The Jazz Guitar Chord Dictionary
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  1. #1

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    First lick...

    Chico Pinheiro Analysis thread-chico-lick-2-jpg

    From here (at 4:27)

    EDIT: should be F#, not F natural in bar 1.



    Analysis to follow! Post ideas below...

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    a super standard bebop lick. honeysuckle rose with chromatic approach notes. appears in basically any pat martino or grant green solo.

  4. #3

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    Yes. It’s very straightforward if you’ve studied that music. You can dig deeper into it of course if you aren’t sure what that means exactly.

    So the whole thing is best understood as two phrases. One is leading in forward motion into beat one of the second bar, the other is leading into beat five of the second bar.

    It is also very similar to some of the more advanced added note scales you might find in Barry Harris’s teaching. (BH never uses the term Honeysuckle motif btw, to him it’s a pivot arpeggio)
    notice the notes on the beat.

    i want to take a look at what Chico plays on Arabesque because it sounds similar and it would be interesting to see how he uses bebop phrases over these more extended chords. He plays this type of figure quite a bit to my ears, obviously under his fingers.

    it’s also a classic example of how actual bop lines tend to mix diatonic and melodic minor options if you want to view it that way. You rarely get either/or. So we could say the line is Lydian dominant/mixo combination. Not the way BH would put it of course.

  5. #4

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    It’s also a 4/4 lick that’s been put into a 5/4 context. Which is slightly more interesting.

    I also like the rhythmic variation in bar 2

  6. #5

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    frans elsen would've called it honeysuckle rose. iirc jerry coker calls it the "gone but not forgotten" lick. you could also see it as a dominant-bebop scale or melodic minor lick with typical chromatic enclosures.

    if a student wanted to play in this style i'd recommend studying "linear expressions" (one of the few books i like) and learning a few pat martino mid 60s bebop solos, like airegin, donna lee or sandu. grant green's "miss ann's tempo" is also a variant of the gone but not forgotten/honeysuckle rose lick.

  7. #6

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    Quote Originally Posted by djg
    frans elsen would've called it honeysuckle rose. iirc jerry coker calls it the "gone but not forgotten" lick. you could also see it as a dominant-bebop scale or melodic minor lick with typical chromatic enclosures.

    if a student wanted to play in this style i'd recommend studying "linear expressions" (one of the few books i like) and learning a few pat martino mid 60s bebop solos, like airegin, donna lee or sandu. grant green's "miss ann's tempo" is also a variant of the gone but not forgotten/honeysuckle rose lick.
    Interesting. I had no idea it was standard lick, but I haven't listened much to Martino or Green.

    Some observations.

    The third note is a Db, but the 5th note is a D. If that's a flat sign on the third note, it needs a natural sign on the fifth note. Otherwise, it's a good transcription, with the samba "fork" correctly notated in beats 3 and 4 of bar 2.

    Looks like Chico plays the E at the end of bar 1 with his pinkie. That makes a nice, seamless, position shift. Makes the phrase easier to play at that tempo.

    One of the things Chico does with this tune is not play the Dsus at some point during his solo. He'll play part of the solo in full chords and that Dsus will be replaced by xx4554 (among other things), which I'd label D9#11. I think that's a sound he hears and is reflected in this lick. So, one way to view it is "D mixo, some chromatics, and inclusion of the G# to nail the #11 sound against the Dsus in Bar 1 (that's the background chord) and against D9 in bar 2. His groups don't play the Dm during the solos, only during the head. Of course, someone else might say fourth mode A melodic minor and chromatics.

    In a way, it does seem like a 4 beat lick (starting on beat 3, bar 1), ending on the first half of beat 2, bar 2. Then he adds another reference to G# and does it in the Brazilian way with the 16th 8th 16th rhythmic pattern.

    Chico recorded a tune called Cinco on an Edu Ribeiro album. It's worth a listen. I'm struck by how comfortable they are in 5/4. Just a light year away from Brubeck in how free they are to vary the rhythms. It's hard to feel 5/4 like that.

    Any reference to where I can hear another player do this lick?

  8. #7

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    Darn missed another accidental. It is D natural.

  9. #8

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    Tbh I would play lines of this basic type against any D dominant type chord. Don’t discriminate between sus and ordinary. You can flip from one to the other. That distinction is really for the text books.

