The Jazz Guitar Chord Dictionary
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  1. #51

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    Quote Originally Posted by Doublea A
    Sure. Which exercises do you want ?

    I will work on it later today.


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    Thank you! Really, any that you feel like doing of the exercises from Cellular we're working on.

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  3. #52

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    I heard back from him about what some of the Joe Pass examples are. From Randy Vincent:

    If I recall correctly the 1st two examples were from a recording of the John Lewis tune "Django" and the 3rd example is from a Joe Pass original called "C.E.D" from an album called "Sounds of Synannon". Of course those two tunes contain lots of fast-moving dominant cycles. They can also be inserted into other tunes, especially blues and rhythm changes and at many turnarounds. I hope that helps.

  4. #53

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    Quote Originally Posted by Doublea A
    Hi Guys,

    Here are Randy Vincent's licks for G7alt to C. These are coming from pages 23 - 26 of his book Line Games.

    105 - 114

    115 - 122

    Let me know what you think
    These sound great. Are you incorporating these exercises into the Cellular stuff, or its own thing?

  5. #54

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    Quote Originally Posted by matt.guitarteacher
    I have this book. Have a look at it occasionally. Looking at it today, I'm struck by what occurred to me the first few times I looked at it as well: it presents some real technical challenges in articulating the shifts smoothly.

    I find that when I play through initially, without a lot of thought, there's a lot of extraneous thumb movement and hand movement generally. What I initially arrived at this morning as being probably the most efficient movement for exercise 1, for example, is to shift on the pick-up of the new position.

    So, I'm starting with thumb behind second finger at the beginning , and then, shifting my thumb on the and-of-3 (on the would-be stretch) to be exactly behind the 1st finger, with the first finger then sliding "into position" on beat 3.

    What a horrible mess to describe in text. I may do short a video of me doing this , to see if I can get Christian or someone to look at it and offer thoughts/help. I think the technical aspect of this is a big part. Musically and otherwise they're pretty straightforward.

    Oh, incidentally, I found the easiest way to work on this shift, the way I'm talking about, is to start on the pick up to beat 3, with index finger directly behind the thumb, and slidingthe index finger into beat 3. Somehow harder for me to get in the groove starting at the beginning of the pattern.

    TL;DR: Are you all shifting your thumb on the and-of-3 or somewhere else? I would think that really SWINGING the slide would be about 90% of getting this.
    Good Stuff Matt !!

    Please post a video if you can. I would to "see" what you are "saying".

    I haven't really thought of these pieces in that sort of technical way until now. I will think about it and to post something intelligent soon.

  6. #55

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    Quote Originally Posted by Rob Fletcher
    These sound great. Are you incorporating these exercises into the Cellular stuff, or its own thing?
    I found that "Line Games" and "Cellular Approach" have some overlap.

    While "Cellular Approach" feels more technical at this point and "Line Games" is perhaps a bit more practical. They both stress chord tones that lead you to the next chord.

    This study group is based on "Cellular Approach" but I thought that since there is some overlap with "Line Games" in certain sections that I should include some of the exercises.

  7. #56
    Holy cow, 1-12 is insane! Got this under my fingers a little, and kept staring at my hands in bewilderment.

    I'm admittedly mostly a position player, but I never would have thought to play something that way in a million years. Very cool on several levels, technically and otherwise.

  8. #57

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    I had the R.V. books that a great player let me borrow, as i was hoping to expand my vocabulary and he recommended them for a number of nuances which he liked.. I found the book a bit misleading but again the "how to" of randy vincent speaks for a lot. He lays a lot of this material out in the order he found out about it. That doesnt mean that you will find the first page, to last page the best way to go through the book.. I didnt read all the comments on this thread so if this has been said, apologies. I think its a good idea to browse the book and find what parts work for you. After being a teacher for so long, Ive found that the majority of books are this way. (I am a child of 3 generations of professors and find the way people learn to be worth studying on its own) Point being, what helped me is to go through each chapter, and find out what you CAN understand and make use of, and work from there. It doesnt matter if it seems uninformed at the moment, get what you can out of the books you have on the instrument and try to keep pushing that material into your playing using backing tracks at like 40bpm. if you look at "line games" its a super hip book filled with tons of info and yet its horribly laid out for some folks, including myself. I did however find two really awesome chapters of material that specifically applied to information i didnt have the best grasp of. and that informed my playing a lot. feel free to beat me up over the long post.

