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How do you make up your worksheets
Peter? They look nice.
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06-08-2024 05:25 AM
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Originally Posted by Christian Miller
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Originally Posted by Bop Head
Yeah my secret? Never use jazz font.
It’s just finale. I’ve gotten pretty good at the spacing and stuff over time. Not sure beyond that.
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Originally Posted by pamosmusic
Yes, your sheets look really good, although Times New Roman is not my favorite serif font.
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Originally Posted by pamosmusic
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Bop Head is a man of specific tastes.
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Originally Posted by Christian Miller
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I mean neither was Sibelius… and that cost a lot more
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Originally Posted by Christian Miller
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Originally Posted by Bop Head
Sounds like forking over for the extra functionality of Finale is a little easier.
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Originally Posted by Christian Miller
It's interesting how common that technique is among black guitarists. Is it taught in that community?
As to how much it actually matters, I'm not sure.
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Originally Posted by charlieparker
Most younger players use a more classical left hand.
One player who consciously moved towards this technique is Miles Okazaki.
I think it makes a massive difference in terms of sound and phrasing. Not better, just different.
God is in the details. If you are interested in the nuances of specific peoples music, yes I think it does matter. If you just want to operate the guitar well with a technique that works pretty good for everything, stay with ‘legit’ technique.
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Originally Posted by Christian Miller
I am also skeptical that it wasn't taught at all in the African American community given how prevalent that style is. And by taught, I mean more in the gypsy sense by word of mouth and imitation.
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Originally Posted by charlieparker
Maybe less true these days with guys teaching Benson's style. So your average kid is going to end up learning what most books teach. As for how natural that style, it's hard for me to gauge. Do unschooled rock guys use it?
As far as thumb overs ‘naturalness’ - the kids I teach tend to play that way until I nag them not to lol. It takes specific instruction to get them to do it the classical way.
From what I know and my instinct (without doing a PhD) I don’t suspect pedagogy had much to do with it historically. Not all learning or even all teaching is pedagogy, however.
I feel people who are used to being taught in a formal way don’t always realise how readily info can absorbed in other ways. Watching the way players play for example and emulating them is an old way of doing things in jazz. Barry Harris recalled watching the hands of pianists in clubs to learn their voicings, and so on.
I think there would certainly have been informal teaching, put your hand like that, try this shape etc… information gleaned from apprenticing, hanging out, mentorship etc. (One thing a lot of traditional learning environments have apparently is a relative lack of verbal instruction.) But worked out classical style systems of teaching with things like technical studies, method books? well I don’t think that exists in print, let me put it that way. I don’t know that it’s possible to rule it out.
AFAIK most of the formal music education available at the time was based in European classical, including within the African American community (cf Cass technical school for example, but many other examples going back further.) Kenny Burrell and Jim Hall studied classical guitar, and their playing technique reflects that. I would expect jazz guitar teachers of the time would have modelled their left hand pedagogy after classical, looking at the books etc. it was the hallmark of a schooled guitarist!
But I might be wrong! I just don’t really know.
For me, I watch players hands and go with what seems to flow on the fretboard. I transcribe and try to reconstruct that way the player played the notes. If it feels good, it is good by and large.
I am also skeptical that it wasn't taught at all in the African American community given how prevalent that style is. And by taught, I mean more in the gypsy sense by word of mouth and imitation.
Sent from my iPhone using TapatalkLast edited by Christian Miller; 06-10-2024 at 04:52 PM.
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Originally Posted by Christian Miller
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So this buddy of mine who teaches the trumpet students at the afterschool program where I work was super amped because he decided to take some lessons with a new trumpet professor at one of the area universities.
He sends me all the stuff he got to work on for his first lesson, along with this comment:
He said once the articulation falls into place and feels more second nature, we'd explore the cool harmonic stuff and some of the time displacement Woody Shaw does
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More on accent patterns …
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Alright. It’s been a long summer without a lot of time for stuff like this, but here’s a new one. A different sort of “turn” for you to check out.
(I use the blanket term “turn” describe a lot of these things, but maybe “ornament” is the better term. Anyway.)
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Seems like a real fancy enclosure to me. Is it different in some way?
I like it, one of those tricks that just sounds like jazz when you use it.
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Originally Posted by AllanAllen
But yeah it's insta-jazz. They're pretty fun. Here are the rest that I've collected so far. I've pulled these mostly from Clifford's solos on September Song, Stompin' at the Savoy, and Delilah. Full disclosure I've only put in work on the one in the B (which is the one in the video) and C. I sort of put A-C in kind of a similar category. Not sure you need all of those in the arsenal. Then D-E also have a similar vibe, obviously. Having one from each of those groups probably covers. Not sure –– these are still a work in progress.
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Originally Posted by princeplanet
The reason I ask is that I've found the layout of a guitar neck (bass guitar in particular) very helpful for seeing scales and chord tones. Essentially, I have the image of a bass guitar neck in my mind's eye and can see intervals (and therefore scales and chord tones) laid out on it in a way I never could on a piano keyboard. This works for double bass also as I can see/feel where the frets would be (hitting them accurately is another matter...). This mental image also helps as a representation of the cycle of 4ths/5ths for transposition.
Though there's a bit of an issue with the major third between the 2nd and 3rd strings this visualisation has carried over to some extent to my recent guitar playing attempts.
Re. the trumpet, I have tried to learn that but found it pretty much impossible. It's very hard to find the notes or even to know which note one's currently playing, plus it feels very uncomfortable indeed to play. I am in awe of the abilities of trumpeters! Trombone is a little easier because of the slide and the larger bore but it's still very difficult to find the notes or produce a good tone.
To me, guitars and basses feel like "easy" instruments because of how one might visualise the layout of the fretboard (or fingerboard). Of course, it is highly likely that I have missed something...
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Originally Posted by gvurrdon
I think this short video sums it up well:
It's not a matter of where the notes are on the fret-board but the fact that how you play them (pick and phrase them) must change from one position or string set to the next - but he could have omitted the qualifier, "a little."
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Jeeze guys, it's not that hard, pick a position and work on it. Learn one thing at a time and then move on. You can't learn it all at the same time.
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Originally Posted by gvurrdon
Depending on where they fall, chromatic notes tend to be easier on brass instruments because of the way the positions work — first being Bb, second being A, third being Ab etc — and also can be easier on piano because of the fingerings and the ease of motion between registers.
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Originally Posted by AllanAllen
Experimental/free etc music
Today, 12:29 PM in Improvisation