The Jazz Guitar Chord Dictionary
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  1. #226

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    "Blues for Alice" is a joy to play, everything seems to be falling into place. I've stopped chasing the Bmp target, I'm just playing triplets at my own pace.

    Progress is very evident.

    Thanks to this challenge, I think that my playing has improved dramatically.

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    The Jazz Guitar Chord Dictionary
     
  3. #227
    Here's an observation that changed the way I play, especially when entering the 'music space'.
    If I'm not thinking of anything at all, bringing in the mental flotsam and jetsam of life into that space, it takes a while to play anything I recognize, no less feel good about.
    If I'm asked to play something and I'm not thinking music at the moment, it's disastrous.
    If I sit down, clear my mind and think about my right hand, I play with better time.
    If my attention is on my left hand, I play less habitually, and I seem to play with more conviction.
    If my attention is on the sound, my touch is more purposeful.
    If my attention is on an idea I'm working on, my time goes out the window until I focus on the sound.

    That's one of the things I've observed: Priorities are part of practice and mental preparation must be practiced. This becomes second nature when I find the time every day to focus on playing a piece (purposeful time with the guitar.)
    Oh yeah, when it comes together, I am much happier the rest of the day.

  4. #228

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    The Blues for Alice type of chord progression has not been one of my favorites. I tend to stay between the lines.

    I like a "blues" to sound "bluesy". The Maj7 character of the I chord throws me off. And if I chase the chord tones of the progression too much, it just doesn't sound bluesy. I've been reluctant to use the blues scale... not anymore mwah ha ha.

    So that's going to be my direction with this one, sneak in the blues scale here and there.

  5. #229

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    Clean pdf for lesson 5-B: Box

    Real book version but in G: Box

  6. #230

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    Thank you, Fep. My inclination has been just to play improvisations for this progression using the notes of the tonic major scale (C last week, now G this week), with an occasional diminished seventh arpeggio for some of the transitions. (I find some of the "key centers" HR identifies as at times kind of an obsessional exercise.) But I am finding that it is also the case that if, instead of just playing in G Major, I intentionally pursue each new chord (by, for example playing a Bb minor 7 arpeggio when I see Bbm7 in m. 7 instead of "playing by ear" to get from Bm7 to Am7) I not only get some more interesting-sounding melodies, but also begin to develop better fingerboard familiarity/knowledge. So that's a good thing :-)

  7. #231

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    Quote Originally Posted by Topper Roth
    Thank you, Fep. My inclination has been just to play improvisations for this progression using the notes of the tonic major scale (C last week, now G this week), with an occasional diminished seventh arpeggio for some of the transitions. (I find some of the "key centers" HR identifies as at times kind of an obsessional exercise.) But I am finding that it is also the case that if, instead of just playing in G Major, I intentionally pursue each new chord (by, for example playing a Bb minor 7 arpeggio when I see Bbm7 in m. 7 instead of "playing by ear" to get from Bm7 to Am7) I not only get some more interesting-sounding melodies, but also begin to develop better fingerboard familiarity/knowledge. So that's a good thing :-)
    Maybe David will chime in on this but from my perspective...

    In my humble opinion, you can play by ear even if you play within just the notes of the scale of the key center, and you can also play by ear if you choose the notes of Bb minor 7 arpeggio over the Bbm7 chord. Your ear can still guide you how to play and which notes to play within that scale or arpeggio. Maybe it's not pure playing by ear, but your ear can still be making choices.

    I have a friend that has a great ear, but he still seems to have a vocabulary that he uses. My ear, not as good as his, but I also have a vocabulary that I use.

    Maybe I Hear that a blues scale would sound good right here, and I play a few phrases using a blues scale. Is that playing by ear? Or I hear that cliche triplet thing repeating the 5 and 7 of a dominant chord for this part, which is a lick or part of my vocabulary, is that playing by ear?

    I wonder... What is the definition of playing by ear?

