The Jazz Guitar Chord Dictionary
Reply to Thread Bookmark Thread
Page 2 of 3 FirstFirst 123 LastLast
Posts 26 to 50 of 67
  1. #26
    Quote Originally Posted by ragman1
    It's fine, actually quite good. We probably all suffer from red light panic! If you really want a comment then the rhythm could be broken up with the odd single-note spurt between the chords; breaks it up.
    thanks for the kind words btw. Long busy day.

    I actually really like the blues tunes for solo guitar. They really demand that you break thinks up beyond the basic chord-underneath thing which is passable with other tunes in chord melody style.

    Great tune this month. Really nice-contrasting B-section, but man, it's a beast. Think I might do a whole month of aimee nolte's tune-a-week protocol for this tune. Maybe after a few months I could learn to do it in an actual week! :-)

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #27
    Quote Originally Posted by mr. beaumont
    I've been doing some Spotify listening on this track...man. for such a cool song there sure are a lot of LAME versions.
    Did a good bit of listening today too . Actually really enjoyed a lot of them. Skipped the ones I didn't like. One thing I like about the selection process we are currently using, with the jazz standards site, is that there are a TON of recordings of these tunes.

    Notice that there's kind of a tradition of playing willow really slow and then eventually doubletime, a few choruses in. A lot of triplet rhythmic subs and moving things around /making space in the phrasing. A lot of just seeing how far behind you can phrase things.

    Man, Lou Rawls phrases things way way behind . Really good vocal version. Kenny Burrell has a nice one too . Does the doubletime thing at the end in a cool way. Then James Brown's groove is just infectious. Different

    Last edited by matt.guitarteacher; 04-04-2017 at 07:35 AM.

  4. #28
    This rhythm section though:


    the kind of phrasing and groove in this is what this tune is all about my mind. I really like that it's a good blues but with that contrasting B section . Cool tune.
    Last edited by matt.guitarteacher; 04-04-2017 at 05:16 PM.

  5. #29
    Jkniff26 Guest
    You guys all sound like ringers. I am trying , back at you soon. Sounds like there are no rules as to how you do the tune. Really like the variety of versions.


    Sent from my iPhone using Tapatalk

  6. #30

    User Info Menu

    Quote Originally Posted by fuzzthebee
    (warning: non-jazz content)
    We'll survive...

    I've been waiting for you... Well, you did one octave... :-)

    (Edit)
    Twixt you and me, deep down I think I'm avoiding doing anything too slow and meaningful because I know I'll just run over a lot of blues scale stuff and there's got to be a better way.
    Last edited by ragman1; 04-05-2017 at 07:15 PM.

  7. #31

    User Info Menu

    Quote Originally Posted by Jkniff26
    Really like the variety of versions.
    I'm waiting for someone to do a flamenco version; the middle bit goes Cm-Bb-Ab-G7 twice... Olé!

  8. #32

    User Info Menu

    Speak of the devil...

    Last edited by ragman1; 04-05-2017 at 07:14 PM.

  9. #33
    Another noodle session, but this is one thing I wanted to check off my technology Bucketlist this year. Never posted on SoundCloud.

    I'm ashamed to say that I almost never play this guitar plugged in. It's a thin line is mostly a TV guitar. Really a shame . I'm lazy I guess. Just noodling. Don't really know where the line is between jazz and blooz. Probably easier if I played little more electric. Maybe 2017 .


    Louis Bellson on drums, I think. :-)
    Last edited by matt.guitarteacher; 04-11-2017 at 11:21 PM.

  10. #34
    Last edited by matt.guitarteacher; 04-13-2017 at 02:21 PM.

  11. #35
    Quote Originally Posted by ragman1
    To be honest, I'm a bit played out with the blues sound so I got a bit creative...
    you mean this one? I'd say bluesiest one yet brother. Sorry. But I think it's a good thing.
    Last edited by matt.guitarteacher; 04-13-2017 at 03:06 PM.

  12. #36

    User Info Menu

    Quote Originally Posted by matt.guitarteacher
    you mean this one? I'd say bluesiest one yet brother. Sorry. But I think it's a good thing.
    It is a good thing, definitely, but there are only so many things you can do with a blues scale, which is basically only a pentatonic. I love the sound, probably we all do and the world would be a poorer place without it, but playing-wise one can tire of it quite quickly. There's not a lot of scope at 70 bpm over two choruses!

  13. #37

    User Info Menu

    I dunno, throw in a few chromatics...change articulations...slides, bends...I think there's still a lot to say with ol blues scale.

    That said, "willow" is a bluesy tune, but it's not a basic blues in structure and harmony, and one blues scale does not cut it over these changes. The chord progression is too juicy.

  14. #38
    Quote Originally Posted by mr. beaumont
    I dunno, throw in a few chromatics...change articulations...slides, bends...I think there's still a lot to say with ol blues scale.