    STILL - it’s worth noting from a forward motion perspective that Chico does not at any time play into the F#. The one F# that appears is not placed on the beat but does appear on the ‘+’ which for the POV of double time could be thought as the beat. M

    However as the feel is very much half time Brazilian I think that’s really neither here nor there (and according to Hal Galper double time swing is a similar deal.) so we can discount that.

    the featured notes are - d, b, a and cto describe the G# as a #11 to me feels a little artificial. It’s clear as mentioned above it’s function as a lower neighbour in an enlcosure. There’s no more reason to look at them harmonically that the Dbs.

    This is very typical of a dominant/2-5 bebop type line. Think of Scrapple. Whatever way you choose to frame these accidentals they are very common in lines of this type. As I said you could think about combine D mixo/lyd Dom, or D dominant/A minor.

    more tomorrow if I have time.

    Exercise to the student - turn this into a minor ii-v-I lick...

  10. #9

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    Quote Originally Posted by christianm77
    Tthe featured notes are - d, b, a and cto describe the G# as a #11 to me feels a little artificial. It’s clear as mentioned above it’s function as a lower neighbour in an enlcosure. There’s no more reason to look at them harmonically that the Dbs.

    This is very typical of a dominant/2-5 bebop type line. Think of Scrapple. Whatever way you choose to frame these accidentals they are very common in dominant lines. As I said you could think about combine D mixo/lyd Dom, or D dominant/A minor.

    more tomorrow if I have time .
    To my ear, there is background and foreground. The background is D dominant.

    The foreground is that G#.

    Take it out and the line is vanilla with a one passing chromatic. And, I know for a fact that he emphasizes the G# with the grip I mentioned when he solos in chords.

    I don't hear the G# in the way I hear the C#. (if we think of this as G tonal center, C# is the only other non-diatonic note).

    To me, the C# is connective tissue but the G# is bone. The reason it sounds that way is that both C#'s fall right between a D and C. Passing tone. The G# is the only note in the phrase which is as many as 4 half steps away from its immediate neighbors. That's one reason why it stands out. And, clearly, is intended to stand out. So, it's not just any G#. It's placed to have an impact.

    I can play Scrapple from memory -- I don't hear much similarity. But, I've never put much time into a careful study of bebop lines, except for learning the usual heads and fiddling with the omnibook a little. If you can link to a similar bebop line, I'd appreciate it.

  11. #10

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    Like the thread... seems like might take way too much time to notate out... Doesn't sound like Bebop licks to me... typical Funky... very straight playing. I like it.

    yea... 5/4 3-2 is pretty good groove. If you just lock into the bass line and think of as a melodic rhythmic ostinato.

    How about Jungle or Irrequieto.... I just dig Rafael Barata's playing, his articulations.

  12. #11

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    Jungle is doable.

    Irrequieto has a great line, but it's so fast!

  13. #12

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    Cafe Com Pao. Nova Album. First tune. On youtube at 2:17.

    The chord is Cmaj7.

    The line (I wrote it out in Musescore, saved to pdf and attached it, but it didn't work -- how do I get a picture into a post?) sounds like:

    Ab Bb (high E 16th and 18th)

    Eb Ab (B string then E string at 16th fret)

    Bb Eb (Bb on G string 15th to the same Eb)

    Ab Bb (G string 13th, the two frets higher)

    Eb Ab (D and G strings, 13th)

    Ab Db (11th fret A string to 11th fret D string)

    In C, but plays notes from Db. Adds structure with some fourths and seconds.

    Played in isolation (meaning no chords or reference to a key) it sounds like an inside sounding line that wants to resolve to Ab.

    I hear it as bold in context. This is basically the tail end of a ii V I in Cmajor. Twists your ear, but without breaking it.
    Attached Images Attached Images
    Last edited by rpjazzguitar; 03-29-2020 at 11:54 PM.

  14. #13

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    Quote Originally Posted by rpjazzguitar
    To my ear, there is background and foreground. The background is D dominant.

    The foreground is that G#.

    Take it out and the line is vanilla with a one passing chromatic. And, I know for a fact that he emphasizes the G# with the grip I mentioned when he solos in chords.

    I don't hear the G# in the way I hear the C#. (if we think of this as G tonal center, C# is the only other non-diatonic note).

    To me, the C# is connective tissue but the G# is bone. The reason it sounds that way is that both C#'s fall right between a D and C. Passing tone. The G# is the only note in the phrase which is as many as 4 half steps away from its immediate neighbors. That's one reason why it stands out. And, clearly, is intended to stand out. So, it's not just any G#. It's placed to have an impact.

