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What I miss the most is the audience's reaction.The audience's reaction / e.g. applause / at a real jam session is what motivates the musicians to play interestingly.
Best
kris
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08-23-2021 01:29 PM
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I have come to believe that, if the musicians themselves know what is about to happen, then it's not jazz.
Jazz is created by the group, on the fly.
But, a lot of groups are head solos head and don't really do that. The best groups do. I'm more likely to hear it happen in NYC clubs, and not even all of them.
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Hope this works...just moved and slowly getting back up to speed.
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Trying something a bit different.
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Do you guys play Gb7-Ab-F7 in bars 10-12? I’d appreciate a bit of theoretical nerdery about this movement
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Originally Posted by rpjazzguitar
There are real emotions and mutual inspiration, and a good audience turns up the atmosphere and motivates the musicians.
Here I miss it and sometimes I have the impression that nothing is happening and I play the same over and over again.
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Originally Posted by wzpgsr
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Originally Posted by gionnio
Originally Posted by wzpgsr
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Originally Posted by gionnio
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Originally Posted by kris
There is nothing like a "jazz scene" around here and no jazz musicians either...
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Originally Posted by TOMMO
Best
kris
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I’ve never been to a proper jam session and I appreciate these threads even if they only mimic a small part of the experience.
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Originally Posted by Peterson
In C that would be
F - F#o - C - A7 etc
Another way to play the diminished, or substitute for it, is to play the 'backdoor' chord ('backdoor' because it kind of sneaks up on the I from underneath). That's a dominant 7 a tone below the I. So in C:
F - Bb7 - C - A7
So in Ab, that's what we have here. Some versions have Do, others have Gb7, the backdoor chord.
Db - Gb7 - Ab - F7
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Originally Posted by ragman1
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Dbmaj7 / Dbm7 Gb7/Abmaj7/F7
or
Dbmaj7 /Ddim/Abmaj7/F7
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Take with -Dbmaj7 /Ddim/Abmaj7/F7 /same section 1&2/ :
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Originally Posted by kris
But my experience probably had very little in common with a jam session where almost every player is close to pro-level.
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Originally Posted by ragman1
Lots of ways to get there, as long as the voice leading is strong. So with Db Gb7 Ab you have the F note, the E, then Eb. You've also got potentional around the Db and C to anchor a line.
The passing chord between the IV and the I is a place for some fun. IN this tune, we get Db Gb7 in the A section, but then Db7 Ddim7 in the B section.
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Originally Posted by Peterson
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Originally Posted by kris
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Originally Posted by lawson-stone
But I mean guitarists who play jam solos.When I was younger, I also played in the rhythm section for jam sessions, but I was afraid to play solos.
I was technically weak and had little knowledge about jazz improvisation.
Over the years I have developed my "music workshop".
Real Jam-I mean you are at the front of the stage and enchanting the sounds / drawing the listeners into your world of sounds /.
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Originally Posted by Reg
I appreciate your comments very much.Next time I will try to surprise everyone.
Although it will not be easy to play with the computer.
Jazzingly Yours
Kris
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Endings, tags, turnarounds etc... are ways to end and then start again. I've always thought the last four bars are just a series of secondary doms. to get to the II7 chord.
Bb7..../ Eb7..../ Ab7.. Db7../ Gb7.. Cb7..// Bb7 Then you can use or reference almost any subs etc...
..................... Ab6...G7.......Gb7...F7...
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Originally Posted by kris;[URL="tel:1142096"
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Originally Posted by kris
Fun. Remember that part?
Julian Lage Trio - Sat 27th April - Marciac,...
Today, 03:57 PM in The Players