The Jazz Guitar Chord Dictionary
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  1. #26
    Quote Originally Posted by Reg
    hey Matt... looks cool... Let me know if I can help
    Wow. Yeah. I'd be really interested in just your approach to vocabulary generally.

    From the things I can see that you do, it looks like you mostly approach things from the three chord positions that you've always talked about: with basic voicings having roots on the 6th 5th and 4th strings.

    Beyond those basics, you're mostly thinking about things later in terms of extended diatonic relationships, like playing Bm7 (Phrygian) for G major seven ...or Em7 (Aeolian) for Gma7? Am I seeing that correctly?

    .....Talking purely diatonic at the moment of course....

    Anyway, I'm basically approaching the vocabulary in this book, this time anyway, from these positions:
    *from chords with root on the 6th string/2nd finger,
    *from chords with 5th on the sixth string second finger, and
    *from chords with 3rd on the 6th string "2nd finger" (asterisk) :-).

    What do you think about this approach? This book is pretty specifically limited in approach. Mostly from diatonic 251, in major.

    (Outside of this book specifically, I'm mainly working on doing things like transposing vocabulary to different chord types/map modes etc., but this once had a more specific focus.)

    Always appreciate your input. Thanks.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by matt.guitarteacher
    Yeah. It's not out of chord context. It's simply playing chord patterns in all keys. Chord symbols are the reference for all of the patterns. II-V patterns are the focus of later patterns...

    Okay. I understand now. I read the introduction and the authors specifically state that it is up to the student to supply context and the student is expected to use other tools for improvisation when applying these patterns, including rhythmic and melodic variation. (For example: Cma7 arpeggio over Am7 chord)

    Cool! I'm in.

  4. #28

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    Yea sounds great, and most of the 6th, 5th 4th references are just mechanical references, right, to help make the guitar fretboard easily understandable and eventually just one big pattern that changes with whatever reference I choose. Playing II V I, triads, 7th or 9th chords, arpeggios etc...

    And yes... I use extended and organized harmonic relationships...for creating melodic and harmonic relationships to help me develop music... The extended diatonic relationship thing... is just expanding the use of Relative harmony.... like the relative Minor of Gmaj is Emin..... so I use Diatonic functional relationships to to also include... Bmin.

    And then yes... I expand the application with use of Modal and Function concepts.

    Which is pretty straight ahead... the two relative minors of Gmaj are Emin and Bmin.... and that is Tonic Diatonic Ionian.

    If use Tonic Lydian... The Tonic Relative chords of Gmaj Lydian... with the physical organization of Tonic Relative being Down and Up a Diatonic Third....the Relative chords would be...Emin Dorian and Bmin Aeolian.... as comparred to...
    Tonic Ionian which was.... Gmaj Ionian with B- phrygian and E- aeloian...

    Like you said above... anyway you just finish the basic harmonic physical tonal and modal mechanical relationships.... and then after you get them together.... just like learning positions and fingerings.... you start to expand again using different musical relationships, develop them, with use of subs, chord patterns... all the usual BS and presto.... you have an expanded bag of mechanically organized musical tricks.

    The reasons I always push the technical fretboard BS, which the basis of this thread helps address is that if you don't have the fretboard together.... it's really difficult to expand musical concepts when playing.

    Anyway... anyway sound fun, thanks

  5. #29
    Quote Originally Posted by Michael Kaye
    Okay. I understand now. I read the introduction and the authors specifically state that it is up to the student to supply context and the student is expected to use other tools for improvisation when applying these patterns, including rhythmic and melodic variation. (For example: Cma7 arpeggio over Am7 chord)

    Cool! I'm in.
    Yeah. I would read "context" as meaning real-world progressions and tunes etc.

  6. #30

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    This booked taught me a lot!

  7. #31

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    Some of those exercises include directions to go back and redo the previous exercises with the new pattern. Is that just going to be added into what gets covered in a week or stretch things out another week?

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  8. #32
    Quote Originally Posted by FwLineberry
    Some of those exercises include directions to go back and redo the previous exercises with the new pattern. Is that just going to be added into what gets covered in a week or stretch things out another week?

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    Thanks for reminding me of this. I'll try to get a tentative schedule together for March up tonight.

  9. #33
    Started a March thread for patterns for jazz...

    I feel like this schedule is pretty conservative for March . Once we're in a groove with the basics of cycling these patterns in the four different interval groups and come to terms with our own basic approaches to how we want to deal with things, in terms of number of positions etc., I feel like we might could go a little faster .

    The first four patterns, after all, are basically one pattern, simply cycled different ways. In the future, it might look a little more like basic benchmarks or simply picking which cycle you want to post for a given week etc. Anyway, we can cross that bridge in a couple of weeks.

    Please give general thoughts about thread direction possibilities or corrections in this thread if you can , or p.m. me. Thanks.

  10. #34

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    My copy finally hit the mailbox. (Paper version.)

    I'm in!

  11. #35

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    Quote Originally Posted by matt.guitarteacher
    Started a March thread for patterns for jazz...

    I feel like this schedule is pretty conservative for March .
    This seems best. For one big thing, even though several of us are already up and running with this, we want others who are just hearing about it (or just getting the book) to feel they aren't so far behind they've missed the train altogether.

    There is always time to start!

  12. #36

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    Quote Originally Posted by MarkRhodes
    This seems best. For one big thing, even though several of us are already up and running with this, we want others who are just hearing about it (or just getting the book) to feel they aren't so far behind they've missed the train altogether.

    There is always time to start!
    Absolutely! The more the merrier. I am benefiting by seeing others approach this from their perspective. After all, it's how we USE this stuff that matters the most so sharing ideas is critical.

  13. #37

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    Quote Originally Posted by Michael Kaye
    Absolutely! The more the merrier. I am benefiting by seeing others approach this from their perspective. After all, it's how we USE this stuff that matters the most so sharing ideas is critical.

    Yes! And this isn't a one-and-done book. One can return to it after a change in picking, or fingering, or after time off due to injury or illness and get one's sh*t back together.

  14. #38

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    I discovered this email thread yesterday. I’ve never joint a study group before, but this one seems doable.

    i ordered the book and as soon as I get it I’ll start practicing to catch up with you.

    So, I’m in too.

  15. #39

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    I have a question about this. I notice all the patterns start with "C" but I'm wondering if say, on a cycle of 4ths pattern, is there value in starting from, say, Ab?

  16. #40
    Quote Originally Posted by lawson-stone
    I have a question about this. I notice all the patterns start with "C" but I'm wondering if say, on a cycle of 4ths pattern, is there value in starting from, say, Ab?
    I think so. It's been a while since I've read through the intro, but variation is mentioned there. I like a lot of the rhythmic variations which have been posted. I would think of the starting key as mostly arbitrary.

    But in terms of limiting variables when practicing something new, I would probably default to starting at a comfortable place if it's something I'm particularly less familiar with.

  17. #41

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    Quote Originally Posted by lawson-stone
    I have a question about this. I notice all the patterns start with "C" but I'm wondering if say, on a cycle of 4ths pattern, is there value in starting from, say, Ab?

    The way I've been working the material, once you do it in one position/key, every other position/key just uses the same cycle of fingerings. I think mentally/visually it would make a difference though.

    I don't know in terms of horn playing, though. I think the point for a horn player would be to learn to move from C to Db, D, Eb and F respectively. Once you have those moves down, it doesn't matter if it's the start of a cycle or in the middle of a cycle.

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