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  1. #76

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    As promised, with B3 and drums at 210 bpm.


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    The Jazz Guitar Chord Dictionary
     
  3. #77

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    Quote Originally Posted by grahambop
    As promised, with B3 and drums at 210 bpm.

    Great playing with a mine of fanciful melodic ideas.Exelent!
    Best
    Kris

  4. #78

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    Quote Originally Posted by grahambop
    As promised, with B3 and drums at 210 bpm.

    I really loved it, great sound and articulation, everything sounds easy.
    After this a normal person wouldn't post something but I'm not normal.



    This second one is a tribute to ragman1


  5. #79

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    The tribute is great!!!

  6. #80

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    There is my swinging tribyte for all jam participants.


    Box



  7. #81

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    Quote Originally Posted by kris
    There is my swinging tribyte for all jam participants.


    Box

    So you decided to play your nylon guitar with a pick. I don't know if it's your nylon.
    I like these guitars because of the thickness of the highest strings.
    I miss mine, all the electronic system has to be changed.

  8. #82

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    Quote Originally Posted by Lionelsax

    This second one is a tribute to ragman1
    Most kind, but you don't know what to do with the chords for soloing. Try this sort of thing (but in your own style, of course):

    Cm - Fm - Cm - Fm
    Cm - Fm - Cm - Fm

    Cm - Fm - Cm - Fm
    Cm - Fm - Cm - Abm

    Gm - Dm - Gm - C#m
    Fm - F#o - Fm - Abm

    Cm - Fm - Cm - Fm
    Cm - Fm - Cm - (Abm)



    By the way, Châteauneuf-du-Pape is a very nice place.

  9. #83

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    Quote Originally Posted by Lionelsax
    So you decided to play your nylon guitar with a pick. I don't know if it's your nylon.
    I like these guitars because of the thickness of the highest strings.
    I miss mine, all the electronic system has to be changed.
    This swinging tribute...I used my great Stratocaster.
    Best
    Kris

  10. #84

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    Quote Originally Posted by ragman1
    Most kind, but you don't know what to do with the chords for soloing. Try this sort of thing (but in your own style, of course):

    Cm - Fm - Cm - Fm
    Cm - Fm - Cm - Fm

    Cm - Fm - Cm - Fm
    Cm - Fm - Cm - Abm

    Gm - Dm - Gm - C#m
    Fm - F#o - Fm - Abm

    Cm - Fm - Cm - Fm
    Cm - Fm - Cm - (Abm)



    By the way, Châteauneuf-du-Pape is a very nice place.
    I love the backing track you used. Well I don't think the way you do. I started playing kind of jazz when I stopped thinking about positions and modes.
    I thought to myself.. it's like the saxophone, the bass, it's all about phrases that are going somewhere.
    If you played more with the real harmony and connected the chords each other, you would sound a little bit less lost although there is a kind of charm and poetry in your playing.
    I know what you mean, I'm not a guitarist, tabs and positions don't work with me.

  11. #85

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    Quote Originally Posted by kris
    This swinging tribute...I used my great Stratocaster.
    Best
    Kris
    Wonderful sound !

  12. #86

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    Lionelsax,
    Practising with looper is a very good exercise.You record everything live.
    There is no situation that you play with the backing recorded earlier.
    It is a kind of challenge and fun at the same time.
    Best
    Kris

  13. #87

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    Quote Originally Posted by kris
    Lionelsax,
    Practising with looper is a very good exercise.You record everything live.
    There is no situation that you play with the backing recorded earlier.
    It is a kind of challenge and fun at the same time.
    Best
    Kris
    I've been into this for two months. A week after I received it I was playing a gig. Not the best thing I did but the other ones I did later were better.
    Everything began when a bass player wanted me to play the guitar more than the saxophone even if I didn't feel I was really able to play heads and solos on this instrument.
    We were looking for a drummer and nothing happened because as you know most jazz players want gig promises before playing with you.
    I saw a John Scofield concert in a German French Channel. He was doing everything with a looper and sometimes it was bad but he made everything good despite this. And I loved it.
    So I bought the looper in order to find gigs and connection.
    At the end, it works very well by my own, nobody takes a Real Book and gets lost by reading chord progressions they don't really know adding at the end that I can't play.
    Now all the things I do is a mix between my abilities and disabilities.
    It gives me the opportunity to learn to play, and play standards by heart.
    In July I was barely able to play four or five standards by heart.
    Now I think I know by heart at least 25 standards without thinking too much it's nothing but it's a start.
    The bad thing is that I didn't call my friend again.
    My wife who supports me a lot said I should stop using the looper (I showed her videos about Joe Pass) and should play everything without. She's not very aware about what she wants me to do.
    Sorry if I talk too much but I want to share my experience about it.
    Not what I think or believe but only what I know.
    I thank the people who sometimes listen to me even if all I do is not always pleasant or accurate.
    Last edited by Lionelsax; 09-21-2021 at 04:23 PM.

  14. #88

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    Quote Originally Posted by kris
    There is my new take of Softly...The reharonisation made this tune more interesting for playing ...:-)
    Playing guitar with nylons opens up new interpretative possibilities.Creating a unique atmosphere and originality.
    Hope you like it:


    Box
    Sounds great. I like the overall atmosphere. Original lines, nice chord work with some interesting dissonance.

