The Jazz Guitar Chord Dictionary
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  1. #101

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    There are so many methods of teaching jazz, a whole lot of different training materials / videos, books / that everyone can choose what suits them best. The most important is passion and motivation.

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    The Jazz Guitar Chord Dictionary
     
  3. #102

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    I haven't had time to decide whether I even like what I played here. Anyway, I always try to imagine that this is a jam situation and you get called (Nica's what??). Will check out the thread later.


  4. #103

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    I read all the theory posts. Although I understood Nettles and Graf, I struggle to understand some of the posts on this forum.

    I find myself unable to decide whether I'll really profit by diving into the rabbit hole (assuming I could even figure out how to do that) vs. stay with the much-less-theoretical approach I'm currently trying to pursue.

    I remind myself that I can already scat sing better lines than I tend to play if I'm not careful. Seems to me I need to be able to play the lines I can already hear before I need to search for better lines to play.

    When I read about what seem like very technical approaches to a tune, I have to remind myself that the posts are really about the practice room -- things to try to find good sounds.

  5. #104

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    Quote Originally Posted by Peter C
    I haven't had time to decide whether I even like what I played here. Anyway, I always try to imagine that this is a jam situation and you get called (Nica's what??). Will check out the thread later.

    Good one. The feel/energy is right on, good time, and you're hitting the changes. I think it shades toward "blues/rock guy playing a jazz tune" and that could be something to switch up (or not), but it's definitely music and people listening would dig it.

    John

  6. #105

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    Quote Originally Posted by Reg

    Take the 1st 8 bars, A-7 to C-7
    If you add modal concepts to A-7, you can create harmonic or melodic movement.

    A-7 Dorian, If you use Modal Functional relationship, ( which have harmonic and melodic organization) which help keep the bigger picture together while one gets lost in the details, the tree and the forest etc... sorry

    1) A-7.... the relative Major would be Cma7, Lydian. Now if you expand that relative relationship, modally you also
    get E-7, (Aeolian) and it's relative may Gma7, (Ionian).
    ... A-7...Cma7...E-7...Gmaj7

    2) Now expand even further, use intervals of 5ths... (bass players will relate)

    A-7 becomes...A E B or A-9
    Cma7 ..............C G D or Cma9
    E-7...................E B F# or E-9
    Gma7...............G D A or Gmaj9

    You end up with Chord tones of A-7 becoming chords with modal relationships using relative and intervals of 5th.
    .
    I'm going to try to translate some of these concepts into something close to Warren Nunes' system.

    Warren said there are two types of chords, Type I and Type II.

    Key of C:

    Type I Cmaj7 Em7 Gmaj7 Am7
    Type II Dm7 Fmaj7 G7 Am7 Bm7b5.

    Within each type, the chords are interchangeable. So, Cmaj7=Em7=Gmaj7=Am7 for Type I. Type II works the same way.

    So now lets look at Am7 in Recordame.

    The Am7 exists, per Warren's system in several major keys. C, G, and F.

    It also exists in some minor keys, Am for example, but I don't recall Warren's teaching on that point. He may have made it equal Cmajor.

    Anyway, if you think Am7 is the iim in G (in Recordame) then, it's a Type II in G. Am7=Cmaj7=Em7=F#m7b5.

    If you think it's a iiim in F you get a different set of relationships -- which may be wrong for the context.

    If you think of Am as the tonic (I think) you get Cmaj7=Em7=Gmaj7=Am7.

    If I consider Reg's use of fifths, it looks like I end up in the same place in terms of the chord names.

    So, to sum up, it's white keys plus an F#.

  7. #106

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    Peter C

    Please don't take offense, but your post sounds like a mix of Paco De Lucia meets Pat Martino.

    Do you listen to a lot of flamenco? Not just saying because it says you are from Spain on your posts.

    The way you approach the "latin" grooves doesn't sound like anything else I've heard on this thread. It's like you have some sort of "in" with the rhythm section here that I want BAD. Especially when you do your repeated riffs.

    And yet, you dig in like Pat Martino. LOVE IT!

    That dance. Notes don't mean Jack Shiest if you don't have that dance. Theory, subs, all that is a mute point if you don't have that groove. I am digging on your groove, Mr. Peter C.

