The Jazz Guitar Chord Dictionary
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  1. #51

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    Quote Originally Posted by losaltosjoe
    I think you're too hard on yourself Derek. I really enjoyed that! Thanks.
    Definitely too hard on yourself, digger -- from what I hear, you're killing it!

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    The Jazz Guitar Chord Dictionary
     
  3. #52

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    Quote Originally Posted by wiscart1900
    starting late but interested in joining this group - I have the book and have been re-visiting it

    the more i read along in this book I feel like I am getting slighly lost but after looking at it again - there really are not many concepts provided in the first 3 chapters, but I am just trying to keep them straight so I can use these in actual playing.

    1) over a minor chord play a minor triad from the root and from the seventh play a major triad
    example: Gmin can play a Gmin chord and Fmaj chord

    2) over a minor chord play a triad from each chord tone
    example: Gminor consisting of G, Bb, D, F (Gmin, Bb maj, Dmin, Fmaj)

    3) for a major chord you can apply these same concepts from the relative minor
    example: Gmin is the relative minor key to Bb maj, so over Bbmaj you can play the same chords from Gmin
    (Gmin, Bb maj, Dmin, Fmaj)

    4) for a dorian minor (ii chord) you can play either the same triads derived in example 2 (over Gmin, Gmin, Bb maj, Dmin, Fmaj) or you can play triads derived from the fifth of the chord. for example for Gmin the fifth would be Dmin (Dmin, Fmaj, Amin, Cmaj)

    5) Per page 33, over a dominant chord you can play a triad derived from the fifth of the dominant chord.
    example: over C7 play Gmin. C7 = CEGBb. Gmin triad gives G Bb D (C79)


    I only write this to see if I am interpreting all this information correctly and so I can keep everything straight. Of course the playing is what's important. Thanks all and I look forward to joining the group
    Yep, this is all my understanding. And welcome aboard, mate!

  4. #53

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    Quote Originally Posted by wiscart1900
    starting late but interested in joining this group - I have the book and have been re-visiting it

    the more i read along in this book I feel like I am getting slighly lost but after looking at it again - there really are not many concepts provided in the first 3 chapters, but I am just trying to keep them straight so I can use these in actual playing.

    1) over a minor chord play a minor triad from the root and from the seventh play a major triad
    example: Gmin can play a Gmin chord and Fmaj chord

    2) over a minor chord play a triad from each chord tone
    example: Gminor consisting of G, Bb, D, F (Gmin, Bb maj, Dmin, Fmaj)

    3) for a major chord you can apply these same concepts from the relative minor
    example: Gmin is the relative minor key to Bb maj, so over Bbmaj you can play the same chords from Gmin
    (Gmin, Bb maj, Dmin, Fmaj)

    4) for a dorian minor (ii chord) you can play either the same triads derived in example 2 (over Gmin, Gmin, Bb maj, Dmin, Fmaj) or you can play triads derived from the fifth of the chord. for example for Gmin the fifth would be Dmin (Dmin, Fmaj, Amin, Cmaj)

    5) Per page 33, over a dominant chord you can play a triad derived from the fifth of the dominant chord.
    example: over C7 play Gmin. C7 = CEGBb. Gmin triad gives G Bb D (C79)


    I only write this to see if I am interpreting all this information correctly and so I can keep everything straight. Of course the playing is what's important. Thanks all and I look forward to joining the group
    I haven't gotten to page 33 yet, but all the rest looks spot on to me. And, that is a very useful, simple and easy to understand summary of the book to that point, thanks for that.

  5. #54

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    is it too late for me to join!

  6. #55

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    Quote Originally Posted by jaguarguitar
    is it too late for me to join!
    Why is that? Are you ahead of us all?

  7. #56

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    Quote Originally Posted by jaguarguitar
    is it too late for me to join!
    No! Welcome aboard. The more the merrier.

  8. #57

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    Quote Originally Posted by MarkRhodes
    No! Welcome aboard. The more the merrier.
    Ordering the book, will update soon.

  9. #58

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    Quote Originally Posted by jaguarguitar
    Ordering the book, will update soon.
    Great!

  10. #59

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    Having trouble getting Fewell's "How Saw" solo down pat. (16 bars, track 6 on the CD) Maybe by tomorrow...

  11. #60

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    Hi Study Group. FYI. Work has me on the road and away from my recording setup. Luckily I do have access to a guitar. So I am continuing to work on Chapter 3 but won't be able to post videos for a couple of weeks. Keep up the good work! Cheers, Joe

  12. #61

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    The 16-bar "Hot Saw" solo from chapter 3. (CD track #6.) Better than yesterday and the day before but still not where it needs to be.
    I like the phrases Fewell has chosen here.


  13. #62

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    Well done, Mark! I'm a bit behind proceedings re: posting clips, right now I feel like I have lost all my chops and can't even play the easiest ditty properly.... Some days are like that.

  14. #63

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    Quote Originally Posted by TOMMO
    Well done, Mark! I'm a bit behind proceedings re: posting clips, right now I feel like I have lost all my chops and can't even play the easiest ditty properly.... Some days are like that.
    Thanks, Tommo.

