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  1. #26

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    Quote Originally Posted by TOMMO
    Welcome to the group!

    As for me: Lately I have been a little bit unmotivated re: playing the guitar but I still tried to get a grasp on the benson lick every now and then. I'll be back in the game though....
    I feel a little the same. I've been doing some chord melody work. But I love the Grant Green lick...it's very....Grant Green-y.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Ch 5 is less rewarding than the others for me, but I’m still trying to drill the material. In the other chapters we got new method. This one is a series of licks.

    Good licks, but it is hard not to just play them through a couple of times, go “huh, that’s cool” and move on. Not sure what the end of the month video should be.


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  4. #28

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    Interesting that we're probably all drawn to different licks in this chapter. There are some that I'll keep, some that I won't, and many times it will just be an interesting fragment that I'll try to work into my playing (like that altered E7 --> Eb7 move in the first GG lick).

    Welcome aboard, CaseyW!

  5. #29

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    The Johnny Smith lick is very cool. That kind of line in the first bar is something I've seemingly transcribed a number of times from horn players. It's also interesting to see how you can simply use the Gminor lines over an entire I-vi-ii-V line like that.

    I've been really slow with this chapter, simply because it's summer now and it's just not a good time for me to sit inside and learn guitar. Lots of other things I'd rather be doing, ya know?

    I saw there's a couple more players and then some sort of song at the end, so kinda looking forward to that and moving on.

  6. #30

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    Yeah, I've been a bit slow with this chapter for other reasons (kind of milking the end of summer down here, plus absolutely swamped with work), but I'm looking forward to moving on as well. A full chapter of lines isn't the most motivating thing in the world, but I'll definitely keep working on some of this material over the coming months.

    Some sort of song at the end indeed...

  7. #31

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    By the way, after going through this book the first time, I've always meant to revisit some of Wes's solos to see how well the lines fit the GF approach. A lot of his lines definitely have that sound (listen to the above, and e.g., D Natural Blues), and Fewell was clearly very influenced by Wes.

    Ah well, maybe someday. (When my kids grow up...)

  8. #32

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    Ahh, I didn't really look. So it's a Wes tune eh?

    I've been a big fan of Wes for many more years than I care to admit now. Probably 30+ by now I guess. A friend played me Smokin' at the Half Note, and I was hooked. There's plenty other great guitarists, but they don't approach Wes in my book. And yeah, I hear a ton of Wes in the way GF approaches a lot of this.

  9. #33

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    Quote Originally Posted by Jehu
    Yeah, I've been a bit slow with this chapter for other reasons (kind of milking the end of summer down here, plus absolutely swamped with work), but I'm looking forward to moving on as well. A full chapter of lines isn't the most motivating thing in the world, but I'll definitely keep working on some of this material over the coming months.
    I've also been incredibly busy but continue to work on Chapter 5 as time allows. I actually find learning the jazz lines in this chapter very beneficial. I am pretty light on jazz vocabulary, so learning these lines is helping me connect sounds to fretboard. I will continue to press on. Regards, Joe

  10. #34

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    Ok, My East Ghost Blues. I thought initially this would be simple. Just knock out a blues, right? Not quite.

    I tried to use some of the licks we learned in the chapter when I could. Struggled a little with the Dm to Dbm. Etc.


  11. #35

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    Sounds cool! Looks I overlooked that EGB is already in chapter five - I owe you one...

  12. #36

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    I have to admit I have not given this chapter its due. Only now, at the end of the month, have I begun to give it the work it deserves. One key for me is not to play the licks in isolation, but attempt to string two or three together. For eg, taking the Benson lick and appending last lick from Wes. That is stretching my brain and fingers in a very positive way. I should have been working this with more intention all month, and now I feel I'm not really ready for Chapter 6.

    Also, I had one of those moments where something obvious becomes obvious. I was fighting the fact that Fewell keeps stressing these "minor" lines. But my ear was not hearing them as minor at all. In fact, Fewell was patently "wrong" in my mind. Most of these lines seemed built on the b7 as major 7 lines. Then I realized that the minor 5 and the major b7 are essentially the same thing. Just like Barry Harris says it's impossible to play the minor 2 and then the dominant 5 as if they are different things. It took playing the example in 5.14 (where does the Gb^ end and the Eb- begin?) to have a small breakthrough and stop fighting myself.

