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  1. #1

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    Record a solo on a tune

    start the first phrase on 1
    second on 1+
    third on 2
    fourth on 2+
    and so on

    I’ll try do one tomorrow

    (i got this exercise from Evan Christopher)

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    I can almost guarantee you I can't do this without screwing up.

  4. #3

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    enough with these frickin’ challenges...

  5. #4

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    What would Freud say?

  6. #5

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    Quote Originally Posted by Rob MacKillop
    What would Freud say?

    If you can't do it, give up!

    -Sigmund Freud


    cheers

  7. #6

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    Quote Originally Posted by Rob MacKillop
    What would Freud say?
    The phrase start challenge-pink-freud-dark-side-your-mom-pink-floyd-sigmund-freud-t-shirt-l7z-600x632-jpg

  8. #7

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    I was told by a wise musician that if you have to think about it, you can't play it.

  9. #8

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    Ah fuck it never mind.

    I understand if people don’t want to practice on camera. It is however a very good practice exercise. A lot of players have slightly predictable phrasing (including me) and this is a great way to bust out of it and introduce some more imagination and creativity.

    try it.

  10. #9

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    Interesting challenge Christian!

    What would your strategy (if any) be regarding phrase length?

  11. #10

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    Quote Originally Posted by hohoho
    Interesting challenge Christian!

    What would your strategy (if any) be regarding phrase length?
    Keep it short

    don’t be clever, basically

    give it a go, you’ll see what I mean

  12. #11

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    So I did try it. As predicted, couldn't do it. I can't think melodically and count at the same time.

    I think I'll write a solo doing this, though. Might start on a blues. Hopefully come up with some new licks for the "bag."

  13. #12

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    Miles says do this!

    The phrase start challenge-untitled-jpg
    Attached Images Attached Images The phrase start challenge-untitled-jpg 

  14. #13

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    1. I chose a short 16 bar tune that I have played a lot
    2. Just one chorus at a time
    3. Start new phrase in every odd bar
    4. First attempt file 1 "succeeded", but I forgot that Blue Bossa is a bossa and is supposed to be straight eights
    5. 2nd and 3rd failed too early
    6. File 2 is 4th attempt. Missed start on 4.


    BluBos_2020_04_05_1.mp3
    BluBos_2020_04_05_2.mp3

    Interesting? Is it musical? Fun and hopefully rewarding workout!

  15. #14

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    Quote Originally Posted by Durban
    Miles says do this!

    The phrase start challenge-untitled-jpg
    Forward Motion?

  16. #15

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    Ok so here’s my attempt on blues



    So I really like this exercise, it really pushes me to do things I wouldn’t normally.

    Also I like this thing of missing the train and having to wait for the next one, trying to catch an opening.

  17. #16

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    Quote Originally Posted by christianm77
    Forward Motion?

    no sideways, and then back a pinch, now instead of going vertically, change direction as Dear Barry does octave displacement, then stop momentarily kick the front door open screaming you wont contain me. head off to your nearest S. London park with your geetar and portable amp, remembering exactly how steps you have taken, if in tune with your body as i am. you will know precisely what beat to come on. Always, always at this point focus on paying heavily on downbeats, until you have gained the support of every other M------ F------- in the park . Then start with the crazy starting on a tension beat then follow with release then tension, when the police arrive and ask what you are doing and whether youre a Jazz musician just smile, and keep smiling, after a minute or two switch to a Jimmy Bruno scowl, at that point you will be taken away.

    Whilst away, it will slowly beat by beat dawn on you Why the fuck did i ever think of this idea

    Keep it short

    don’t be clever, basically

    give it a go, you’ll see what I mean.


    .
    Love and headbuts

    ps we still have ass----s not respecting staying in today. see what the Queen has to say in 50mins.




  18. #17

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    jokes aside, it is a worthwhile thing, but try and hype it give the benefits, do Trump blow the trumpet, the reality this what youre talking about is one of the backbones of jazz the Rhythm, perhaps use F Motion example's for those who dont know otherwise it risks being just another Torrid exercise.

  19. #18

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    This exercise from Barry is slightly related:



  20. #19

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    Quote Originally Posted by tamirgal
    This exercise from Barry is slightly related:


    I like Barry's approach to this idea, because I see it as less in conflict with making a musical line.

  21. #20

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    Pasquale Grasso does a similar exercise, he plays a one octave 7-note scale up and down such as C to B. Then on each repeat he removes one more note from the beginning (but still keeping the chord tones aligned on the strong beats). So the second time he replaces the C with a rest and starts at D on the ‘and’ of one. And so on.

    He also says you should be able to end a phrase on any beat, so he stops the scale on each possible beat as well.

  22. #21

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    Quote Originally Posted by grahambop
    Pasquale Grasso does a similar exercise, he plays a one octave 7-note scale up and down such as C to B. Then on each repeat he removes one more note from the beginning (but still keeping the chord tones aligned on the strong beats). So the second time he replaces the C with a rest and starts at D on the ‘and’ of one. And so on.

    He also says you should be able to end a phrase on any beat, so he stops the scale on each possible beat as well.
    thats a good excercise. It’s a Barry Harris exercise I think originally.

  23. #22

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    If you understand how to construct a musical line, it’s not really a problem doing this. You might have trouble doing it intuitively - but consider - if you can’t do it intuitively, maybe it’s a good thing to be able to do, in terms of flexibility?

    otherwise you are probably starting your phrases in the same place without realising it. Certainly something I’ve suffered from. (None of this is intended to be a ‘flex’ as the kids say, it’s all because this is stuff I want to work on in my own playing.)

    This will get you out of trouble if you don’t know how to approach this;

    Start on the beat - use a chord tone
    start on upbeat - use a neighbour tone

    intervallic and chord tone only lines are more forgiving.

    as you get better at doing this you can subvert these rules, but they are a good start.
    Last edited by christianm77; 04-06-2020 at 06:18 AM.

  24. #23

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    I posted a link to a Chick Corea / Wallace Roney podcast

    RIP Wallace Roney

    in which WR tells a few Miles stories - including one where Miles tells him (WR) which beat to start/end phrases on successive gigs with Tony Williams to trigger said drummer & generally mess with his head...

    It's an interesting (& fun) listen...

  25. #24

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    Quote Originally Posted by grahambop
    Pasquale Grasso .

    He also says you should be able to end a phrase on any beat, so he stops the scale on each possible beat as well.

    interesting, good point .im guessing here, generally people have a target and what note (not beat ) in mind, and thinking of resolving into next chord /final

    So instead of thinking so much what notes, think in terms of timing. that itself can cause issues because if using chromatic s depending on where you end can sound sloppy.

    .

  26. #25

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    Quote Originally Posted by Durban
    interesting, good point .im guessing here, generally people have a target and what note (not beat ) in mind, and thinking of resolving into next chord /final

    So instead of thinking so much what notes, think in terms of timing. that itself can cause issues because if using chromatic s depending on where you end can sound sloppy.

    .
    This is what Hal and Barry are in their own ways both teaching.