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Terrific job Frank! And thanks for the transcription.
Originally Posted by fep
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02-24-2020 08:50 AM
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Originally Posted by digger
Originally Posted by TOMMO
Good job Frank!
Thanks for listening and the encouragement. This was a worthwhile exercise for me. Originally Posted by losaltosjoe
Derek, regarding the line at 13... From the lesson being able to use an Am triad over Dm, I was thinking Am blues scale and then followed that up with the same line but in Dm, i.e. Dm blues scale. That seems to work nicely. Surprising that the Eb of the Am blues scale works in this Dm dorian context. I know in my past I've seen transcriptions or transcribed parts where I think, how did that guitarist come up with those notes, an Eb over Dm?, an Am blues scale over Dm? If I could know what/how they think, the weird notes can make sense.
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Great to understand how you came up with that Eb, Fep. Brilliant. But it wasn't just the note, you placed it beautifully in a lovely triplet line. Great work!
I must admit I've struggled with GF's backing tracks a little - and also Jamey Aebersold (I've been playing along to his So What track from a Miles Davis set). They seem to have so much syncopation and the backing tends to float over the chords and bars that I find it really hard to keep time and especially play on the off-beats. I guess I'm so used to roots music where everything is a lot more defined.
Derek
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Had to jump back into this before it slipped away for good. Quick first take on Hot Saw at the end of lunch break. Feels noodly.
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Here's my crack at Hot Saw:
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Not at all to me - very "cool". Originally Posted by wzpgsr
Good job - I like your tone. Originally Posted by Jehu
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Thanks. I’m realizing that So What / Hot Saw is one chord away from being Dark Star circa 1973. Originally Posted by TOMMO
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Doesn't sound noodly to me, rather it sounds good and right in line with what the book is teaching. Thanks for posting. Originally Posted by wzpgsr
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Yep, that's the stuff of this book, choke full of triads, some nice moving trad sequences also. Thanks for posting. Originally Posted by Jehu
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Good stuff! Originally Posted by Jehu
Gentlemen, I have some catching up to do...
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Listening to Dark Star now. Originally Posted by wzpgsr
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Just sort of a deadhead joke. If you’re not familiar with the Grateful Dead, especially from that era, they did a lot of really long modal jamming over a single chord. Originally Posted by fep
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That sounds like an effing nightmare Originally Posted by wzpgsr
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Actually, when it was good it was great. Originally Posted by corpse
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What do Deadheads say when the drugs wear off..?
... What's that awful music?
Joking aside, I have several albums by the Dead and I enjoy them all. There's even a version of Hot Saw on The Pizza Tapes, which I often listen to.
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I stumpled upon this, got through the first 20 minutes. This looks to be interesting, I'll watch the whole thing. So What = Hot Saw = Dark Star = Wo Stah... Maybe my next take will be this Wo Stah thing.
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No rush, Mark. In a few days I'll start the March thread (the second half of this chapter), but we can feel free to keep working on/revisiting Hot Saw. Originally Posted by MarkRhodes
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Sort of for closure on this exercise, and following Frank's example, please see the transcript of my composed solo. I've never done this before and I'm sure it's full of mistakes - but I saw a thread elsewhere about music notation and I downloaded Muse and had a go... The plan is to keep this in the book (it's far nicer than my handwritten version) and next time through (I'm starting to feel like there will be many goes through) I will be able to follow my improvements in lines and phrases.
Anyway, here 'tis:
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Better late than never. Onward!
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Nice work on learning the software and composing the solo. Awesome Originally Posted by digger
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Sounds great Originally Posted by losaltosjoe
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I've been sidetracked writing and recording a tune. The outro is inspired by the Garrison lessons, both the chords from chapter 2 and 3, and the modal concepts of Hot Saw, and discussions here. So my last Hot Saw type submission is this fresh off the presses outro of my tune:
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I'm up to the "Hot Saw" portion of Ch. 3, and Garrison in a way sneaks in what I think seems like an important little nugget.....that you can play the triad extensions of the triad extensions, right? Like he mentions, the Dminor is made of Dm, F, Am, and C. And says you can play an Aminor extension over the D minor. And I'm assuming that also means you can play F and C major as well (I'm guessing that might be talked about later? I'm trying not to read ahead). So playing around, I discovered you can really play both Dm and Am extensions and mix them up in the song.