  13. #37

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    Here is my final video. Only three weeks late ;-). Just three quick choruses over EGB. I don't know that I used any of the licks from the chapter verbatim, but I know my playing evolved because I practiced those licks.

    Anyhow, time to move on to Chapter 6 and try to catch up!


  14. #38

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    Very bluesy!

  15. #39

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    Here's my take on "East Ghost Blues". I actually played the tune including the head and a version of the outro. Three choruses of improv, warts and all...




  16. #40

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    Quote Originally Posted by rlrhett
    Here is my final video. Only three weeks late ;-). Just three quick choruses over EGB. I don't know that I used any of the licks from the chapter verbatim, but I know my playing evolved because I practiced those licks.
    Great job rlrhett! I too feel that my playing is evolving as I continue to work (and rework) on this material. Thanks.

  17. #41

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    Quote Originally Posted by TOMMO
    Here's my take on "East Ghost Blues". I actually played the tune including the head and a version of the outro. Three choruses of improv, warts and all...
    Wow! That's the way to bring everything together Tommo. Inspiration for me to keep work at it. Cheers.

  18. #42

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    Quote Originally Posted by losaltosjoe
    Wow! That's the way to bring everything together Tommo. Inspiration for me to keep work at it. Cheers.
    Thanks!

  19. #43

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    Quote Originally Posted by TOMMO
    Here's my take on "East Ghost Blues". I actually played the tune including the head and a version of the outro. Three choruses of improv, warts and all...
    Very nice Tommo!

  20. #44

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    Hello there!!

    I recorded this video and I used in some parts what we're studying in these books.
    It's not only focused on the book, but I think that it can give and idea of it.

    I've Found a New Baby - Cassias Guitars + Bugera V5 + Jr. Barnyard

    I forgot to link the video here

    Last edited by clebergf; 07-07-2020 at 01:08 PM.

  21. #45

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    Quote Originally Posted by Bahnzo
    If we are talking about the George Benson lick, the chord symbols are simply that: the chords he's playing in the background.

    The first two bars are Gminor licks. That second bar is one he introduced almost right away (Ch 2?). I really don't know what bar 3 is, other than it's simply what I call a "Charlie Christian" lick. It's certainly a standard little blues lick, but I'm uncertain how it relates to his teachings thus far.
    I'm thinking bar three is F7 and/or D7. If you expand the blues scale to include both the minor 3rd and the major 3rd (which is definitely what a lot of players do), almost every one of the notes is in the F7 blues and D7 blues scales. You can hear it either way.

    I don't think a lot of what is in this chapter relates to Fewell's teachings so far. I think the idea is look/listen at these lines and see that what we have been learning is included as part of the line. As such, I think we are to check it out and move on. Understanding and getting all of this chapter in our vocabulary is not my goal as far as this chapter goes. At least that is how I'm interpreting it...

    He doesn't explain this really well but if you read the first sentence of the chapter....

    Now that you have practiced playing triads and melodic extensions over minor, major, and dominant chords, the next step is to see (and hear!) how some of the masters of jazz guitar have used this approach in their playing.

  22. #46

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    Not flowing the way I would like it over the chord changes. Especially the chromatic ii Vs, sound a bit forced. I'm sure the 3/4 time signature didn't help. Still, I'm moving on.


  23. #47

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    I'm 1yr late to the party... but... here is my version. As a beginner I don't have a rich vocabulary, so I was trying to use the licks in chapter 5 as much as I could. Now I can finally move on to chapter 6.


  24. #48

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    Quote Originally Posted by jjk1407
    I'm 1yr late to the party... but... here is my version. As a beginner I don't have a rich vocabulary, so I was trying to use the licks in chapter 5 as much as I could. Now I can finally move on to chapter 6.

    That was beautiful - no lack of "vocabulary" at all! Good job!