The Jazz Guitar Chord Dictionary
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  1. #26

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    Yeah, that is always the best way to learn IMO.

    I learn them off of 4 string sets, though the upper two are repeats a whole step above on the fret board, the arps and scales are vital to know in small fragments everywhere. Many more fingerings present themselves this way, at least to me. Being aware of roots and modes on the upper string sets becomes much easier this way as well.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    That is great method of becoming aware of fretboard... but not really how MM is used by jazz players...Reg

  4. #28

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    Yeah Reg, that was the point, well at least my point. How to learn it everywhere. Once done, using it when weaving other sequences over changes becomes much more natural than finding a starting point on the lower strings because you were not oriented enough to see smaller upper voicing's of MM. This holds true with any note collection. If you can't see it in your minds eye, how will you ever utilize it effectively? Which leads into your point.

  5. #29

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    Quote Originally Posted by brwnhornet59
    On a minor ii V i, I would play D locrain natural 2, G alt, C MM over D-7b5, G7b9, C-6. In that context the stress is released beautifully.

    So I find no issues with E.
    I put some improvisation ideas on this progression here.

    Regards

  6. #30
    Nuff Said Guest
    Quote Originally Posted by Reg
    That is great method of becoming aware of fretboard... but not really how MM is used by jazz players...Reg
    Thanks
    Nuff
    Last edited by Nuff Said; 12-01-2011 at 07:18 AM. Reason: Thanks

  7. #31

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    Quote Originally Posted by ubiguitar
    I put some improvisation ideas on this progression here.

    Regards
    Great ideas. T/y for posting.


  8. #32

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    Are you playing G7#5 or G9#5? The Ab is a b9 against G so it should cause you no issues any more than your example playing B7#5 using C MM, unless you are voicing a natural 9th in the chord.

    If you want all of the altered sounds, Ab is the way to go. If you are simply playing G7#5 then C MM should be a shoe in. Either way they both work.

    Also give this a whirl. When playing G7 throw FMM over it. Great b9 sound. The b3 also is a great sound when playing blues.

  9. #33

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    BTTT

    Please forgive my indulgence, but I'm getting the MM scale down, and I've got a new version of Band in a Box that I've put on my new Mac, and I want to use some of your ideas to lay down some rhythm backing tracks to practice the MM scale. Getting the thread back to the top makes it easier to find.

    Carry on, and thanks.

  10. #34

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    Quote Originally Posted by zigzag
    BTTT

    Please forgive my indulgence, but I'm getting the MM scale down, and I've got a new version of Band in a Box that I've put on my new Mac, and I want to use some of your ideas to lay down some rhythm backing tracks to practice the MM scale. Getting the thread back to the top makes it easier to find.

    Carry on, and thanks.
    Thanks for doing so! A real interesting read, haha.