    Playing devil's advocate...Can you still be aware of the underlying chords of the progression if you're playing by ear? Why would you need to be? Wouldn't that just get in the way? Same goes for key center, or any other conscious devices one may use, why would you need them?

    Maybe it's not completely black and white.
    Last edited by fep; 05-08-2023 at 08:23 PM.

  8. #232
    Week 11 Blues for Alice in G
    20 weeks to a higher level of proficiency: Howard Roberts Super Chops one more time.-project-5-b-blues-alice-g-png20 weeks to a higher level of proficiency: Howard Roberts Super Chops one more time.-project-5-b-blues-alice-g-png
    I love the projects for these two weeks because I feel that these two weeks of Alice offer a tune that really easily explores the many facets of a particular key. Last week it was in C, this week in G.
    Even without the analysis, there is a strong sense of the harmony descending through the key, down to a region of VII that with some easy transition passes to VI, down to V, which uses the passage to IV where it forms the shape of the blues form, down to a III region that makes a transition to II which is an essential element in the II V7 that brings us to the top.

    Now while it's easy to pass through the diatonic areas, it's the all juicy and descriptive DOMINANT devices that form the fun transitional passages. It's like the diatonic areas are focal areas, I IV and V are like the grammatical "noun" functions of the journey offering strong defining gravity points, the other diatonic chords giving one a sense of movement and dominant harmonic devices give you the transient "adjective" or leading into functions to the strong defining harmony.

    I like to approach these pieces by ear, let my ear teach me the how and why of jazzy harmony.

    This project, more than any before, feels like a journey of the ear. If you want to explore dominant harmony deeper, say so, and I can offer some supplementary suggestions on how to exercise the dominant, and tritone sub (down by a half step) or sequencing approach to a target. These are all the go-to tools of jazz harmony.

    This, is definitely one of the "Have fun" projects.
    Have fun.

  9. #233
    I've resisted posting a lot of YouTube videos this time around because I really want the jump in and wrestle your ear into hearing approach this time. But I happened to stumble on Blues for Alice on Youtube and I saw there are a TON of instructional videos on it.



    Those are interesting, some I agree with more than others but they all have good ideas.
    I kinda like this one


    And there are tons more if you look it up yourself.
    See what you think but then turn the computer off and play!

  10. #234
    Week 12
    House cleaning and getting control over your chops.
    Welcome to Project 6A
    I once referred to this as the modal weeks but I see it a lot more useful and challenging at the same time. I'll call these next two weeks A Hard Look at the Scales We Take for Granted.
    First, a message from Howard Roberts we should think on:
    20 weeks to a higher level of proficiency: Howard Roberts Super Chops one more time.-screen-shot-2023-05-14-10-36-09-am-png
    These projects will give you what amounts to a chordal vamp, or a group of chords that describe a harmonic area. Don't play over the chords themselves, but rather get a feeling for the scale suggested and play over that scale using your ear and the devices you've developed (scale fragments, melodic passages, arpeggios, approach notes, passing notes between chord tones, changes of direction, developing simple ideas into longer lines...), and take these ideas and create some kind of flow from them. It's your own vocabulary we're developing and find tuning these next two weeks.
    Now some find this to be the easiest project so far, and some find it the hardest by far. Challenge yourself to dig in and keep it fresh.
    20 weeks to a higher level of proficiency: Howard Roberts Super Chops one more time.-screen-shot-2023-05-14-10-35-44-am-png
    You'll see that the chords aren't the kinds that outline a moving harmony but rather create textures that are a good backdrop for exercising your linear skills. Use this open format to create your own distinct lines. Just because the chords indicate F-7 G-7, doesn't mean you can't play to other chords within that key: Find out what other sounds work well when one chord is indicated. This will be an invaluable skill and great lesson.
    20 weeks to a higher level of proficiency: Howard Roberts Super Chops one more time.-screen-shot-2023-05-14-10-40-12-am-png
    The simplified lead sheet leaves it up to you to voice the chords your own way but STRIVE FOR SIMPLICITY. Don't use this as the place to add a lot of fancy extensions or reharmonizations. Because we're leaving so much up to your ear to solo on, don't box yourself in by closing the harmony too tight. Loose and open is the goal here.
    20 weeks to a higher level of proficiency: Howard Roberts Super Chops one more time.-screen-shot-2023-05-14-10-40-47-am-png
    Here I've got the project sliced into three regions. Region A will work nicely with F Dorian, a nice melodic scale with great melodic potential. The less scale you bring to the game, the more music you can make from the parts you've allowed yourself.
    You'll notice that I've indicated Ab Lydian as a choice too. Try it. You'll see what I mean.