    That said, "willow" is a bluesy tune, but it's not a basic blues in structure and harmony, and one blues scale does not cut it over these changes. The chord progression is too juicy.
    The last day or two, I have been interested in the idea of pitch collections/scales which imply "blues scale +".

    Woke up this morning thinking about G Dorian b9 over G9. If you use that pitch collection to target the 9th, (natural nine) of that G9 chord, you get some cool stuff, while still basically implying blues. This is the kind of thing Reg used to talk about with pulling outside pitches from specific harmonic contexts - especially confusing: ...using melodic minor to "organize blue notes" and how "blue notes may influence your approach or similar. Different way of looking at chromatics I guess.

    Can still remember Kevin frothing at the mouth over this. "Blue notes don't INFLUENCE or ORGANIZE anything!" Took me almost 10 years , but I finally think I at least understand a little bit of what the argument was actually ABOUT.
    Last edited by matt.guitarteacher; 04-14-2017 at 09:00 AM.

  15. #39

    User Info Menu

    I'm confused, you're using a scale with a b9 to target 9? Like as an enclosure/approach note?

  16. #40
    Quote Originally Posted by mr. beaumont
    I'm confused, you're using a scale with a b9 to target 9? Like as an enclosure/approach note?
    Yeah. natural nine feels very essential to me for blues sound . This gives you just a couple of good outside pitches for targeting. You can target it directly or just mess around with "outside" which resolves at some point, less directly.
    Last edited by matt.guitarteacher; 04-14-2017 at 09:23 AM.

  17. #41

    User Info Menu

    But you're obviously not using one scale over the whole form, right?

  18. #42
    Quote Originally Posted by mr. beaumont
    But you're obviously not using one scale over the whole form, right?
    Oh no. Sorry. Yeah.

  19. #43
    Quote Originally Posted by fuzzthebee
    Have you investigated using Am with an added G#? Since A minor is the same pitch collection as G Mixolydian, you can play certain Am (or E7b9) language using that note (like the cliche - B, C, G#, B, A) to target the natural 9.
    I haven't done too much of this sort of thing, honestly. Discussion of what to do beyond "just playing the blues scale" kind of got me thinking about this again.

    There are whole lot of "7-note+1" options apparently. Especially over blues, because there are so many references in terms of what blues tonality can be: overall functional type things, chord of the the moment, major/minor blues etc. etc.

    What I'm kind of exploring right now is the idea of pitch collections for "outside notes". Not necessarily looking for things which sound consonant over chord of the moment But more like targeting relationships *to* the more consonant tones.

    I'm a little behind on blues generally, because I didn't play a lot of it coming up the way most rockers kind of do.

    Always enjoy your take on things by the way , specially re harmonizations and exploring different color palettes . It seems like you're always pushing , and you've got real chops.
    Last edited by matt.guitarteacher; 04-14-2017 at 12:40 PM.

  20. #44

    User Info Menu

    Quote Originally Posted by matt.guitarteacher
    G Dorian b9 over G9. If you use that pitch collection to target the 9th, (natural nine) of that G9 chord
    Well, G dorian is F major. If you flatten the A you get F melodic minor: F G Ab Bb C D E F.

    Then you use that to target the natural A of the G9. Is that what you mean?

    April 2017 - Willow Weep for Me-untitled-jpg

    (Using F mel over G7 is a known sub).

  21. #45
    Quote Originally Posted by ragman1
    ](Using F mel over G7 is a known sub).
    not trying to discover the unknown necessarily. They are just unknown to me. :-)

  22. #46

    User Info Menu

    Quote Originally Posted by fuzzthebee
    I think this Wes version is around 70 bpm (edit: 70-73ish), mind you the Rhythm section takes it into a jazz waltz feel.
    Yeah, but mine was much better :-)

  23. #47

    User Info Menu

    Quote Originally Posted by matt.guitarteacher
    not trying to discover the unknown necessarily. They are just unknown to me. :-)
    I'm pretty sure a lot of confusion simply arises from the descriptions of these things. I've seen a few of Reg's vids and they're usually tried and tested stuff once you dissect it. I mean, if the blue notes for a G7 are b5, #5, b9, #9, then his idea is to use a sub which will include those. For example, a Db7 arp will give you... well, you can work it out. I think George Benson liked to use AbM7.

    The most extreme one I know is Bbm pentatonic. Every note in it is an altered note of G7!

  24. #48

    User Info Menu

    Here is my take on Willow Weep for Me with bassist Mike Sharfe.
    Attached Files Attached Files

  25. #49

    User Info Menu

    Very! Very! Good!!

    At first I thought I was going to hear All Blues.

    I liked the way you incorporated the base in this tune. Is that you doing the base, comping & melody?

  26. #50

    User Info Menu

    No, the bass player is Mike Sharfe. The rest is me. Thanks.