The Jazz Guitar Chord Dictionary
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  1. #226

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    So we worked out So Sorry Please but what about strictly confidential, also a RC in the a section but bridge sounds different to I got Rhythm and the honeysuckle. Any takers?

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    The Jazz Guitar Chord Dictionary
     
  3. #227
    today i did RC with honeysuckle bridge and blues in Bb in 3rdish position. high and low registers from 100-180 easily, 190 was tough.

    however, i lightened my right hand attack by about 50%, worked up from 190 to 220 by 1 bpm (!) doing the scales with space in between focusing only on high register blues.

    When I dropped back down to 200 I was able to play the whole outline in time, though my picking was so soft that I'm not sure if it was cheating. This is probably good because my default picking is much too hard.

    today was the most time I've spent on this in one session. I'm not a big "faster is better" guy, but 200 bpm is only like medium tempo bebop in my estimation

    Edit: did Ab maj and min 6th dimished scales in drop 2 and drop 3 100 bpm half notes. anyone else workin on these?
    Last edited by joe2758; 09-26-2018 at 08:13 PM.

  4. #228

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    In Episode 6, Chris outlines the C dominant/diminished scale 1 2 3 4 5 b6 b7 7 1

    The dominant scale with one extra note we are using on Blues and Rhythm is 1 2 3 4 5 6 b7 7 1

    Can the experienced Barry folks tell me where he uses one vs the other?

  5. #229
    the 4 scales of chords are primarily used for harmonic applications, and the default scales for improv are just regular 7 note scales. however, notes get added to the 7 note scales via added note rules.

    this isn’t to say you can’t improvise using the chord scales, as chris demonstrates, it’s just not the default for single line playing

  6. #230
    today i did RC with honeysuckle bridge and blues in Bb in 5th ish position. 100-190, then separated scales 200-210. Stuck with my light picking technique, but it doesn't make too big a difference it looks like (though it feels smoother). a little discouraged about reaching my goal, but if we stopped now I could say i brought them up by 20 bpm, adjusted my pick angle, got these in my ear and popping out on the fretboard, played with some dynamics, and removed a good deal of tension in both arms. So still a successful addition to my practice I'd say. No time for chord scales today.

  7. #231

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    Quote Originally Posted by joe2758
    today i did RC with honeysuckle bridge and blues in Bb in 5th ish position. 100-190, then separated scales 200-210. Stuck with my light picking technique, but it doesn't make too big a difference it looks like (though it feels smoother). a little discouraged about reaching my goal, but if we stopped now I could say i brought them up by 20 bpm, adjusted my pick angle, got these in my ear and popping out on the fretboard, played with some dynamics, and removed a good deal of tension in both arms. So still a successful addition to my practice I'd say. No time for chord scales today.
    I've been trying to get light picking down for about a year now, trying to do Pasquale/chuck Wayne technique. I found that picking light allowed me to get better sounds out of the guitar too, not to mention it helped with speed a bit too.

  8. #232
    is it basically light economy picking or is there more to it?

  9. #233

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    Quote Originally Posted by joe2758
    is it basically light economy picking or is there more to it?
    Economy picking where the movement comes from thumb and finger. Looks like he uses the arm movement to sweep.


  10. #234

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    I think you were there oz when Barry said playing should always be at the level of conversation - never shouting?

    Joe Henderson springs to mind as a light player who works the mic. Barry taught him too of course. When Barry plays piano he plays exactly strong enough for the mechanism to work and release the hammers: no more.

    My pick technique is not as loud as it used to be but still pretty firm. I used to play a lot of gigs without amplification - one thing I notice was that it often sounded like there was no sustain when I plugged in. What would sound great acoustic could sound very machine gun like when through an amp.

    I feel dynamic contrast is important. Guitarists can sound all on one level, no accents. But the basic level can be as soft as you like.

    I think speed should always be a secondary consideration to tone. I don’t see any reason why speed should suffer though ;-)

  11. #235

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    Quote Originally Posted by christianm77
    I think you were there oz when Barry said playing should always be at the level of conversation - never shouting?

    Joe Henderson springs to mind as a light player who works the mic. Barry taught him too of course. When Barry plays piano he plays exactly strong enough for the mechanism to work and release the hammers: no more.

    My pick technique is not as loud as it used to be but still pretty firm. I used to play a lot of gigs without amplification - one thing I notice was that it often sounded like there was no sustain when I plugged in. What would sound great acoustic could sound very machine gun like when through an amp.

    I feel dynamic contrast is important. Guitarists can sound all on one level, no accents. But the basic level can be as soft as you like.

    I think speed should always be a secondary consideration to tone. I don’t see any reason why speed should suffer though ;-)
    I was there! He's got wisdom about everything. On a side note Christian and David if you're around. Barry is doing workshops in Bologna Italy for 5 days, return tickets are £26 workshop fees for the 5 days are €180.... Only 2 hour flight. Tempting much?

  12. #236
    I need to start actually plugging in my guitar for practice. I have this thing from classical like "make the string move, make the the top vibrate." on acoustic i think that IS the way to get the real sound of a guitar, but for electric i'm starting to think maybe not so much.

    however, does the hollow body even make much difference if we're barely making the body vibrate?

