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  1. #101

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    I generally use E-9 / F9#11 / (think Night in Tunisia) then Bb9#11 / A7alt. or the sub Eb9#11

    I mean we could get into the analysis thing.... no, sorry.

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    The Jazz Guitar Chord Dictionary
     
  3. #102

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    Quote Originally Posted by TOMMO View Post
    Just for sh*ts and giggles:


    Wow. I've tried many times to master slide guitar. To do it clean, fluent, and JAZZY like that... my hat's off to you.

    No sh*t and no giggles, just... Wow.

  4. #103

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    John A, kudos for stepping out of your comfort zone, a few gems in there. The sound out of the Cube had me thinking of your other recordings... By the way, I had a free hour this evening and have posted a couple of choruses with a swing backing.

    Jeff, just caught your flattop take. Really nice invention going on there and singing tone.

    OK Tommo, good for you on the slide! Why not?

  5. #104

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    Quote Originally Posted by lawson-stone View Post
    Wow. I've tried many times to master slide guitar. To do it clean, fluent, and JAZZY like that... my hat's off to you.
    No sh*t and no giggles, just... Wow.
    Quote Originally Posted by Peter C View Post
    OK Tommo, good for you on the slide! Why not?
    Thank you!

  6. #105

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    I wanted to do a fast version so I used the Aebersold track, which I think hovers around 240-250 bpm. I don't usually play this fast, so it was quite a challenge. But I did some gradual workouts with a metronome first, and just about managed to get up to speed. I listened to Sonny Rollins' and Sonny Stitt's versions for some inspiration, I even managed to sneak in a couple of quotes from them!


  7. #106

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    With both you and Dutchbopper posting today, it's a great day for bebop on the forum!

    And your guitar just looks incredible!

  8. #107

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    Thanks Lawson. My guitar does look quite shiny, I think it was catching the light from a side window. Probably also an advert for Virtuoso polish, I gave it an application about 3 years ago and it still looks good!

  9. #108

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    Quote Originally Posted by grahambop View Post
    I wanted to do a fast version so I used the Aebersold track, which I think hovers around 240-250 bpm. I don't usually play this fast, so it was quite a challenge. But I did some gradual workouts with a metronome first, and just about managed to get up to speed. I listened to Sonny Rollins' and Sonny Stitt's versions for some inspiration, I even managed to sneak in a couple of quotes from them!

    You sound very comfortable at that tempo, graham - I enjoyed it a lot!

  10. #109

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    Thanks Tommo. Funny thing is the video sounds kind of effortless, but in fact my hands felt like they were really tightening up as I played. I need to do more practice at fast tempos really.

  11. #110

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    Quote Originally Posted by grahambop View Post
    I wanted to do a fast version so I used the Aebersold track, which I think hovers around 240-250 bpm. I don't usually play this fast, so it was quite a challenge. But I did some gradual workouts with a metronome first, and just about managed to get up to speed. I listened to Sonny Rollins' and Sonny Stitt's versions for some inspiration, I even managed to sneak in a couple of quotes from them!

    Great take! Nice fast lines and tempo is solid all the way through, but you leave space too. Nicely done.

  12. #111

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    Thanks Jeff.

  13. #112

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    This tempo is really pushing it for me, but it’s kind of fun to fall off the rails and see where ya land. My main man Dutchbopper inspired me to bust out the ES-125. Love this guitar, but I find it hard to record properly. This is just my iPhone mic. I might post another one tomorrow before the next tune is revealed.


  14. #113

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    Quote Originally Posted by TOMMO View Post
    You sound very comfortable at that tempo, graham - I enjoyed it a lot!
    Thoroughly enjoyed it!

  15. #114

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  16. #115

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    Quote Originally Posted by grahambop
    I wanted to do a fast version so I used the Aebersold track, which I think hovers around 240-250 bpm. I don't usually play this fast, so it was quite a challenge. But I did some gradual workouts with a metronome first, and just about managed to get up to speed. I listened to Sonny Rollins' and Sonny Stitt's versions for some inspiration, I even managed to sneak in a couple of quotes from them!

    Sounding baddass Graham

  17. #116

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    Quote Originally Posted by christianm77
    Nice melodic lines and lots of variety there.

  18. #117

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    Quote Originally Posted by christianm77
    Sounding baddass Graham
    Thanks Christian.

    By the way, here’s the crazy Sonny Stitt version I listened to for inspiration - I would love to play lines like these!


  19. #118

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    And the great Sonny Rollins version:


  20. #119

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    Quote Originally Posted by grahambop
    Thanks Christian.

    By the way, here’s the crazy Sonny Stitt version I listened to for inspiration - I would love to play lines like these!

    It’s been a while since I listened to that album. It’s a good’un!

  21. #120

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    Quote Originally Posted by TOMMO
    Nice melodic lines and lots of variety there.
    thanks. I’m actually really pleased with this one. I’m starting to get more relaxed on these faster tempos (this one is about 240) without being a bit ‘spongy’ on the time. It’s that weird paradox between precision and relaxation....

  22. #121

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    Man, some nice versions at the end of the week!

    wzpgsr, swinging nicely there...the 125 is VERY cool, imho.

    Christian, great take...excellent balnce between the melodic, almost "riff" like stuff and some flat out BURNING.

  23. #122

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    Quote Originally Posted by christianm77
    Don’t think I didn’t notice when you kicked into shred mode there for a few bars. (That was really cool sounding, by the way...nice contrast to the slower lines you opened with.)

  24. #123

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    Quote Originally Posted by wzpgsr
    Don’t think I didn’t notice when you kicked into shred mode there for a few bars. (That was really cool sounding, by the way...nice contrast to the slower lines you opened with.)
    Thanks mate, really enjoyed your take too, great articulation and fantastic tone

  25. #124

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    Grahambop: sounds great. As others have said, you seem comfortable at this tempo, lots of cool ideas and phrasing
    Wxyzpdqantidisestablishmentarianism: Really nice take. Brings out the changes very well, sounds very musical, cool sound from the 125
    Christianm77: Sweet. Love the way you just kind of drop in the fast bits. Based on this take, I think your promotion to Christianm78 is a lock.

  26. #125

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    I'm catching up on some versions, and wow great stuff!
    Graham Bop, just really good. Everything I like: great feel, tone, lines!!

    Wzpgsr, nice playing. Great sound, and melodic direction!

    Christian, nice mix of single-notes and chords. I like how your solo breathes and is also intense at the same time. Not easy to achieve!

  27. #126

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    Thought I would post an example of Tune Up. I'm pretty sloppy... but was quick and almost fun. Not much in the way of jazz... would work in a mixed crowd, could bring up the energy and entertainLOL


  28. #127

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    Have been sick today, so no video. I made up a melody line for this tune rather than just jam over the changes.
    Still sounds pretty straight
    Last edited by Peter C; 04-24-2021 at 07:36 PM.

  29. #128

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    Enjoyed most of Grahambop's take, especially the Martino-esque use of chromatics. (edit: chromaticism is probably a more correct term).

    wzpgsr, I think you have a good rhythmic feel.

    Nice Reg, more loose than sloppy, I'd say.

    I tried to get "nastier" on this track, but it wouldn't let me.
    Last edited by Peter C; 04-26-2021 at 09:08 PM.

  30. #129

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    Quote Originally Posted by Peter C View Post
    Have been sick today, so no video. I made up a melody line for this tune rather than just jam over the changes.
    Still sounds pretty straight
    Dang, you unloaded some juicy licks there at the end. I like your fast vibrato technique. Some folks can’t make that real fast, unbent vibrato work, but you can.

  31. #130

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    Cool wzpgsr, glad you enjoyed it. I'm self-taught, so anything you're hearing there just evolved naturally. That would include the bad habits, too. Way too much treble in the recording and the reverb sounded more like a slap-back echo! Anyway, the backing rack wasn't too shabby, I thought.

  32. #131

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    Quote Originally Posted by Danil View Post
    I could give it a try if nobody else emerges, I've been considering doing this eventually (like bookmarked Bebop Part I – Perpetual Motion Exercises | Jason Lyon on Music and stashed 'Learning the bebop language' by David Baker ).
    I play electric bass or otherwise comp on a guitar. When being asked to improvise nothing good comes out - Tripple_Jazz has quite a head start.
    20-25 minutes per day is probably maximum I can put aside for this, if somebody else is volunteering I will gladly pass, since I've got a lot on my plate already.
    here. i summarized for you what i wrote in the other thread.

    an inductive approach to jazz improvisation:


    when we study jazz from inside out instead of outside in (inductive vs deductive) we can use trivial licks and very limited material to develop a complex system of improvisation that does justice to the idiom we're trying to play. these licks become our fixed points from where we can move the world. as hal galper says: we need material to study the process.



    our study tune is "tune up". our study material is this recording:



    we study the two licks from 0:39 to 0:42. loop and slow down this section, and play along until you can play these two licks as close to the original as possible. tempo is not important, they sound good at any speed. Take the progression and play only those two licks wherever possible. the whole tune can be realized with those two licks but you'll have to transpose them. note that wes' version of "tune up" offers an extra ii-V, namely:

    Em7 / A7 /Dmaj7 / Ebm7 Ab7 /

    music is based on the principle of tension and release. every key has a dominant chord that leads back to the tonic. this is the basic V-I progression. tension-release. in D: A7 Dmaj7

    if you want a more subtle build of the tension you can use the IV chord to build up tension going to the V chord. so our more subtle progression is now IV V I.

    in D: Gmaj7 A7 Dmaj7.

    the IV chord can be replaced with the II chord.

    in D: G can be replaced by Em7.

    right now, it is not important that you understand why this is, just accept it as a fact. so in D your progression can now also be: Em7 A7 Dmaj7. the classic II-V-I. every good jazz player is a master of II-V movements.

    if you want to improvise over the II V I you do not need to spell out every chord. over the II V section you can choose to just play over the Em7 or just the A7. since we have subbed the IV chord with the II chord we can mentally go back and pretend that the IV chord is still there and play over it.

    never forget: we improvise over the principle of tension-release. we do *not* improvise over chords.

    check out the first lick , you'll find that it is actually a Gmaj lick over Em7 A7. IV chord material played over a II-V. same with the next lick. Gbmaj over Ebm7 Ab7. IV over II-V (it is also basically honeysuckle rose)


    here are a few more examples of variations of the same lick. you should be able to recognize it.