  15. #89

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    Quote Originally Posted by rpjazzguitar
    Sounds great. I like the overall atmosphere. Original lines, nice chord work with some interesting dissonance.
    Thanks a lot...:-)
    I guess I'll be using guitars with nylon strings more.
    Jazzingly
    Kris

  16. #90

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    Quote Originally Posted by Lionelsax
    Wonderful sound !
    Thanks;-)

  17. #91

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    Quote Originally Posted by ragman1
    Most kind, but you don't know what to do with the chords for soloing. Try this sort of thing (but in your own style, of course):

    Cm - Fm - Cm - Fm
    Cm - Fm - Cm - Fm

    Cm - Fm - Cm - Fm
    Cm - Fm - Cm - Abm

    Gm - Dm - Gm - C#m
    Fm - F#o - Fm - Abm

    Cm - Fm - Cm - Fm
    Cm - Fm - Cm - (Abm)



    By the way, Châteauneuf-du-Pape is a very nice place.
    I don't understand these harmonic movements.
    Sorry...

  18. #92

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    Quote Originally Posted by kris
    I don't understand these harmonic movements.
    Sorry...
    No, they are not harmonic movements, they are just modes in order to simplify the harmony. But it doesn't underline the chord progression (the dominant is not underlined), it just makes a modal language on a tonal harmony like French music of the end of the 19th Century.
    It is the way it works for him.
    It is like when you play a pentatonic all over a Rhythm Changes, if there is no backing track you cannot understand what's happening. No tension, no release, just neutral events.

  19. #93

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    Quote Originally Posted by Lionelsax
    No, they are not harmonic movements, they are just modes in order to simplify the harmony. But it doesn't underline the chord progression (the dominant is not underlined), it just makes a modal language on a tonal harmony like French music of the end of the 19th Century.
    It is the way it works for him.
    It is like when you play a pentatonic all over a Rhythm Changes, if there is no backing track you cannot understand what's happening. No tension, no release, just neutral events.
    ok...but...
    recorded track like this recorded?

  20. #94

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    Quote Originally Posted by kris
    ok...but...
    recorded track like this recorded?
    What do you mean ? Backing track ?
    Other thing ?

  21. #95

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    Well, I don't know if I can do that but I will do it.
    Years ago on saxontheweb.net Tune Of The Month, November 2015 I think, the Tune was Softly As In A Morning Sunrise.
    I worked the thing in order to underline the harmony, the most complicated thing I struggled on the guitar was to make feel the bridge because if you don't really exaggerate ii V of Eb you don't underline very well the modulation.
    C- and Eb are very closed !
    These are some examples of 2015.
    The first is the less interesting (it just shows the emptiness of my guitar solo against my sax solo) if someone thinks that something can be interesting in those things.

    It can be a difficult tune because of a lack of modulation, "All The Things You Are" is more understandable, you can't go wrong unless you are not very aware about what's happening.
    On "Softly As In A Morning Sunrise" everything can sound good but neutral, too modal, and the difficulty is to make it sound very tonal in order to make feel what's really happening (that's the goal of Be Bop I believe, very tonal music).
    Difficult because the head (A section) is completely modal (eolian mode).
    Modal in a classical term, not what a lot of jazzers believe what modal is.
    I mean the real modal, everything is neutral.





  22. #96

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    Pat Martino minor thinking...you can play minor lines over different chords/major or minor etc..

  23. #97

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    Quote Originally Posted by Lionelsax
    What do you mean ? Backing track ?
    Other thing ?
    I mean short exampla recorded by Rag.

  24. #98

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    Quote Originally Posted by kris
    Pat Martino minor thinking...you can play minor lines over different chords/major or minor etc..
    It's what ragman1 does but I don't think it's so useful on this standard although his solo is very nice.
    I'm sure I'm wrong, it is not my cup of tea, it's too "guitaristic".

    It might be more useful in another standard because it's less surprising.


    On the bridge ragman1 is really right, it sounds good, it's an extension, just EbM7 Rootless.
    On the other hand Cm rootless is EbM.


    I do think the best thing to do if you want to be understood is to underline very very well the difference between Cm and EbM without this it's too modal or neutral, like a solo in a rock band, you know, the guy who only plays in E minor.

    On the A section, I think a kind of tritonic substitution could sound better.
    That's I like to do... But they do it very very well better than I do.



    This is why I would do if I had to play the rhythmic guitar or something like that

    C- / Db7 / C- / Db7
    C- / Db7 / C- / Db7

    C- / Db7 / C- / Db7
    C- / Db7 / C- / E7

    Eb / % / Edim / %
    F- / F#dim / G7sus4 / G7b5

    C- Eb / D-7b5 Db7 / C- Eb / D-7b5 Db7
    C- Eb / D-7b5 Db7 / C-6 / Db7

    Maybe I would add quartal chords if the soloist becomes a little bit too modal or atonal, but the structure would be the same.
    It is the best way to let him some room and at the same time a kind of glue.

  25. #99

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    Cheerful Mr. SunnyBass on this is one outpaces my poor navigation abilities and prehearing making it rather rough. Anyway, in the spirit of submitting anything one is capable of, here is my attempt.


  26. #100

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    Quote Originally Posted by Lionelsax
    No, they are not harmonic movements, they are just modes in order to simplify the harmony. But it doesn't underline the chord progression (the dominant is not underlined), it just makes a modal language on a tonal harmony like French music of the end of the 19th Century.
    It is the way it works for him.
    It is like when you play a pentatonic all over a Rhythm Changes, if there is no backing track you cannot understand what's happening. No tension, no release, just neutral events.
    They are just chord names, not modes. If I wanted to name modes I'd have done it.

    You don't understand what I was doing. Which, I suppose, makes its own point.

    My fault, I should explain it before posting. But I suspect that would be equally pointless :-)