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  1. #101

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    Quote Originally Posted by fep View Post
    Pattern 45 145 bpm

    I did this over the changes to Giant Steps, it was troublesome.
    Good idea!

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    The Jazz Guitar Chord Dictionary
     
  3. #102

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    Haven’t been around for a while, but I see there’s lots of good work being done



    46 and 47. 140 bpm. Getting these out of the way. I think the next sets, moving downwards is gonna take me a long time.

  4. #103
    Quote Originally Posted by fep View Post
    Pattern 45 145 bpm

    I did this over the changes to Giant Steps, it was troublesome.

    Very cool!

  5. #104

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    I must say, this has been my favorite month so far with this material. Mainly because I've adjusted my strap and arm position and this seems to make my picking more consistent. (It's always been herky-jerky---saw too many Keith Richards concert pictures as a kid, I guess.)

    Think I'll spend the rest of this month going over some technical exercises---Mickey Baker, Mimi Fox arp studies, stuff like that---while keeping up with the assignments here.

    Next month, I hope you all notice improved consistency in my playing / picking.
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  6. #105

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    I spoke a while back about trying some of these exercises in two or more octaves horizontally up the neck.

    The interesting stuff happens on the descent. I start on the high C with my middle finger.

    This is just another way of practicing this stuff:


  7. #106

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    Quote Originally Posted by Irez87 View Post
    I spoke a while back about trying some of these exercises in two or more octaves horizontally up the neck.

    The interesting stuff happens on the descent. I start on the high C with my middle finger.

    This is just another way of practicing this stuff:

    Good job!

    I can definitely see where those position shifts would be tricky to negotiate smoothly.

    .
    The disgusting stink of a too-loud electric guitar; now that's my idea of a good time - Frank Zappa

  8. #107

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    Still working on making all fingerings smooth, regardless of shifting points.

    I don't solo in position, so it helps to practice the way that I play.

    Also, when you take the scale patterns into different keys, you see how the notes shift around--that helps when you are playing tunes that move around.

    I still hate my amplified tone though... wish I knew how to fix it

  9. #108

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    Sounds well executed Irez. That's well done.
    B+
    Frank (aka fep)

  10. #109
    Quote Originally Posted by Irez87 View Post
    Still working on making all fingerings smooth, regardless of shifting points.

    I don't solo in position, so it helps to practice the way that I play.

    Also, when you take the scale patterns into different keys, you see how the notes shift around--that helps when you are playing tunes that move around.

    I still hate my amplified tone though... wish I knew how to fix it
    Sounds good to me. Thanks for posting, Irez.

  11. #110

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    Thank you... but I've still not satisfied... never am

    I want those notes to be more connected. That 1235 Coltrane pattern they got in 46 and 47--those are really hard to get all the notes to sound connected--when you shift into the different keys, that is.

    I'll try to post that stuff tomorrow--I'm playing catch up because my daughtie is finally better and in daycare for at least part of the week.

    Thanks for the support

  12. #111

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    Any sense of a schedule yet?
    For me, the descending 5321 patterns are taking time to get used to. (But it's time I don't mind putting in as I realize that this is really helping me to know the fretboard better.) So I'm in no rush. But I know the new month is just around the corner...
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  13. #112

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    For my next post--I'm going completely acoustic. I have a favor to ask...

    I want to replace my SH AZ 49 because I don't like how it sounds in live band contexts. I want to get something that compliments the brightness of my Eastman--instead of hiding it. I was thinking of maybe a lollar, but I'm open to any humbucker housed variety.

    I know this isn't a gear post, but you all actually listen to the video and audio that I post (sometimes I feel like I'm ignored). So I would really appreciate your input.

    Whatever we decide on our next set of exercises, I'm make sure to go more in depth with how I apply it to the entire neck of the guitar. Maybe you all can help me with the pickup conundrum, and I can share some "new" ideas on these Patterns for Jazz.

    Thanks in advanced.

  14. #113

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    Quote Originally Posted by Irez87 View Post
    I want to replace my SH AZ 49 because I don't like how it sounds in live band contexts. I want to get something that compliments the brightness of my Eastman--instead of hiding it. I was thinking of maybe a lollar, but I'm open to any humbucker housed variety.
    Irez, what are you using to record it with? Unfortunately I don’t know much about humbuckers, but I’ve noticed there is a huge difference in the sound I get from my Gibson (with ‘57s) if the amp is micked or through line (or rec) out. I actually like to put my it through a big keyboard amp, I feel it brings out the whole spectre of it (this might be blasphemy to some ears :smile-new:).

    For what its worth I think your guitar sounds great, but I’ve never tried an Eastman.