  9. #58

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    Quote Originally Posted by Thelonious1
    I had the R.V. books that a great player let me borrow, as i was hoping to expand my vocabulary and he recommended them for a number of nuances which he liked.. I found the book a bit misleading but again the "how to" of randy vincent speaks for a lot. He lays a lot of this material out in the order he found out about it. That doesnt mean that you will find the first page, to last page the best way to go through the book.. I didnt read all the comments on this thread so if this has been said, apologies. I think its a good idea to browse the book and find what parts work for you. After being a teacher for so long, Ive found that the majority of books are this way. (I am a child of 3 generations of professors and find the way people learn to be worth studying on its own) Point being, what helped me is to go through each chapter, and find out what you CAN understand and make use of, and work from there. It doesnt matter if it seems uninformed at the moment, get what you can out of the books you have on the instrument and try to keep pushing that material into your playing using backing tracks at like 40bpm. if you look at "line games" its a super hip book filled with tons of info and yet its horribly laid out for some folks, including myself. I did however find two really awesome chapters of material that specifically applied to information i didnt have the best grasp of. and that informed my playing a lot. feel free to beat me up over the long post.
    I feel that for the purposes of this group we are going through the book in order and I personally am going to pluck out exercises from "Line Games" that seem to correspond.


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  10. #59

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    Hello All

    I'm Daniel. I have studied jazz off and on and I consider myself beginner/intermediate in Jazz. I just bought the cellular book and wish to participate in this group and process. Any tips? Do you guys regularly post vids etc? Thanks

  11. #60

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    Quote Originally Posted by pharmdaniel
    Hello All

    I'm Daniel. I have studied jazz off and on and I consider myself beginner/intermediate in Jazz. I just bought the cellular book and wish to participate in this group and process. Any tips? Do you guys regularly post vids etc? Thanks
    Hi Daniel,

    We would love to have you participate in this group. I would suggest going to the beginning of the thread and check out what we have done so far. I would also suggest starting from the beginning of the book.

    Check out posts #9 and #25 for detailed description of the plan.

    Here is a schedule that I made but have been unable to stick to. It is more or less meant as a rough guide.

    Randy Vincent - Cellular Approach


    1-1 through 1-16 May 2017
    1-17 through 1-29 June 2017
    1-30 through 1-46 July 2017
    1-47 through 1-56 August 2017
    1-57 through 1-70 September 2017
    1-71 through 1-82 October 2017
    1-83 through 1-92 November 2017
    1-93 through 1-106 December 2017

  12. #61

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    I've been "lurking" for a bit as the idea of this study group seemed very appealing and I did acquire the book.

    The time it took to get the Cellular Approach though, has put me well behind the group, but I have a further problem in that the Video DailyMotion site has now produced two malware attacks and one virus on my iMac.

    I did get it settled but I am hesitant to view things on this site.

    I was wondering if anyone has had similar experience or if I have a local problem and if the OP might consider a uTube channel.

    Thanks for starting this thread; I believe there is a great deal of good information here.

  13. #62

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    Quote Originally Posted by WILSON 1
    I've been "lurking" for a bit as the idea of this study group seemed very appealing and I did acquire the book.

    The time it took to get the Cellular Approach though, has put me well behind the group, but I have a further problem in that the Video DailyMotion site has now produced two malware attacks and one virus on my iMac.

    I did get it settled but I am hesitant to view things on this site.

    I was wondering if anyone has had similar experience or if I have a local problem and if the OP might consider a uTube channel.

    Thanks for starting this thread; I believe there is a great deal of good information here.
    I have not had any problems with Daily Motion. I could send you my videos through some other method if you wish


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  14. #63

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    This is a fantastic book for several reasons:

    1. Learning the fretboard
    2. Woodshedding turnarounds and II-V's.
    3. Non-scalar thinking

    I see it as scaffolding really. When I am reading stuff from Charlie Parker omnibook for example I can see all the lines relating to this scaffold and cells.

    All Randy's books get 5 stars from me.

    In fact most of Sher Music Publishings books. But Randy's are top.

  15. #64

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    A few people have asked me for mp3's of the studies recorded so far so here they are
    Attached Files Attached Files
    Last edited by Doublea A; 09-27-2017 at 09:32 PM.

  16. #65

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    Quote Originally Posted by Doublea A
    A few people have asked me for mp3's of the studies recorded so far so here they are
    Ok! Thanks so much Doublea A for your time.

  17. #66

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    Sounds like we are disregarding the slurs for the moment.

    Is that to get the concepts down moving from string set to string set? (If so I get it.)

    I note that the suggested fingering (ie. pg 3 Ex.1-6 allows for the slur Eb-D with the index finger but the previous one G-F would require a pull off).

    Just "fanning" through the book, I notice much of this.

    Mr. Vincent states in the preface @ iii that the straight line between same finger is a slur!

    Don't mean to nit pick but it would effect fingering, I believe.

  18. #67

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    Quote Originally Posted by WILSON 1
    Sounds like we are disregarding the slurs for the moment.

    Is that to get the concepts down moving from string set to string set? (If so I get it.)

    I note that the suggested fingering (ie. pg 3 Ex.1-6 allows for the slur Eb-D with the index finger but the previous one G-F would require a pull off).

    Just "fanning" through the book, I notice much of this.

    Mr. Vincent states in the preface @ iii that the straight line between same finger is a slur!

    Don't mean to nit pick but it would effect fingering, I believe.
    Hi Wilson,

    I am disregarding the slurs at the moment and focusing on the shapes and the string sets.

