The Jazz Guitar Chord Dictionary
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  1. #26

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    I've been out of town the past week, and I was cruising through the quaint "old town" where I was, and wandered into a mom 'n' pop music store ... As I was perusing the music books, I rounded the corner of a display stand, and lo and behold, right next to a "Lady Gaga" book, was the Mick and Tim book!!! [Funny, since minutes before I stopped into a big-box book store, and they said, "Not available until April!"] I grabbed it, and have been studying it (without guitar!), but I just got home, so now it's time to attempt some exercises.

    The book looks amazing, so I'm excited to dig in.

    Marc

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Mine just shipped from Amazon today!!! Oh Boy.

  4. #28

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    Hey guys, Aebersold has a sale on all Berklee Press going on at the moment. Got the notice a few days ago and will be jumping all over the MG soon... I think it runs till the end of the month...

  5. #29

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    Got my copy yesterday.
    I think it is an amazing book - so "simple" on the one hand and so deep on the other. Will spend many months and years to come with it.

    The guru did it again

  6. #30

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    Quote Originally Posted by JakeAcci

    David, are you planning much practice with this material? Do you have a plan of attack or have you already been working with it? If so, I'm sure people who are receiving the book and eager to actually work on the material ... would benefit from discussion ...
    I've been pulled in by page 29 (that's track 8 on the CD). Close voicings with linear top voices. Some observations:

    Of course the order of these chords within a grouping is up to you so your own combinations can have a descending or ascending direction.

    Use them as a mix with chordal passages you already use ("embed" them with familiar chords), they will really shine up any grouping of chords. In this way, I see this book as an enormous book of exotic spices rather than a new food group.

    There will be some that indeed assimilate this and use it with substitute harmonic context, and they will find a new food group. Make a modal compression of the lydian b7 and play it as a tritone sub for instance. I'm not there yet but it's on my list.

    The better your aural harmonic sense is before you begin this book, the more you will appreciate its depths and the faster you will be able to assimilate the riches. If you can't hear your way through your standards without a lead sheet, you're not going to fly as high with this material. That foundation is a good bench mark for a higher level of understanding for the book, not necessary but well worth the work to put in place.

    Just because the chords are written out doesn't mean they are locked from experimentation. Already someone has experimented with dropping the bass note down an octave. With close voicings this can be a profound variation.

    I'm starting to scratch the surface and the gold that comes up under my fingernails is a lifetime of riches.

    Anyone else have any thoughts/observations?

    By the way, I'm simultaneously working with non diatonic hybrid chord progressions (another project entirely). Anyone interested in that particular box of spices?

    Maybe a new thread with chord spices?

    David

  7. #31

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    Quote Originally Posted by TruthHertz
    By the way, I'm simultaneously working with non diatonic hybrid chord progressions (another project entirely). Anyone interested in that particular box of spices?

    Maybe a new thread with chord spices?

    David
    Sure thing brother!!!

  8. #32

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    My copy has shipped!
    (Along with the Howard Morgen book)

  9. #33

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    Alert: Amazon has it in stock for $13.50! And yes, I bought mine full price ...

    Marc

  10. #34

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    Can anyone comment on what this book really is yet? ....and is it covered by other books such as "Triad Pairs for Jazz" by Gary Campbell, a Bergonzi book, or something else?

    My family is about to offer tribute to Amazon again and I might include this book/cd if it actually offers a unique approach.

    Thanks.

  11. #35

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    Quote Originally Posted by 4thstuning
    Can anyone comment on what this book really is yet? ....and is it covered by other books such as "Triad Pairs for Jazz" by Gary Campbell, a Bergonzi book, or something else?
    Similar to the the concept of triad pairs, except he has different 3 notes groupings than traditional triads. So, he may group a triad with a 7th no 3rd, or a 3 note cluster (3 consecutive diatonic notes) with a 7th no 5th, etc.

