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Nice to see this thread get positive traction again! I’ll post some videos as well, when I have time. Off now to go see Branford’s quartet @SFJazz.
The best small jazz group in jazz today.
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02-29-2024 06:25 PM
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Didn't hear any 3 part fugal counterpoint. :P :P Yeah no, sounds good.
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Yes, post some more videos examples, this stuff sounds great.
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Sounds great. It's a quite a different way of relating to the fretboard than the grip vocabulary isn't it? It's tempting to choose one way of organizing the instrument and commit to it since each type of organization is a lifetime of exploration in itself. But then there are all these other juicy things one might be missing out on, lol.
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Based on the sample pages the book seems to flesh out combinatoric possibilities of moving five types of voicings diatonically through different cycles.
Does the book show how to apply these concepts to create movement within a single or to progressions that are not strictly diatonic (like in most tunes)?
It's not a complete mystery to me how to apply these movements in different contexts but I'm wondering if they are explicitly discussed in the book.
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It is, and it isn't...I'm definitely a grip/shape player, but I also play a lot of solo guitar, so I'm always looking for ways I can add a voice, usually specifically for melody. What I like about this is that it makes me think about moving voices in a support role to the melody...It's definitely something that feels fresh and I'll be messing with a lot more.
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I still maintain the best, simple, most elegant way to play with chromaticism in a chord solo format that shows movement is be able interchange the 8 chords that make up the two m6 families and the two dom7 families in the Sixth Diminished system. You don’t have to ‘think’ about #11b13b5 etc, you just play these in lieu of V7 and move it up or down a half step to get more possibilities: G7-Bb7-Db7-E7, Dm6-Fm6-Abm6-Bm6. Etc. etc.
When you really get this down (at the level of muscle memory) you can just think of everything as a line and just concentrate on rhythm.
I’m going to use the stuff in this book to build upon this foundation. Kind of create a triad-three note voicing FLOOR that works with everything else. That is the intention.
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Would it be worthwhile to start a study group and go through the most common changes systematically?
Could be fun seeing what everyone comes up with.
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I'll stop in now and then...I imagine I'll be moving VERY SLOWLY.
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They seem to be out of spiral bound copies. If I buy it, I'll get it spiral-bound at an office supply store I guess. It's almost 400 pages.
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Pity that we can't post phone videos on here. Just messing with some beautiful chords.
Gmaj7(no3), BCD cluster, GAB Cluster, Csus4.
I'm not sure what would be the best way to set up a study group.
Perhaps the best way to start is on page 10 and play through the triad chord scale of each type of triad in each inversion to find the sounds that really resonate with you?
I'm sure that we all have different tastes. I like 7th(no3rd) 1st inversion a lot for example but some of you might find it too dissonant.
Loving what I'm messing with atm
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It has been a long time coming but the Johannes Haage interview is finally here.
The first 40 minutes discusses what Johannes got from the Mick Goodrick Almanacs etc.
The rest of the interview covers Johannes'excellent book Voice Motion.
Enjoy
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Originally Posted by pamosmusic
I’m quite thick you see.
Sent from my iPhone using Tapatalk
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What's happening at the end of this song?
Today, 07:55 PM in Ear Training, Transcribing & Reading