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  1. #51

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    Let’s get some Elle improv videos / audio posted soon. I’ll have some time in the next few days.

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    The Jazz Guitar Chord Dictionary
     
  3. #52

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    Quote Originally Posted by wzpgsr
    Let’s get some Elle improv videos / audio posted soon. I’ll have some time in the next few days.
    I am very much deep into Ex 2.2 seeing the new F#m7 / E fingerings as connective tissue linking the other fingerings . I love the way they connect travelling along the neck and am really enjoying the organization on the fretboard. It has also proven very helpful to articulate verbally each triad but also to play them as two distinct three note groups as well as one connected 6 note group. As far as "Elle" goes I have been through the melody and identified the extensions as suggested and have played through the changes a couple of times but it just sounds like some triads and some pretty notes right now. There seems like a lot to learn in chapter 2 that it makes sense for me to save recording something on "Elle" until I feel more grounded with the tools chapter 2 provides and aim to get that done by the end of January.

    Will
    Last edited by WillMbCdn5; 12-22-2019 at 11:09 PM.

  4. #53

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    As hoped for, Santa did leave a copy of this book at the bottom of the chimney, so I shall endeavour to join in. Not sure I'll catch up with you guys (more than likely to slip further behind), but hopefully I'll be able to contribute.

    Cheers
    Derek

  5. #54

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    Quote Originally Posted by digger
    As hoped for, Santa did leave a copy of this book at the bottom of the chimney, so I shall endeavour to join in. Not sure I'll catch up with you guys (more than likely to slip further behind), but hopefully I'll be able to contribute.

    Cheers
    Derek
    Nothing much to catch up with yet...

  6. #55

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    Quote Originally Posted by digger
    As hoped for, Santa did leave a copy of this book at the bottom of the chimney, so I shall endeavour to join in. Not sure I'll catch up with you guys (more than likely to slip further behind), but hopefully I'll be able to contribute.

    Cheers
    Derek
    Glad you got the book and that you're in.
    You're not behind as this train hasn't left the station yet.
    The triad shapes are not hard, though it may take some time to get used to shifting them around the way Garrison recommends. That's time well spent, I think.
    Your presence alone is a welcome and needed contribution. ;o)

  7. #56

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    I scanned through the whole book last night, and I must admit I'm really looking forward to working my way through it. There some great stuff in there, although my memory is already creaking with just the few chord sequences and licks and melodies I've recently learned, so I'm not sure how much more room there is!

    Anyway, I've raced through a couple of pages and am now working on the two basic patterns (5th string root and 6th string root) going round the cycle of 5th, with just the pesky F#m and Em alternative fingerings throwing a spanner in the works. I'll probably be here a while before listening to Elle and then attempting something over it.

    The other "to do" element is a bit embarrassing. I'm ashamed to say that there are a few things in the theory recap of Chapter One that I need to learn. The melodic minor and the harmonic minor, ingraining the "characteristic" note from each mode, a little on chord function (luckily only a little), and all that stuff about tensions. So a bit of work to be done here, too.

    Back to it, I guess...

    Derek

  8. #57

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    Just ordered this, will arrive tomorrow. Looking forward to being part of a study group for the first time! Even though I’m already behind. In that sense, this already mirrors my entire academic life!! :-)

  9. #58

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    Here are a couple of takes at Chapter 2

    2.2 take 1

    2.2 take 2

    Elle

  10. #59

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    Quote Originally Posted by Doublea A
    Here are a couple of takes at Chapter 2

    2.2 take 1

    2.2 take 2

    Elle
    Nice playing, and nice guitar collection in the background!

  11. #60

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    Nice playing, Doublea A! And welcome, digger and GuitarJay.

    digger, if you run into any questions in your theory review, just shout. Plenty of us will be happy to help.

  12. #61

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    Firstly, thanks to Jehu and Doublea A for the offer of help with theory. I'll be sure to shout if needs be - but I think it's just a bit of learning / memorisation / ingraining is needed, mainly on getting the harmonic and melodic minor scales under my fingers.

    Anyway, back to GF. I'm currently working on the basic shapes trying to get them under my fingers. This isn't too hard as they fall nicely there, but the concern is that I'll end up doing what I do with all my arps - be able to play them up and down from the root, but not from the middle. Or rather, not instantly from the middle - I always need a few seconds to figure out what chord I'm on, what the arp / triad is, what options I have (i.e. choose a non-root note) and then... oh blast, the band's moved on to the next chord!