    He also leaves out the root, so you're basically working with the other six notes of the scale. He gives examples of how to use this harmonically and melodically.

    I haven't had time to work through the book, so my explanation may not be clear or do justice to the concept.

  12. #36

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    Thanks for the summary.

    Do you or anyone else know if this is how Tim Miller approaches playing or is he doing something different?

  13. #37

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    Much much different from TAG. Just got mine. The book is all application with no text per se until the end: Words from on high that one will have to meditate on for some time, I'd say. Very excited about this new addition to my collection!

  14. #38

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    Quote Originally Posted by 4thstuning
    Thanks for the summary.

    Do you or anyone else know if this is how Tim Miller approaches playing or is he doing something different?
    It's definitely a part of it. Tim's approach also involves a great deal of self discipline and tireless work on many levels. This is one of the tools and it fits well into his philosophy, approach and sound, but it's by no means the "method book of Tim Miller's guitar style in one volume."
    There's a lot to like about Tim's playing if you're into him. When you get into the deep reasons, this book will give you a huge insight. More importantly, it will give you a powerful tool for taking yourself beyond anything he's doing at the moment. He's the co-author and I think it's safe to say he'll spend a lot of time really getting to know this material himself.
    David

  15. #39

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    Quote Originally Posted by 4thstuning
    Can anyone comment on what this book really is yet? ....and is it covered by other books such as "Triad Pairs for Jazz" by Gary Campbell, a Bergonzi book, or something else?

    My family is about to offer tribute to Amazon again and I might include this book/cd if it actually offers a unique approach.

    Thanks.
    There is a commonality in triadic approach but pretty early on the similarity ends. The Goodrick book had many practical and musical examples/applications hidden within it, and a really useful CD so you can process what he's doing on an aural level. You'll get a lot from all your mentioned books and the Goodrick and no, I don't think there's a lot of redundancy at all. They're all books you can devote very fruitful time (years) with if you're a serious musician.

    In a recent talk Wayne Krantz gave, he talked of this book specifically, citing it as an example of one available vital path as an alternative to the systems that keep guitarists limited in their own "guitarism" (my take on what he said.) In short, he really praised it as a system of using an integrated melody and harmonic language to creatively reveal form while playing real creative music. I think it was while he was talking about breaking down the traditional roles of chord/solo (comping and line playing as 2 separate things.) He showed how once the implication of bass note is established, you can spend the time within the measure to create really great sounds/ideas and the harmony is revealed in the process. As somebody that has been with, worked with the material and seems to know the virtues of the approach, he sure did make it sound good, useful and really beautiful as a way of music.

    Oh yes, before anybody looks at the book and sees a wall of work and a long path to revelation, I might suggest thumbing through the book while listening to the CD, and then reading Mick's blurb at the end. That will give you a good sampler of what you can hope to achieve and some thoughts on what adjustments in attitude might be helpful. Then you'll have a better idea of what the book can do for you.
    Just my humble suggestion-
    David
    Last edited by TH; 03-01-2012 at 11:04 PM.

  16. #40

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    I'd love to see a study group on this book. It's a bit over my head but I'd be willing to give it a shot and I'd enjoy learning from the more advanced players here as they worked through it and shared their insights.

    Tim has a new record coming out this year (think he said March or May). Good news if you're a fan!

  17. #41

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    Thanks to all. I'll go ahead and risk some capital on this venture.

    I hope people post specific revelations from this book. It'd help everyone, including the authors

  18. #42

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    I got the book yesterday.

    My first thought is to practice the Ionian page in 28 modes before moving on.
    Learn the sound of each modal chord pair(s) before taking on song form.
    I also like to play 3 note chords with doublings and as combinations of diads.
    That should be enough to cover the 1st few days.

    Quote Originally Posted by TruthHertz
    By the way, I'm simultaneously working with non diatonic hybrid chord progressions (another project entirely). Anyone interested in that particular box of spices?
    Hey David,

    I am interested. What is a short version description of the work you are engaging in?