    Region B is a C minor region. Try out long and short phrases. Let your ear take the reigns. Use that last bar to outline and signal the change to the next region.

    Region C is where you can use the blues sounds you grew up with. FEP, this one's for you. You'll notice those are not blues changes but it's the scale we're working with. This one, especially, will be easy for some and tough for others. Constant work will turn the many hidden aspects of the blues scale into something you can use on any standard.

    I'm looking forward to these two weeks. Curious to see how we do with this!

  11. #235
    Here's a little clip of Jens Larsen talking about the value of the straight eighth notes exercises.

  12. #236

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    I've been on holiday in Lisbon, Portugal for the last week or so, but I'm back and getting into the Week 12 challenge.

    This week seemed easy compared to previous weeks, apart from, I forgot that it's all triplets again.

  13. #237

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    Here is the pdf for lesson 6-A: Box

  14. #238

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    I thought I'd share this...

    This note sequence I usually play as eighth notes or sixteenth notes. I converted it to triplets and it really changed it's character. It was awkward for me at first, and I think the accents are important.

    I should probably look into more 2 note and 4 note sequences and converting them to triplets.

    Here I'm playing the sequence as eighth notes followed by triplets.

    Attached Images Attached Images 20 weeks to a higher level of proficiency: Howard Roberts Super Chops one more time.-eighths-vs-triplets-png 
    Last edited by fep; 05-17-2023 at 03:18 PM.

  15. #239

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    Well done Frank, do you play it at a faster tempo?

    I'm finding the week 12 progression is much more Modal oriented, less chords, so less constraints.

  16. #240

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    Quote Originally Posted by GuyBoden
    Well done Frank, do you play it at a faster tempo?

    I'm finding the week 12 progression is much more Modal oriented, less chords, so less constraints.
    I've been spending time at slower tempos, I still need to do that to find the notes/phrases I like. Then when I get my footing I speed up.

    Cheers

  17. #241

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    To me, 6-A is all within the parameters of the Eb Major scale (which of course includes the various modes ...), except for the 8 bars of "Blues" at the end of the form. You can say F Dorian or C Aeolian, but ... I suppose it's what you think of/emphasize as the "root" of the scale/mode. On a different topic, one thing I've noticed recently is that, even though I find these exercises somewhat constraining phrasing-wise in that they call for "all triplets" or "all eighth notes," I am making more conscious and better note choices when I improvise in my "regular" playing. So that is a good thing :-)

  18. #242

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    Quote Originally Posted by Topper Roth View Post
    Texcept for the 8 bars of "Blues" at the end of the form.

    It's the blues bit at the end that's slowing my tempo, it doesn't really fit in with the rest of the more modal type changes. Or, maybe it's just my ears.

  19. #243
    Once I started to hear blues phrasing in triplets, it opened up the whole swing feel with blues notes. Very different and when we get to approach notes, I can see how this would be transitional.
    These weeks are the last of new material project forms, then we start looking at different ways to play and articulate the harmonies we've encountered here. It really gets fun!

  20. #244

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    PDF file for lesson 6b: Box

  21. #245
    I'm back from New York. A lot of time with the guitar and friends. And a lot of recommending eighth note and triplet drills to friends! We'd pick a tune and play steady non stop dueling counterpoint together. It was a terrific ear training too.
    Find a friend and try it out. It's like a yummy protein diet.

