The Jazz Guitar Chord Dictionary
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  1. #26

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    Here he shows a lot of examples. Try to slow down the video and steal the lines.
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    Here is clear technique example. Video is about double time ideas.
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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by mikostep
    Here he shows a lot of examples. Try to slow down the video and steal the lines.
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    Here is clear technique example. Video is about double time ideas.
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    When I go there it says content not available. Is it just me?...

  4. #28

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    My Facebook opens them, but here are YouTube versions.



    Double stop ideas




  5. #29

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    Thanks Miko... so when does it get from noodle to the good feel. The rhythmic and story things. I mean after a few mins... it gets pretty boring, or am I missing something. The chromatic thing really starts to create mud and steady 16ths same. I dig Peters personality... and seems like he can play... but the posted vids don't do him justice.

    Please take with grain of salt... I still love the thread and direction.

    these are just a few... the last one was cool, from Jorge Dalto's date with some great players.






  6. #30

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    In videos I've posted he is showing the lines in fashion that students can undestand, he does not "play".
    Try to find some videos of his playing songs like Misty with his thumb. I think it was on his Facebook. I'll try to find it the later and upload.

    Even in Darth Vader video (his son asked him to put on the mask) he plays these concepts on song Weekend in LA and later he explains some of them.

  7. #31

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    Here are a few videos where he «plays»:







  8. #32

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    Thanks... Miko and bambus
    Yea I checked out, cool. I'll keep watching. maybe it's just a feel and phrasing thing...Or maybe because playing fast isn't that big of a dear to me... GB always had great feel and groove... when solos lock and you almost know what's coming. Anyway thanks.... I'll keep hangin around, if you don't mind...

  9. #33

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    No worries, Reg.
    When solo is fast he usually use just this Cannonball Adderley type of phrasing. There isn't much to do on fast solo, forward motion and leaf falling. I'll try to find something in mid tempo or ballad type with a lot of Q&A type of playing and different phrasing like one he showed in that Darth Vader video.

  10. #34

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    It's all great... just keep the thread going.

  11. #35

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    Here is his recent video about rhythm positioning. He shows what to sing inside your self while soloing. Its great for solo development, phrasing and general sense of your place. This is especially important for phrasing, because the way we sing is exactly the way we phrase on guitar. So, to improve your phrasing first of all you'll have to improve your singing. Another good practice would be to find great singer, learn his phrasing and translate it to guitar. One example that comes to my mind is Al Jarreau. His singing can be easily translated to guitar. Try song Raggedy Ann.
    Another thing Peter mentions here is Question and Answer. They can be within the one bar, but they can also take bar each etc. Take into the account that can phrase in front/on/behind the chord and combine this (and other things I wrote about earlier).
    Also, to improve your Q&A don't throw your ideas. Use last few notes of your Question as the beggining notes of your Answer. This is when you don't throw your ideas melodically.
    But, you can also do it rhythmically. Repeat the same or similar rhythm from your Question in your Answer. Instantly your playing will have more sense, I promise.
    I should add here that this is much easier to do if you play your lines with good fingering and picking. If you have to think about them, they just get in your way.
    And this is just the beggining...


  12. #36

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    So, to summarise:
    1.elephant dance - on 1 and 3, tapping with feets,
    2. Slow boogaloo
    3. compound meter 12/8
    4. Double time boogaloo

    Question and Answer
    1. Respect the bar
    2. Don't throw your ideas melodically nor rhythmically
    3. Learn chords/scales one by one

    Always listen to great singers - Al Jarreau, G.Benson, Jon Hendricks etc.

    And this is just the beginning, but it's a great start. If Peter shares for free other things I'll comment them.

  13. #37

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    Blues basics


  14. #38

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    Having watched some of his youtube channel video lessons lately, he seems to be a superb teacher, both in material and the way he communicates and plays it. And being somewhat familiar with Bensons concepts myself, since i studied with Ritchie Hart who plays that stuff, he really has it down!
    Last edited by Alter; 02-10-2020 at 01:30 PM.

  15. #39

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    Yes, he is superb teacher and his classes are very interesting. I guess this is because he loves to teach, it is obviously his passion. This morning, 2 years since I started with his lessons, he gave us amazing lesson about chord sequences.

