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right so anyway, some pretty great playing!
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11-12-2018 01:16 PM
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Originally Posted by rlrhett
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What makes you think I am joking? He was a good tele man. Now he's just a disgrace.
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Tele vs Strat. So much animosity between what essentially two hillbilly country instruments that want to be amplified banjos. Chuncks of cheap lumber with some pickups slapped on.
Last edited by Tal_175; 11-14-2018 at 10:02 PM.
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Originally Posted by christianm77
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Originally Posted by Tal_175
Remember - no one looks good playing a strat apart from Jimi.
And Nile.
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It takes me four month to make an arch top. These I made in less than a week.
Just slabs with pickups. Pick your poison. That said, I do tend to gab that Tele on the right more than any other when I’m playing out with friends.
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Originally Posted by christianm77
Ha ha.
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Originally Posted by Tal_175
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well folks, hopefully this has been useful for a few people.
Doesn’t make much sense for me to structure my practice like this if it’s just me, so i’ll move on to a more fluid routine for a while. If anyone is inclined to take over please go for it. i’ll pop in if it goes on
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Originally Posted by rintincop
Like Christian, I would normally choose I rather than iii here (think It Could Happen To You) although the B natural in the melody at that point in Easy Living arguably suggests an Am9 more readily than an Fmaj7 with a b5 (admittedly, it does resolve to the nat5 of F via an enclosure). A common voicing that hedges it bets would be Fma9/A (or if you want to put a cat among the pigeons, Am7#5).
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Originally Posted by NSJ
My guess is the term describes his Major 6 Diminished scale harmony motion : you're using the 2 4 b6 7 diminished positions (passing tones harmonized as dim 7ths) to pivot back into the Major 6 chord.
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No. Pivoting refers to a line, not harmony. You start an arpeggio up you would somewhere in the middle drop an octave and continue the arpeggio up. For example, if you are arpeggiating a chord starting on the third you would go up to the fifth, then drop an octave (relative to the seventh, a sixth relative to the fifth) to the seventh ending up on the root. Can be up or down, after the first interval, or second, starting on any scale degree, etc.
I’m sure the real BH experts can give even more nuance.
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Rtincop will not rest until we have explained to him the entirety of the Barry Harris approach, for free :-)
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Originally Posted by rlrhett
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Originally Posted by joe2758
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How about bars 29 to 31 of the Bach Cello Prelude 1?
Bach does this a lot. Makes his vocal parts challenging to sing lol.
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Originally Posted by don_oz
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Originally Posted by joe2758
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Originally Posted by don_oz
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Originally Posted by joe2758
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i think so too, the one where he's like you should be able to play through rhythm changes from one end of the keyboard to the other, but you can do it no matter how small the range is on your instrument by pivoting
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It's a way to make a scale go on for longer. The scales WILL NEVER STOP. EVER.
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Originally Posted by christianm77
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It's still going.
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