  22. #246

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    I'm progressing with the latest wk13 exercise, got to about 80-90Bpm, I've been working the triplets exercise on other Jazz Standards too.

  23. #247

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    I'm at a comfortable 100bpm triplets on the wk13 exercise and on few other easy Jazz Standards, I'm repeating some of my fav riffs, but I like them.

    So, I'm moving onto wk14.

    Last edited by GuyBoden; 05-30-2023 at 09:45 AM.

  24. #248

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    I'm moving onto Weeks 15 to 17.

    Currently, I'm playing at a comfortable tempo of between 110-120bpm using just Triplets, depending on the Song.

    Weeks 15 to 17, are using a combination of triplets and eighth notes, on songs we've done before, so in these weeks I should increase my bpm speed.


  25. #249
    Hey there, these weeks of recap and combo note patterns have been really affirming for me. I've found that I have really increased not only the baseline speed, but the ability to hear and decide what I'll do AHEAD of time. It would seem to be this is the key to speed for me: To know what I'm going to do without a moment of hesitation.

    I've also been using a departure from the given regimen of recording chords for 10 minutes and using them as a backing track.
    This is a routine I got from Mick Goodrick and it's based on something he had his students do. It does require that your ear be strong enough so you can feel the changes of a piece but since we've met these pieces before, I can throw this out to you and see if it helps.
    It will take longer since you need to record each track new four times, and play over it 4 times, but I've been doing this for the past two weeks and I can say personally, that it's really helped me.

    1) Go through the form playing ONLY the ROOT of the chord, Whole note for 1 change, Half note for two changes, etc. One note per change. Record this and solo over it.

    2) Broken Two Feel, that means half note, root and a chord tone per change. Record and solo.

    3) Walking Bass Line. Quarter note feel, Root and chord tone with passing or connecting quarters as needed. Quarter note connecting with next changes.

    4) Full Chord, similar to the HR formula.

    I have been doing this and it's helped my lines as the comping gets progressively more informed by notes.
    I've been using the pieces given throughout this program, 1 project a day. It's been an amazing gathering and workout on my resources.

    Try it if you'd like!
    Have fun!

  26. #250
    Week 17.
    This is the final week of alternating eighths and triplets.
    These are a-project-a-day weeks and I like the review of song forms.
    Monday Project 1-A Cherokee in Bb
    Tuesday Project 4-A All The Things in Ab
    Wednesday Project 2-A Baubles and Bangles in D
    Thursday Project 5-A Blues for Alice in C
    Friday Project 3-A Angel Eyes in D minor/Bb major
    Saturday Project 6-A Keys and Modes/stretching out

    These are just suggestions, you're free to pick and choose the chord projects you want to work on yourselves, but the goal is to sharpen your coordination through daily use.

    I've been using these as exercises in different comping techniques too, so the initial process of laying down accompaniement tracks has become a fun challenge too. I've found that progressing through root note, broken 2, walking bass and then chords has helped me to hear the changes better. This puts more melody in my chords, more chordal thoughts in my melodic lines.

    The week's progressions go from harmonically dense to more spacious so there's a challenge not to repeat myself and to come up with new ideas to play over changes.
    Lately I've been thinking of my lines as coming from spoken phrases, to play as if I'm talking or saying a conversational line. This has been helpful in keeping an internal rhythm in the notes I play. It's also helping me find functional meaning to whether I use eights or triplets. It's like learning to speak all over again.

    I've been able to stick with this pretty much every day and it's pretty amazing how it's helped my ear distinguish the subtleties of melody and how I can play ideas especially through position shifts. I still keep a list of things to work on, to polish and effect.
    This week's goals are finding strong ways to start phrases, where and how to start them and how to make them flow smoothly, fingering issues are taking on a stronger role.

    Next week we'll be getting into articulations! Finally slides, hammer-ons and pull offs! Nice to be getting through the hesitations of 'what to play' and feel phrases I can hear even before I start them. Hearing is the greatest factour in strong intentional phrases. If you can't hear the harmony, you can't play a convincing melody.

    How are you guys doing?