    Best,
    Bako

  19. #43

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    Quote Originally Posted by Jeremy23
    I'm on a waiting list for it at the Berklee book store. Interested to see its content, but I've never been much of a book guy.
    It's kinda not a book guy kind of book. There's not a whole lot of "do this" or "here, do it this way:" But if you listen to the CD and hear something you like, you can certainly find out how to get that kind of sound. But there's a lot of Do It Yourself and Make It Yours, which might suit you fine. It's like a reference manual or catalogue of interesting sounds to use in tonal situations so you don't have to play chords in the same static way. If that's what you're looking for it's worth looking at. On the other hand if you're looking for things you can plug in and play without bothering to know why, that's not the best use of it.
    It's a pretty comprehensive guided tour into a different way of looking at changes: covering a mode in two triads and making it melodic along the way.
    I think anybody that really uses it is not going to be a book guy though, it pretty much requires you to be a guitar/hand/ear guy.
    David

  20. #44

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    Quote Originally Posted by bako
    Hey David,

    I am interested. What is a short version description of the work you are engaging in?

    Best,
    Bako

    Short version is this is a systematic use of non diatonic chords over the form of a piece. If you feel comfortable with the liberal use of dominant 7th chord options to create tension, it's along those lines, only now you can "substitute" chords at any point that you want to create a progression of controlled tension.
    For example, if you have a passage that culminates at a chord, like an A7, you might, in common practice, preceed it with an E-7, or an E7 or even a B7/E7 combination or something. But what if you could harmonize each melody note with a chord of increasing tension? What if the first 4 melody notes of Autumn leaves could have its own chord that goes from mild tension to high tension, or the other way around? What if you wanted to do this over the space of several measures to create dramatic progression towards a specific point or chord?
    This is a system of reharmonization on the fly that allows the soloist, especially chord soloists, to create beautifully progressive chords under the melody where the soloist decides and knows exactly how much tension is being applied. It's a very specific set of spices if that's the way you want to cook.
    So how does one find these chords? Hybrid triad over bass notes. Each major triad when put over a bass note creates a TEXTURE. In this system, you don't identify a chord as "major" or "minor" or "M7#5" per se, but the total hybrid chord created under the melody note is considered a tension colour: tensions going from 1 (least:consonant) to 12 (most: dissonant)
    That's the idea. As you can see, it might be totally sensible or totally wrong for you depending on how close you orbit "traditional" bebop methodology.
    As you can see, a new thread might be the more appropriate treatment of this subject. Or a book. Or a course in school. Or a study group.
    I hear some of this approach, in his own way, in Kreisberg's chord soloing.
    Sound like a topic of interest? Questions?
    If so, maybe a brief note and a new thread...
    David
    Last edited by TH; 03-03-2012 at 09:28 AM.

  21. #45

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    I'd be interested in reading more. Perhaps a new thread starting out with a tune, your "reharms", and a more detailed explanation of the why's and whatfor's of your example.

    Also I'd like others to continue this thread on the Miller/Goodrick book to express what they're getting out of it. I've ordered the book but won't have it for some time.

    Thanks.

  22. #46

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    David,

    New thread I think.
    I sent you a P.M. meanwhile

  23. #47

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    I have been practicing just from the introductory page of C Ionian pairs in open and close inversions.
    The open inversions, I try to address 3 or 4 string groups for each one.

    653/542/431
    643/532/421
    642/531
    654/543/432/321

    I play along with a drone note and also playing the root myself.

    He suggests on the previous page to write out similar charts for all 28 modes of 4 scales in a similar fashion.
    I am doing this in my head one mode at a time which is working fine for study purposes but I have to improve the 1-5 second time lapse to instant realization.
    I feel I want to get enough control of this material well to enough to apply it freely to tunes on my own and then check out the examples that follow.
    It will allow me to see the choices they made as one of multiple possibilities instead of something I need to memorize.

