The Jazz Guitar Chord Dictionary
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  1. #1
    This study group is based on the book, Patterns for Jazz by Jerry Coker, Jimmy Casale, Gary Campbell and Jerry Greene.

    Post a "deadline version" video of any or all of the weekly patterns, by Sunday each week, following this schedule:

    June 2: pattern 37
    June 9: 38-40
    June 16: 41- 43
    June 23: 44-45
    June 30: 46-47


    Please, state the BPM you're using, which pattern(s) you're posting, and label the post "deadline version", (understanding that a more "final version" may take additional time etc). Please state whether you would like comments on your playing.

    Last edited by matt.guitarteacher; 05-29-2019 at 12:00 PM.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Is there a digital copy of this for purchase anywhere?

    Edit: you can get it from alfred

  4. #3
    Has anyone checked out the patterns beginning with number 38? These sequencing type patterns are something I really had a lot of trouble with when I was using CAGED fingerings. I'd be interested in other's thoughts.

    I did a lot of work with these type of patterns a couple years ago, working out of Bert Ligon's technique book. He uses four iterations instead of two, as in 38 and 39. Calls them cyclical quadruplets. These types of patterns are always thought of as just technical exercises or whatever - mostly pointless. But he views them as being pretty important. Once you start working on targeting patterns in jazz, you can see the value in these type of patterns. They're good ear training for basic targeting etc.

    Basically anything that goes "away and back" can be considered a targeting pattern, but these are even much more fundamental. you can view the first four notes as basically targeting that fourth note , which is played twice, "away and back". Ending with the would-be "root" on the '&' of the beat gives a nice "BE-bop" flavor to it.

    Just as important if not moreso, you can view the 5th note in the ascending pattern as the "target" and you get a really nice diatonic four-note approach, ending with an enclosure. When I made this connection the first time, it really demystified a lot of what is really involved with playing and wood shedding enclosures.

  5. #4

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    So I will not be pursuing this study project for about 2 month due to impending (and actual) travel plans, house guests, and work.

    I hope in August to jump back in and do some catching up, hopefully not abandoning it completely.

  6. #5
    Quote Originally Posted by lawson-stone
    So I will not be pursuing this study project for about 2 month due to impending (and actual) travel plans, house guests, and work.

    I hope in August to jump back in and do some catching up, hopefully not abandoning it completely.
    I know we'll be hearing from you, but we'll miss your posting clips. Best wishes on all of your summer travels.

  7. #6

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    Quote Originally Posted by matt.guitarteacher
    Has anyone checked out the patterns beginning with number 38? These sequencing type patterns are something I really had a lot of trouble with when I was using CAGED fingerings. I'd be interested in other's thoughts.

    I did a lot of work with these type of patterns a couple years ago, working out of Bert Ligon's technique book. He uses four iterations instead of two, as in 38 and 39. Calls them cyclical quadruplets. These types of patterns are always thought of as just technical exercises or whatever - mostly pointless. But he views them as being pretty important. Once you start working on targeting patterns in jazz, you can see the value in these type of patterns. They're good ear training for basic targeting etc.

    Basically anything that goes "away and back" can be considered a targeting pattern, but these are even much more fundamental. you can view the first four notes as basically targeting that fourth note , which is played twice, "away and back". Ending with the would-be "root" on the '&' of the beat gives a nice "BE-bop" flavor to it.

    Just as important if not moreso, you can view the 5th note in the ascending pattern as the "target" and you get a really nice diatonic four-note approach, ending with an enclosure. When I made this connection the first time, it really demystified a lot of what is really involved with playing and wood shedding enclosures.



    Patterns 38 and 41 as well as 3rds I'm very familiar with from first learning scales. The others will probably give me some trouble. It will be interesting to look at these in the way you describe. I've never thought to break the sequence apart as a melodic cell. Doing that is in line with the Bergonzi material I've been working through as well as this material.

    .

  8. #7
    Quote Originally Posted by FwLineberry
    Patterns 38 and 41 as well as 3rds I'm very familiar with from first learning scales. The others will probably give me some trouble. It will be interesting to look at these in the way you describe. I've never thought to break the sequence apart as a melodic cell. Doing that is in line with the Bergonzi material I've been working through as well as this material.

    .
    Is the Bergonzi his 1235 material?

  9. #8

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    Quote Originally Posted by matt.guitarteacher
    Is the Bergonzi his 1235 material?

    Yes. I've been sequencing the 24 permutations of that through major pentatonic on two string sets in all keys. I haven't gotten to where I'm working it through chord progressions yet.

    It looks like the next section of Pattern for Jazz is going to hit on the same material.

