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Originally Posted by pants
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02-08-2017 01:58 PM
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Originally Posted by jasaco
I sometimes see videos here that are not from YouTube. Perhaps the people who posted them can tell the rest of us how they did it.
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Well, the process is certainly not as easy peasy this way but here we go. I'll keep trying the native uploads as that was really simple, but this works as a backup.
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Here is the pedal steel version of Etude #1... (by the way, this is a faster-tempo version at 110 bpm, which replaces the slower version I posted yesterday).
Last edited by jasaco; 02-09-2017 at 12:47 PM.
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Here is my Basics #5, warts and all. I just couldn't seem to get a clean take with the camera on.
I've created a playlist on Youtube for these exercises and watched all five in a row. I was surprised to see how much more challenging #5 is compared to #1. The increase in complexity and shear number of notes is subtle over five studies, but watching them back to back makes the differences more stark. That sure makes me feel better, because I struggled with this one. No one section was hard, I just couldn't seem to get through without making a mistake. On the plus side, picking up after a flub made me practice not loosing my place in the song. I had a LOT of practice with this one!
Also, I noticed that this study had a lot more scalar runs and a lot less chromaticism. It was interesting. On the one hand I liked it because it had a less "corny" sound, on the other I found that I missed the idiomatic phrases of the more "jazz" lines.
I am learning these things more or less rote without much analytic thought. I am trusting in Frank that it will sink in and become useable. However, I do note that I am not really feeling much better able to improvise over these changes. Perhaps that will come.
In any case, enough musings. Here is the video:
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Jim - that was a joy to listen to - hope you keep them coming!
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Always looking a bit ahead out of sheer curiosity, I had a peep into #2. Some challenging stretches all over the place, this one will not come easy....
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Originally Posted by rlrhett
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Even though most of you haven't gotten to Etude #1 yet, I want to park an observation about it here for future reference. When playing the pedal steel version, it dawned on me that, at the start of the bridge, where the chords in the 1st bar are Bm7 / E7, the melody calls for a reverse D7 triad arpeggio (A F# D) over the Bm7. Now, while I was aware that Bm7 contains the same notes as D6, I'd never made the connection between Bm7 and D7 until then:
D7: D F# A C
Bm7: B D F# A
So, D7 is the same as Bm7 (with the exception of the C note which would be a b9 in Bm7, and the B note which would be an 13 in D7 so, in general, D7 can be subbed for Bm7. Now, since, in this Etude, the Bm7 is already a 5m sub for the E7, this means that D7 can be played over E7. What happens when we do that? Well, in relation to E7, the tones of a D7 are:
D (b7) F# (9) A (11) B (5) C (+5)
So D7 gives you some inside and outside pitches over an E7. I'm going to spend a little time with BIAB today, making up lines using these D7 pitches over E7 and see if I can make music out of it. I'll let you know how it works out...
If anyone else has any comments or observations about this point, or another helpful way to think of it, or rule of thumb, or whatever, I'd be interested to hear (er, 'read') it.
Thanks,
JimLast edited by jasaco; 02-09-2017 at 02:34 PM.
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p.s. BTW, I just swapped out my pedal steel version of Etude 1 for a somewhat faster version (110 bpm), in case you want to check it out again.
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In the interest of catching up a bit, here's etude 1 at practice tempo of 80. Keeping it a bit slower still to facilitate a few bits I haven't fully worked out yet. Will likely try to bump the tempo up and repost in a few days.
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Originally Posted by jasaco
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You are correct. Thanks for catching that. I've edited my original post accordingly.
Last edited by jasaco; 02-09-2017 at 02:34 PM.
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Originally Posted by jasaco
So if notes from D7 and E7 both work they have a "blues" relationship to the key of A, the next chord in the bridge.
When you're going for a blues sound all kinds of notes work that at first sight don't seem to make sense....
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Originally Posted by TOMMO
I haven't yet had time to fool around with D7 arps over E7 but will get to it and report back...
Thanks,
jasaco
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Originally Posted by jasaco
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Originally Posted by TOMMO
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Originally Posted by jasaco
Knowing that theory doesn't mean I can use it! Still, I think that is easily one way to look at it. You have a B-7 which can be substituted for or mixed in with a E7. As others have said, that briefly implies a A^. Playing a Dmaj7 (or even D7) gives you the extensions to B-7 or E7. Sounds nice.
Of course, in music there are many ways to look at the same thing. But this IV or VIb maj 7 concept over a ii-V-I helps keep you thinking just in maj7 arpeggios, which can simplify playing a bit. I doesn't hurt that it sounds pretty hip as well.
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Originally Posted by rlrhett
And over Dm7b5 and G7alt (-a minor ii-V) one could play an Ab Maj 7 arp (bVI maj 7). Right?
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So here's my version of Basics 3 - shaky rhythm. I still keep an eye on the chart and that takes away some concentration...
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Originally Posted by MarkRhodes
Sent from my iPhone using Tapatalk
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TrueFire is having a sale this weekend: buy-one-get-one-free. (It's related to Valentine's Day, so they're selling things in pairs, or as couples.) So I finally pulled the trigger on Frank's "Modern Guitar Method." 4.5 GB of material. It's not specifically jazz instruction but 'how to play guitar' instruction. Much of it is basic but it is thorough and a good way to fill in the gaps in one's knowledge.
Frank talks more about picking here than anywhere else I have seen. He doesn't have any fancy / special grip or approach to picking. (He's of the "whatever's comfortable" school.) But he does recommend doing some exercises with all downstrokes. (He has described his own picking as "mostly down".) And he thinks melodies sound better this way. So this morning I played the 5 "basics" with all downstrokes. Can't say it changed my life but it is a more even sound.
In case anyone here is interested in this, now's the time to pick it up. (Make sure the other thing you pick--to get the discount--is of nearly the same price.)
Modern Method for Guitar - Frank Vignola - TrueFire
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Etude 1, up to 100 bpm, still sloppy.
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Originally Posted by MarkRhodes
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Originally Posted by jasaco
Christian77 here talks about using lots and lots of downstrokes. Charlie Christian played mostly downstrokes. Joe Pass recommended using a downstroke whenever changing to another string because that gives lines more punch. It also allows you to concentrate on tone and fingering when learning a new exercise / scale / pattern / melody. The right hand is always the same. Tends to make players slow down too, which is a boon to learning! ;o)
Ibanez pm200?
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