    Anyway, this is just my uneducated rambling. The gear part of this forum is pretty active, and there might be more people there who may not visit this thread?

    edit: typos

  15. #114

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    Well I have the same Eastman though I left the stock pups on it, I think they are Andersons.

    The archtop electric guitar thing is not a sound that resonates with me at least when I'm playing one. I suppose it's just not my "voice". It's too dull and not enough sustain, kind of thunky is how I'd explain an archtop at least in comparison to solid body or semi-solid body guitars. So, I don't end up playing my Eastman very much. I need to get the flats replaced with round wounds though. That will probably help get it closer to my voice.

    So, my opinion is coming from that place. I think for an archtop your guitar sounds good. I prefer it's sound over a lot of archtops I've heard and over the sound of my archtop. Your archtop has a pretty bright sound which is why I like it over most other archtops.

    I do like the sound of Erik's guitar, but that sounds like a semi-hollow to me not an archtop, it seems to have more sustain than an archtop, not as thunky, I would like a bit more brightness though for my taste. Erik is that a semi-hollow guitar?

    But I have to say, a lot of folks don't agree with me on all of this.
    Last edited by fep; 06-29-2019 at 11:10 AM.
    B+
    Frank (aka fep)

  16. #115

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    Since I was talking about this guitar...

    This is my Eastman AR 803 CE with D'Addario XL Chrome Flat Wound 012 gauge. Like I said too thunky for my taste and I do like my sound a bit brighter.

    B+
    Frank (aka fep)

  17. #116
    Quote Originally Posted by MarkRhodes View Post
    Any sense of a schedule yet?
    For me, the descending 5321 patterns are taking time to get used to. (But it's time I don't mind putting in as I realize that this is really helping me to know the fretboard better.) So I'm in no rush. But I know the new month is just around the corner...
    My tentative idea would be something like:

    week 1: 48-49
    week 2: 50-51
    week 3: 52-53
    week 4: 54-55

    Each pair has at least one of these: "Apply the fragment to the chords in patterns X through Z" etc. So, it's not as slow as it looks. Don't know that I'd want to go any slower than that though.

  18. #117

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    Quote Originally Posted by matt.guitarteacher View Post
    My tentative idea would be something like:

    week 1: 48-49
    week 2: 50-51
    week 3: 52-53
    week 4: 54-55
    Sounds good to me, Matt. 49 is taking some work for me. The patterns get more interesting as this section moves along. But I think 1235, 5321, and 1353 are foundational.
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  19. #118
    Quote Originally Posted by MarkRhodes View Post
    Sounds good to me, Matt. 49 is taking some work for me. The patterns get more interesting as this section moves along. But I think 1235, 5321, and 1353 are foundational.
    It's been weeks since I've looked at those 5321 patterns, but I found that all of them – ascending and descending 1235's – are mostly ear training. They aren't really a "linear progress" thing for me. It's more like once they're in my ear/fingers they work, and not much of anything before that.

  20. #119

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    Quote Originally Posted by matt.guitarteacher View Post
    It's been weeks since I've looked at those 5321 patterns, but I found that all of them – ascending and descending 1235's – are mostly ear training. They aren't really a "linear progress" thing for me. It's more like once they're in my ear/fingers they work, and not much of anything before that.
    That makes sense. I have more trouble with the minor third progression but I'm getting the hang of it and that will serve me well from now on. It's also good (for me anyway) to orient myself to patterns that move a lot but don't start on the root. That's a big help. I wasn't as quick as that as I had expected to be. ;o)
    Last edited by MarkRhodes; 06-30-2019 at 07:33 AM.
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  21. #120

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    Quote Originally Posted by fep View Post
    Well I have the same Eastman though I left the stock pups on it, I think they are Andersons.

    The archtop electric guitar thing is not a sound that resonates with me at least when I'm playing one. I suppose it's just not my "voice". It's too dull and not enough sustain, kind of thunky is how I'd explain an archtop at least in comparison to solid body or semi-solid body guitars. So, I don't end up playing my Eastman very much. I need to get the flats replaced with round wounds though. That will probably help get it closer to my voice.

    So, my opinion is coming from that place. I think for an archtop your guitar sounds good. I prefer it's sound over a lot of archtops I've heard and over the sound of my archtop. Your archtop has a pretty bright sound which is why I like it over most other archtops.

    I do like the sound of Erik's guitar, but that sounds like a semi-hollow to me not an archtop, it seems to have more sustain than an archtop, not as thunky, I would like a bit more brightness though for my taste. Erik is that a semi-hollow guitar?

