The Jazz Guitar Chord Dictionary
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  1. #101

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    In defense of "Elle":

    there's more to it than meets the eye - having worked with the book before I always got the feeling that there are "hidden" lessons that don't get special mention in the text.

    - keep in mind that it's a practice progression to apply what we've just learned and practiced in the first few pages - nothing too complex so we can feel free to use our newly acquired knowledge.

    - The changes lend themselves to move from one chord to the next chromatically from one note to another note in the next chord (or its extensions).

    - introduction to a Bossa rhythm

    - phrasing: dotted notes, syncopation, quarter triplets and sixteenths.

    - try to imagine Miles Davis playing the tune - it has a lot of the features of a Miles tune: a simple slow moving melody with lots of space and a general overall modal feel.

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    The Jazz Guitar Chord Dictionary
     
  3. #102

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    Good call, Tommo. I will think Miles when I play this tomorrow.

    Quick question - what's the secret to playing quarter note triplets. I always struggle with these little devils!

  4. #103

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    Quote Originally Posted by TOMMO
    In defense of "Elle":

    there's more to it than meets the eye - having worked with the book before I always got the feeling that there are "hidden" lessons that don't get special mention in the text.

    - keep in mind that it's a practice progression to apply what we've just learned and practiced in the first few pages - nothing too complex so we can feel free to use our newly acquired knowledge.

    - The changes lend themselves to move from one chord to the next chromatically from one note to another note in the next chord (or its extensions).

    - introduction to a Bossa rhythm

    - phrasing: dotted notes, syncopation, quarter triplets and sixteenths.

    - try to imagine Miles Davis playing the tune - it has a lot of the features of a Miles tune: a simple slow moving melody with lots of space and a general overall modal feel.

    Great post TOMMO. And on point.

    Not to be preachy, but it's not really about Fewell's fingerings, original tunes, or melodies.

    Rather, it's about learning, assimilating, and applying the fundamentals of the jazz langage to the guitar. Fewell did the hard word in analyzing, breaking it down, applying it to the guitar, and explaining it so that students don't have to do all that research on their own. (The fact is that most people would never bother). As Fewell covers most concepts he advises the student to; (1) write their own solo, and (2) improvise their own solo - based upon those same concepts. That's where individual expression comes in.

    So:
    1. It's not about aping Fewell, or even Bird, Trane, Wes, Charlie, George, etc.
    2. Like many or most improv studies the material is largely about generating competent jazz lines, or "running the changes like an authentic jazzer".
    3. Despite that, many or most "real" solos aren't devoted 100% to line running, start to finish. They include space, motifs, melodic sequences, "licks", slides, shouts, shakes, doits, etc. But we need to know how to construct and render effective and authentic jazz lines in real time.
    4. Learning all this material and then applying it in our own way is where the real value comes in, IMO.

  5. #104

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    Had a few minutes (but only a few) this afternoon and thought I'd try this again. I played Em / D at the wrong place, which I sometimes do. But the main thing is that I have now posted something to this group. The ice is broken. Things should get much better from this day forward. ;o)


  6. #105

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    The benefit of Elle, I think, comes from playing it over and over again, ad nauseum. I’ve noticed my ear is starting to hear the somewhat odd changes ahead of time, and that I am finding more interesting ways to move from one chord to the next. Also: I think GF’s own line over the Bb-9 chord encourages our minds, ears, and fingers to be working towards a less position-oriented approach. Can you do a nice little melody line like GF’s on that Bb-9, on only two strings moving up and down through multiple positions on the neck? I think there’s a ton to work on here. Reminds me of the benefits of practicing Mick Goodrick’s single string “unitar” concept.

  7. #106

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    Was just going thru Elle identifying all the extensions as per the instructions and it is pretty straightforward until bar 10 where there is a C note between two Db/b7's is the C a simple passing/approach tone? everything else in the tune is from an appropriate major or minor triad or am I being dense ?

    Will

    ps - great to see folks plowing ahead and sounding so solid!!!.

  8. #107

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    Quote Originally Posted by WillMbCdn5
    Was just going thru Elle identifying all the extensions as per the instructions and it is pretty straightforward until bar 10 where there is a C note between two Db/b7's is the C a simple passing/approach tone? everything else in the tune is from an appropriate major or minor triad or am I being dense ?

    Will

    ps - great to see folks plowing ahead and sounding so solid!!!.
    That's over the Eb-7 chord and c is the sixth. The way I perceive it: since this is not actual diatonoc harmony but more of a modal tune you have a choice of the minor or major sixth.

  9. #108

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    Quote Originally Posted by digger
    Good call, Tommo. I will think Miles when I play this tomorrow.

    Quick question - what's the secret to playing quarter note triplets. I always struggle with these little devils!
    If you can feel eighth note triplets just slow them down to half time (count only beats one and three). That's how it seems to work for me.

  10. #109

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    Quote Originally Posted by WillMbCdn5
    Was just going thru Elle identifying all the extensions as per the instructions and it is pretty straightforward until bar 10 where there is a C note between two Db/b7's is the C a simple passing/approach tone? everything else in the tune is from an appropriate major or minor triad or am I being dense ?
    I puzzled on that one, too. The C note doesn't feature in the triads for Eb-7(9) so I assume it is a passing note and is there to "give us permission" to do the same :-) It's a nice note to add in!

