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 video of any or all of the weekly patterns, by Sunday each week, following this schedule:

    August 4 - Week 22: patterns 56-57
    August 11- Week 23: patterns 58-59
    August 18 - Week 24: patterns 60-62
    August 25- Week 25: patterns 63-64

    Please, state the BPM you're using, which pattern(s) you're posting, and additional info re backing (Drum Genius style #'s etc). Please state whether you would like comments on your playing.

    Also, please feel free to continue to post in these threads if you're newly finding them or otherwise want to participate after the deadlines.

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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  4. #3

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    Good job starting us of, Mark!

    56 at 155 Deadline version (a bit to fast, but it’s getting there) Comments welcome.

  5. #4

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    57 at 155bpm (edit: I’ve messed up the numbering, the first one in the last post is 57 and this belongs in 56, or maybe I’m just confused)

    Last edited by ErikWasser; 08-05-2019 at 05:51 PM.

  6. #5
    Still can't believe it's August.

    Pattern 57 @ 112bpm in cycles of half steps, whole steps and minor thirds:


    Pattern 56 at 208 bpm:


    Comments appreciated.

  7. #6
    It's been years since my public radio- listening days, but pattern 58 is the theme to one of those shows. Cracks me up every time I play it. It's either morning edition or all things considered, at least it used to be.

    5 8 6 4 2 5 3 1

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  8. #7

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    Quote Originally Posted by matt.guitarteacher
    Comments appreciated.


    What's with the reverse image video? I've seen other players post vids that way too. Is this a thing I should know about?

    .

  9. #8
    Quote Originally Posted by FwLineberry
    What's with the reverse image video? I've seen other players post vids that way too. Is this a thing I should know about?

    .
    No. Not a thing. Just a new phone that does it that way. There's probably a setting I need tho change.

  10. #9

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    Just jumping in here without viewing any previous iterations of this project...

    What are you doing? :-)

    There's no chord sequence, so is this just a diatonic pattern that you might employ over a given major chord? I suppose if it is over, say, C Major, you could use it modally over any diatonic chord in C?

    Obviously it would sound really boring to use that pattern for a whole solo, so you must be trying to memorise and absorb dozens of different patterns, no? Doing it to the point where you don't have to think about it, your fingers just automatically lock in to the pattern. And then there's chromatic alteration to bring in, for more extended or altered chords. It seems a lot of work! I wish I had the discipline to do it, but know in advance that I wouldn't, but I wish you all well! Keep it up!

  11. #10
    Quote Originally Posted by Rob MacKillop
    Doing it to the point where you don't have to think about it, your fingers just automatically lock in to the pattern.
    This is in the ballpark of the premise which is laid out in the forward of the book.

    The patterns are separated by chord type. So, yes, all major at this point. Somewhat limiting, but also simplifying and clarifying.

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  12. #11

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    Quote Originally Posted by Rob MacKillop

    What are you doing?

    I wish you all well! Keep it up!
    Thanks!

    We are approaching the end of these type of diatonic patterns (at least for now) in the book and heading into different intervals within the diatonic scale. After that’s done the book focuses on patterns that involve “non chordal tones”, as they are called in the book, for a while.

    So far most of the exercises sound, well boring, but the book seems to build up in a pedagogical way, and at the least it’s good picking exercise. If you can get it, feel free to join as sometime in the next couple of weeks would be a great place to “jump in”!

  13. #12

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    Quote Originally Posted by Rob MacKillop
    Just jumping in here without viewing any previous iterations of this project...
    This may give you a sense of what the book offers jazz musicians.


  14. #13

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    Thanks, Marc. Training for ear and fingers. Very good.

  15. #14

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    Quote Originally Posted by MarkRhodes
    This may give you a sense of what the book offers jazz musicians.

    Thanks for posting that. I had seen it before, but it reminded me that my original purpose for working through this stuff was to better visualize keys and chord roots on the inside strings in the middle of the neck. Unfortunately, it's all too easy on the guitar to just memorize shapes and move them around the fingerboard instead of paying attention to which notes are involved. In that respect, I think this sort of work is probably better suited to horn players and other less visually oriented instruments than it is for guitar players.

