The Jazz Guitar Chord Dictionary
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  1. #101

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    I think whoever videoed this knew something about jazz. The camera was focussed right on the fingerboard while Kurt was doing the last eight!


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    The Jazz Guitar Chord Dictionary
     
  3. #102

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    Someone’s done a soundslice transcription of that video (they seem to think the first chord is G for some reason!):

    Inner Urge (Kurt Rosenwinkel Solo) | Soundslice

  4. #103

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    Yes, not a bad transcription, much clearer than the RB. Triplets!

    Where he got the GM7 from god only knows. The piano plays a block chord several times at the start and it's definitely F#CE. The bottom A in the head has gone too.

  5. #104

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    Something that makes sense

    Inner Urge bridge-screenshot-2023-09-04-16-33-19-png

    Yet more mayhem (EDIT corrected chords)
    Inner Urge bridge-screenshot-2023-09-08-18-49-32-png
    Last edited by Christian Miller; 09-08-2023 at 02:02 PM.

  6. #105

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    That brings me up to 11:20ish I think ... Domani!

  7. #106

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    I've given up on this one. It's too fast, too complex. But giving up is hard so I've settled for a gentle noodle over the changes... So be it


  8. #107

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    OI, PAMO!!!!

    Here is your daily helping of spaghetti (EDIT: slightly amended accidentals to my best punt. There's some chord tones in there?)

    Inner Urge bridge-screenshot-2023-09-08-18-58-31-png

    I have no idea what any of this means

  9. #108

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    Quote Originally Posted by Christian Miller
    OI, PAMO!!!!

    Here is your daily helping of spaghetti (EDIT: slightly amended accidentals to my best punt. There's some chord tones in there?)

    Inner Urge bridge-screenshot-2023-09-08-18-58-31-png

    I have no idea what any of this means
    Call me Panasonic.

    And geez Louise … spaghetti indeed.

  10. #109

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    Right, that video is now out!

    How do you Inner Urge?

  11. #110

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    I can't really be bothered with all that fancy stuff. Someone else can play the tune. If I did this in a bar or whatever, slightly more exciting because it's live, I'd get a big clap and get hired again probably. The whole thing's utterly meaningless anyway.


  12. #111

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    If you say so, chief!

  13. #112

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    Chief is good...

  14. #113

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    Quote Originally Posted by Christian Miller
    Right, that video is now out!

    How do you Inner Urge?
    Hell yeah. Hit me with that fancy stuff.

  15. #114

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    Quote Originally Posted by pamosmusic
    Sending out the bat signal to Brecker on this one.
    Oops I missed my signal. I am not the hero the forum deserves (or needs for that matter).

    Dig the video Christian! C Maj over Dbmaj 7 is really nice, gonna have to explore that one a bit more.

  16. #115

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    Quote Originally Posted by Christian Miller
    So here's one that is a bit strange from the Adam Rogers solo (9:45ish), and I transcribed it myself today (it's definitely in the right key). Not 100% on what's happening here.

    Attachment 104291
    It ends up in a fairly understandable place (Cmaj7#5 on F#m7b5), but the stuff in the middle is ... interesting.

    -We are arpeggiating a G#o, possibly E7 in the first bar here,
    - second bar I struggle to 'name that scale' - possibly Gb major bebop (for some reason) going to a G in the following bar
    - and then it's kind of, I don't know, G Locrian bb7/Ab harmonic major (Ab Bb C Db Eb Fb(E) G) for... some reason.

    I can't see much logic here TBH. Maybe some has a brain wave?
    This is cool. Here's my idea.

    Bar 1 - Edom7. Extends to the first beat of bar two with the 9th (Gb/F#)
    Bar 2 - Bb altered idea. First two beats are b6, 5, 4 leading to altered/diminished maj3, min3, b2, root. Not strictly speaking a 'scale', just kind of a mash up of altered. I've heard him do this in other solos.
    Bar 3 - my zaniest theory, he's side slipping to Ab major, but he's got kind of a V altered cadence (b2, r, 7) to the 3rd of Ab. Play that bar thinking Abmaj7 and it sounds normal, and the accented beats line up how you'd want them to in Ab.
    Bar 4 - Maj 7#5 from the b5 of F#, locrian natural 9 stuff

  17. #116

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    Quote Originally Posted by BreckerFan
    This is cool. Here's my idea.

    Bar 1 - Edom7. Extends to the first beat of bar two with the 9th (Gb/F#)
    Bar 2 - Bb altered idea. First two beats are b6, 5, 4 leading to altered/diminished maj3, min3, b2, root. Not strictly speaking a 'scale', just kind of a mash up of altered. I've heard him do this in other solos.
    Bar 3 - my zaniest theory, he's side slipping to Ab major, but he's got kind of a V altered cadence (b2, r, 7) to the 3rd of Ab. Play that bar thinking Abmaj7 and it sounds normal, and the accented beats line up how you'd want them to in Ab.
    Bar 4 - Maj 7#5 from the b5 of F#, locrian natural 9 stuff
    could be!

  18. #117

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    Quote Originally Posted by BreckerFan
    Oops I missed my signal. I am not the hero the forum deserves (or needs for that matter).

    Dig the video Christian! C Maj over Dbmaj 7 is really nice, gonna have to explore that one a bit more.
    he uses this sound on the A section too

  19. #118

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    Has anyone looked at this hack:
    Descending m7 starting on
    F#m7, Fm7, Em7, etc
    It works, but needs good voice leading instead of consecutive patterns.

  20. #119

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    Here's something I posted on the subject a few years ago, from a tenor player's perspective.

  21. #120

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    I have been intrigued reading all of these various strategies for navigating Inner Urge, but for me personally I find that this extra info is too cumbersome for what is already a difficult tune. (i.e. start this pentatonic from this interval etc.)

    I don't usually like to give my opinion (hence my screen name), but learning to really get the chord sounds in my lines is the thing that helped my improvising the most.
    I think Christain Miller said somewhere in this thread that at some point you simply have to drop the hacks and play the "real" changes, or something to that effect.

    The notes that I would emphasize on a Cmaj7 would be different than if I was thinking of another substitute scale/chord etc. from so and so interval. As a result, this makes the melodic content for me much weaker since I no longer have any reference to the "real" chord; or if I do it is one extra "thinking" step away.

    I think Graham mentioned that you simply have to get the sound of the chords in your head; that is how it works best for me and frees me up to just play and not over analyze what the harmony is.
    I am well aware that this is easier said than done! I think that since I am a bass player, I am very used to hearing the full harmony without actually playing it.

    There are many legitimate reasons to try such and such pentatonic from so and so interval on this or that chord, but at some point you still need to "hear" that relationship because few people can think at that speed while playing; or at least I can't!

    Anyway, just my opinion.

    Here is a video that I made today just playing on the "Inner Urge" harmony with no hacks!

    Last edited by Question; 01-10-2024 at 01:16 PM.