    I always try to attach new learning to something I already know, thus, I am trying to visualize the cells within the context of the chord progression. This in turn affects fingering. In a few cases I have veered away from the suggested fingerlings.

    The long term goal is to take the Cellular approach and apply it to performance pieces.


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  19. #68

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    Quote Originally Posted by Doublea A
    Hi Wilson,

    I am disregarding the slurs at the moment and focusing on the shapes and the string sets.


    Sent from my iPad using Tapatalk
    Randy Vincent's Cellular Approach (and other books)-cellularmodes-png

    OK. I get what you're saying.
    I'm looking at these cells through the modes just to see the materials that will be local to the phrases.
    Note the dominants suggest the major keys and thus the modes.

  20. #69

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    Quote Originally Posted by Doublea A
    Hi Wilson,
    I am disregarding the slurs at the moment and focusing on the shapes and the string sets.

    I always try to attach new learning to something I already know, thus, I am trying to visualize the cells within the context of the chord progression.

    The long term goal is to take the Cellular approach and apply it to performance pieces.

    Sent from my iPad using Tapatalk
    That's exactly what I'm after too, so I'm posting my notebook graphics here so everyone can see how these phrases "fit" into each mode.

    I've noticed recently that I can put the book away for a day and still recall the two-bar root to root phrases just by visualizing them in the modes.
    (The chord suggests the key, the key maps out the fretboard by modes.)

    This is what I'm after although I know it may not be for everyone; also the concept may completely fall apart when things get more involved.

    Randy Vincent's Cellular Approach (and other books)-root-root-two-bar-png

  21. #70

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    Quote Originally Posted by WILSON 1
    That's exactly what I'm after too, so I'm posting my notebook graphics here so everyone can see how these phrases "fit" into each mode.

    I've noticed recently that I can put the book away for a day and still recall the two-bar root to root phrases just by visualizing them in the modes.
    (The chord suggests the key, the key maps out the fretboard by modes.)

    This is what I'm after although I know it may not be for everyone; also the concept may completely fall apart when things get more involved.

    Randy Vincent's Cellular Approach (and other books)-root-root-two-bar-png
    Why are thinking in terms of Phrygian, Locrian and Aeolian ?

    Isn’t it easier to just think of the shapes or thinking of everything as dominant or Mixolydian ?

    I am questioning you, I am just curious about your approach.


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  22. #71

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    Quote Originally Posted by Doublea A
    Why are thinking in terms of Phrygian, Locrian and Aeolian ?

    Isn’t it easier to just think of the shapes or thinking of everything as dominant or Mixolydian ?

    I am questioning you, I am just curious about your approach.


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    I'm using the MODE system just as I would the C-A-G-E-D system to reveal the stops in 8 positions;
    what's good for the pentatonic is usable for the diatonic IMHO.

    I think that just after developing this material and the phrases implied, we'll be "dropped off" in the middle of some progression and we better know where we are.

    Randy Vincent's Cellular Approach (and other books)-run-aeolian-png

  23. #72

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    Hi guys,

    I know that my schedule has been radically thrown out the window but here is my most recent contributions to this group

    Cellular Approach 1-17 to 1-19

    Cellular Approach 1-20 to 1-23

    Let me know what you think

  24. #73

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    Quote Originally Posted by Doublea A
    Hi guys,

    I know that my schedule has been radically thrown out the window but here is my most recent contributions to this group

    Cellular Approach 1-17 to 1-19

    Cellular Approach 1-20 to 1-23

    Let me know what you think
    Do you have the ireal pro files useful to work with this book? I hate the interface and writing them myself is a pain ITA

    Inviato dal mio GT-I9060I utilizzando Tapatalk

  25. #74

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    I had the Cellular book in the shelf, even if I had noticed its immense power, like all non "scale centric" books (Bergonzi "Melodic structures", Andrew Green "Jazz Guitar Structures", etc..).


    This study group convinced me to study it seriously.


    Like Wilson 1, I always locate any musical idea (turnarounds, cycles, quick and long ii-Vs) into CAGED system, in order to make any lick "independent" from the key and have a "movable" repertoire of phrases.


    IMHO the positions are only five (Ted Greene uses seven positions, instead). You can name them "Locrian", "Dorian", "Phrygian", "Mixolydian" and "Aeolian", or use whatever name convention that helps you to visualize the position shape on the freatboard...


    But, on the first reading of the book, I'm just following the fingerings suggested by Mr. Vincent "to the letter", postponing any correlation to CAGED system later, on the 2nd reading of the book.


    I'm currently around 1-53 of the book ("3rd to 5th" cycles).


    I will post some contribution (mp3, pdf or something else) once I complete the remaining cells.


    Cheers.
    Last edited by Vinz; 12-28-2017 at 07:19 AM.

  26. #75

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    Please suggestions about the order in which Mr Vincent's books should be read as a logical progression?

    Thanks