    I know what you mean about "some days are like that." Troy Grady says in one of his videos that playing guitar is like going to the gym in that you just don't always have it. It's better to say "today is just not my day" than "I suck and should just quit." ;o) We all have bad days.

  15. #64

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    Quote Originally Posted by MarkRhodes
    The 16-bar "Hot Saw" solo from chapter 3. (CD track #6.)
    Well done, Mark. Good work.

    I've made a start on this, and unlike my effort on Hot Saw, I love the way these lines don't always start on the root, and they twist and turn and double back on themselves. Almost all of mine started on the root and went up or down (but, in my defence yer honour, I thought that's what the idea was!).

    I see four stages to using these lines:


    1. Learn them
    2. Analyse them, for the triads, but also (as mentioned above) how they start and move and end.
    3. Internalise the learning from (2)
    4. Have another go at Hot Saw using (3)


    That's February gone then...

    Derek

  16. #65

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    Quote Originally Posted by digger
    That's February gone then...

    Derek
    The material is getting more complex chapter by chapter so it seems. Chapter 3 already has probably more than can be accomplished in one month so it seems to be necessary to go back and work some more on earlier chapters...

  17. #66

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    You're not wrong, Tommo.

    I find I have a really poor musical memory, too. In another world I'm working on a particular set of right hand exercises that have to repeated every day for 30 days. The text says (in regard to memorising the material):

    After your first practice session, working for five to ten minutes at 60 bpm, you shouldn’t have to look at the paper again.

    I'm on Day # 13 and I still need to look at the paper...

  18. #67

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    Here's my attempt at the example lines that GF has provided for us. As Mark said above, they're really nice phrases. I can see clearly how he uses the shapes / triads he's taught us thus far, but also there's some really nice twists and turns and the way he moves from shape to shape is enlightening.



    Regards
    Derek

  19. #68

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    Quote Originally Posted by digger
    Here's my attempt at the example lines that GF has provided for us. As Mark said above, they're really nice phrases. I can see clearly how he uses the shapes / triads he's taught us thus far, but also there's some really nice twists and turns and the way he moves from shape to shape is enlightening.



    Regards
    Derek
    Reason to smile at the end - well done, Derek!

  20. #69

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    Spent an hour and a half before work this morning trying to come up with some lines of my own, inspired by GF's examples. I ended up with four two bar phrases. They're very basic, but it's a start, and the exercise certainly helps in connecting the four (six) triad shapes, rather than playing a whole phrase out of just one shape, which is what I did on my Hot Saw effort.

    I'll try and post these lines up later, that is, if they don't sound too awful when left to stew for eight hours!

    Cheers
    Derek

  21. #70

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    Okay, here they are. They seem a little simplistic and square when compared to GF's phrasing. But it's a start in trying to get a little of what he did into my own lines.

    I focused on starting lines on notes other than the root and also on moving between shapes. I find that shifting between shapes adds a little of that twisting and turning, jumping up and down in both big and small steps, that good lines seem to possess, but without too much effort - the genius of the shapes is that they do some of this for us!

    The first line can be played starting on the root, or the 5th if, as in this case, we're using the Dorian mode. I've played both. What I also tried to do here was to start on an off-beat, which I kind of liked in GF's examples.

    My second line simply goes up the four triads, with absolutely nothing added - so simple, yet very nice.

    The third one is again really about just going up the shapes, this time with the tiniest of extra notes. This one also uses the G triad so it will really only work where we're using the Dorian (I think...)

    #4 was the same, but this time I ended with a few notes from the Dorian scale leading back into one of the triads.



    Anyway, that's it for now. I will keep working on these and hopefully resubmit Hot Saw in a week or so.

    Cheers
    Derek

  22. #71

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    Here are two contributions from me:

    Playing along with the sample solo on "Hot Saw":





    and an attempt to solo over the backing track - not my best but the red light fever got the best of me again and I'm not exactly relaxed:



  23. #72

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    Sounds good to me, Tommo! Lovely laid back groove and tone.

  24. #73

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    Quote Originally Posted by digger
    Sounds good to me, Tommo! Lovely laid back groove and tone.
    Thank you!

  25. #74

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    Sounding great, everybody!

    Quote Originally Posted by TOMMO
    The material is getting more complex chapter by chapter so it seems. Chapter 3 already has probably more than can be accomplished in one month so it seems to be necessary to go back and work some more on earlier chapters...
    This seems to be a common sentiment as we close in on the last part of February. Do we want to think about breaking this chapter up into two months, with the goal of tackling Hot Saw this month and Three Bee's in March?

    I've been away travelling in Australia for the past week without a guitar, so could use a bit of extra time on this chapter myself.

  26. #75

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    I think that's a good idea, Jay. Tonight I've been working on composing a solo for Hot Saw as per GF's instructions. But I've also been going back over all the shapes and triads and lines learned so far. Can't believe how far we've all come so far. Be a shame to start rushing things so soon.

    Derek