Cell voicings?

[Wrogsprit]

I was recommended Eddie Campbell's videos on YouTube and Instagram. He has written a book called Solo Jazz Guitar: A Course in Harmonizing Melody with Cell Voicings. I couldn't find any information on cell voicings outside of his videos and book preview. The video seems to show improvising using 3 note voicings built off of triads and substituting one note with an extension.

https://pentatoniclogic5.gumroad.com...326.1687838315

Any opinions?

[Christian Miller]

I find these examples to be similar to Jordan Klemons/Stephon Harris. I’ve practiced a lot of stuff like this over the last couple of years.

[Paulie2]

I find these examples to be similar to Jordan Klemons/Stephon Harris. I’ve practiced a lot of stuff like this over the last couple of years.

I had the same thought. Seems to be Jordan Klemmons method.

[princeplanet]

Cell, or Shell? ...

[rpjazzguitar]

He takes a simple idea, minor triad plus ninth (or second) and gets some intriguing sounds. That's great.

How many other triads+note combinations should one work on?

I haven't the foggiest idea, but I do know that I tend to learn things one sound at a time. So, I'd have to take the minor+9, pick some voicings, get them under my fingers in 12 keys and then apply them to songs in different ways, since I would assume there would be applications to minor, major and dominant harmony.

If the bassist plays a C, the Am+B becomes a Cmaj7 sound, if the bassist plays a D, it's D13. If the bassist plays an A, its Am9. What about other bass notes? If the bassist plays an E, you get Em11. If the bassist plays an F, you get F^7#11. Maybe Gsus, Bbmaj9#11, Bsusb9 etc.

So, now I've got one cell for which I have to learn some number of voicings and figure out how to apply them to some number of harmonic situations -- and if I'm going to actually get them in my playing, I have to be able to hear the sounds in my mind and remember them. And, I end up having to do that one at a time although the number of combinations (in one key) is probably around 30. Very rough estimate.

And, then, maybe, there's the issue of what kind of music I like to play and how to fit those sounds in.

This, of course, is the work of jazz guitar. But it's daunting.

Note that the starting point here is random. Let's pick a triad and a note. That's the generating idea. Could be any triad, any note, within some limits. Then, you build towards getting it into a song.

The more traditional way is that you hear a sound you like, you figure out how to play it and then you apply it to the songs you're already playing. My thought is, why start with a disconnected concept? Why not start with a sound you already like?

[Wrogsprit]

Cell, or Shell? ...

Cell. He explains in the video that they're built around a triad and played over a shell voicing.

[Christian Miller]

It has taken me about 5 years to get somewhat comfortable with this approach

[Wrogsprit]

I find these examples to be similar to Jordan Klemons/Stephon Harris. I’ve practiced a lot of stuff like this over the last couple of years.

I have never heard of Jordan Klemons or Stephon Harris. Any videos or materials from them?

[Christian Miller]

I have never heard of Jordan Klemons or Stephon Harris. Any videos or materials from them?

this masterclass covers the basics. The audio is … bloody awful. But you can hear what’s going on

Stefon himself is a highly rated NY jazz vibist who’s played with lots of big names (Joe Henderson, Joshua Reman, Kurt Rosenwinkel etc) and teaches at NYU iirc. He is not a YouTuber.

Jordan has more stuff up. There’s a lot here, I haven’t checked it all out by any means

NYC Jazz Guitar Masterclasses - YouTube