  16. #40

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    Arpeggios: The pillar for improvisation

    Here he demonstrates some arpeggio ideas using harmonic and melodic minor, and dominant diminished:





    «Mixing colors»


  17. #41

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    Arpeggios and arpeggio + step back + next arpeggio. Bread and butter of fretboard knowledge. Without thorough practice of these arpeggios you can't play like George Benson.
    This is must for Major, Harmonic minor and Melodic minor. On Dom-diminished scale he use patterns, fourths etc. These exercises are most important ones since they make 2 type of connections.
    First, connection of left and right hand. That is because all arpeggios must be executed with correct fingering and picking.
    Second, they connect positions which improves fretboard visualisation.
    Soon I will post some material about arpeggios.

    Harmonic regions
    Like Secret of two chords matrix, this is one off the best shortcuts in jazz teaching. Peter actually just mentions some of the harmonic possibilities here. It's all about chord subs and these subs can be used harmonically and melodically. So, we can use them in comping and in solo. Harmonic regions are extremely useful in fast tempo because this knowledge is easy to understand and execution gets really fast. Also, it should be mentioned that we can hear the colours that they bring much easier on fast than on slow tempos.
    More in Harmonic regions later.

  18. #42

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    Great stuff Miko - Keep it coming!

  19. #43

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    [MEDIA=youtube]-XJvrPLwH2Y[/MEDIA]


    Wow, this one is really great one. Watch carefully. It explains very important part of HOW. Another aspect of HOW he showed in his 2 videos about rhythm.

    Earlier he showed WHAT.

    Exciting times...

  20. #44

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    HARMONIC REGIONS

    Harmonic regions are very important for thorough understanding of harmonic movement and they serve as a tool for quick adding different colours in your playing. They can be used harmonically (as chord subs) and melodically in soloing.

    As you will notice, some of subs are obvious, but there are some very interesting ones. Anyway, this is exceptional organizing tool.

    So what is it all about?


    MAJOR Harmonic regions

    1. Root (home) - Cmaj7, Am7, Em7

    2. Dominant (tension) - G7, Bm7b5, Em7 (sometimes)

    3. SubDominant (preparation)

    a) Major SD - Fmaj7, Dm7, Bbmaj7,

    b) Minor SD - Fm7 (Fm6, Fminmaj7), Bb7 (Bbsus), Abmaj7, Dbmaj7


    MINOR Harmonic regions

    1. Root (home) - Cm7, Ebmaj7, Gm

    2. Dominant (tension) - G7, Bdim

    3. SubDominant (preparation) -

    a) Minor SD - Fm7 (Fm6, Fminmaj7), Bb7 (Bbsus), Abmaj7, Dbmaj7

    b) Minor SD from parallel Ebmaj7 - Abm7, Db7, Bmaj7, Emaj7


    Important things to understand here are:

    1. These regions are not Chord families

    2. These subs can be used harmonically and melodically.

    3. Chords from Subdominant and Dominant regions are interchangeable

    4. Subdominant Major and Subdominant Minor are interchangeable.


    Now, how to apply this? First, try to analyse every chord in your songs through these regions and apply these subs. Some of them will work beautifully and some of them not so nice. For later ones try to find another inversion or just disregard them. Apply this also while soloing or composing. Keep your lines simple and your subs complicated ?

    Also, try this on your 251's.

    Compare these chords with Secret of 2 chords matrix chords.



  21. #45

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    I just wanted to say a big thanks for your time and effort to explain some of the Peter Farrell Gb methods. I have been working through it and feel I have gained new insights. I very much look forward to your future postings. A huge thanks Sibbs Sibley

  22. #46

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    Quote Originally Posted by Sibbo01
    I just wanted to say a big thanks for your time and effort to explain some of the Peter Farrell Gb methods. I have been working through it and feel I have gained new insights. I very much look forward to your future postings. A huge thanks Sibbs Sibley
    I'm glad you like the material. It's exciting times since Peter is releasing a lot of free material which goes deep.
    I will also post new material here.

  23. #47

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    Oncw again many thanks are you on facebook or instagram? Sibbs

  24. #48

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    Fingering/picking using melodic minor scales:

    Here Peter demonstrates different fingerings using the melodic minor scale going from the high e-string to the low e-string, using alternate picking up/down in even numbers all the way.