    .

  10. #9
    Quote Originally Posted by FwLineberry
    Yes. I've been sequencing the 24 permutations of that through major pentatonic on two string sets in all keys. I haven't gotten to where I'm working it through chord progressions yet.

    It looks like the next section of Pattern for Jazz is going to hit on the same material.

    .
    Yeah. Definitely not as many permutations . Later, I think it's minor 1235's , whereas bergonzi has a separate variation for minor? 1345?

  11. #10

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    Quote Originally Posted by matt.guitarteacher
    Has anyone checked out the patterns beginning with number 38? These sequencing type patterns are something I really had a lot of trouble with when I was using CAGED fingerings. I'd be interested in other's thoughts.
    Just checking 'em out today. Yes, I've had some problems with patterns like that w/ CAGED fingerings. (Not all of CAGED, though: seems like three were fine but two, eh, not so much.) But now I'm working on 3 nps fingerings. Which is why I didn't do all the recent patterns as I would be using the same fingering for them all and that's just boring.

    Did do today's, though, #37. (See below. Waiting for it up get upload.)

    Looking forward to the next several. I've never done this sort of pattern playing w/ 3 nps fingerings. So that should do me some good. Also glad this group is still going strong. Thanks again, Matt, for getting it off the ground and keeping it afloat!

    Question re: 38-40. Ex are given in one key. We are to play them in all keys. Are we to record them in all keys too?
    Last edited by MarkRhodes; 06-02-2019 at 02:00 PM.

  12. #11

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    Couple things. Recently started working on 3 nps major scale fingerings. Same fingering for everything here. Dull, I know, and that's why I didn't record all the other patterns of this type.

    But look forward to the next several (1321, etc).

    Also working on picking more from the wrist exclusively. I think it makes me more consistent. At least, that's the goal.



  13. #12
    Quote Originally Posted by MarkRhodes
    Couple things. Recently started working on 3 nps major scale fingerings. Same fingering for everything here. Dull, I know, and that's why I didn't record all the other patterns of this type.
    Thanks for posting Mark. Have you seen Jens Larsen's video on three scale fingering types? It popped up in my feed yesterday. 3nps content there...
    Last edited by matt.guitarteacher; 06-03-2019 at 05:41 PM.

  14. #13
    Here's my take on #37. 139bpm I think:

  15. #14

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    Winding up may with Pattern 37. Can't believe it's June already.

    I was originally going to shift around the positions compared to last week, but in doing so wound up playing the same ascending and descending patterns. To avoid that, I just used the same positions and reversed the direction of each pattern.


    Chromatic - 8th position






    Fourths - 7th position







    Seconds - 5th position






    Minor thirds - Starting each set of four from 7th position (I tacked a 3NPS ending on this one inspired by Mark's post this morning.)





    .

  16. #15

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    Quote Originally Posted by matt.guitarteacher
    Thanks for posting Mark. Have you seen Jens Larsen's video on there scale converting types? It popped up in my feed yesterday. 3nps content there...
    No, Matt, I don't think I have. I've seen several of Jens' videos but not that one.

    I've been working with Steve Crowell's approach. His fingerings are the common ones. (Our own Henry Robinett posted a Neck Diagrams version of his fingerings and they're the same.) What I like about Crowell's approach is how he links four arpeggio fingerings to each of the 7 fingerings.

    The arp fingerings start on either the 3rd finger or the pinky. (All of the 7 3 nps fingerings start on the index finger.)

    So for fingering one (starting on the root of, say, F) the four arpeggios that run easily across the strings are Am7 (low E root) Dm7 (A-string root) Gm7 (D-string root) C7 (G-string root) , in other words: iii, vi, ii, V.

    For fingering two (starting on the second degree of F) you would get BbM7 Em7b5 Am7 Dm7, in other words: IV, vii, iii, vi.

    In short, the cycle is I IV vii iii vi ii V and each fingering in the 3 nps system gives you 4 of those arpeggios in a convenient row.

    Like the rug in Lebowski, it really ties the room (the fingerboard) together. ;o)

  17. #16

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    My take on 37. Not to musical, but any comments on technique or otherwise are welcome. When it comes to 3 nps stuff this dude abides.




  18. #17
    Quote Originally Posted by MarkRhodes
    No, Matt, I don't think I have. I've seen several of Jens' videos but not that one.

    I've been working with Steve Crowell's approach. His fingerings are the common ones. (Our own Henry Robinett posted a Neck Diagrams version of his fingerings and they're the same.) What I like about Crowell's approach is how he links four arpeggio fingerings to each of the 7 fingerings.