    Hopefully my flamenco comment isn't far fetched or offensive. I was listening to a little flamenco in the car and then gave your post a listen--I hear a similarity. Here goes me making a fool of myself in the comparison

  8. #107

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    Jeff, I enjoyed watching you draw and your boppy lines in the impro were great. I should go back to flatwounds and use some of that chromatic stuff.

    I find Ronstuff's phrasing rhythmically interesting.

    John A, well-schooled jazzing in your clip. Yes, I have to know a bit about changes in order to play lines over my own little compositions. They often kick my butt as a soloist, however. LOL. I kind of default to a bluesy feel, so am going to swap back to flatwounds as mentioned Thanks for your feedback!

    PickingMyEars, no offence taken at all. You saw the Martino-style ostinato straight away. I'm a native English speaker (born in London), but Spanish to most other intents and puposes, after so many years. You feel Flamenco here without even hearing it

    I haven't read the other stuff discusssed here; way too many words to sift through.

  9. #108

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    I still need to learn Spanish.

    Some people love the sound of French... I think Spanish sounds more musical. Sounds like bebop with all those triplet dactylic words in the Spanish language.

  10. #109

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    Rp,I liked that a lot, and bonus points for going solo. Remarkable how changing the style and tempo changes the tune completely...guys were saying "its dreamlike, its wistful" and I was like "sure buddy." Then I heard your take.

    Peter, almost wouldn't have been out of place on a certain Night in San Francisco. I enjoyed.

    Re: theory...hopefully, if folks get anything out of those posts, its that theory explains...not prescribes. I didn't need 4 paragraphs to tell me an Em7 sounds great on a Cmaj chord, but I'm also terrible at explaining stuff, so its always fun to read posts by people who do.

    It (theory) is also important for cataloging sounds...I can know I like a sound, but knowing there's a concrete connection to something can help me access it in the future too.

  11. #110

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    The first one was rubato, but this one is with a backing track at 175bpm. Same guitar, but this time through a Korg PX5D on a Tweed setting. Same Crate GFX15.



  12. #111

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    Quote Originally Posted by mr. beaumont
    Yeah, I didn't mean people didn't play MM....I meant they weren't basing whole tunes on it, or modes or scales at all-- yet.

    Hey, lets do Inner Urge next week!

    (Just kidding. Maybe)
    I have a sure fire 2-step plan for success on that one:

    Step 1: Hire a saxophone player.
    Step 2: Stroll

    John

  13. #112

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    About practical theory.The best for me is "On improvisation"by John Scofield.
    In a one-hour video, you have practically everything...Among others f.ex.modes of jazz melodic minor scale-very intersting.
    Best
    Kris

  14. #113

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    Peter C,
    You use lick of the week/F Gb F Eb,E Gb F Eb/.
    Nice take.I can hear a little Paco-energy.
    Kris

  15. #114

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    @Jeff I think simple rules of thumb are underappreciated.

    If you learn you can put, for example F triad on that Bbm chord, you can spend time exploring and internalising that sound (and listening out for it) you don’t actually need to know that it comes from this or that chord scale.

    Musicians don’t have to explain. There’s other people whose job it is to do that.

    When you try to boil down music to a system, the options can be overwhelming and the system itself can take up too much attention, distracting away from what’s important; the music.

    Scofield puts it well of course
    John Scofield on Charlie Parker | DO THE M@TH
    Last edited by christianm77; 02-28-2021 at 04:47 AM.

  16. #115

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    @PeterC and rp: excellent takes by the both of you!

  17. #116

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    Quote Originally Posted by christianm77
    @Jeff I think simple rules of thumb are underappreciated.

    If you learn you can put, for example F triad on that Bbm chord, you can spend time exploring and internalising that sound (and listening out for it) you don’t actually need to know that it comes from this or that chord scale.

    Musicians don’t have to explain. There’s other people whose job it is to do that.

    When you try to boil down music to a system, the options can be overwhelming and the system itself can take up too much attention, distracting away from what’s important; the music.

    Scofield puts it well of course
    John Scofield on Charlie Parker | DO THE M@TH
    Scof is the best for me.Thanks for the link.
    Kris

  18. #117

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    "Jazz is perfect for recording. When they learned how to record, there was jazz. You didn’t have to write it all out.

