The Jazz Guitar Chord Dictionary
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  1. #101

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    Quote Originally Posted by PaulD
    Lots of very nice versions of this great song! I haven't posted anything in quite a while, so as long as I had some time I recorded this tonight

    I really like this. I like the tempo and the tone, the playing is appealing also. Well done!

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    The Jazz Guitar Chord Dictionary
     
  3. #102

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    Irez87, Jay & lawson-stone, thanks a lot for the nice remarks!

    Irez87, I’m definitely not deep, still just trying to learn & improve like everyone else. Not sure about the double-time advice...I think for me maybe it was a matter of being able to do it away from the guitar at first, just scatting along to the solos of my favorite players to get the feel more than the notes. Once I could feel it naturally, then it became easier to incorporate into my playing.


    Jay, I’m playing my ES-175 straight into a UR-22 interface (Christmas present from my son ). I recorded it using Audacity, adding just a little reverb after the fact. The backing track is BIAB using a slow jazz ballad style and muting the piano so it’s just bass & drums.

  4. #103
    Quote Originally Posted by PaulD
    Lots of very nice versions of this great song! I haven't posted anything in quite a while, so as long as I had some time I recorded this tonight

    Very nice, Paul. Great phrasing, tone and overall construction.

    Thanks for posting this.

  5. #104

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    I'm just searching my iTunes library for guitarists playing this tune

    Chuck Wayne has a great solo over this

    Howard Alden has a great solo

    Jimmy Raney has a great solo

    Joe Pass has a great solo

    Jimmy Bruno

    We could share transcriptions and figure out how the masters navigate this chestnut.

  6. #105

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    Quote Originally Posted by PaulD
    Lots of very nice versions of this great song! I haven't posted anything in quite a while, so as long as I had some time I recorded this tonight

    Hey Paul! Really nice professional version of Stella with good lines and good tone. I'm still playing (currently with a swing dance band here in Payson) but the arthritis in my fingers Has robbed me of my ability to play Johnny Smith type stretch chords. Howard Alden has moved from New York to Phoenix, Az and is working the area around Arizona now. Colleen is no longer able to sing due to some problems with her throat. That's about all that is new with me so I'll stop now. It is so nice to hear you play again.

    wiz (Howie)

  7. #106

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    Quote Originally Posted by wizard3739
    Hey Paul! Really nice professional version of Stella with good lines and good tone. I'm still playing (currently with a swing dance band here in Payson) but the arthritis in my fingers Has robbed me of my ability to play Johnny Smith type stretch chords. Howard Alden has moved from New York to Phoenix, Az and is working the area around Arizona now. Colleen is no longer able to sing due to some problems with her throat. That's about all that is new with me so I'll stop now. It is so nice to hear you play again.

    wiz (Howie)
    Hi Howie, thanks for the kind words & glad to hear that you're still playing. Very sorry to hear about Colleen. I hope she will be able to sing again. I'll be retiring from my job in a couple of weeks and giving music a lot more attention this coming year. Hope to play and teach. Take care & give my best to Colleen.

    Paul

  8. #107

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    Quote Originally Posted by PaulD
    Lots of very nice versions of this great song! I haven't posted anything in quite a while, so as long as I had some time I recorded this tonight

    Sounds great Paul! Nice, easy swing to your lines.

  9. #108

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    Quote Originally Posted by mr. beaumont
    Cool. I'm a take a few more stabs at it then...wanna try an "up" take.
    Listen to Jimmy Raney's version:



    Yeeeeowzaaaaahh

    He makes that tune sing and those lines are so geeeeoooddahhh

    Not fair!

  10. #109

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    Very cool, 55bar. I like the little break into a swing....it left me wanting more.

  11. #110

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    Quote Originally Posted by Irez87
    Listen to Jimmy Raney's version:


    Yeeeeowzaaaaahh
    My reaction, exactly. Tinged with sadness too, in the certain knowledge I'll never attain those heights. Ah well, at least someone did, and we have it recorded. How lucky are we?

  12. #111

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    Quote Originally Posted by Rob MacKillop
    Very cool, 55bar. I like the little break into a swing....it left me wanting more.
    You are WAY too kind thank you though it means a great deal especially coming from someone of your level.

    The audience started to come into the theatre so had to keep it short #ranoutofideas December 2015 - Stella By Starlight

  13. #112

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    Seriously good, 55bar!

  14. #113

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    My favorite Jimmy Raney version. The other solos are great too....especially got into the Phil Woods solo.


  15. #114

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    Quote Originally Posted by srlank
    My favorite Jimmy Raney version. The other solos are great too....especially got into the Phil Woods solo.

    WOW! Jimmy and PHIL! This is the best version I have listened to.

    wiz (Howie)

  16. #115

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    Quote Originally Posted by mr. beaumont
    Well, a favorite tune of mine, so I had to get in this month...trying a few different things out, but as always, trying to leave space. Hope you enjoy, and if there's something you like, let's discuss...heck, if there's something you don't like, let's talk about that too, because that's important
    !
    Beautiful, lovely time and phrasing.

    Guitar sounds lovely too. Happy new year!

  17. #116

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    Pkirk...man, I'd buy a record of you/bass duets in a heartbeat.

    Fuzz...nice ideas and space...just work on that time.

  18. #117

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    Quote Originally Posted by fuzzthebee
    Figures I have to follow pkirk! Great playing!
    Fuzz, super nice. that opening chorus channels Wes. Each chorus has a different vibe, so it gives a good picture into your personal style.

  19. #118

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    PKirk - excellent vibe and interesting note choices.

