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Was that for me? (I know it wasn't). You bet. In fact I'm about to dive into a shower to wash the day's grime off. Then I might do some more music later. Iris would be good, it's slower. None of this stuff really takes long to do.
Incidentally, I signed into the Study Group and saw Jordan's videos. Very clear. And his, albeit crafted, example licks are brilliant. Whether it's easy to play that well at speed on the fly is another thing. The loop is quite fast.
Hearing Jeff will be excellent.
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04-26-2018 12:59 PM
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Yeah the loop is a real challenge at tempo. I'm not quite there yet... But the quadrads certainly make it easier and more focussed than doing what I'd normally do. I wouldn't say non-functional changes playing is my forte, but it's something I want to improve at for a couple of projects I do.
I think this approach makes the link between bop and more modern music, and that's one of the reasons why it's exciting to me.
Iris might be cool.
I also want to do some Gypsy Jazz/Swing repertoire using quadrads. It works pretty well actually... For instance using Bb/b6 on D7 going into G can sound very old school because of how it relates to the minor/aug on dominant thing Duke Ellington used to use to death... Anyway - time is pretty limited ATM. I have enough my plate preparing the stuff I do on gigs...
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I occasionally eat and once or twice a week, I get to use the bathroom uninterrupted.
Originally Posted by christianm77
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Originally Posted by mr. beaumont
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Hey Jonah, that link doesn't work for me-- can anyone else see/hear it?
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I dont know... I checked everything, seems to be ok.
Anyway it's not worth it I'll make better one tomorrow...
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Works fine for me Originally Posted by joe2758
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Ok, tried it. I think I start off alright, get into some Grateful Dead on a bad night in the middle, maybe recover a bit at the end. I tried to just play, minimal warmup or practice on the changes...this is what you'd get from me if you put the changes in front of me 5 minutes before you hit record.
Note to self, this might be why people don't call me to play on sessions where I see the chords five minutes before they hit record.
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Jonah, gotta admit, I just plain can't hear it. I'll grab some headphones...
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digging that
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darn must be my dumb work computer lol
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Challenge accepted. Originally Posted by Jonah
I do intend to post something at some point. Life has not given me a ton of time for guitar playing lately, and I haven't actually used any of my recording gear since I moved a year ago, so I'd have to dig around in the garage a bit. (Can you believe some silly people actually use their garages to store CARS?)
But seriously Jonah, I don't think you're bad at all. I think everyone who's posted is pretty decent, actually.
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Sounded decent to me. Originally Posted by mr. beaumont
Is that the Godin? I was digging the tone a lot.
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Jonah, ok, did the headphones...not bad, really. I can gear you singing. That's always a good sign.
Ragman, you sound a bit unsure of the groove, but the notes are fine. I agree, it's quite bluesy.
I like the loop enough that I'll revisit it. Makes me feel like one of those cool Vulfcollier kids.
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Thanks Joe--I went with the 575 on this one. Kinda rediscovering this guitar again. Originally Posted by Boston Joe
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I was, mostly at the jump to EbM7. The groove isn't quite straight 4/4 (it is, but the ear jumps) and I was probably playing it straight-ish. But that blues version was just for fun really. The quadrad one is #314. Originally Posted by mr. beaumont
I liked what you did, very fluid. Not easy. It was pretty melodic rather than bebop-y which is unusual for you. Guitar sounded great too.
at least you don't have to EAT in the bathroom
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I'm telling myself you're just working up some coooool sounds and it'll be worth the wait Originally Posted by christianm77
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Thank you. Your opinion is important for me. I'll try do better record and better take.Jonah, ok, did the headphones...not bad, really. I can gear you singing. That's always a good sign.
the thing is I sold my best guitars and an amp recently to buy two lutes.. and I cannot make it work with recording.
As I said the most important thinmg to me here was just hearing and play (I did not look at the charts before or after it - of course I heard some chords but just tried to discard it)) -
My idea is to try to fumble the overall sound totally by ear (as a result I believe it came out something around G Dorian)...