    2:05 Fmaj7 up and down over Dm7 G7. Gmaj7 up and down over Em7 A7


    the very first two licks. Gbmaj7 over Ebm7 Ab7. Bmaj7 over Abm7 Db7


    0:09 Gbmaj over Ebm7 Ab7


    the two first licks of the melody Ebmaj7 up and down over Cm7



    the same lick (i.e. the same structure), played from different starting positions works for *all* chord qualities. it works for m7b5, maj7 and 7alt chords, too, and is used in all these instances by the greats. so all chords become equally easy.


    Dm7 G7 E7b9b13 Db7alt Bm7b5 Fmaj7 all can be covered by the same lick E F A C E G, a Fmaj9 arpeggio with the maj7 as a pickup note, listen to the wes montgomery recordings above and search for that sound.

    can you figure out what these chords have in common?



    they are all tension chords in C/Am. in jazz we improvise over the "function" of the chords and not their names. the sound of Fmaj7 in C is a sound of tension as we've learned.

    so we can apply this one tension sound to all the other tension chords below.

    Dm7 II in C, IV in Am

    G7 V in C

    Db7alt tritone sub V in C,

    E7b9b13 V in Am

    Bm7b5 II in Am

    Fmaj7 IV in C



    attached:
    two wes licks over the first 16 bars
    1625 in C with our lick filling in for different chord qualities.
    Attached Images Attached Images
    Last edited by djg; 05-01-2021 at 09:57 AM.

  33. #132

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    Quote Originally Posted by djg View Post

    Bm7b5 IV in Am


    Thanks for that - printed and will work with that. But shouldn't the above quote read "II in Am"? Or are you relating Bm7b5 to Dm6?

  34. #133

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    LOL Hey djg, I've been pushing Function for over a decade on this forum. (no one cares or understands)

    Nice lesson plan, really, great research etc.... But I doubt anyone would go through all that BS just to memorize a couple of licks. And really doubt anyone would be able to transpose the application of using those licks in context at real time... especially if they don't have their technique together. ( more of a lifetime approach... with low success rate.)

    And yea... all the teaching aspects of the language of the approach... are from Chord scales and Harmony. It's almost like... here, this is the way to learn how to play, as long as you have all the other BS together.

    Sorry... not trying to rag you, really. I enjoy all of your post. But there is just no real way to skip the boring technical work required to be able to play jazz in real time.

  35. #134

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    Quote Originally Posted by Reg View Post
    LOL Hey djg, I've been pushing Function for over a decade on this forum. (no one cares or understands)

    Nice lesson plan, really, great research etc.... But I doubt anyone would go through all that BS just to memorize a couple of licks. And really doubt anyone would be able to transpose the application of using those licks in context at real time... especially if they don't have their technique together. ( more of a lifetime approach... with low success rate.)

    And yea... all the teaching aspects of the language of the approach... are from Chord scales and Harmony. It's almost like... here, this is the way to learn how to play, as long as you have all the other BS together.

    Sorry... not trying to rag you, really. I enjoy all of your post. But there is just no real way to skip the boring technical work required to be able to play jazz in real time.
    thanks greg, i'm always impressed how you manage your several careers and still have time for this BS

    yea, many think it's just memorizing a couple of licks.

    like when scientists reseach atoms and collide particles, i'm sure there are people who think: "how can such small stuff be so important."

  36. #135

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    LOL... yea 3 of my uncles were scientists, one at Berkeley or Lawrence synchrotron... the newer cyclotron toy , another at Livermore and one in San Diego... Two have passes away... one has lost his sanity, has like 7 doctorates, he was a major influence in my choice of not to follow in their directions of study.... that and growing up in SF bay area in the 60's.

    Sorry... yea becoming aware of and using Function... in Sub fashion, and then expanding one's understanding of organizations of creating Subs....is how I learned how to play, (and use harmony) back in late 60's and early 70's. And the biggest door was... Subdominant movement or function.

    The other detail about your summarization of lyon's Bebop motion etc... where was the Blues references. I was taught as kid at gigs that playing bebop was just playing fast swing with Blues. (simple version). The skills of just rhythmically making it work was just that... skills. Still great topic... Just rambling... still waiting for a few of my guitars to get back.