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Originally Posted by JBallMusic
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05-02-2012 05:27 PM
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Originally Posted by FrankLearns
And, I like your tone and that major 6 chord at the end, brings to mind a fruity rum cocktail (and I don't even drink anymore).
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Originally Posted by onetruevibe
Originally Posted by onetruevibeOriginally Posted by FatJeff
In the back of my mind is the chord I'm playing and the chord I'm going to, both while doing Elliott's arpeggio exercises and when I'm playing music. I prefer to think of the chord "numbers' as opposed to the actual chord names.
For instance, when doing an Elliot exercise I'm thinking in the back of my mind, "the next arpeggio is over the iii chord".
I think this is a great tip: While playing an arpeggio think in the back of your mind what the next arpeggio is in terms of chord Roman Numeral numbers
Originally Posted by jster
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Originally Posted by gersdal
Then I just played around a bit but still sticky 99% to the arpeggios (I played a couple chromatic connectors). It took me a little bit of fumbling before I got rolling on the playing around bit.
This is a fun way to practice the arpeggios.
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Originally Posted by fep
I also had something of an epiphany about Autumn Leaves the other day. I was working the minor patterns through the CoF (cycle of fourths) and suddenly a lightbulb went off - Autumn Leaves progresses by fourths in a minor key. I've been told that before, but this time I really got it. Duh.
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Originally Posted by JazzReggieOriginally Posted by FatJeff
You've offered plenty to keep me busy for, oh, the next couple years.
To keep this thread on track with chapters 2 & 3, I'll link back to the original thread on this - you can check there for updates.
And now back to our regular programming...all Joe Elliott, all the time.
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I will be following along, I have been working on this book for a few months, and just finished it.
Going to go thru it again to solidify some things,,,,
Great post,,,,thanks fep
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My copy of the book has finally arrived! Not sure if I'll be able to keep up with the pace of the study group (existing private lessons, other activities, etc), but I'll definitely be digging into the book and following these threads.
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For Sale: CHEAP...
Long story short, I ended up with two copies of the text book for this thread -- the Joe Elliot _Introduction to Jazz Guitar Soloing_. I have a copy that's still in the unopened Amazon box, pristine and fresh off the press.
Anybody need a new copy? Send me a PM and we'll work it out ( basically, just PayPal me $11 and its yours.)
KJ
Send me a PM for my email
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My book arrived yesterday, too! I'll tell you what, though, this has already improved my playing. Before starting this book, my improvisation was primarily playing arpeggios starting on the root as the lowest note and running around on scale patterns. Noodling basically.
By working the Pattern I Maj arpeggios into playing tunes I has already made things sound more interesting. Especially when playing the arpeggios using Pattern I and starting on the low note (or any note other than the root.) Sure, it' probably still classified as noodling, and the changes aren't as obvious, but it sounds more interesting - to me anyhow.
I'm really excited about where this is taking me!
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I've been working on chapter 2&3 major and minor arps. I believe I am doing them as the prescribed in the book. I noticed that most of the changes from one arp to the next fall on the off beat or and of the beat. When seems a little awkward. But I forge on.
Anybody have any comments? Is that not the intention of the author?
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I don't think the intention at this point is to make strong melodic statements, but to get the arpeggio shapes under your fingers. The music making comes later.
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Originally Posted by rmsmarr
If you want to forge on after that step then check out the videos I did and posted to this thread. I showed some other ways to practice the arps.
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Thanks for all responses! I am definitely enjoying this practice! Actually I told my guitar teacher about the forum and the study group and he liked the idea (I don't think that it is potentially harmful for his business. Nothing substitutes for the look of a teacher who turns on the metronome in response to your latest attempts :-)) . Next time I'll bring him the book.
In response to another comment - I thought our assignment is to play the arps for a given number of measures and not change between them on offbeat or odd times.