    The arp fingerings start on either the 3rd finger or the pinky. (All of the 7 3 nps fingerings start on the index finger.)

    So for fingering one (starting on the root of, say, F) the four arpeggios that run easily across the strings are Am7 (low E root) Dm7 (A-string root) Gm7 (D-string root) C7 (G-string root) , in other words: iii, vi, ii, V.

    For fingering two (starting on the second degree of F) you would get BbM7 Em7b5 Am7 Dm7, in other words: IV, vii, iii, vi.

    In short, the cycle is I IV vii iii vi ii V and each fingering in the 3 nps system gives you 4 of those arpeggios in a convenient row.

    Like the rug in Lebowski, it really ties the room (the fingerboard) together. ;o)
    My quote should have said "three scale fingering types". Sorry. Very hasty with the swype keyboard on my smartphone there. Don't know how you made any sense of it. Ha.

  19. #18

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    Here's a chart of the fingerings I'll be using for the series of scale sequences. To me it doesn't make much sense to think in keys rather than fingerings for this type of stuff on the guitar if you already have your scales down. I decided to divide the shapes into three starting from each finger on the E, A and D strings.

    If it's not obvious, the naming convention I use is finger-string for the location of the tonic/chord root. So 1-E means tonic with the 1st finger on the E string. The x markings are notes that lie outside the basic shape in order to play the entire set of sequences.

    Scale Sequence Fingerings.pdf

  20. #19
    Quote Originally Posted by ErikWasser
    My take on 37. Not to musical, but any comments on technique or otherwise are welcome. When it comes to 3 nps stuff this dude abides.



    Looks and sounds great to me, Erik. I like the second angle. I think it might be cool to think of the headstock camera as covering the right hand and make sure that the left is covered by the other one. I find myself wanting to see the left from the front, but that's just my personal preference.

  21. #20

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    Quote Originally Posted by matt.guitarteacher
    Looks and sounds great to me, Erik. I like the second angle. I think it might be cool to think of the headstock camera as covering the right hand and make sure that the left is covered by the other one. I find myself wanting to see the left from the front, but that's just my personal preference.
    I think you’re on to something, Matt. Thanks for the tip.
    I’m planning on starting to make video accompanying my students home work, and making these pattern videos is a great way to experiment.

  22. #21

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    Quote Originally Posted by FwLineberry
    Here's a chart of the fingerings I'll be using for the series of scale sequences. To me it doesn't make much sense to think in keys rather than fingerings for this type of stuff on the guitar if you already have your scales down. I decided to divide the shapes into three starting from each finger on the E, A and D strings.

    If it's not obvious, the naming convention I use is finger-string for the location of the tonic/chord root. So 1-E means tonic with the 1st finger on the E string. The x markings are notes that lie outside the basic shape in order to play the entire set of sequences.
    Good stuff. Thanks.
    So far, I've just played the basic patterns in what you would call 1-A (starting on the C at the 3rd fret of the A string). Next, running through the cycle. Haven't decided which fingerings to use yet but I'll try to keep 'em all 3 nps if only because I'm working on those and this is a good way to start getting them down.

  23. #22

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    Patterns for Jazz #37 - Deadline version. Comments welcome.
    (BTW, I know that the exercise is supposed to start on the descending line but it doesn't matter. At least not to me. )

    Last edited by jasaco; 06-04-2019 at 01:15 PM.

  24. #23

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    I'm looking for opinions on what makes sense as a demo for this next set of exercises. I can't imagine anybody is interested in watching me play through each drill in all twelve keys. One key takes approximately twelve seconds.

    I suppose a person could just do all of them in C and put them all in one video. Since I'm having to sync audio for each vid I do, I've avoided editing them together up to this point.

    Ideas?

    .

  25. #24

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    Quote Originally Posted by FwLineberry
    I'm looking for opinions on what makes sense as a demo for this next set of exercises. I can't imagine anybody is interested in watching me play through each drill in all twelve keys. One key takes approximately twelve seconds.
    I was wondering that too.
    I don't think playing through each exercise in all 12 keys ON VIDEO is needed. Though one might play through each exercise in two or three areas of the neck. Just a thought.

  26. #25

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    Quote Originally Posted by MarkRhodes
    I was wondering that too.
    I don't think playing through each exercise in all 12 keys ON VIDEO is needed. Though one might play through each exercise in two or three areas of the neck. Just a thought.

    Thanks for responding.

    I was just going through it, and I think I have an idea.

    There are six exercises with two lines each, so I think I'm going to do each line a 4th higher and that will cover all twelve keys and all twelve finger patterns around the circle.

    .