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There's quite a lot of transcribed phrases to review in the opening chapters for sure, but there is a thematic grouping and underlying concepts. I think it's similar to - let's say - Mark Levine's Jazz theory Book. Which really tries to assess a concept and provide examples across different artists. You can choose to copy exact phrases, but my hope is you look at them conceptually and break them apart. Take a piece of them and change them.
The latter chapters have some sample exercises that takes the section's concepts separately and starts you off with an idea an ask you to continue. Like (perhaps) some of the Classical composition books from yesteryear that have people write things out based on a given theme. Plus there is compositional techniques in Chap 9 that don't talk so much about the notes but rather the organizing or thematic principle.
Assuming you saw the 2nd demo video? I take his Chapter 2 and 6 lines and play them verbatim. But then add my own extensions to them. That is what I was encouraging there, a sort of dynamic/active approach to all the material in the book. In other words drawing things from all the chapters and inserting yourself in them. Chap 10 is almost a thesis - in a sense where I task myself to apply some of the concepts and create my own "Jimmy Raney" style solo on tunes he never played.
Does this answer the question? Let me know
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09-03-2024 02:48 PM
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Yes, thank you!!!
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Lol just saw this topic, order placed!
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It just arrived. Woot!
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Jon Raney has just posted another illuminative video, looking at the sequence and development material in the book.
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I was just going to post that video. I'm so glad he did this section. So very well done.
What a big help this was. I liked that he stressed that these exercises are a starting point
for writing your own lines.
Thanks Jon!
Keep 'em coming!
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Hi Jon,
Yeah, I thought MrCoconut was a clever name but I'm rethinking that now. Haha.
Thanks again for the great new video.
All the best,
Joe
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Well, I'm trying to be less of a wise asse.
My initial reply was going to be.
"Call me Harry."
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So after going through Jon's 2 videos 8 or 10 times,(I have a very thick head)
I started thinking, wait a minute, I think I do this sometimes though I was
unaware. I'm referring to the rhythmic devices.
So I got out my Play Along with Jimmy Raney book and there it was in the forward.
I probably read about it and then promptly forgot it.
So thanks Jon for bringing more clarity to this subject. It's hugely important imo.
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Looking forward to your next one Jon!
I just wanted to show an extract from Mark Levine's Jazz Theory book that
talks about "stretching" the changes. Very similar idea by using anticipation (starting a beat or two early)
and extending (carrying over to the next bar).
I hope it's OK to post this. If not, let me know.
Weaving the VII into my lines.
Today, 01:08 PM in Theory