    I can play Scrapple from memory -- I don't hear much similarity. But, I've never put much time into a careful study of bebop lines, except for learning the usual heads and fiddling with the omnibook a little. If you can link to a similar bebop line, I'd appreciate it.
    thats a fair point. The G# did jump out at me when I was taking it down. It is also a lower neighbour note in an enclosure. So you have to ask - when Mozart uses similar figures (kind of his thing) is he also using CST sounds? And if not, why not?

    (Or Django. Or Lester Young.)

    So that’s not a question I have a neat answer to. It’s not like people just view music through the original lens - Mozart didn’t know what harmonic functions were but people still analyse his music that way. But it interests me the way we analyse music can change the way we hear it. And CST books (and things like LCC) have classical musicians examples in them, so they are seen as perhaps not just applying to jazz.

    I would be surprised if Chico wasn’t all over the modes (well I think from other things in his playing and his background it’s obvious) but this is a line you could come up with if you didn’t know a Lydian Dominant from a hole in the road.

    Anyway in Scrapple you have the same (diminished) tetrachord (D7) G# A B C, right? The motif is differently arranged but you get that little scale-let an awful lot in bop lines. And then it goes to G just after, so you have that mixing of diatonic dominant and minor basically.

    Tritone subbed that tetrachord becomes one of the most common melodic devices on a resolving dominant.

    BTW when I first heard the line I heard it as an added note scale. More advanced versions of Barry’s scale rules create lines that are not dissimilar. In actual fact it’s not quite that.
    Last edited by christianm77; 03-30-2020 at 06:00 AM.

  15. #14

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    Quote Originally Posted by rpjazzguitar
    Cafe Com Pao. Nova Album. First tune. On youtube at 2:17.

    The chord is Cmaj7.

    The line (I wrote it out in Musescore, saved to pdf and attached it, but it didn't work -- how do I get a picture into a post?) sounds like:

    Ab Bb (high E 16th and 18th)

    Eb Ab (B string then E string at 16th fret)

    Bb Eb (Bb on G string 15th to the same Eb)

    Ab Bb (G string 13th, the two frets higher)

    Eb Ab (D and G strings, 13th)

    Ab Db (11th fret A string to 11th fret D string)

    In C, but plays notes from Db. Adds structure with some fourths and seconds.

    Played in isolation (meaning no chords or reference to a key) it sounds like an inside sounding line that wants to resolve to Ab.

    I hear it as bold in context. This is basically the tail end of a ii V I in Cmajor. Twists your ear, but without breaking it.
    OK so again I’m really struck by Chico’s use of rhythmically displaced octave transpositions of motives. We saw this in the first line too. We have that D Db C D cell on beat 3 of bar one and beat 1 of bar two... Also that C G# B A cell recurs, the second time with some variation.

    The first four notes are repeated down an octave as part of a six note phrase, and then the other two notes are different (Ab and Db as opposed to Bb and Eb say.)

    I would say in all the Chico licks I’ve looked at there’s some subtle rhythmic intrigue at work. but that’s where a lot of the jazz is of course.

    Tbh I’ve never found octave transpositions natural to the guitar. they are obvious for piano or Sax.

    So that makes me wonder if Chico practices his scales in octave cells.

  16. #15

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    Harmonically - is that the whole phrase? Can you attach a link to the track? Can’t seem to find it.

    You could stick an E on the end of this lol and stay on the Cmaj, or maybe the chord changes.

    phrases often resolve across the bar line

    EDIT, yes so this is no exception. You gotta tell me the ending. Or it just turns into fucking Lost.

    So this kind of outside playing really relies on skilful resolution. The first bar and half of notes could be complete random garbage, a 12 tone note row, notes selected by the iChing, it doesn't matter, but by resolving the thing to a chord tone by a half step you give it context - especially on beat 1 of the following bar. Now it doesn't resolve one note by half step (for instance E) but two - Ab Db, G D - so the effect is the same. Plus Chico runs the C6 arp for four notes just to make sure we are back home.

