The Jazz Guitar Chord Dictionary
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  1. #301
    mixing chromatic scale with 5432


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  3. #302

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    Review question:

    Which scales would be applied here:

    | Fmaj7 | F#dim7 | G-7 | G#dim 7 |

  4. #303
    Quote Originally Posted by rintincop
    Review question:

    Which scales would be applied here:

    | Fmaj7 | F#dim7 | G-7 | G#dim 7 |
    Fmaj up and down to third of D, C7 up and down

  5. #304

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    Quote Originally Posted by joe2758
    mixing chromatic scale with 5432

    That sounds great man!

    That would sound burning on a straight 8s tune with static harmony. Pat Martino style

  6. #305

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    Quote Originally Posted by tamirgal
    Practicing 5-4-3-2 lines on rhythm bridge. Was late at night so give me a break

    Nice one man,

    Was picking all the notes intentional?

    Have you tried adding slurs, hammer one and pull offs to get more of an authentic articulation sound?

  7. #306

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    Quote Originally Posted by rintincop
    Review question:

    Which scales would be applied here:

    | Fmaj7 | F#dim7 | G-7 | G#dim 7 |
    Fmaj up and down to third of D7
    G-7 = Bb6 up and down to third of Bo7 = G#o7
    Ahahahaha

  8. #307
    Quote Originally Posted by christianm77
    Fmaj up and down to third of D7
    G-7 = Bb6 up and down to third of Bo7 = G#o7
    Ahahahaha
    Fmaj up, D7 down to the tritone and then down the tritone to its 5th, C7 up, Gb7 down to 3rd of E7

  9. #308

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    Quote Originally Posted by joe2758
    Fmaj up, D7 down to the tritone and then down the tritone to its 5th, C7 up, Gb7 down to 3rd of E7
    Weirdo

  10. #309

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    Quote Originally Posted by joe2758
    Fmaj up and down to third of D, C7 up and down
    This makes sense if the progression is going back to Fmaj7. But (re C7 up and down) doesn't that depend on how the progression continues? What if it's going to A-7? What would BH approach be in that case?
    Ie:
    | Fmaj7 | F#dim7 | G-7 | G#dim 7 | resolving to A-7 (say beginning of a iii vi ii V in the next 4 bars).

  11. #310

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    Quote Originally Posted by Tal_175
    This makes sense if the progression is going back to Fmaj7. But (re C7 up and down) doesn't that depend on how the progression continues? What if it's going to A-7? What would BH approach be in that case?
    Ie:
    | Fmaj7 | F#dim7 | G-7 | G#dim 7 | resolving to A-7 (say beginning of a iii vi ii V in the next 4 bars).
    Bloody hell m8, what I said

  12. #311

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    Also would play F on the A-7

  13. #312

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    Quote Originally Posted by joe2758
    Fmaj up, D7 down to the tritone and then down the tritone to its 5th, C7 up, Gb7 down to 3rd of E7
    Gb7 down to the third of E? It's kinda funny rhytmically don't you think? The third of E ends up being on an off beat

  14. #313

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    Quote Originally Posted by christianm77
    Fmaj up and down to third of D7
    G-7 = Bb6 up and down to third of Bo7 = G#o7
    Ahahahaha
    Wait to the third of Bo7? Wouldn't you play this if we are going to A7? I don't get why would you target Db?

  15. #314
    Quote Originally Posted by don_oz
    Gb7 down to the third of E? It's kinda funny rhytmically don't you think? The third of E ends up being on an off beat
    whatchoo talkin bout osmond, it’s the standard 7 down to the #1. anyway i wouldnt advise that as a basic scale outline, it was more of a bit one-upping christian after he one-upped me

  16. #315

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    Quote Originally Posted by joe2758
    whatchoo talkin bout osmond, it’s the standard 7 down to the #1. anyway i wouldnt advise that as a basic scale outline, it was more of a bit one-upping christian after he one-upped me
    I thought G7 goes down to the third of E7? Have I been away for too long??

  17. #316

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    | Fmaj7 | F#dim7 | G-7 | G#dim 7 |
    | A-7 | C-7 F7 | Bbmaj7 | Eb7 |
    | F | D7 | G-7 | C 7 ||
    Last edited by rintincop; 11-05-2018 at 11:30 PM.

  18. #317

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    Quote Originally Posted by Tal_175
    Wait to the third of Bo7? Wouldn't you play this if we are going to A7? I don't get why would you target Db?
    SORRY!

    Ok
    I meant Bb major to the third of G7.

    I'm a doofus.

    But the effect is that is now a Bo7, so therefore the same as G#o7

    In effect

    F | F#o7 | Gm7 | G#o7

    becomes

    F | F#o7 | Bb | Bo7

  19. #318
    Quote Originally Posted by don_oz
    I thought G7 goes down to the third of E7? Have I been away for too long??
    oh yea oops u right. drunk sorry

  20. #319

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    Quote Originally Posted by joe2758
    oh yea oops u right. drunk sorry
    That is not a drunk sorry. A drunk sorry goes something like,

    “Geeesh, maaan, I am like soooo sorry. You’re the best, I mean really you’re the beeest! You’re my bro man. Have I ever told you how much I love you, maaan! You’re my bro.”

    That’s a proper drunk sorry. ;-)



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  21. #320
    you my boy osmond. anyway you can just play it down to the gb

  22. #321
    Quote Originally Posted by christianm77
    SORRY!

    Ok
    I meant Bb major to the third of G7.

    I'm a doofus.

    But the effect is that is now a Bo7, so therefore the same as G#o7

    In effect

    F | F#o7 | Gm7 | G#o7

    becomes

    F | F#o7 | Bb | Bo7
    that's really cool-- my same question as always: E or Eb in the Bb major?

  23. #322

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    Eb I think here - the dim7 has a tonicising function to my ear. You could try both.

  24. #323
    our boy posted a bunch of solo guitar performances of monk tunes

  25. #324

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    He's playing a strat tho. Unsubbed.

  26. #325

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    Quote Originally Posted by christianm77
    He's playing a strat tho. Unsubbed.
    Snob.











    Ok, to be fair. I didn’t like the tone either.


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