-
I've been playing with the "patterns" in David Baker's "The Blues" in his Patterns for Improvisation series. And I'm stuck on #5. It is supposed to be played over a C7 chord in a jazz-blues context. It's not hard to play but for the life of me, I cannot "hear" how it fits in the blues over a C7.
Here's the pattern:
And here's a short clip of me playing it, with varying types of picking and slurring. I would love to hear your thoughts and even played examples of how this is supposed to fit with a C7 chord.
-
03-06-2024 03:28 PM
-
What's the context - key and progression?
-
C blues or over the C7 in an F blues?
-
Just sounds like a kind of lame out riff. I wouldn't worry too much about it. Out stuff is used in jazz blues, but you have to figure out what flavors work for you. If you don't like it, I would say move on. Also, books aren't 100% reliable.
-
For what it's worth, I can't think of a sequence for learning something where I'd have that bad boy come out at the fifth thing someone would work on.
But Mr. B's idea seems good ... feels more like an altered lick for the C7 in an F blues than something to play in the first four of a C blues.
-
"Oh, I now have a revolutionary new method called the Think System, where you don't
bother with notes. My boy, someday reading music is going to be absolutely obsolete."
Prof. Harold Hill, 1912
-
Looks to me like a chord change. First bar might go over C7. Second bar looks like it might go over Bb7. Both look like the idea is to create a diminished sound. So, bars 9 and 10 over an F blues?
-
I think in theory it goes with D7 (first bar) and G7 (second bar), its using the dominant diminished scale. So bars 9 and 10 as someone mentioned, but over a C blues
-
Here is my take on it. Let's start with the second bar:
The first two beats (of the second bar) create tension that resolves to the last two beats.
It's like Db7#11 -> C7 (or G7alt going to C7)
Now the first bar.
The first bar is C minor blues during the first three beats and D7 on the 4th beat resolving to Db7 (Or G7alt) in the second bar.
So if you try to hear the 4th beat of the first bar as tension that takes you to the second bar and first two beats of the second bar as tension to that leads to the last two beats, your phrasing will adapt to it.
-
So the implied changes are:
| C7 C7 C7 D7#11 | G7alt G7alt C7 C7|
In the beginning C minor blues is played over C7.
-
Originally Posted by Tal_175
-
Originally Posted by Jimmy Smith
Why bother with something that does not resonate with(in) you?
-
As Tal_175 pointed out, the opening is a "blues scale" phrase using notes extracted from the C diminished (whole-half) that's filled out in the remainder of bar 1.
The second bar is a Coltrane-type pattern from the diminished located a semitone below.
Strangely enough, the expected altered diminished sound over a C7 (C half-whole) is the one choice not used here!
-
The font for the "natural" symbol could be clearer. In the second bar, the second b and the e are natural but they could be mistaken for flat. I noticed Lawson played them correctly as naturals.
-
Originally Posted by Tal_175
Before the advent of computer typesetting most music was hand-engraved.
-
Originally Posted by Bop Head
-
As Jimmy suggested, maybe it just isn't such a great example. I tried using the YouTube speed control to play back at 2x speed and it still sounded ... well ... kinda lame... trying too hard to be cool by being 'out.' Not to say that Baker isn't great, just maybe this isn't a great lick. For me (and the OP) at least.
Here's my favorite video to steal blues licks from at the moment. There are a couple of licks that only Matteo would play, but most of it is useful idiomatic guitar blues vocabulary... which he admits is heavily influenced by Robben and Bonamassa.
-
Originally Posted by Tal_175
and stamps
and still a lot of handwork.
-
Originally Posted by Bop Head
-
Forcing yourself to like and learn a bad riff because it's in a book isn't growth. :P
Last edited by Jimmy Smith; 03-06-2024 at 10:49 PM.
-
Originally Posted by starjasmine
-
Originally Posted by Jimmy Smith
-
Originally Posted by Bop Head
-
Originally Posted by lawson-stone
Baker, along with all the other well known vocab books, just don't seem the best way to learn lines you'll really like. The best way surely is to simply transcribe lines you like from other players. It's how to cultivate your own unique style eventually, stealing a bit from here and there and mixing it all up in your own way.
Learning much of your vocab from one source seems like a bad idea to me now (although, once upon a time, I was hoping it would be the most efficient way...).
I wonder if there are any good players out there that learned nearly all their lines that they still use from a Baker book?
-
Originally Posted by princeplanet
So yes, as we all should know by now, copying the lines by ear from fav recordings and then remembering them is always the best method.Last edited by GuyBoden; 03-07-2024 at 09:29 AM.
Replacement rosewood bridge base for 1977 Gibson...
Today, 02:39 PM in Guitar, Amps & Gizmos