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You need to get out more ... many drummer do... actually hear and ask about Harmony.... Rhythmic skills is another one of those givens... if you don't have it, you usually don't get many calls.
Eventually you develop skills of using Harmonic references to help imply longer Rhythmic patterns and styles. You know how to develop patterns, accent patterns that help music know where it might go....
Maybe you don't get it or just don't want to.... it can really help your playing.
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05-21-2024 07:14 PM
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Originally Posted by Reg
Maybe you don't get it or just don't want to.... it can really help your playing.
And hey man ... maybe it's just the New York drummers. They know the tune and the changes but lord almighty do they not give a crap how I'm "addressing the harmony in my improvisation" or whatever. Or maybe that's changed since I left. I guess I wouldn't know any more.
EDIT: exceptions to the "simple stuff" are obviously around too ... Coltrane, Herbie, etc.
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The condescension is just delicious!
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Originally Posted by Kirk Garrett
Last edited by pamosmusic; 05-21-2024 at 08:37 PM.
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Originally Posted by BreckerFan
Originally Posted by Kirk Garrett
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Originally Posted by Bobby Timmons
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Why not live the dream? Even if it's online..
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Hey Peter... all good.
But just to make sure you do get it...
The simple is going on all the time... and sure great melodic development is beautiful.
But its not... that using different Harmonic References or as you seem to think of it as using targets to change the chords on the page.... it's more like having more layers of harmony going on... at the same time... How the layers work together.
It become more like the connecting thread that holds the different harmonic layers together.
It's not that you can't still have ..as you said.."strong and idiomatic melody over the "vanilla" changes sounds hip as heck."
It becomes you can also have more going on... which make the soloist and the ensemble...even sound better...LOL.
Most guitarist don't have strong rhythmic skills.... I've been saying this for ever, get your chops together and it will help vanilla and simple playing become interesting etc.... hell I'm simple most of the time..... but I'm not in slow motion.
And again most don't spend all their time soloing.... Harmonic awareness is generally used more that melodic cells.
It's all required LOL. And when your talking about Practice technique... it's different from Performance technique.
One is for developing skills and the other is for connecting the skills.
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Originally Posted by Reg
If I’m going to be blunt with you, your way of talking about music just doesn’t land with me. I know some stuff, and I’ve spent a lot of time with a lot of different musicians, and I just don’t really like thinking about music in the terms you use. I don’t think about or hear music in the same terms and so I don’t sound the same as you. I don’t particularly want to either, for whatever that’s worth. Which, from what I understand, is fine.
I think you could make some space for other people to have a valid perspective even when it differs from yours.
For example:
It's not that you can't still have ..as you said.."strong and idiomatic melody over the "vanilla" changes sounds hip as heck."
It becomes you can also have more going on... which make the soloist and the ensemble...even sound better...LOL.Last edited by pamosmusic; 05-22-2024 at 01:43 PM.
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Originally Posted by Bobby Timmons
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Once you know the basics, I think playing in a big band is an excellent way to progress.
For one thing, when the guitar is voiced like one of the horns, you get immediate feedback on your accuracy. Not just when you hit the note, but when you release it, and how you articulate it (all those little letters and symbols).
You also get to read a lot of different syncopation, since the arrangers all want to do something novel.
And, you get used to keeping your place while your eyes are moving left to right to read the basic material, but also jumping up and down because the chord symbols are above the staff and the rhythms are usually within the staff. And you can't complain, because the pianist has all of that, plus the left hand and probably reads it all.
And, the rhythms are usually notated as slashes which means that you have to figure out what to play.
During a break, take a look at say, a trombone chart. Most of it is likely to be empty space even when the guitar chart is filled with ink. And, no eyes moving up and down. It's all within the staff.
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Originally Posted by jcbgtr
Right, so now I’d say the next step is to envisage yourself as a sort of Pleistocene hunter who’s taken down a mammoth. It took energy and effort. Well done.
You now want to make use of everything you can out of that animal. The meat, of course. But the hide can make clothes. The bones can make a house. (Sorry for the image, but that’s where my brain went.)
I see a lot of people online playing solos through with the recording, super impressively, as you have done. I’m always curious as to what other things they have done with the material.
Some of the greats transcribe a thousand solos. Some great players never transcribe a single solo all the way through but work on short licks. There’s no single right way to do it, but all of them find ways to work with the material.
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Originally Posted by pamosmusic
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Originally Posted by rpjazzguitar
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Originally Posted by Christian Miller
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Originally Posted by pamosmusic
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Originally Posted by pauln
Remarkable term, this one.
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An interesting way to play scales is to base it off the chromatic scale without the stretches. So for instance the Major scale would look like this
5 - 7
5 - 6 - 8
5 - 7
7 - 9
7 - 8 - 10
8 - 10
(Start from index finger)
The premise is to shift your hand by 1 fret for each string change except between the B-G Strings in which case you stay put. The neat thing about this is that the fingering order is the same from the lower 3 bass strings to the higher 3 strings no matter which scale you are using. Its the same fingerings from the major 3rds tuning I used to work on but instead of staying in position one ends up shifting due to the perfect fourths in standard tuning.
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Originally Posted by pauln
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Originally Posted by AllanAllen
I play with a drummer now and again who learned basically the whole omnibook when he was in college. Playing the rhythms, approximating the contour of the lines with the different drums etc.
Ive also played with drummers who don’t know forms and don’t ask.
But that’s not all that different from the range of guitarists I know either.
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Originally Posted by pamosmusic
Last edited by pauln; 05-23-2024 at 03:55 PM.
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Originally Posted by pauln
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Originally Posted by pamosmusic
My friend is selling his Aria Pro II PE 180
Today, 03:40 AM in For Sale