    So, for me, it's back to 60 bpm and naming the roots as I go through the drills.

    .

  16. #15
    Quote Originally Posted by FwLineberry
    . I had seen it before, but it reminded me that my original purpose for working through this stuff was to better visualize keys and chord roots on the inside strings in the middle of the neck. Unfortunately, it's all too easy on the guitar to just memorize shapes and move them around the fingerboard instead of paying attention to which notes are involved. In that respect,
    Very similar for me. It's really tried to focus on my second finger reference position throughout.



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  17. #16
    Wow. Just tried #59 at the 160 max bpm. Yikes. That one is seriously fast for Matt.

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  18. #17

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    Messing around with 58.

  19. #18

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    I forgot this pattern was written in quarter notes and played it in 8ths. This is the most challenging pattern to me (so far.)


  20. #19

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    60. Getting it out of the way, since I need more time with number 59.

    Don’t know about you guys but for me this one was much harder descending then ascending.


  21. #20
    Quote Originally Posted by ErikWasser
    60. Getting it out of the way, since I need more time with number 59.

    Don’t know about you guys but for me this one was much harder descending then ascending.

    Nice work. And yes, absolutely. Descending is much more difficult. I always thought it was because we used always practice these by "flipping" them on the way down, but more than that, it's also an interval thing. On the way up, the last note and first note of a given pair of sequences are one step apart, while on the way down, it's a fourth I think?

    You definitely take the prize for most creative camera angles on everything. Found myselfsaying to my wife"here, look at this"on the last one.Anyway, this one has tolook higher up than it actually is, right?

    I like your strategy of going headand posting 60, while continuing to workon 59. Not a bad idea. I may do similar. I've had companyand I'm slacking this week. I think tonight I may just pick a tempo I can kind of do on 59 and post. Maybe update it with improved versions in weeks upcoming....

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  22. #21
    Really really rough first version of 59. almost more like a practice take.



    I actually recorded some takes of this slower, but it didn't seem to work much better. Ha. I will keep plugging away at this one and see if I can tighten it up a little bit. I think this was around 156 BPM or something. it was the max tempo on one of the more medium drum genius loops.

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  23. #22

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    Quote Originally Posted by matt.guitarteacher
    . On the way up, the last note and first note of a given pair of sequences are one step apart, while on the way down, it's a fourth I think?

    You definitely take the prize for most creative camera angles on everything. Found myselfsaying to my wife"here, look at this"on the last one.Anyway, this one has tolook higher up than it actually is, right?

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    Thanks for feedback and good job on 59, give it a day or two and that one is going to sound great. I’m going to spend some more time with it this weekend.

    Yeah, the fourths. The f***ing fourths.

    You are right about the angle, this GoPro camera adds more depth than necessary. It’s a cool toy, but was a bad investment as a tool for recording playing music.

  24. #23
    Quote Originally Posted by ErikWasser
    Thanks for feedback and good job on 59, give it a day or two and that one is going to sound great. I’m going to spend some more time with it this weekend.

    Yeah, the fourths. The f***ing fourths.

    You are right about the angle, this GoPro camera adds more depth than necessary. It’s a cool toy, but was a bad investment as a tool for recording playing music.
    Well it looks cool anyway. You'll have to just take up kayaking or something as well. :-) A couple of videos back, you did one that looked to be directly overhead. How did you get that one?

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  25. #24

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    Quote Originally Posted by matt.guitarteacher
    Well it looks cool anyway. You'll have to just take up kayaking or something as well. :-) A couple of videos back, you did one that looked to be directly overhead. How did you get that one?

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    used the birds eye view from the top shelf
    Attached Images Attached Images Patterns for Jazz Study Group - August 2019-c253fac0-eac3-48fd-b07c-d2093b81f36c-jpg 

  26. #25

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    59. 150bpm (140 the last one)

    Rather rough takes, but I’ve lost my patience with this “theme”