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Pasquale Grasso says in his master class that he does not like to play arpeggios as discreet staccato individual constituent notes. He divides it into two aspects: the first note and a three note chord--- The first Note is played and then the chord is strummed with the down stroke, in one continuous motion. So, basically, it's one note followed by a Chord.
CM7. = C plus E minor triad.
C-7. = C plus EbM triad.
C°= C plus Gb-6 three note chord
etc
starting with the 3rd
CM9. E plus GM triad
C-9. Eb plus G- triad
starting with the 5th
CM11. G plus B° triad
C-11. G plus BbM triad
starting with the 7th
CM7 B plus CM triad
C-7. Bb plus C- triad
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07-23-2016 12:15 AM
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Thanks, interesting...
But what for? What's behind it?
CM9. E plus GM triad
I mean I do not see how it effect musical ideas - like phrasing...?
To me it's more important to understand the quality of interval in arpeggio... and where these intervals are to use them in harmony and rythm context... especially importan the ferst note and its realtions to others
so maj7
starting with B is b2nd , 3rd, b3rd, 3rd - here I have lead tone at the beginning - that's the first thing to think of
starting with G I would first think of the 4th relations Ias basic here like G-C, B-E
starting with E is the most '3rd- made' for me - because we have at the bottom teh note that works well hear both in 6th and 5th which are in defferent harmonic dimensions but both 3rd related intervals...
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What's the point of his idea? Like Jonah says where's the phrasing?
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I must've missed this. Could you point me to the moment in the masterclass that he says this?
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Originally Posted by JazzMuzak
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I'll say try it play a CM7 Aroeggio this way
Play the E , 2nd pos, 4th string
Slide up to the 3rd pos, and play a GM triad root position ( strummed with a down stroke)
Play the G, 5th pos, 4th string
Slide up to the 6th pos and strum a B dim triad, root position.
Note + chord strum sounds different than a basic staccato Aroeggio
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07-26-2016, 01:31 PM #7destinytot GuestOriginally Posted by NSJ
Last edited by destinytot; 07-26-2016 at 02:03 PM. Reason: spelling
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I've got the impression that he might primarily do this when he wants to do one of those long low to high ascending arpeggio sweeps that he tends to do in his chord melody work. I don't hear him do it as much when he's purely soloing in a band context.
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07-26-2016, 02:05 PM #9destinytot GuestOriginally Posted by JazzMuzak
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07-26-2016, 02:18 PM #10destinytot GuestOriginally Posted by NSJ
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NSJ,
when you refer to pos. you mean where the 2nd finger frets? like in classical?
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Originally Posted by Jonah
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07-26-2016, 06:53 PM #13destinytot Guest
Pasquale's ascending run is actually in this trailer @1m30 - please take a look:
Last edited by destinytot; 07-27-2016 at 02:49 AM.
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Actually, that's part of what Pasquale says.
He has what I call 'spider-hands'... I met this kind of guys on guitar and on lute... they strectch and twist all the way... and they always speak about connection of technique and hands type or size...
We - guys with compact.. you know... 'boxing hands' - have to avoid this topic.
BTW The guy is fantastic virtuoso and master... but I never felt interested in him musically.. though I tried to approach it a few times.
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07-27-2016, 02:38 AM #15destinytot GuestOriginally Posted by Jonah
Sorry - I'll edit.
Again, I'm very grateful for the OP's perceptive and very helpful observation, which throws light on how Pasquale Grasso pulls off dazzling low-to-high runs (such as the particular one to which I've tried to draw attention).
I'm still dazzled and overawed, but - thanks to the OP - what previoisly seemed impossible now (just) seems....difficult.
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Googled that phrase: Re: "controlling shot"
Sorry - I'll edit.
Again, I'm very grateful for the OP's perceptive and very helpful observation, which throws light on how Pasquale Grasso pulls off dazzling low-to-high runs (such as the particular one to which I've tried to draw attention).
I'm still dazzled and overawed, but - thanks to the OP - what previoisly seemed impossible now (just) seems....difficult.