    Chico Pinheiro Analysis thread-chico-3-jpg

    Jazz is a bit like German where the end of the sentence makes the whole thing make sense. So you need to be thinking forward to the resolution ---->

    I learned this from Hal Galper's book, Forward Motion

    Here's a couple of Donny McCaslin licks on a Gmaj7 vamp that obey the same sort of logic:

    Chico Pinheiro Analysis thread-donny-mccaslin-line-p1_0001-jpgChico Pinheiro Analysis thread-donny-mccaslin-line-p2_0002-jpg

    Now, that's not to say that intervallic line is random bullshit (neither are the Donny licks). But it could be, and it would still work.

    Now the pitch set is Ab Bb Eb Db, so only four notes. It could relate to a couple of pentatonic scales, but the one that seems most sensible is Db/Bbm, because that relates to G altered scale. (Good trick if you don't know it. Everyone uses that. I think it comes from McCoy Tyner?)

    Db Eb (F) Ab Bb

    So it's G7alt into C major, simple, but done in a nicely modern way.

    Intervallic pentatonics are cool.
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    Last edited by christianm77; 03-30-2020 at 10:57 AM.

  17. #16

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    Chico graduated Berklee. I think he is interested in (and knowledgable about) theory and able to use it in a sophisticated way.

    This line picks a small pitch set, as you pointed out. Seems like a side-slip to me. The chord is C major and he plays, more or less, Db Pentatonic.

    Aside: I have seen him use pentatonics in picking chord voicings ... that is, when playing voicings through a scale, he'll focus on a pentatonic scale in the soprano voice.

    Back to Com Pao (with bread). He plays an interval of a second, followed by two intervals of fourths, and then resolves to C maj with another fourth. Clearly, if something works for him, he's perfectly willing to do it again in a different octave.

    What I've seen in some of the transcriptions is that his lines typically make sense from multiple perspectives. For example, if you look at pairs of adjacent notes you can see a pattern, for example, in the intervals used. Then, if you look at three notes at a time, you may see simple triads (although not necessarily triads in the chord-of-the-moment). And, if you look at the whole line, you may see a scale, mode or arp.

    In this case, the entire line could be conceptualized as a scale or chord (Bb7sus is close, although not the only option for naming it). You can think of it as a sideslip. Or, consided as two notes at a time, it is a second followed by two fourths. Twice.

    Considered three notes at a time, and neglecting the first note, you have three sequences of Bb Eb Ab.

    Considered four notes at a time, it's a pattern of up down up. That is, the second note is higher than the first (up), the third note is lower than the second (down) and the fourth note is up.

    It's as if he's applying multiple levels of organization at once -- thereby creating more structure and allowing the ear to accept some things that, done in a less sophisticated way, might sound un-musical.

    On top of it all, he does it at blazing speed.

    How does a player get there from here?
    Last edited by rpjazzguitar; 03-30-2020 at 04:43 PM.

  18. #17

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    Chick Corea and Dizzy are two good examples of players who play long highly chromatic lines that (go out) and don't seem to make sense but resolve nicely at the end of the line, mitigating the odd outness. They often follow such phrases with simpler shorter catchy melodic phrases that are almost like hooks. Then they go out again...

    In the music of composers such as Haydn and Mozart, the harmony they regularly used in their compositions is referred to as ‘functional'.

  19. #18

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    Quote Originally Posted by rpjazzguitar
    Chico graduated Berklee. I think he is interested in (and knowledgable about) theory and able to use it in a sophisticated way.
    Yes I knew that. But you don't have to go to Berklee to know that shit. Most people come to my lessons knowing that shit and they say that they can't play... so....

    Not all modal pitch sets are fungible, folks. At least you need a bit of rhythm. But in fact, rhythm and pitch selection are intimates, not strangers....

    This line picks a small pitch set, as you pointed out. Seems like a side-slip to me. The chord is C major and he plays, more or less, Db Pentatonic.
    It's such a common jazz school trope Db pent on G7alt, so that's probably the way he looks at it.

    Aside: I have seen him use pentatonics in picking chord voicings ... that is, when playing voicings through a scale, he'll focus on a pentatonic scale in the soprano voice.

    Back to Com Pao (with bread). He then plays intervals of 2nds and 4ths, more of the latter. And, if something works for him, he's perfectly willing to do it again in a different octave.

    What I've seen in some of the transcriptions is that his lines typically make sense from multiple perspectives. For example, if you look at pairs of adjacent notes you can see a pattern, for example, in the intervals used. Then, if you look at three notes at a time, you may see simple triads (although not necessarily triads in the chord-of-the-moment). And, if you look at the whole line, you may see a scale, mode or arp.
    Well, yes. So there's a lot to unpack, right? Fun! TBH I always find that with the players I study.