    Ultimate melodic minor ideas:

    Here Peter demonstrates creating lines mixing melodic minor scale (without the 4th) in combination with augumented triads, chromatics and enclosures, while maintainiing even alternating picking:


  25. #49

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    Quote Originally Posted by mikostep
    HARMONIC REGIONS

    Harmonic regions are very important for thorough understanding of harmonic movement and they serve as a tool for quick adding different colours in your playing. They can be used harmonically (as chord subs) and melodically in soloing.
    ...

    Compare these chords with Secret of 2 chords matrix chords.


    So obviously there are some differences. How are the differences important? When would George use "Secret of 2 chords" vs "Harmonic Regions". Can they be combined, or used separately? Did GB explain these systems to Peter in his own words, or did Peter work this out through analysis? Did someone show this stuff to GB (is it common knowledge), or did he develop some of this himself? Which other players utilise these systems? Earliest examples?

  26. #50

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    Quote Originally Posted by princeplanet
    So obviously there are some differences. How are the differences important? When would George use "Secret of 2 chords" vs "Harmonic Regions". Can they be combined, or used separately? Did GB explain these systems to Peter in his own words, or did Peter work this out through analysis? Did someone show this stuff to GB (is it common knowledge), or did he develop some of this himself? Which other players utilise these systems? Earliest examples?
    I will try to explain, but bear with me if I miss some major (or minor) points, as I have been a student of Peter for about one year, but still have some catching up to do, to keep up with the latest lessons. And english is not my native language.

    The «Secret of 2 chords» is the «framework» of only two chords (played in 5 positions) covering the neck from 1 to 12th fret, containing the minor and the relative major chord (or vice versa) f.ex Cm7 and Ebmaj7, or Cmaj7 and Am7.

    These «two chords» works as a «framework» or a reference point for lines (lines based on scales/chromatics/arpeggios etc that matches or contains notes from that chord), f.ex you can use an Ebmaj7-based line (or arpeggio) over a Cm7 chord and vice versa, or a Am7-based line over a Cmaj7 chord or vice versa.

    The «harmonic regions» contains all the chords that can be substituted for the dominant chord (the dominant 5th chord in a 251) f.ex 251 - Dm7b5-G7-Cm7, or Dm7-G7-Cmaj7. Here you can choose if you want to use one of the chords from the harmonic regions as a reference point or «framework» for your lines (or Giant lines, which are several «blocks» of shorter lines that are put together to a «giant»-line). In major keys you can use both sub-dominant major region chords and sub-dominant minor region chords but in minor keys you can only use sub-dominant minor region chords.

    The sub-dominant major region chords (substitution over G7) is Fmaj7, Dm7 and Bbmaj7. The sub-dominant minor region chords is Fm7 (Fm6, FmMaj7), Bb7 (Bbsus), Abmaj7 and Dbmaj7

    It means that you can play f.ex an Fmaj7-based line over a G7-chord, or a Abmaj7-based line over a G7-chord and so on. Or you can play several lines based on the different chords in the harmonic regions. You can literally play lines based on any of the chords mentioned in the harmonic regions and they will all sound great over the dominant chord (leading to the one chord)

    And then there is the combination of these two.

    You can also use the relative major chord from Cm7, the Ebmaj7 as a starting point for line-substitutions, and even Ebmaj7 has its «own» harmonic regions (chords) which also can be used as substitutions for lines. This could be Abm7 (or Abm6, or AbmMaj7), Db7 (Dbsus), or Bmaj7 or Emaj7.

    This is the same, but parallell pattern as when starting from the Cm7 where the harmonic regions would be Fm7 (or Fm6, or FmMaj7), Bb7 (Bbsus) or Abmaj7 or Dbmaj7.

    The point with these «secrets» is to form a baseline/framework/reference points to which lines can be played over a 251 chord progression.

    So instead of just thinking which scales/arpeggios/cromatics that sounds good over the chords Dm7b5 to G7 to Cm7 you will have a bunch of alternatives/substitutions/chords («harmonic regions») that will sound good (or harmonic) over this chord progression.

    Benson has teached Farrell the «secret of the two chords», and I believe he also has showed him the «harmonic regions» as well.

    I do not know where Benson learned this from, or if he developed this by him self. Maybe Miko can elaborate further?
    Last edited by Bambus123; 03-01-2020 at 02:26 PM.