I will definitely practice this arpeggios patteren separately to get incorporated im my playing.
In every pattern it is important to have it organized in this or that way like for example when I played diagonal arpeggio in Cmaj7 for example in one of teh vids above ... when I practiced it I just had the system where I always play the root with the 2nd finger.. so I just had to determine where I make shifts (same concept for other 7th chords)
Same thing with any other patterns...
I think one of the benifites of Pasquale's approach is how he explains it: 'one +triad in sweep', it is easy to organize and a good...
And musically it's a good tool to play the chord arpeggiato in a harmonic style...
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07-27-2016, 03:15 AM #17destinytot GuestOriginally Posted by Jonah
PS Props to NSJ for spotting this neat 'trick' and thinking it through - it was no secret, but I was blinded to it by my own amazement.Last edited by destinytot; 07-27-2016 at 03:18 AM.
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If you slow it down you'll notice his execution isn't actually very precise (perhaps what he means by 'if I mess up') and rhythmically not very even. But the overall effect is that the arpeggio is smoother and more legato than if every note was absolute pinpoint accurate.
Obviously this something that comes from solo piano playing of the Art Tatum/Bud Powell tradition. Barry Harris talks about moving the whole hand rather than passing the thumb like a classical pianist might. Pasquale has come up with the equivalent thing on guitar.
I don't really understand the fingerings described here, but I'll dig into it when I get home.
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If you slow it down you'll notice his execution isn't actually very precise (perhaps what he means by 'if I mess up') and rhythmically not very even. But the overall effect is that the arpeggio is smoother and more legato than if every note was absolute pinpoint accurate
Though when you practice.. if you really practice you should be pricise with that too...
but playing music is different...
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OK, so these patterns are not a million miles away from the typical Django style arpeggios I use already, in that you have three notes on a string, then a sweep with lots of shifting. Mechanically very similar as far as the right hand is concerned.
Big difference conceptually is to use the single note + triad breakdown, which works very well.
Also (if you slide the final note) the Django arpeggio is executable with 2 right hand fingers and very little stretching. Kind of the reductio ad absurdum of what PG talks about then he talks about fingerings.
I've chosen a Gm6 arp for my own. The triad shape is not a standard triad type - kind of a Maj3rd with a Maj2nd on top, or a majb5 if you prefer.
Here is teh tabz:
I will have a bash at these when I get back and maybe pop up a vid if I am happy with the results.Last edited by christianm77; 07-27-2016 at 09:22 AM.
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Another thing I have noticed about ascending runs, is you can be a little messy and inexact, but as long as you nail the last 2 or 3 notes the run will sound good. I feel this is true of PG's playing here - the last few notes pop out. These are the ones that are conventionally fingered with a separate finger per note.
The important thing with any fast playing is to 'chunk' things together and work out what's important to pop out.
OTOH Every run of Django's I've ever slowed down is completely accurate with no fluffs at any speed (!)Last edited by christianm77; 07-27-2016 at 09:21 AM.
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Originally Posted by NSJ
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Strictly speaking, the fret below the 2nd finger is the position, since the 1st finger can easily play a fret below the position. If, for instance, you play an F major scale with low F on the 1st fret, 6th string, then play the G with the 2nd finger and the A with the 4th finger, and continue that pattern for the Bb, C and D on the 5th string, you're actually in 2nd position, even though you're starting both strings with the 1st finger 1st fret. The 1st and 4th fingers "stretch" while maintaining the hand position.
This understanding of position you give here also exactly represents what I was trying to say in clips above on playing everything (including streches slides and shifs) from point of view of positions
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Originally Posted by ronjazz
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OK, if I understand correctly this is how I would practice the arpeggio. I would practice it in stages rather than slow it down:
Here is a video of me practicing it and then rambling on for a bit:
I'm not sure if I've totally got that 'brrrrrr' thing down - it gets better as I go on I think.
NGD and a Mystery - Epiphone Content
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