    It's as if he's applying multiple levels of organization at once -- thereby creating more structure and allowing the ear to accept some things that, done in a less sophisticated way, might sound un-musical.

    On top of it all, he does it at blazing speed.

    How does a player get there from here?
    A lot of it does sound like bop phraseology to me - but slightly oblique, modernised. That's interesting for me as a bop grounded player to check out.

    The blazing speed thing is based a lot around modules. That's the way Barry teaches it. At speed. Chain this to this. Like lego. I think that might offend your purist sensibilities, but as we dig into Chico's lines I suspect we'll see a lot of creatively reused material.

    You know the thing about never learn a phrase of more than seven notes? Good advice.

  20. #19

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    Quote Originally Posted by rintincop
    Chick Corea and Dizzy are two good examples of players who play long highly chromatic lines that (go out) and don't seem to make sense but resolve nicely at the end of the line, mitigating the odd outness. They often follow such phrases with simpler shorter catchy melodic phrases that are almost like hooks. Then they go out again...
    TBH, I think learning how to come out of a phrase is far more important than any amount of vertical harmony. In fact, I think a lot of modern players pull their punches because they've been taught there's 'wrong' notes. Not Donny though! Maybe Chico.

    In the music of composers such as Haydn and Mozart, the harmony they regularly used in their compositions is referred to as ‘functional'.
    Duh.

    But that's 19th century reinterpretation of that music. That's not how they learned. The theory of functional harmony as we understand it today didn't really exist until the 19th century. Rameau had come up with the idea of theoretical roots for chords in the mid 18th century, but no professional composer used it, it was all 5 3, 6 3 and 6 4 chords, which they'd all internalised at the same time as learning the alphabet. It was seen as a theoretical thing, unconnected to the daily reality of composing and improvising music.

    And of course you have stuff like Schenker...

    So yeah, maybe doing a CST of analysis of Mozart is no less messed up :-)

    Does historicity matter? Dunno. I used to care more about it.

  21. #20

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    Quote Originally Posted by christianm77
    Yes I knew that. But you don't have to go to Berklee to know that shit. Most people come to my lessons knowing that shit A lot of it does sound like bop phraseology to me - but slightly oblique, modernised. That's interesting for me as a bop grounded player to check out.
    I edited post #16 to expand the point about multiple ways to view the structure of this line. Please have a look.

  22. #21

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    Quote Originally Posted by christianm77
    Yes I knew that. But you don't have to go to Berklee to know that shit. Most people come to my lessons knowing that shit and they say that they can't play... so....
    .
    My impression is that the more gifted players are better able to utilize theory to improve their music. No surprise there.

    Others, and I include myself, know more theory than they can effectively utilize and have to be judicious.

    It has occurred to me that a Japanese calligrapher, given the opportunity to use any product in a vast art supply store, might still stick to black ink for his art.

    Switching gears: how would a teacher (assuming the teacher could do this himself) help a student advance to the level of playing a line like this?
    If you say, play Db pentatonic, the student isn't going to play a line like this. If you say consider repeating a short phrase in a different octave, you might get closer. If you say, incorporate multiple structural views in 13 notes, what does the student do? And then, do it phrase after phrase at blinding speed.

    How do you approach teaching something like this?

    Aside: I have heard Chico repeat things before. He may very well have a vast repertoire of licks. But, I haven't heard him repeat himself all that often. I've never heard him play anything that didn't sound identifiably like himself. I can't explain how he does it, but I think that examining the placement of that G# is a clue.

  23. #22

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    Man Christian... without some major tonal establishment of Gmaj... those licks would suck... sound like C#maj7 to Ema7, second one C#ma7 to Ema7 to Dmaj7

    I thought this was going to be about Chico tunes... he's very tonal and uses standard out of tonal harmony to create Dominant like function.

  24. #23

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    Since you asked 'what would I do over this section of the tune' I thought I'd see what Chico thought.

    Apols for any errors. That smudge on the third best of bar 3 is meant to be F#. Last note is meant to be Bb lol.

    Chico Pinheiro Analysis thread-arabesca-line-jpg

    Make of this what you will. I have some ideas.

    Right I need to go bed. Maybe tomorrow Sibelius will work!