    This is especially true at the point a chord changes e.g. in Elle, when Amin7 changes to Ebmin7. Whatever note I'm on, on Am7, I'd like to be able to instantly move to a note in the Ebm7 triads. But it's not just for these two chords - it could be any two chords. And, of course, at the same time it needs to be done in a melodic way. I guess that's what this book is all about so maybe, returning to Elle in 12 months time, the answers might be more apparent.

    I did, however, have one revelation whilst out riding the bike this morning.

    The notes, including tension notes, for Am7 are: A C E G B D. Firstly that's 6 notes. That's 50% of all available notes. So if I randomly hit any note I'm in with a good shout of getting one that fits... Maybe.

    The notes in Ebm7 are: Eb Gb Bb Db F Ab. Which are the other 6 notes. So (for this chord change at least) the answer to my question is to simply slide up or down one fret, and then quickly figure out which fingering I'm then part of.

    Not sure this makes sense, even to me...

    Cheers
    Derek
    Last edited by digger; 12-29-2019 at 08:09 AM.

  13. #62

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    Thanks DA. Beautiful relaxed playing. Lovely tone as well. What kind of guitar is that?

  14. #63

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    Quote Originally Posted by TomDC
    Thanks DA. Beautiful relaxed playing. Lovely tone as well. What kind of guitar is that?
    It’s a modified MIM Thinline Telecaster. I replaced with a Warmoth Maple Neck. I put Locking Tuners on it and I replaced the original bridge with a Babicz.


    Sent from my iPad using Tapatalk

  15. #64

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    Quote Originally Posted by digger
    Firstly, thanks to Jehu and Doublea A for the offer of help with theory. I'll be sure to shout if needs be - but I think it's just a bit of learning / memorisation / ingraining is needed, mainly on getting the harmonic and melodic minor scales under my fingers.

    Anyway, back to GF. I'm currently working on the basic shapes trying to get them under my fingers. This isn't too hard as they fall nicely there, but the concern is that I'll end up doing what I do with all my arps - be able to play them up and down from the root, but not from the middle. Or rather, not instantly from the middle - I always need a few seconds to figure out what chord I'm on, what the arp / triad is, what options I have (i.e. choose a non-root note) and then... oh blast, the band's moved on to the next chord!

    This is especially true at the point a chord changes e.g. in Elle, when Amin7 changes to Ebmin7. Whatever note I'm on, on Am7, I'd like to be able to instantly move to a note in the Ebm7 triads. But it's not just for these two chords - it could be any two chords. And, of course, at the same time it needs to be done in a melodic way. I guess that's what this book is all about so maybe, returning to Elle in 12 months time, the answers might be more apparent.

    I did, however, have one revelation whilst out riding the bike this morning.

    The notes, including tension notes, for Am7 are: A C E G B D. Firstly that's 6 notes. That's 50% of all available notes. So if I randomly hit any note I'm in with a good shout of getting one that fits... Maybe.

    The notes in Ebm7 are: Eb Gb Bb Db F Ab. Which are the other 6 notes. So (for this chord change at least) the answer to my question is to simply slide up or down one fret, and then quickly figure out which fingering I'm then part of.

    Not sure this makes sense, even to me...

    Cheers
    Derek
    It’s not as hard as you think. You may be over thinking it. The answers are under your fingers. Play the examples as described and the theory will be become clear.


    Sent from my iPad using Tapatalk

  16. #65

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    Quote Originally Posted by Doublea A
    It’s not as hard as you think. You may be over thinking it. The answers are under your fingers. Play the examples as described and the theory will be become clear.
    I've no doubt you're right! I just know it's a weak point of mine - knowing the big shapes but not the small (i.e. not being able to grab a fragment of the shape instantly). But a quick look over the coming pages and I think I can see how the book's progression will help address this.

    Meanwhile, I've recorded an effort at Ex 2.1 - just playing the given melody (a little out of time!) and then a short improv' using the 2.1 fingerings for Gmin7.



    Back to working the shapes through the cycle, now.

    Cheers
    Derek

  17. #66

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    Don't have the book yet, but Amazon has a look inside feature and I could see exercise 2.1 & 2.2. Not sure if the book comes with backing tracks, I just did my own. 2.1 & 2.2:


  18. #67

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    Quote Originally Posted by fep
    Don't have the book yet, but Amazon has a look inside feature and I could see exercise 2.1 & 2.2. Not sure if the book comes with backing tracks, I just did my own. 2.1 & 2.2:


    Nice, Frank! So glad you've joined the group. Love your guitar sound here, and that's a good groove to play this stuff over.

  19. #68

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    Well done, fep - that's how you turn an exercise into music. Glad you joined!