    But I have to say, a lot of folks don't agree with me on all of this.
    Quickly, as I don't want to hijack the thread for a gear question. Fep, I actually agree with you. At least for playing at jam sessions, I don't want a thunky guitar. For a big band session--yes. But for what I do on the norm--I like bright and full. What I posted was mostly acoustic with a smidge of amp--that's pretty much how the guitar speaks on it's own. Problem is, when I add more amp to the mix (as is required when playing a live session), that natural brightness turns into a unique type of mud that I can't quite classify. It's both dark and muddy and bright in odd parts of the guitar's sound spectrum. I want a pick up that can capture the natural brightness of the guitar while supporting the highs (so they sound bright and full instead of bright an tinny) while focusing the lows (so they sound as balanced as they do naturally, when I play acoustically).

    Amplifying an archtop is a difficult undertaking, especially if you have odd tastes like Fep and me. Thing is, more and more people are getting hip to the sound of a brighter archtop. Graham Dechter comes to mind:



    His guitar sounds even brighter live, and in person

  22. #121

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    Quote Originally Posted by fep View Post
    Well I have the same Eastman though I left the stock pups on it, I think they are Andersons.

    The archtop electric guitar thing is not a sound that resonates with me at least when I'm playing one. I suppose it's just not my "voice". It's too dull and not enough sustain, kind of thunky is how I'd explain an archtop at least in comparison to solid body or semi-solid body guitars. So, I don't end up playing my Eastman very much. I need to get the flats replaced with round wounds though. That will probably help get it closer to my voice.

    So, my opinion is coming from that place. I think for an archtop your guitar sounds good. I prefer it's sound over a lot of archtops I've heard and over the sound of my archtop. Your archtop has a pretty bright sound which is why I like it over most other archtops.

    I do like the sound of Erik's guitar, but that sounds like a semi-hollow to me not an archtop, it seems to have more sustain than an archtop, not as thunky, I would like a bit more brightness though for my taste. Erik is that a semi-hollow guitar?

    But I have to say, a lot of folks don't agree with me on all of this.
    I guess we are moving to a new thread for July, so there is no harm in discussing some gear?

    The Gibson is a semi-hollow (ES-135 ‘57 pickups and can go piercingly bright) it has a huge piece of balsa wood through it. I love the sound of the Eastman Irez’ plays and yours from the clip, and have been thinking about getting an archtop for years. On a side note regarding bright guitars, my Strat was recently set up with 0.12 flats

    Matt, I think the schedule looks good. The “go back and do again” parts seems to be much more time consuming then what I initially thought. Going to record this weeks patterns today and looking forward to seeing how differently all of us approach them, I think that’s the most educational part of this.

    Any holiday weeks for us, or do we get assignments all year round? I’m just kidding, but a week of would give people the time to catch up if one would be lagging during the summer.

  23. #122
    Quote Originally Posted by ErikWasser View Post
    . Any holiday weeks for us, or do we get assignments all year round? I’m just kidding, but a week of would give people the time to catch up if one would be lagging during the summer.
    I know that with most endeavors, things die when you take collective breaks too often.

    I'm gone a couple of weeks this summer as well. Just got back from one, and I'll post this week's material at least a day late, as I have zero time today. I was happy to be a little early least time.

    It might be good to somewhat pad the schedule differently for major holidays or even just periodically. We've had a couple of easier bits. I think the last 2 weeks have been somewhat of a breather, pace-wise. I'll revisit and consider this factor later tonight maybe.

    Everyone, let me know your thoughts.

  24. #123

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    140bpm (Set that as a goal, but a bit to fast for me).


  25. #124

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    With this bunch of drills, I decided to combine all four variations into one drill and play them in the same order as established with all the previous drills. So I start with the chromatic set in the open position and play into the 4ths set starting in in 2nd position but moving up the neck to keep each group four separated. That transitions into 2nds starting in 3rd position and staying on the A and D string roots. Then it transitions into minor 3rds from 8th position. All this is over a country rock shuffle at 140 bpm.


    Patterns 044-047 combined and re-imagined at 140 bpm





    .
    The disgusting stink of a too-loud electric guitar; now that's my idea of a good time - Frank Zappa

  26. #125

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    Quote Originally Posted by FwLineberry View Post


    Patterns 044-047 combined and re-imagined at 140 bpm


    .
    Great work, man!

  27. #126
    Sorry to be so tardy with things. I'll try to get the July thread up in a few minutes.

    Here's my last June submission. Couple of hick-ups, but it was pretty close to a single decent take. So, I chose it over slightly better individual takes.

    Patterns 46-57 at 161 bpm: