The Jazz Guitar Chord Dictionary
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  1. #51

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    Quote Originally Posted by corpse
    Very nice. Did you learn this from one of those sheets? I've been interested in checking some of the free arrangements that are available, but the notation is unnatural. Is it less complicated than it looks? I transcribed some stuff from his album, but it looks like there is a ton of free arrangements that were never recorded.
    Yes, I got the grids from tedgreene.com here. The notation is unique and, like tab, it helps if you know how the arrangement is supposed to sound. I'm amazed how Tim Lerch, for example, is completely literate in the notation style.

    I consider this to be one of Ted's most approachable arrangements. Much easier than Moonglow, which I posted earlier. And, of course, it sounds best on a 50s style Telecaster.

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    The Jazz Guitar Chord Dictionary
     
  3. #52

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    Quote Originally Posted by corpse
    Howard Reese went over a fair amount of it when I studied with him. It's all the same stuff as major and dominant: added note rules, chords, triads, 5432 etc..

    Good to learn it for tonics, but you can use the same language on the tritone's minor for altered.

    Corpse, thanks for this. Did he have you do this stuff on the melodic minor or m6dim scale?

  4. #53
    joelf Guest
    I'm shedding my parts for the maiden voyage gig for my young, spry and talented Philly crew---in 2 days at Fat Cat, 6-8:30, 75 Christopher St, The Mango. This will be almost all my music, including a tribute to Fat Cat's recently deceased hardworking and generous manager, Benson Gee.

    Instrumentation: trumpet/flugelhorn (Elliot Bild); vocals (Jon Williams); Hammond B3 (Scott Edmunds); drums (Steve Perry); and a knucklehead named Joel Fass (guitar/composer).

    Remember those names (except mine) you'll be hearing them again in our music sphere...

  5. #54
    joelf Guest
    I have two important ones---now that I have a cool, quiet living space w/digital piano, etc.:

    I want to be a complete composer. I've cobbled it together by the seat of my pants thus far (though I've studied with some of the best here and there through the years) and have done OK. I get my sound and effect, but there's so much I don't know. Knowledge is a life-long quest, or ought to be. I need to study orchestration, score reading, counterpoint starting from species, know the classical literature. Then there's jazz and pop composition studies. A lot of music going back to the 30s fascinates me: Don Redman---he was writing whole-tone based pieces like Chant of the Weed. I played that tune with the George Kelly Octet in '84---now it's time to analyze it. Or Nat Leslie's Radio Rhythm---also recorded by Fletcher Henderson. It keeps moving like a herd with a shepard pushing. The 30s were a time jazz arrangers and composers through-composed. The bebop writers were more into shorter forms. This fascinates me, too. Then modern people: Thad; Brookmeyer; Ernie Wilkins; early Quincy---when he actually wrote.

    Then the popular music arrangers---jazz and classical influenced, of course: Riddle; Jenkins. Film composers: Tiomkin; Newman; Herrmann, etc. Today Alan Broadbent is a master.

    It's not just writing the tune, it's knowing all of the above. Gotta get off my lazy ass. (A friend across the pond has a pretty successful nonet and wants me to contribute to their book. Don't want to cop out, or not do his group justice).

    And now for something completely different (non-European): Rhythm---African-based and derived. Polyrhythms, as played in Caribbean nations where the slave owners let slaves keep the drums. American musical culture is mono-rhythmic, largely b/c the slavemasters took the drums away (except, according to John Birks Gillespie, for Sea Islamd, GA---where the overseers cut the slaves more slack). I feel rhythm is my weakness. I can swing OK, but there's still fear of getting lost---losing form in drum solos, coming in wrong---after all these years! I think piling in, learning the forms, sitting down at the set with a teacher and having him kick my ass and straighten me out, playing and writing in a way that reflects that----and listening, listening, listening (and did I mention listening?) are the ways.

    I'm done...

  6. #55

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    Quote Originally Posted by fep
    Playing longer solos with my own voice, and keeping it interesting sounding. I'd like to be able to just keep going, say 5 minutes and make it work.

    Not only on changes like All the Things You Are, but also more static chord movement like So What. I have a harder time on something like So What, a harder time keeping it going with out sounding repetitive.

    Like Mike Stern or Pat Matheny, those long developed solos. Jeff Beck also, or even John Mayer with Dead and Company
    I am not particularly good at static chords either (exacerbated by not working on it) but I do know that when you hear someone who sounds good playing over 8 or 16 measures of d minor, they’re doing a lot of superimposing alternate/substitute chords and side slipping. You know, playing a d minor line that goes into outlining A7alt and then falling back into d minor.....the a bit of C# diminished, back to d-. You can also hear that on measure 7 or 15 they will anticipate the next chord for most of that last measure.