  13. #237

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    I listen to Passquale Grasso a lot. I have his albums, and love everything about his playing, except his tone. Sound very compressed and bit harsh to me. Is it just me?

  14. #238

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    Quote Originally Posted by tamirgal
    I listen to Passquale Grasso a lot. I have his albums, and love everything about his playing, except his tone. Sound very compressed and bit harsh to me. Is it just me?


    Back when he played flats.

    I really like his sound on the album with Zaid Nasser 'The Stroller' each note in his single line playing sounds so clear.
    Similar to this:


    Love listening to that ^

  15. #239

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    Quote Originally Posted by don_oz
    I was there! He's got wisdom about everything. On a side note Christian and David if you're around. Barry is doing workshops in Bologna Italy for 5 days, return tickets are £26 workshop fees for the 5 days are €180.... Only 2 hour flight. Tempting much?
    When is this happening?

  16. #240

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    Quote Originally Posted by christianm77
    When is this happening?
    1st Nov to 5th

  17. #241

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    Quote Originally Posted by tamirgal
    I listen to Passquale Grasso a lot. I have his albums, and love everything about his playing, except his tone. Sound very compressed and bit harsh to me. Is it just me?

    I don't find the two clips that don_oz posted showed the guitar tone as harsh at all but that's just me.

  18. #242

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    Quote Originally Posted by joe2758
    I need to start actually plugging in my guitar for practice. I have this thing from classical like "make the string move, make the the top vibrate." on acoustic i think that IS the way to get the real sound of a guitar, but for electric i'm starting to think maybe not so much.

    however, does the hollow body even make much difference if we're barely making the body vibrate?
    Good question.... For me it's kind of a sliding scale, I think I got a little to used to having the acoustic sound there which was fine for swing bands and quiet little groups, but when I play with more of stick as opposed to brush drums, it becomes a different ball game.

    TBH when you are amplified beyond a certain level you may as well play a solid body in terms of what's coming out of the amp, although it obviously feels different to you.

    Muting is the single biggest issue for me TBH. The need for it and how I have to adapt my technique CHANGES from room to room, band to band, depending on where the amps is and so on.

  19. #243

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    Quote Originally Posted by don_oz
    1st Nov to 5th
    Cool mate - I seriously doubt I'll be able to make that with the little one etc, but you should go!

  20. #244

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    Quote Originally Posted by don_oz


    Back when he played flats.

    I really like his sound on the album with Zaid Nasser 'The Stroller' each note in his single line playing sounds so clear.
    Similar to this:


    Love listening to that ^
    I have his album ‘in the mood for a classic’ (and also his solo album) great album, his tone there not so much. But who cares about that now, now I got two more albums to check out. The stroller, and Merci Toots. So I’m glad we had this chat, thanks!

  21. #245
    no practicing, just playing today with backing tracks. doing rhythm changes and blues and I can now say with certainty there is a 100% improvement in my phrasing for both after drilling these outlines. fantastic!

  22. #246

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    Quote Originally Posted by tamirgal
    I have his album ‘in the mood for a classic’ (and also his solo album) great album, his tone there not so much. But who cares about that now, now I got two more albums to check out. The stroller, and Merci Toots. So I’m glad we had this chat, thanks!
    Was hipped to an album called wail by the fat bros quintet (Pasquale and Luigi. Grasso) too by David B. Check it out too!

  23. #247

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    Quote Originally Posted by joe2758
    no practicing, just playing today with backing tracks. doing rhythm changes and blues and I can now say with certainty there is a 100% improvement in my phrasing for both after drilling these outlines. fantastic!
    Post a video! (If you want to, no pressure)

  24. #248
    maybe this weekend-- it would be my first time posting actual improv so the idea makes me a little nervous. Either way tonight felt like a sign that i have been practicing the right stuff

  25. #249

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    Quote Originally Posted by don_oz
    Was hipped to an album called wail by the fat bros quintet (Pasquale and Luigi. Grasso) too by David B. Check it out too!

    Found it on Apple Music. Wow, the energies on this album!
    At first I looked at the album cover, and it didn’t quite look like pasquale, but as soon as the guitar started, there was no mistake!

    Thanks for the pointers. Love it.

  26. #250

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    OK, as promised. Here is the final video for the month. Not my finest moment, but I resisted the urge to re-take the shot. Didn't seem in the spirit of what I was trying to do.

    Overall, I'm pleased with the exercise and will continue doing it. It certainly made seeing the major and dominant scale on the fretboard easier. On the flip side, when trying to extend past one octave I found myself suddenly hesitating. My fingers didn't want to go past that 7th! Also, I didn't allow myself to use hammer ons and pull offs, but with those of course I could hit much faster speeds. Not sure if that really mattered, but I thought I would lay down some ground rules and stick with them.

    I did six cycles of Blues and six of RC. Starting with the hand to the left/right on strings 5/4/3. I picked keys at random. Just to add some spice I tried with a pick as well (with little success!)

    So what is up for October?