And, since Am is made up of C, Em, and G, I also gave a go of playing Em extensions over the Dm7 of the tune. It's out there, but it works. I'm guessing that might be something for later on as well.
Also, since I don't read (music) very well, I took a few minutes to convert Garrison's sample for Hot Saw to tab. I'll attach it below. I tried to make sure the fingering seemed correct. It's also something that helped turn on the light bulb for me about the Am and Dm as he demonstrates it in the sample solo.
Edit: anyone care to answer how So What = Hot Saw?
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If I understand your question right: it's for copyright reasons. Chord progressions by themselves can't be copyrighted but if you use one from a published tune and you use the original name of the tune than I guess it's copyrighted.... Originally Posted by Bahnzo
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No, I understand it's a copyright thing, but I don't understand why the name Hot Saw and how it relates to So What. Like later we have Three B's which is for Beads, Baubles, and Bangles. That makes sense. Originally Posted by TOMMO
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Hot Saw is an anagram of So What.
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Doh! Originally Posted by NickES345
hah.
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yeah, the device of using ‘cute’ song titles to imply the changes of a well known tune is widespread in instructional books. Chord changes aren’t copyrighted and I believe song titles can’t be copyrighted either, so I’m not sure how necessary this device is. Originally Posted by Bahnzo
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That's what I didn't get I guess. I would've expected it to be called "So Why" or "What Else" or the like. Hot Saw kinda threw me. Originally Posted by NickES345
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Maybe he got a chuckle out of it. Later in the book "West Coast Blues" gets retitled as "East Ghost Blues", which would be more in the line of your thinking... Originally Posted by Bahnzo
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This is the Hot Saw I messed around with tonight. It's a little different from the book, as I just did 8 bars of Dm, Ebm, Dm each.
I tried to use both Dm & Am for the first 8, then Ebm & Bbm for the 2nd, and the last 8 bars are me trying Em (5th of the 5th?). Nothing fancy or flashy, although I did try to do a Wes-like descending/alternating triads at the end of the "B" section.
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Sounds good, Bahnzo - nice tone!
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Really nice, and man, I love your time. Very relaxed pocket, suits this perfectly. Originally Posted by wzpgsr
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Finally got around to record something again. Took me some practice and time to get comfortable playing and inprovising in 3/4 time.
Here's "Three Bees" - two takes recorded this sunny (but cold) afternoon while in self-isolation:
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Your time was well spent: both takes sound very fluid and confident! Very musical too. Originally Posted by TOMMO
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Boy I really enjoyed that TOMMO! Very musical. Well done! Originally Posted by TOMMO
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Thanks Jay and Joe!
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Here is my take on Hot Saw
Improvised solo over Hot Saw
Comments welcomed !!
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Very nice, AA. Well done catching the change... it can sneak up on you!
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Yes it can. The drummer often gave you the cue. Originally Posted by Jehu
Sent from my iPhone using Tapatalk
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I'm working on Hot Saw today and taking a look at the sample solo, FIgure 3.5. I see some Bmin7b5 arpeggios in there. Combined with the nugget that Bahnzo highlighted, that implies, for D dorian (aka C ionian), we can use the following triads: Originally Posted by Bahnzo
C major
D minor
E minor
F major
G major
A minor
B min7b5
Basically all the diatonic triads, and we can add extensions to D minor (as taught) and E minor (as Bahnzo described above). Wow! It's a real insight to take all the notes of the scale and organize them in a way that helps generate melodies. This particular approach seems to be yielding more fruit for me than when I focused strictly on scales and multi-octave arpeggios. My soloing attempts sounded like scales and arps, not little melodic phrases. Laying it out in this manner is very helpful for me, and I like the way I'm seeing the fretboard in a slightly new light.
Sorry if I'm the last to catch this, but better late than never!
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Here is my attempt at Three's Bees
Three's Bees
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Excellent - enjoyed that!
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Now, finally, to ch 4
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Really. Really. Nice. Frank! Originally Posted by fep
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[QUOTE=MarkRhodes;1006523]Okay, you guys are killing it and I wanted to at least show up. ;o)
Today I did this without looking at the book.
I do like the way you are limiting yourself to three fingers. I'm having difficulty with that - the pinky keeps creeping in. Like the sound as well.
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Hello there friends.
I'm having a lot of fun with the book and now I started to try something over So What.
I'm using a backing track from Real Book here.
Fell free for any feedback.
P.S.: I "moved" the post here because this song is chapter 3.
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Cal Collins
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