  11. #110

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    Quote Originally Posted by MarkRhodes
    Thanks! Yes, you're right, I am getting comfortable with it. It feels like what I should have been playing all along. Live and learn. ;o)
    I got my first Tele style guitar a year ago (it is a Danocaster) and my only regret is that I did not have a Tele 30 years ago. I was a Strat guy...but I find the Tele to be so much more versatile and useful.
    I was always fumbling with the pick up selector on a Strat. Now the choices are easy

    I will get a Chapter 2 vid up as soon as I get some time. Enjoying everybody's posts and commitment to this great book.

  12. #111

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    Quote Originally Posted by digger
    I puzzled on that one, too. The C note doesn't feature in the triads for Eb-7(9) so I assume it is a passing note and is there to "give us permission" to do the same :-) It's a nice note to add in!
    Yes, and the characteristic tone of the Dorian mode...

  13. #112

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    Well - here is my effort on EX 2.1 . First time I ever created a vid so hope this works ok



    Will

  14. #113

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    Quote Originally Posted by WillMbCdn5
    Well - here is my effort on EX 2.1 . First time I ever created a vid so hope this works ok



    Will
    Works proper - you're on your way!

    p.s.: beautiful guitar.

  15. #114

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    Quote Originally Posted by TOMMO
    Today's offering: Exercise 2.3 "Elle":



    Well done !
    Nice Phrasing


    Sent from my iPhone using Tapatalk

  16. #115

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    Quote Originally Posted by WillMbCdn5
    Was just going thru Elle identifying all the extensions as per the instructions and it is pretty straightforward until bar 10 where there is a C note between two Db/b7's is the C a simple passing/approach tone? everything else in the tune is from an appropriate major or minor triad or am I being dense ?

    Will

    ps - great to see folks plowing ahead and sounding so solid!!!.
    I believe that you are talking about the phrase F - Eb - Db - C - Db - F - Ab.
    If you are, Eb-7 is the II chord of Db major. The C is the 7th note in Db major. I hope that answers your question.


    Sent from my iPhone using Tapatalk

  17. #116

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    A little teaser and one of my favourite tracks by Mr. Montgomery. Listen and I'm sure you'll recognize a lot of the things we're working on already:




  18. #117

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    I got the book yesterday. Previously I only had a selection of pages in the amazon look inside feature and didn't realize it was missing page 13. So page 13...

    Last edited by fep; 01-04-2020 at 04:37 PM.

  19. #118

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    Goodness I knew I was out of my depth here to begin with !! But Fep has his own back up band !!!!

    Will

  20. #119

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    Guessin everyone has their heads down and fingers dancing across the fretboard aiming for some end of January " Elle" recordings . I'm working on pages 18-22. It has been mentioned before but it seems that Garrison liked to drop little nugget hints into things . He had that 6th in " Elle" that opened a door which he mentioned at the end of Ch1 .

    On page 20 he describes some voicings for Gm to use as accompaniment , all of which are spread style voicings . If you take the Gm/Fmaj combo and map it out as spread triads using strings D/B and E you get some beautiful, open airy sounds to work with .

    Will
    Last edited by WillMbCdn5; 01-07-2020 at 08:39 PM.

  21. #120

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    Quote Originally Posted by WillMbCdn5
    Guessin everyone has their heads down and fingers dancing across the fretboard aiming for some end of January " Elle" recordings . I'm working on pages 18-22. It has been mentioned before but it seems that Garrison liked to drop little nugget hints into things . He had that 6th in " Elle" that opened a door which he mentioned at the end of Ch1 .

    On page 20 he describes some voicings for Gm to use as accompaniment , all of which are spread style voicings . If you take the Gm/Fmaj combo and map it out as spread triads using strings D/B and E you get some beautiful, open airy sounds to work with .

    Will
    You've probably figured out by now I'm not a jazz purist, for that matter jazz represents maybe 10% of my listening time. I looked ahead at the voicings you are refering to and tried them out. Hey, it's Eric Johnson, he uses these sounds a lot. Listen to first minute of this video for some spread voicing triad beauty (WARNING: if you go past 1 minute you will be bombarded by rock guitar)


  22. #121

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    Its all good! I'm not a jazz purist either!!! I hear lots of different players being reflected .
    Last edited by WillMbCdn5; 01-07-2020 at 10:54 PM.

  23. #122

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    Quote Originally Posted by WillMbCdn5
    Guessin everyone has their heads down and fingers dancing across the fretboard aiming for some end of January " Elle" recordings
    Still working on playing the shapes through all keys, though I have had a couple of early bashes at Elle. The shapes are starting to get there, and I'll try and post a video soon - but as feared, the post Xmas return to work has scuppered things timewise.

    I must check out those chord shapes / voicings. I do like the openness in the Elle backing track.

    Derek

  24. #123

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    Quote Originally Posted by WillMbCdn5
    Garrison liked to drop little nugget hints into things .

    Will
    That's exactly what I noticed the first time around - A little later in the book for example: a sample solo over "So What" with no tab, only standard notation, forcing the reader to read....I'm also sure that he wants the reader to take "Elle" through the keys to learn the fretboard.

  25. #124

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    Ok, here's my attempt at Exercise 2.2. Plenty of hesitations and flubs. But it is what it is. If this meets with the approval of the group I shall move on to Elle...



    Cheers
    Derek

  26. #125

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    Good job Derek, my vote, good to move on.
    Last edited by fep; 01-08-2020 at 02:00 PM.