The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by KingKong
    I was shocked to find out how classical players do fingering, they don't move their hand up the neck and to transpose something you would use different fingers keeping your hand in the same position.How restrictive and completely the opposite to rock / jazz playing is that?!
    I'm not sure if that's completely true.

    A lot of popular classical books use traditional fingerings, some even from the composer himself--Sor, Giuliani, etc.

    The goal of most classical fingering is make transitions faster and more efficient. Since classical is more appegio-based, i.e., more horizontal, and jazz is more chord and run-based, i.e., vertical, that leads to different fingerings than jazz guitarist would usually use.

    When I play classical (not too much these days) I don't really think of chord structures very much at all.


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  3. #27

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    You've got to hook up your fingers to your ear. It takes a long time. You've got to put yourself in the situation a lot. Last night I had two solos on a big band gig. The first one I was sight reading, and I had no idea where it was going, and it was a fast tempo, so I had no time to think, which is just as well.

    The second was a Thad and Mel chart that I had played a note perfect solo on just a few weeks ago, because it was taken at a slower tempo, but last night it was way faster, so I just had to let my ear run my fingers again.
    I got applause from the audience, so some people liked it, and a few of the musicians complimented me after the tune was over.
    I'll tell you what you shouldn't do-work out fingering patterns on Giant Steps exclusively for a month at 320bpm. That was the most detrimental thing I ever did. It obliterated the connection between my fingers and my ears. I couldn't even play a blues. I got over it, but it scared the hell out of me.

  4. #28

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    Thanks for the warning. Mind --finger connection. I will remember. I will experiment using backing track tonight so I can hear the contrast.

  5. #29

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    That Sor étude should be in 12/8 or notated in triplets.

  6. #30

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    Quote Originally Posted by ragman1
    That Sor étude should be in 12/8 or notated in triplets.
    What an ignorant you are ! Ink is expensive !
    You put 12/8 you have to add a dot on every bass.
    In 4/4 you have to put four 3 in every mesure or maybe the first, that's ink too.
    The editor hoped nobody would see the mistake.
    He saved ink !

  7. #31

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    In my lessons with Mick Goodrick (RIP) and Charlie Banacos (also RIP) both teachers stressed the importance of playing up and down the neck rather than locking into positions. This was implemented by doing scales, licks, etc, up and down individual strings or pairs of strings. Playing in a position is great for ripping into a “sheets of sound” run, but up and down the neck is more articulate and also forces you to play by ear.

  8. #32

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    Quote Originally Posted by Rsilver
    In my lessons with Mick Goodrick (RIP) and Charlie Banacos (also RIP) both teachers stressed the importance of playing up and down the neck rather than locking into positions. This was implemented by doing scales, licks, etc, up and down individual strings or pairs of strings. Playing in a position is great for ripping into a “sheets of sound” run, but up and down the neck is more articulate and also forces you to play by ear.
    That's one of the things I find valuable about the heptatonic system. It enables you to traverse the fretboard both vertically (within a given position) as well as horizontally (across all positions/the entire length of the fretboard).

  9. #33

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    Which of these is the description for vertical playing on the guitar?

    1] Playing pitches fretting up the neck towards the bridge and calling that vertical, so "higher" coheres in the musical pitch domain?

    2] Playing pitches fretting on strings closer to the floor while maintaining position and calling that vertical, so "higher" coheres inversely with both pitch and gravitational potential?

    If you chose 2] as vertical and call 1] horizontal, do you think of positions closer to the bridge as higher?

    When looking at music notation, vertical satisfies both pitch and gravitational coherency.

  10. #34

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    Quote Originally Posted by pauln
    Which of these is the description for vertical playing on the guitar?

    1] Playing pitches fretting up the neck towards the bridge and calling that vertical, so "higher" coheres in the musical pitch domain?

    2] Playing pitches fretting on strings closer to the floor while maintaining position and calling that vertical, so "higher" coheres inversely with both pitch and gravitational potential?

    If you chose 2] as vertical and call 1] horizontal, do you think of positions closer to the bridge as higher?

    When looking at music notation, vertical satisfies both pitch and gravitational coherency.
    To my mind, horizontal - as in the horizon - spans from fret 1 to fret 19. So, playing pitches up the next towards the bridge is playing horizontally.

    That said I can see how others might reverse it.