I also fooled around with the Autumn Leaves changes and I agree that it is more fun because the changes are much more along the lines we meet all the time in playing standards. But I also think that we would probably jump too far ahead of ourselves if we would try to make strong melodic statements at this point in time ... I know we all do this to eventually be able to do this and to do it in proper time and without awkward notes. For this assignment I suppose we stick to the mechanical part of running these arps up and down. It'll get sufficiently complicated soon enough :-)
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Originally Posted by FrankLearns
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Originally Posted by fep
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Originally Posted by gersdal
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Originally Posted by FatJeff
Sweet Georgia Brown, however, is.Last edited by Kojo27; 05-04-2012 at 06:14 PM.
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Hi
Gersdal :
Thanks a lot. The similar minor arps had the same errors (copy and paste). I'll update when I've played carefully through them all.
Here is my try on Arps Pattern 1 Major
https://www.box.com/s/ce6e87007ad261ecf639
Thx
MiguelLast edited by MGranada; 05-05-2012 at 08:09 AM.
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OK, I am catching up to you guys. I am enjoying this quite a bit. I am not sure whether I am going to put up any mp3s for a while. I tune in 4ths and so I have a somewhat different set of issues to address. In particular, in addition to the arpeggios within the scales, there are other (more musical and riffy) forms that fly out of the scale forms. So I have choices about how I want to tweak Elliott's exercises. But, it seems I should be able to work through Elliott's exercises with all my scale patterns systematically and pretty quickly.
For the Chapters 2 and 3 exercises, I am going through them with pauses just as Elliott does on the CD. But looking forward to the connecting game, I have a question for you guys. Elliott has you run up/down the arpeggios and then connect them with the nearest note. A bit later on he tells the student to switch directions and mix it up a bit. But here is my question. Leaving Elliott and his pedagogy aside for the moment, and leaving aesthetics aside for the moment, how much jazz is there that is roughly like that? I.e., that is going up (down) one arpeggio and then connecting by means of the nearest note to the next one arpeggio at the next bar? Is there a bunch of bebop like that? I can appreciate using arpeggios. I can appreciate changing them as the chords change. I can appreciate swinging eighth notes. I can appreciate running a bit up or down in them. I can appreciate connecting them smoothly. But I am having trouble appreciating the importance of going straight up and then connecting to the mathematcially nearest note. Anybody have any thoughts on that? The reason I am asking has to do with the options I have for tweaking Elliott's exercises. Any videos of highly mathematical arpeggio work from the history of jazz would be appreciated!Last edited by jster; 05-05-2012 at 03:35 PM.
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Originally Posted by jster
And I think some of us may find as we are learning these new "pathways" that we will sound too mechanical for a while.
I also think that this is a good stepping stone to really get our hands/mind/ears around these arpeggios. It's also helping me think ahead and keep track of what chord is coming next.
I'm planning on following the book really closely. Get comfortable doing these exercises Elliott's way first. After that, I think it's fine to get creative and try other things. Just like the variations we have come up with in this thread. But, I repeat, I'm going to get it down Elliott's way first.
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Originally Posted by fep
Whether we're satisfied with *how* it works... we'll see.
So I'll try my best to follow Elliot's method. So far I've abandoned only his insistence on alternate picking, and his scale fingerings.
kj
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Originally Posted by Kojo27
As you know I'm working on a new picking technique that includes economy picking when moving from a lower to higher adjacent string. It's easy to fall back into long-time-ingrained old picking habits. So I'm not about to abandon economy picking for these exercises.
But I'm good with alternate picking and don't need to work on that. That suggestion by Elliott, while a good suggestion, is not really what this book is about.
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Originally Posted by fep
Update on my practice - I've started with the Minor Patter II arpeggios. I have them dialed in pretty well, but still have to pause at each change for a couple beats to remember what comes next. I'm going to start using fep's suggestion of thinking always thinking about what's coming next.
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In the interest of not spending 90 minutes a day just on this material, I'm going to pare down my practice to just using Elliot's shape 1 and shape 4. (Shape 3 and Shape 7 in Bruno parlance.) Those are shapes that don't require any shifting and they cover the fretboard fairly well, so it should be a good compromise for me.
Part 2 Secrets to McCoy Tyner using 4ths,...
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