-
No, it's about jazz blues. Or do you think jazz blues and bebop are the same?
Originally Posted by Lionelsax
-
12-30-2021 02:48 AM
-
Ragman, Originally Posted by ragman1
You have a guitar pick as a gift.
You will definitely need to play jazz blues in be-bop style.
Attachment 87333
-
Thank you, it's lovely. And so are you!
-
You have been immortalized, Ragman. Originally Posted by ragman1
Thank you, it's lovely. And so are you!
-
You all make me want to play, this time, I played with an amp.
This is the original take...
And for those who can't hear the changes, I did this.
All kind of comments are welcome except craps that I read the other day.
First, I would like to say it's difficult to play on such a static backing track, no dynamics.
-
I did reply to this earlier but maybe you missed it, or ignored it. Originally Posted by Lionelsax
Jazz blues is no longer bebop. I'm no expert in this stuff but bebop only lasted a certain amount of time. Not everybody cared for it because it stopped them dancing... but these things evolve.
But as a reaction to bebop came cool jazz, fusion, latin, and other genres. What they're doing now is not bebop any more. Scofield isn't bebop, for example. It might sound like bebop because it's chords and lots of notes but it's not.
You should listen to this. Bernstein isn't playing bebop. For some reason the chord structure has stayed the same - the usual jazz blues progression - but it's not bebop. Bebop as it was is actually out of date now.
-
All cool players were boppers. Originally Posted by ragman1
Modern players play bop the same way Americans speak English (even if they play modal).
Be bop is the background.
As you said you are not expert but you can teach me French.
Happy new year !
-
Theoretically, there is no be-bop right now, but all jazz is drawing their melodic ideas from be-bop or hard-bop.
Generally speaking, it is the jazz language.
-
Thanks, you said it better than I did. Originally Posted by kris
What you say is not an opinion, it's a fact.
-
Of course, it has evolved like everything else. We all came from Africa but let's not exaggerate
-
Your language comes from England, you can't reject it. Originally Posted by ragman1
Of course, it has evolved like everything else. We all came from Africa but let's not exaggerate
-
One can learn in any possible method and play nonsense. Don't blame the information for what is the player's fault. You have to be pretty dumb to think you take do re mi and that's the end of it. You're supposed to apply the framework in creative ways. That's the point. Originally Posted by Lionelsax
-
So you can learn to play the piano with guitar tablatures. Originally Posted by Clint 55
I'm talking about a language.
Ask Django about fingering (shape).
He didn't know music but music really knew him.
-
Ask 100 guitar students to learn in the fashion Django did. They will play nonsense. Information isn't the culprit of poor playing. A lack of understanding is.
-
That's it ! Originally Posted by Clint 55
I totally agree, I would be wrong if I didn't.
-
About Django style, it has got the same problems than blues style (I say blues I don't say blues in a jazz style).
They are full of tricks.
"Here you play a harmonic minor scale, there diminished arpeggios, you resolve it chromatically..."
I used to play with guitarists who played in a Django style, I had a lot of difficulties to play more "modern" with them.
They played great but they couldn't go out from their style.
-
All Django style comes from a disability, one day he said, because of he disability he couldn't play, what he had in his head.
All the tricks come from a disability, in a Django style, you can name them shape.
-
Well he may have used licks, but I always thought he was still pretty lyrical. To me, patterns sound good if they're used musically.
-
He played music the way he could and it was great. Originally Posted by Clint 55
He invented the guitar by the way shell voicings come from him.
Freddie Green wouldn't agree.
-
My sense is that Jazz players nowadays draw on the jazz continuim which for me reaches back to the colour tones of Debussy and Satie - try using triad pairs over any jazz tune and you will see what I mean. To be able to shape harmonies and lines in any musical idiom which is a product of human experience - now that is the challenge all musicians and composers grapple with. My 2 cents folks!
-
The sound of TL's voice at the start of that video... OMG. Originally Posted by docsteve
He's actually got a pretty deep voice, and that was sounding more like a munchkin.
You will hear his real voice at around 33 second into this video:
Good info from Tim either way, though... as always.
-
Well, you say that as you probably imagine it’s a thought experiment, and therefore safe from refutation, but in fact experiment had been done over and over. You can go to a place called Samois and find that out yourself every year. Originally Posted by Clint 55
It does require hard work and dedication to learn an instrument but you knew that already right? Most of that 100 simply won’t have the dedication, but all that means is they just aren't going to be real players anyway.
Theory doesn’t act as a shortcut. Mostly it’s naming things. It can open doors, but you have to be able to play and you have to have ears - doesn’t matter what you play.Last edited by Christian Miller; 01-01-2022 at 12:39 PM.
-
Theory is a tremendous shortcut. As long as it's used to figure out the actual mechanics of the exact desired outcome in the music and not used as a means. Also to be done in parallel with musicianship development.
Last edited by Clint 55; 01-02-2022 at 02:52 AM.
-
I'm going back to the thread.
I recommend to learn how to build bass lines, I don't mean boogie-woogie lines, but real lines with logical motion including chromatic motions, then I recommend to play them with inversions. If it's too difficult, they can be written.
In fact, a good solo is a counterpoint, like Baroque improvisation, that's my idea.
-
After listening to Grahambop, and also Wes Montgomery, playing fried pies, my ears have opened a little in that I am starting to recognize that bebop way of accenting chord tones on strong beats, and approaching the tones accordingly.
I transcribed a little of Wes' solo in Fried Pies Take 2, and when I looked at the notes used, I could truly see how he throws in notes that aren't in the Major or Minor Blues Scales, which I was trying to rely upon. For instance, I noticed a b6 in one of his lines, which was probably just an approach note to the 5th.
So basically, all notes really are fair play when playing bebop style lines. Or am I wrong? By the way, this is my new favorite song of the moment.
Reply With Quote
2 new & excellent Jazz Comping Truefire...
Yesterday, 10:22 PM in Comping, Chords & Chord Progressions