    I am trying to absorb the modal compression idea of covering the 6 note structure in two 3 note chordal moves without referring to the chart.
    Start with 3 notes and what 3 are left over. Further down I'll work on this in a chromatic and other scale context.
    Meanwhile there is some work to do................................

  24. #48

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    Two ways I am practicing the raw material involved in the book (page 2 and 3)

    Derivative-Each 2 chord sequence moving through chord scales (4 scales, all keys)

    C Major
    I---BEF-ADG
    II--CFG-BEA
    III--DGA-CFB
    IV--EAB-DGC
    V---FBC-EAD
    VI--GCD-FBE
    VII--ADE-GCF

    C Melodic Minor
    I---BEbF-ADG
    II--CFG-BEbA
    III-DGA-CFB
    IV-EbAB-DGC
    V--FBC-EbAD
    VI-GCD-FBEb
    VII-ADEb-GCF

    C Harmonic Minor
    I---BEbF-AbDG
    II--CFG-BEbAb
    III-DGAb-CFB
    IV-EbAbB-DGC
    V--FBC-EbAbD
    VI-GCD-FBEb
    VII-AbDEb-GCF

    C Harmonic Major
    I---BEF-AbDG
    II--CFG-BEAb
    III-DGAb-CFB
    IV-EAbB-DGC
    V--FBC-EAbD
    VI-GCD-FBE
    VII-AbDE-GCF

    -----------------------------------------------------------------------------------------------------------------------------------------------------

    Parallel (Play over C pedal)

    Major
    C---BEF-ADG
    Bb--BbEbF-ADG
    Ab--BbEbF-AbDbG
    G---BEF#-ADG
    F---BbEF-ADG
    Eb--BbEbF-AbDG
    Db--BbEbF-AbDbGb

    Melodic Minor
    C---BEbF-ADG
    Bb--BbEbF-ADbG
    A---BEF#-ADG#
    G---BbEF#-ADG
    F---BbEF-AbDG
    Eb--BbEbF-AbDGb
    Db--BbEbFb-AbDbGb

    Harmonic Minor

    C---BEbF-AbDG
    Bb--BbEbF-ADbGb
    A---BEF-ADG#
    G---BbEF#-ADG
    F---BbEF-AbDbG
    E---BEF#-AD#G#
    Db--BbbEbFb-AbDbGb

    Harmonic Major

    C---BEF-AbDG
    Bb--BbEbF-ADGb
    Ab--BbEbFb-AbDbG
    G---BEbF#-ADG
    F---BbEF-ADbG
    E---BEF#-AD#G#
    Db--BbbEbF-AbDbGb

    ------------------------------------------------------------------------------------------------------------------------------------------------------

    I want to be able to navigate the 10 "modal compression" 3 note chord pairs freely through close and open inversions before moving on.

    This thread might not emerge as the next "Leavitt Modern Method" book club project,
    but anyone else willing to share their experience with this material so far.

  25. #49
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    I got the book in the post today.......

    Nuff Said

  26. #50

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    Does anyone have an update on their experiences with this book yet?

    I received it two days ago and will share my experiences so far. It's painfully obvious this material has a huge learning curve and really taxes the memory. It will require a LOT of work to incorporate this my playing. I'm on page 2 and haven't yet mastered the triad/no3,no5 stuff yet. I refuse to move further until I can get each line of pg 2 incorporated - should take about a year at my current rate. Page 3 is far over the horizon.

    Moving forward into all the modes and scales (20 triad pairs x 7 modes x 5 scales = 700 triad pairs) will be daunting unless some great revelation occurs. ...well that's a bit of an exaggeration as I mainly use the major and melodic minor scales so my more modest ambition will reduce the total to only 280 pairs of hell.

    It's very tempting to give up...and I would but the CD sounds are too enticing. What torture!

    Maybe I'm thinking about this wrong. Shout out if anyone can guide me to the light.