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Originally Posted by mooncef
Originally Posted by mooncef
The exercises beginning on page 29 have definite string set markings. These exercises are the basis for everything that comes after. You should practice and memorize those before attempting to make up your own fingerings. If you practice and internalize everything from page 29 through page 63 you will have learned, hopefully, everything you need to approach the remainder of the volumes in an effective manner.
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09-06-2016 12:17 PM
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Originally Posted by monk
until the next string set was indicated , i also infered that a string set stays unless a new one is stated !
i realy liked the exercise ! i will work on the next key tomorrow
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in learning inversions on all string sets in all keys in all possible voicing's close and open ..and starting the scale from any note in any of these inversions in all possible intervals 3rds 5ths 7ths 9ths 11 and 13 is the essence of these studies..while not a chord melody study..it IS a study in moving voices and their harmonic relationships..
the old adage: a journey of a thousand miles begins with one step..just as a guitarist learning a C chord if you never played one before can be a challenge..
many must wonder how much time it took for guys like VE or Greene to acquire and "learn" the vast amount of information and then apply it to the guitar..(just putting the material together to write the books they did must have taken years of full time workweeks-they didn't use computers!)
in looking at it from a distance they built information on preceding information..alot of numerical and musical "logic" is used in almost all exercises..the fingerings and string choices may be debated..but not the notes..
the exercise using the notes F A D is a D minor inversion in the key of C..you will see it again in the key of Bb etc..the lesson is to view the voices in these studies and learn to "move them" in melodic bits..
fast forward..after this type of info is digested and becomes "mechanical" is will be much easier to pick out a melodic phrase while playing through the chords..thus chord melody..
as Greene points out in chord chemistry..some know how to play a lot of chords..but don't how to use them...its better to know how to play a few chords and know how to use them..and of course..how to play a lot of chords AND know how to use them...
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Originally Posted by PaulHintz
I think it's much easier to work through a number of different exercises in the same key, rather than working through one exercise in all 12 keys. Helps with the tedium, but that's just me.
As far as recordings go, look for GVE's small group recordings on Jump Records. Sadly, I think they're out of print, but you can find tracks on YouTube.
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The Van Eps/Miller/Wrightson recordings on Jump have been re-released under the title Once In Awhile with additional takes.
Back in the 80s the original album was released by the Allegheny Jazz Society and the additional takes were released as a second LP. I have both of those but this new CD combines all 22 cuts on one CD.
Here's a link to a seller. I got my CD from Amazon. It's out there for anyone who wants it.
George Van Eps : Once in Awhile CD (2014) - Jump Records | OLDIES.com
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Originally Posted by monk
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I'm looking for volume 1 but they are fairly pricey on Amazon and eBay. Anyone know where I might find a cheaper copy? I'm based in Europe.
Thank you
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Originally Posted by Liarspoker
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Originally Posted by pcjazz
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I'm stuck on something in Vol 1 that I hope someone here can help me with. On page 70, with the "3 to 6 down" exercises, where you are supposed to hold one voice while moving another to sketch out a 2nd inversion triad. There's one fingering that has me stumped. It's the C major triad in the middle of the page here. How am I supposed to hold the E on the first string with my third finger, play C B A on the second string with the other three fingers, then play a G on the third string with my third finger? I can't barre the third finger because the notes on the second string move underneath it, and he really emphasizes in this section that the whole notes should be sustained for the entire measure. I don't think it's a typo (though there definitely are plenty in this book!) because he uses that fingering on that set of strings for a lot of major chords on the next few pages. Am I missing something? I don't see how this is possible while sustaining the top E.
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I think it's a typo. Play the G with the second finger.
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G has to be second finger. I think it's a typo.
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Originally Posted by rpjazzguitar
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That's what I was thinking but it's written that way several times through the 12 keys. Really weird.
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And notice that in the introduction to this section, GVE says you don't have to sound the resolving triad -- it is there for "orientation."
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Originally Posted by pcjazz
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Originally Posted by jtr
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