I am obsessed with integrity)))
It's interesting for me to go non with it and and make more ear trials before I apply some conceptions conciously
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Originally Posted by mr. beaumont
Thank you! Not only the sound is great but fantastic and versatile phrasing!
But if I may oput in a small remark - in some moments it seemed to me that the whole lines or phrases -though they sounded really well as they are! - they kind of went their own way as if your skills and hearing of phrases took over and took them off too far from the backing track....
Thank you
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I think there’s a bit in Mick Goodrick’s the Advancing guitarist that talks about that. Originally Posted by Jonah
Record random chords and solo over them purely by ear without knowing what they are.
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Quite a few times I have had Jeff do a version of something and thought ‘oh ok he’s done what I was going to do, but better, and first, so I’ll just leave this one.’
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Originally Posted by christianm77
Actually I play classical music the same way (and today better than jazz - my problem in general is that I hear and undesrtand much better than I can play - like a dog you know.. understand all but can't tell))) to be honest I came to the point that I will never play real jazz - I have plenty of ideas but I do not have that natural groove and phrasing for it...
but with lute it feels like I can achive the level acceptable for me)))
I actually listen in the same way ... recently I worked over 16th century motets and what I did was just listening and I heard there were point where things changed and were going to change... I feel it almost physically - like checge of light even like I am touching it as if it is a sculpture..
In some cases I can understand what's giing in terms of theory immidiately... in some I do not have enough experience but I still hear it. And then I marked thes places and approxiamately what I thought as the meaning of them was in the score and only after that began to analyze it with theoretic tools... just to fix it for the future.
By the way if teh music belongs to different culture I can make mistakes... with some motets I did that, I found some places of the form which were not actually taken like that in those days.
What id interesting about jazz vamp like this Jordan';s one is that it has no predetermined conception - you imply conception.. absolutely whatever you want... just being convincing enough.
That's why I argue a bit when someone says: you can approach musci with any conception... It's really common thing in jazz approach.
But it's not about any music.
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Well, that's not quite true because he's reharmonised the 'Joy To The World' tune. But soloing-wise you have a point, although he would probably say the conception was to experiment with triads and quadrads to make a melody-based solo rather a chord-based one. That's what this is all about really. Originally Posted by Jonah
Traditionally you solo according to the chords. Here, largely because it's a reharm and the melody notes outline extensions and alterations of the chords, that traditional approach doesn't really work. The ear hears something in C major, not something in Db, G, Eb, Ab etc etc.
A further point is that a lot of modern music is following that line now and it helps 100% to know what to do with those pesky changes!
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Here I take it as just a vamp - I already forgot about Joy to the World.
My comments on analysis meant that you can analyze Mozart sonata with quadrads, melodic triads, modes or whatever if you want.. amd may be even behifite from it - but it will be just absolutely wrong for understanding this music...
(that's why when I gave an example from Nutcracker with descending C major scale - I called it the opposite to Jordan's melodic triads)
And in jazz there is nothing wrong if you can make it convincing... most standards originally as pieces of music have notheing to do with impovizational theoretic tools jazz players apply to them.
That's why jazz players often play terribly Bach's violine sonatas and still benefit from them.
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Originally Posted by Jonah
Yes, I think that was the noodly part in the middle...getting on autopilot a bit, maybe playing some stuff that wasn't there, trying to hear some "normal" stuff...or something.
I wanted to make sure I wasn't going to try and chase changes here...it'd be almost impossible, anyway. So I had the two melodies in mind, the first two major chords as touchstones, and then that last chord, which is kinda like Abmaj and and C major triad (is that what you were thinking, Jordan?) all wrapped up in one.
There's something about that last chord that had a pleasant uplifting unexpectedness to it...it reminded me of the "wordless vocals" section in Stevie Wonder's "Smile Please," the last syllable-- diddy bum (doot doo, etc.) So that was on my mind too.
That beautiful "bum."
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