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What I am really suggesting is one Étude per month. #1 or #2. I might dig into #1 and you might dig into #2. I think that it be more efficient and beneficial for each musician to focus on the etude that "speaks" to them and then learn the other études vicariously through the other members of the group.
Originally Posted by TOMMO
Of course, if you wish to learn both études one month, that is also fine. I feel that the benefit to a group like this is that we learn from each other.
I don't mean these as deadlines as in drop dead deadlines, more as guides to assist our progress.
I find it easier to follow threads that are cohesive as opposed to some that are all over the place. After all even the most Free of a Free Jazz has some sort of structure.
Just a thought.
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03-04-2017 09:18 AM
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Originally Posted by Doublea A
Sorry - missed the "or" in your post.... Originally Posted by Doublea A
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Sounds about right to me, I'm stuck on #2 as well...can't get past the A section at the moment so I'm doing other stuff for a day or two.
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I'm working on #4 and had planned to record it this weekend. I'll set the recording aside but will start working of #5 Monday nonetheless. I seem to making progress and feel I should keep doin' what I been doin'... ;o)
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Yes Mark. Keep doing' what your doing. Originally Posted by MarkRhodes
Way to go !!
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One thing----the main thing, really---that seems to be helping me now is something from one of Frank's True Fire courses, the Modern Guitar Method. He talks about picking and gives a few basic exercises and suggests doing them all with downstrokes. So lately every morning I warm up playing with only downstrokes. It seems to have made me more accurate and consistent when I play. It's not a miracle cure but I'm going to keep at it! Originally Posted by Doublea A
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Jim Hall said the only solo he ever learned from a recording was a Charlie Christian one (can't remember which tune) which sounded as if it was all down picked, Joe Pass said something similar about his own picking....
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Joe recommended using a downstroke whenever changing to another string, whether higher or lower. He thought it gave lines more definition. Frank thinks it makes melodies sound better. (Most melodies to standards aren't that fast, so they can be played "mostly down.") For me, it seems to make my strokes more consistent and accurate. Originally Posted by dot75
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Hello all,
I am considering participating in this study group (i know I'm late at the show). I don't own the book(s) yet and have been looking where to buy them.
I found them @ sheetmusicplus & Mel Bay (download versions)
I do have a question: is this a compilation of the 3 volumes of rhythm changes books we (you) are talking about?
Frank Vignola's Complete Rhythm Changes Play-Along for Guitar eBook+Online Audio - Mel Bay Publications, Inc. : Mel Bay
Thanks in advance,
Hugo
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Originally Posted by HugoJacquet
As far as I know: yes. I think that this 3 in 1 has only been released recently. And welcome to the fold!
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Thanks, I ordered through Mel Bay (download). Got confirmation email stating that my order is under review and that I will receive another email with the download links when my order is approved. Strange people at Mel Bay... Originally Posted by TOMMO
Hugo
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Sounds reasonable to me. I can probably get each study down in a week, but the hard part for me is moving on to improvising over the changes, so I'm thinking I could do with spending 2-4 weeks trying to get these changes into my brain and fingers. Personally I don't see a lot of value in just reading/reproducing the solos as written. I think it would be good to start a new thread for each study, which would make it easier for people to move at their own pace, or jump in at a later date? Originally Posted by Doublea A
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That's weird. I ordered online through MelBay too and got the download link immediately... Originally Posted by HugoJacquet
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The only thing I can think of is that I moved recently. Maybe I should have been giving my old address when ordering. This may have caused a conflict (credit card) Originally Posted by jasaco
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I am planning to record Rhythm Changes #1 as written out by Frank Vignola. Then, my own solo based on some the concepts/ideas that I have pulled from his solo. If I am ambitious enough, i may even include the melody and a comping chorus. Turn it into an imitation of a live performance. Originally Posted by rahsaan
I will probably get this done by next week.
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Checked my email this morning, et voilà, email from Mel Bay with the links got in. Downloaded! Will start later today and report back, I have some catching up to do. Originally Posted by jasaco
Hugo
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Yay! Originally Posted by HugoJacquet
As for catching up, take your time. Don't rush. Rushing never helps.
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Not rushing anything, but played through the basic lessons. I will return to these and play them with different fingerings and in different octaves (did that a bit already). Originally Posted by MarkRhodes
I am now tackling Rhythm Changes no1. Some "strange" fingerings indeed, but I believe in different ways to do the same thing, so no big deal. I guess I will need 1 or 2 more days more to really nail it. I will record a video once I find my camera tripod
(I moved in november and have a spare room filled with stuff I don't need on a daily basis, a real mess, haha 
).
Hugo
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Been working on this for over a week now and here's a funny thing. This morning, I woke up and played it solo. (No backing track, no chart in front of me.) Went fine. Decided to record it, so I plugged in the webcam and opened the book. Played it and it wasn't so good.
It's possible when I played it the first time it wasn't as good as I thought.
But it seems to me I play much more tentatively when I'm playing while looking at a chart. I seem to play choppier and with more anxiety. I think I'm better off playing from memory, even though that has problems of its own. ("What comes next?")
Anyone else notice this about their own playing / recording?
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I don't have time in my life to get in on these, but I just wanted to say after listening, that these etudes are really great nuts and bolts, if you will. You can see how pushed further, creating enclosures around the longer tones and such, and playing with the rhythm, that these can be the basis for great pre-bop kind of lines (very Christian-esque, IMHO) which is never a bad thing.
As for recording, oh man, yes, the pressure of recording and reading...let's just say that's why I'll never be a studio musician.
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I love the way Frank plays. For starters, he plays LINES. (My test of a good line is that it hangs together by itself.) And they are tasty. He can swing like mad when he wants (-his comping for these tracks is stellar) and he's got a blues streak. Knows a boatload of tunes. He plays like a guy who knows a boatload of tunes. Never noodles, always going somewhere, always working some rhythm, then varying it. Originally Posted by mr. beaumont
Last edited by MarkRhodes; 03-10-2017 at 11:20 AM.
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Yes. That's why I'm working hard to memorize each chorus and get a better feel for the phrases before I'd attempt a recording. Thus I'm much more able to play them in a musical way instead of just getting all the correct notes in the correct sequence. Originally Posted by MarkRhodes
@Jeff: I appreciate the fact that you even follow this thread of mostly newcomers.
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It helps me to record something if only because it is imperfect and I'm imperfect and in doing this a few times, I overcame the obsession (-mine; not suggesting it is yours) with being perfect. Also, the only way to get comfortable with recording----which I still am not---is to keep doing it. You can't be ready and THEN start. You start and make laughable errors and live to tell the tale and eventually stop making yourself a nervous wreck and just play. Originally Posted by TOMMO
Also, it gives you something to look back at later and chart your progress.
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Yes agreed. To overcome this recording anxiety you have to do it so it becomes a routine. And: I'm not trying to get something perfect (I'll never be) before I record it - just comfortable enough so I don't have to think too much while playing and recording... Originally Posted by MarkRhodes
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I've noticed that some of these etudes stick with me better than others. The third volume of this series is the one I got first. There's an 8 bar section in the first or second solo that I've used countless times. It "stuck" with me and I like it and I always feel I can execute it in time with a good feel. There's a bridge from another solo that I can always "go to" if needed. As time goes by, I will feel just as much at home with some other lines. I think in the end one tends to mix-n-match the lines and not know which bit came from which etude. They all tend to run together (in a good way!) You can get into and out of them in various ways. That's what I'm shooting for. Originally Posted by TOMMO
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