    Now that we’re in Covid-19, people are saying to me, “Well, now you can just, you know, sit back and relax and record a whole lot, and really get it right.”
    But the whole thing is for us to get it right just on the spur of the moment. Laboring over jazz in the studio makes it worse!
    After talking to the Old Masters — Miles included — that’s the message. Just do it right now. Study forever, but: Let it come through you, right now. For this kind of music to be really good, it has to just be coming through you.
    It can be that lick that you know how to play, but that lick has to come through you. You can’t have thought about a half a second before. It has to be now.
    That kind of inspiration is underrated in our society, even though everybody intuitively knows that what happens in a flash is what makes for good art."
    John Scofield



  19. #118

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    It’s such a great interview, so full of wisdom and practical advice

    I’ve gained a tremendous amount from JS’s thoughts in particular over the years...

    Which is funny because while I always enjoy his playing, he’s never been a player I sat down and studied in any depth. I always feel his touch, time and tone is so individual... defies analysis...

    like all the great 50s horn players he sounds utterly individual and original even when he chooses to play ‘boilerplate’ bebop language.

    Which only goes to show, of course...

  20. #119

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    Quote Originally Posted by christianm77
    It’s such a great interview, so full of wisdom and practical advice

    I’ve gained a tremendous amount from JS’s thoughts in particular over the years...

    Which is funny because while I always enjoy his playing, he’s never been a player I sat down and studied in any depth. I always feel his touch, time and tone is so individual... defies analysis...

    like all the great 50s horn players he sounds utterly individual and original even when he chooses to play ‘boilerplate’ bebop language.

    Which only goes to show, of course...
    But I have been interested in Scof since the early 1980s. I have most of his CDs. I have transposed over a dozen of his solos. I have always been fascinated by what's inside.
    A unique guitarist - he plays differently at every concert. A real improviser and a great composer..

  21. #120

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    John Scofield's solo on "wee" is the one of the most exciting and horn like guitar solos on rhythm changes that I've heard so far... and I've been collecting A LOT of rhythm changes:



    DO THE M@TH is quickly becoming my favorite website for essays on jazz and such. The essay on Bud Powell is quite illuminating as well. All about that rhythm.

  22. #121

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    Quote Originally Posted by christianm77
    @Jeff I think simple rules of thumb are underappreciated.

    If you learn you can put, for example F triad on that Bbm chord, you can spend time exploring and internalising that sound (and listening out for it) you don’t actually need to know that it comes from this or that chord scale.

    Musicians don’t have to explain. There’s other people whose job it is to do that.

    When you try to boil down music to a system, the options can be overwhelming and the system itself can take up too much attention, distracting away from what’s important; the music.

    Scofield puts it well of course
    John Scofield on Charlie Parker | DO THE M@TH
    Well thats exactly what I'm saying. I'll take the rules of thumb my ears tell me are cool, and let other folks do the stuff that feels like math.

  23. #122

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    wow I like the music on this this thread, good takes! Had a busy week, and just today I tried to play it, and damn, it's harder than I remember! I played it many times before but never recorded, and now I realized I didnt played it all that good. Not theory wise, but groove wise especially uptempo it's challenging.

    I tried to add vibrato and bluesy stuff- didnt work. But I like how Peter C did it and it worked- dig it. I ended playing acoustic because the tele didnt sound natural with the track. I dont know why.


  24. #123

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    Sounds great on acoustic, HTTJ!

    (backing track could have been a bit louder...)

  25. #124

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    Quote Originally Posted by Hep To The Jive
    wow I like the music on this this thread, good takes! Had a busy week, and just today I tried to play it, and damn, it's harder than I remember! I played it many times before but never recorded, and now I realized I didnt played it all that good. Not theory wise, but groove wise especially uptempo it's challenging.

    I tried to add vibrato and bluesy stuff- didnt work. But I like how Peter C did it and it worked- dig it. I ended playing acoustic because the tele didnt sound natural with the track. I dont know why.

    With the careless whisper quote even!

    Sounded great. Acoustic jazz can be tempting just to play a ton of notes the whole time, but you left good space too.

  26. #125

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    Quote Originally Posted by Hep To The Jive
    wow I like the music on this this thread, good takes! Had a busy week, and just today I tried to play it, and damn, it's harder than I remember! I played it many times before but never recorded, and now I realized I didnt played it all that good. Not theory wise, but groove wise especially uptempo it's challenging.

    I tried to add vibrato and bluesy stuff- didnt work. But I like how Peter C did it and it worked- dig it. I ended playing acoustic because the tele didnt sound natural with the track. I dont know why.

    Good playing but I can not hear any bass from background.
    Guitar sound exelent.