  20. #69

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    I agree with Tommo that Frank (fep) turned the exercise into music. That's the endgame. But I'm still at the starting gate: playing through the sequence without losing my place (-most of the time). And trying to get the picking and fingering right. I've become painfully aware that I tend to alternate pick even when it makes things harder for me.

    I'm doing an overhaul of my room---added a bookcase, removing a desk and some file cabinets (-would love to keep it all but my room has become too cramped to function comfortably in, so as Johnny Mercer put it, "Something's Gotta Give"----so it may be a few days before I post a video. But I'm very much in this thing, playing from this book daily now.

  21. #70

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    Friends,
    I gotta say.. the first few exercises were awful for me. I didn't enjoy them. I think for this time in my musical life, this is not the book for me right now. I hope you all have a great learning experience and I a sure you will, but this isn't for me right now.

  22. #71

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    Quote Originally Posted by lawson-stone
    Friends,
    I gotta say.. the first few exercises were awful for me. I didn't enjoy them. I think for this time in my musical life, this is not the book for me right now. I hope you all have a great learning experience and I a sure you will, but this isn't for me right now.
    Sorry to hear! I’m curious, is it too easy, too hard, didn’t connect with what you already know, doesn’t sound like music, or ...?

    I just got the book yesterday and I’m playing exercise 2.1 on pages 12 and 13. I created a backing track in iRealPro in 4/4 time and I’m having fun jamming on the exercise. I’m bad at following instructions exactly, but I’ll try 2.2 in 3/4 time as notated.

  23. #72

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    Quote Originally Posted by GuitarJay
    Sorry to hear! I’m curious, is it too easy, too hard, didn’t connect with what you already know, doesn’t sound like music, or ...?

    I just got the book yesterday and I’m playing exercise 2.1 on pages 12 and 13. I created a backing track in iRealPro in 4/4 time and I’m having fun jamming on the exercise. I’m bad at following instructions exactly, but I’ll try 2.2 in 3/4 time as notated.
    That first exercise in 3/4 just did not sound musical to me, and used open strings, which I avoid, did position shifts that seemed out of place to me. It's possible some other time in my musical growth this will be "the book" I need. I had the Raney solos for 20 years before I latched on to them, though I'd started with them many times. I'm sure it's a great book and approach, but I haven't got time to keep plodding though something I don't like in the hopes things will change. Plenty out there that does grab me.

    Not knocking the author, the approach, or anything else. Just not for me right now.

  24. #73

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    Quote Originally Posted by lawson-stone
    Friends,
    I gotta say.. the first few exercises were awful for me. I didn't enjoy them. I think for this time in my musical life, this is not the book for me right now. I hope you all have a great learning experience and I a sure you will, but this isn't for me right now.
    Sorry to hear that, Lawson. But I'm old enough to realize that we can need to learn NOW is a function of where we are, and you are not "here" right now. It's better to realize that, admit that, and move on, perhaps to return later.

  25. #74

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    OK, at the risk of looking like a doofus, here goes: Exercise 2.2, starting on page 14, the text at the top of the page talks about Cycle 5 and the second paragraph starts with, "Start with G minor on the tenth fret, and then move down a fifth to C minor."

    Isn't moving from G to C a fourth, not a fifth? In fact this entire exercise seems like it is moving through a cycle of fourths, not fifths.

    What am I missing? Maybe it is the fact that he's moving "down" from G to C. I've never encountered this line of thinking, but I'm far from a theory expert.

    Thank you!

  26. #75

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    Quote Originally Posted by GuitarJay
    OK, at the risk of looking like a doofus, here goes: Exercise 2.2, starting on page 14, the text at the top of the page talks about Cycle 5 and the second paragraph starts with, "Start with G minor on the tenth fret, and then move down a fifth to C minor."

    Isn't moving from G to C a fourth, not a fifth? In fact this entire exercise seems like it is moving through a cycle of fourths, not fifths.

    What am I missing? Maybe it is the fact that he's moving "down" from G to C. I've never encountered this line of thinking, but I'm far from a theory expert.

    Thank you!
    Up a 4th G to C, G A B C

    Down a 5th also G to C, G F E D C

    I've heard it traditionally referred to as the cycle of 5ths (though it could have been a cycle of 4ths but common practice decided on 5ths, not sure why), which is down a 5th (but up a 4th is the same thing). I'm use to this pattern for the cycle (note it sometimes goes down a 5th and sometimes up a 4th).
    Attached Images Attached Images Fewell's Melodic Approach - Ch. 1-2-cycle-5ths-jpg