; 06-05-2012 at 10:43 PM.

  21. #45

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    It's The Loar LH-700 VS, top of the line for Loars, but cheap enough I think. I love mine!

  22. #46

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    Hey Guys (and Gals!): I haven't checked in for about a week or so but just wanted to say that I'm now working on lesson #23 which is the final lesson in "part one" of the Mickey Baker Volume 1 book (naturally, I'm still praticing and playing many of the earlier lessons). Anyway, the third chord progression in lesson #23 (8 bar progression beginning with an E flat Maj 7th. chord) is simply one of the most beautiful chord progressions I've ever heard. Totally sweet...What a gem..! I hope to enjoy and play that one for the rest of my life..! Anyone else have the same or similar response to it? I've disciplined myself not to go further than the lesson I'm working on, but I hope there are more of that caliber further on in the "journey!" Anyway, Regards and "keep on plucking!"

  23. #47

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    It's a nice one. Hasn't blown me away, but it is certainly very nice. I can imagine it as a song.

  24. #48

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    Hi Guys and Gals: Hope everyone is well. Anyway, I'm back with another seemingly infantile question: I'm working on lesson number 24 (first lesson in part 2 of the book) and it appears it's a bit unclear to me as to which direction the arrows indicate to correctly play the notes. I would think that a down-pointing arrow would mean to stroke downwards (toward the high E string) and an up pointing arrow upwards (towards the low E string). However, it appears (at least in my copy of the book) that the opposite is true. Can someone help to clarify this for me so I don't get started improperly? Also, Mickey seems to have made a point in the dialogue preceeding the lesson that alternating up and down strokes be utilized, and in the third measure of that lesson, the arrown indicate that the alternating pattern switches between the second and third beats of the measure. Another mystery! After playing on and off for over forty years, I feel kind of silly to be asking such basic questions, but I just would really like to "get it right" and derive as much benefit as I can from Mickey Baker's effort. Anyway, thank you for kind responses to my previous questiions, and let's keep on pluckin'!

  25. #49

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    Hi People: Sorry to be a bother but can someone please help me clarify something: In part two of my copy of the book the downstroke/upstroke indicators indicate that a conventional "V" is an upstroke (stroked towards the ceiling) and an inverted one is a downstroke (stroked towards the floor). Is this actually correct or is it a typo? It would seem that the opposite notation would be far more logical. Also having a heck of a time practicing scales utilizing open strings ("first position?") as it not how I would normally play them, but if that's what the book calls for, oh well..! Again, thank you all!

  26. #50

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    The inverted V is a down stroke...