  25. #24

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    Quote Originally Posted by Reg
    Man Christian... without some major tonal establishment of Gmaj... those licks would suck... sound like C#maj7 to Ema7, second one C#ma7 to Ema7 to Dmaj7

    I thought this was going to be about Chico tunes... he's very tonal and uses standard out of tonal harmony to create Dominant like function.
    McCaslin is really OUT here, it's certainly quite arresting, although he does play a few much more 'in' lines before he goes off. Anyway I'm demonstrating the principle of - the end makes good. Yes Chico is much more conventional, but the principle is the same.

    Here's the context, 5:31, you can hear a few more conventional lines before this.


  26. #25

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    Quote Originally Posted by rpjazzguitar
    My impression is that the more gifted players are better able to utilize theory to improve their music. No surprise there.
    You just have to practice. A lot. Technical skills as Reg always says.

    I'm not saying you get to play like CP, but that kind of speed and fluency is - pre baked. No one can play something at that speed they haven't played before. Adam Rogers would tell you that. (Even Holdsworth, a lot of familiar figures once you dig into his playing a bit. Digital patterns and so on for him.)


    Others, and I include myself, know more theory than they can effectively utilize and have to be judicious.
    Well isn't that the problem with theory full stop? Theory is, when the rubber hits the road, no longer theory. You have to have it internalised to use it. So any of these analyses could represent 100s of hours of fruitful practice.

    It has occurred to me that a Japanese calligrapher, given the opportunity to use any product in a vast art supply store, might still stick to black ink for his art.

    Switching gears: how would a teacher (assuming the teacher could do this himself) help a student advance to the level of playing a line like this?
    If you say, play Db pentatonic, the student isn't going to play a line like this.
    The first step I think is fairly obvious - teach them to connect - so any scale, line, arpeggio, pent, whatever, is joined up to the resolution. Remember- we play the changes, not chords. You have to connect with your target, and in general this is done through the bar line. (Hence the funky beaming in the McCaslin examples.) Using a slur from the upbeat into that resolving downbeat is not a bad idea.

    Don't teach them the altered scale. Teach them the altered scale resolving by step or half step into chord tones of C or Cm, right? Doing it with Db pentatonic would be a great start actually, familiar fingerings.

    Next, you have to teach them how to phrase in forward motion. One good exercise, work backwards. So take the last line I posted, start from the Bb, and work back one note at a time, until it joins together.

    Lastly, they have to practice constructing lines this way.

    If you say consider repeating a short phrase in a different octave, you might get closer. If you say, incorporate multiple structural views in 13 notes, what does the student do? And then, do it phrase after phrase at blinding speed.

    How do you approach teaching something like this?
    In terms of line construction - I don't know if Chico ever studied with Barry (I doubt it) but Barry's approach speaks to a psychological idea called chunking. Every fast player does it. So you construct a fast line in Barrry's class - at tempo - by combining chunks. A descending scale here, an arpeggio here, a little motif, and so, right? So each beat, or two beats can be thought of as the start of a separate chunk that can be joined together.

    Adam Rogers said 'if you can play something fast, you've played it before' so to avoid playing pre-baked licks all the time, this modular approach is the best way to go. Little phrase-lets you can chain together. You can see Chico doing this in the first line, right? Plain as anything.

    Now technically these are also things you can play AT SPEED. So you practice them to start with a downstroke and work on getting them nice and smooth when you repeat them, or whatever it is you need to do...

    You obviously need someone with their 'technical skills together and a good command of the fretboard to do this.

    The trick of it is - you also need to get good at joining them, because they are chunked together on the beat, and you need to phrase through to get it into forward motion. So you don't just have a set of unconnected chunks. Stuff like, if your last chunk ends on a G, your next chunk might start on an F, that sort of thing.

    With Barry we just kind of did it.

    Aside: I have heard Chico repeat things before. He may very well have a vast repertoire of licks. But, I haven't heard him repeat himself all that often. I've never heard him play anything that didn't sound identifiably like himself. I can't explain how he does it, but I think that examining the placement of that G# is a clue.
    It's all in the little motives and chunks. As Scott Henderson says 'don't learn anything that's more than 7 notes long.' That way you can improvise but you can do it fluidly rather than thinking/hearing every note.

    Definitely bed time now.
    Last edited by christianm77; 03-30-2020 at 06:35 PM.