    Mike - great to have you here. I liked the octaves for the Head. Lots of good things going on in there.

    Jazzguy100 - some good harmonies in there!

    Keep it up, chaps!
    Last edited by Rob MacKillop; 01-02-2016 at 04:17 AM.

  20. #119

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    Kudos to everyone that posted. They all sound great to me.

  21. #120

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    I will post an example of my studies into orchestral comping later this weekend. I am trying to uncover what Ed Bickert said when he meant "comping like an orchestra". I think I am getting a little closer to that understanding, but I am just at the tip of the iceberg. For modern reharm ideas for standards, I listen to Bill Holman, Oliver Nelson, Gunther Schuller, and George Russell. Any other suggestions? I could turn this into another thread, but it would be interesting to post modern big band arrangements of Stella here. I already posted Bill Holman's eerily beautiful arrangement a couple of posts back.

  22. #121

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    Impressive. But how does this help you? What does it give you other than singing the song, or playing the melody while singing it on the guitar? No criticism, just curious.

  23. #122

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    Destiny, do it against a drone, Bb.

    Good question, Rob.

    The exercise helps you by recontextualizing the song in Bb and hearing melody and harmony as a series of tension and release around the home key (Bb)

    In effect, your ear teaches you how your lines should cadence in regards to how the notes orbit around the key.

    For instance, with a Bb drone you have the following line for the 3rds of each chord:

    Em7b5 A7b9 Cm7 F7 Fm7 Bb7 Ebmaj7 Ab7 Bb7

    Instead of thinking purely chord to chord, think of everything relating to Bbmajor

    Check this out (in 3rds)

    La (G of Em7b5 --> 6th of Bb major)

    May (C# of A7b9 --> b3rd of Bb major)

    Fa (Eb of Cm7 --> 4th of Bb Major)

    Ti (A of F7 --> 7th of Bb major)

    Tay (Ab of Fm7 --> b7th of Bb major)

    Me (D of Bb7 --> 3rd of Bb major)

    La (G of Ebmaj7 --> 6th of Bb major)

    Re (C of Ab7 --> 2nd of Bb major)

    Me (3rd of Bbmaj)

    To write out in a linear fashion, you have the following in Bbmajor in scale degrees

    6 -- b3 -- 4 -- 7 -- b7 -- 3 -- 6 -- 2 -- 3

    I could include how this looks on a musical staff to show, visually how the notes work.

    The larger concept behind all this is to show how the harmonies create inner melodies within the key center in a similar fashion to how the melody operates with in a key center.

    Why sing this exercise? Your ear will teach you how to navigate the tune more than your eye and your mind. You memorize the sound of the tune instead of relying purely on visual and mental maths (you can still use them in tandem, but use your ear as the foundation).

    George Van Eps always spoke of harmonies being more like intertwined horizontal melodies. This is what he was talking about. I happened upon this after years of studying the Banacos method through Bruce Arnold.

    My idea of comping like an orchestra will be based off the idea of multiple melodies creating tension and release within the home key. If you are interested, PM me and I can direct you to the courses I am still using as well as the thought process behind the ear guiding the hand (instead of the brain and the eye).

    Miles was hip to this as well.

  24. #123

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    Interesting, but I learn the sounds available within a given key by working them into my ears, hands, eyes and mind at the same time through practicing scales.

  25. #124

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    Quote Originally Posted by boatheelmusic
    Interesting, but I learn the sounds available within a given key by working them into my ears, hands, eyes and mind at the same time through practicing scales.
    That's fine, this is just a method of practicing away from the instrument in which you use sound as your blue print instead of just text (theory). That being said, the theory helps you construct the sound, but you end up memorizing the sound instead of just the theory.

    Just a different approach. Granted, getting this approach to work requires a lot of singing solfege. However, you will figure out how your inner ear works more so by singing than by theorizing every last drop of music. At the end of the day the audience will always respond "Yeah... So? Does it sound good?"

    This method is about sound not mental math or the physicality of the instrument. Of course you need to know the fret board and the physical nature of the instrument, but you don't have to be fettered by its confines.

    I could continue this on that ear training blog thing I started. I still have to see if Bruce Arnold could actually lend some of his expertise. Maybe we could get Barbra Banacos or Gary Dial to chime in? That would be crazy kool

  26. #125
    destinytot Guest
    Quote Originally Posted by Rob MacKillop
    Impressive. But how does this help you? What does it give you other than singing the song, or playing the melody while singing it on the guitar? No criticism, just curious.
    Thanks, Rob - I recognise kindness in your curiosity, and I'm grateful. Before addressing the question, I'd like to be clear that I'm not trying to persuade anyone. I'm sharing something that helps.

    The benefits, as I see them, apply to all instruments (including the voice) because they put the musician in the driver's seat.

    I call this kind of ear training 'independent listening' (I borrow the term from language teaching methodology). If you prepare tunes this way, you get to 'know' their harmony - intuitively, with musical connaissance de cause - as you know your mother tongue well enough to tell a story; you can make adjustments to suit your your audience and purpose, with no 'half-guessing'. (Like the man said, "If you can't hear it, you can't play it.")

    This kind of ear training does wonders for intonation (obviously important for singers - wind and brass, too), and I'm just beginning to appreciate the value of improved intonation when bending notes. (I've just begun thinking of 'blue notes' as more than just flattened diatonic scale degrees.)

    But what I call 'independent listening' is (part of) a foundation for improved group/ensemble performance, involving what I call 'interactive listening'. I'm starting to appreciate how using chromatic solfège to learn tunes can help with groove.
    Last edited by destinytot; 01-02-2016 at 01:58 PM. Reason: spelling