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  1. #151

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    Quote Originally Posted by mr. beaumont View Post
    I really think if you remove my kids yelling and pounding on shit in the background my videos would lose a lot of charm
    Home recordings...:-)

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    The Jazz Guitar Chord Dictionary
     
  3. #152

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    I think that Tenderly it is not so easy to improvise.
    To play the head is not the problem.

  4. #153

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    This is my favortite take from youtube.I have to transcribe this solo of Cifford Brown:


  5. #154

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    Quote Originally Posted by mr. beaumont View Post
    I really think if you remove my kids yelling and pounding on shit in the background my videos would lose a lot of charm
    I don't think you should remove your kids at any stage. It's good for both of you. Probably you'd lose, not only your immeasurable charm, but probably also a lot of skill due to being under the spotlight. I love my dogs, ice-cream vans, and general mushy sound. The crap I play sounds like it truly belongs :-)

    But seriously, I think we all play better in a relaxed environment, be it clubs, bars, or just at home. I don't know how, say, classical solo players do it. Scares the hell out of me. When I get on a stage I always want to say hello and talk to them, not try to do something tricky with them all staring at me...

    But, in any case, your kids are picking up jazz, even subconsciously, and that can only be good

  6. #155

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    In fact, I think you should introduce your kids to us on the next vid! No beard-pulling, mind.

  7. #156

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    Quote Originally Posted by kris View Post
    I think that Tenderly it is not so easy to improvise.
    To play the head is not the problem.
    If I had to pin it down, these are my trouble spots in terms of changes running:

    Ebmaj7 --> Ab7#11
    Ab7 --> Fm7
    And the last 8 is tricky

  8. #157

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    Quote Originally Posted by kris View Post
    There is my take - exercise with more scale playing over Tenderly changes.
    mostly straight 8ths...over groovy backing tr.
    Best
    Kris

    https://app.box.com/s/n6mp7gqq2ajgzgif7yy7q08dpazj08bp
    Very nice clean playing and chords do reflect the melody lines. Good backing track.

    wiz (Howie)
    .
    Howie

  9. #158

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    Quote Originally Posted by wizard3739 View Post
    Very nice clean playing and chords do reflect the melody lines. Good backing track.

    wiz (Howie)
    .
    Hello Howie,
    Thanks a lot for nice coment.
    All The Best
    Kris

  10. #159

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    Very nice classical guitar take of bossa artist Luiz Bonfa/Manha de carnaval/.


  11. #160

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    Quote Originally Posted by mr. beaumont View Post
    Daylight savings time sucks. Kids were up way too early, but I like this tune, so I tried a little something...tenderly.



    As far as concept, if anyone's interested I'll explain, but it's pretty generic...I thought of chords, I thought of subs, I thought of the notes in those chords, practiced the tune a few times, then hit record.

    Btw, this tune has really pretty, non cheeseball lyrics for a standard. No pug nosed dreams stuck like kittens in a tree here.

    Oh, and comments and suggestions are fine.
    Mr B.
    Splendid sir. My only suggestion is that you keep doing more of these.. You are awesome bro.
    Joe D

  12. #161

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    Quote Originally Posted by christianm77 View Post
    If I had to pin it down, these are my trouble spots in terms of changes running:

    Ebmaj7 --> Ab7#11
    Ab7 --> Fm7
    And the last 8 is tricky
    I wonder if you could get away with playing this like a I-VI7-ii7-V7-I

    Eb-Ab7-Fm7-Db7-Eb
    White belt
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  13. #162

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    or a I-biiidim- ii7-V7-I

    to be slightly more in
    White belt
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  14. #163

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    Some nice single lines from Tal Farlow:


  15. #164

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    This tune has some harmonic similarities with Four

  16. #165

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    Four... first bars similarity.
    March 2018 - Tenderly-four-part-jpg
    Last edited by kris; 03-14-2018 at 12:01 AM.

  17. #166

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    Quote Originally Posted by kris View Post
    Someone - Hep I think - was saying how they found the changes of Four ‘awkward sounding.’ Dunno if I agree but there are certainly some awkward corners.

  18. #167

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    Btw i really dislike the way Aebersold notates chords.

  19. #168

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    Quote Originally Posted by christianm77 View Post
    Btw i really dislike the way Aebersold notates chords.
    Me too. HATE the +.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  20. #169

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    Quote Originally Posted by mr. beaumont View Post
    Me too. HATE the +.
    I hate the way every minor chord is a - and there’s no way to specify just triads.

    Those charts will have been responsible for a lot of clams against the melody.

  21. #170

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    Four & more....
    For me Aebersold chords are not a problem...
    I like his Scale Syllabus cd-book very much.

  22. #171

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    This is my last take of Tenerly.I used Frameworks modern clasic nylon strings guitar.
    As Ragman 1 sugested to play a little faster tempo I did it....plus 1 for him.
    It is a same backing tr. I used earlier/Tele version/ but a little bit faster.I love to play nylon strings.
    Enjoy.

    https://app.box.com/s/d4drf6szcsypij6k9hs62i6oj20h1bej

    March 2018 - Tenderly-k-wolinski0155-jpg

  23. #172

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    Kris -

    All right, you have my attention. I didn't actually say it must be faster but I did think the other one was a bit slow. Slight difference but not to worry.

    It's very difficult to play at that tempo, of course. Your strings sounded very rich. That's a very interesting-looking guitar!

    I don't know. I suspect - if you want my thoughts - that at that speed it needs sustain. A saxophone has depth and sustain and is far more able to carry a tempo like that. The sound of a guitar may be too singular, a little too thin perhaps, for it. The sax, on the other hand, sounds more like the human voice too, which helps; it can convey emotion better. Trumpet is also thin but has the sustain and projection. But the guitar can play chords, of course.

    Playing over a backing like that is tricky too. I'm trying to think of a tune where that happens - single guitar and a very slow bass/rhythm behind it. Possibly this (remove x's):

    xhttps://www.youtube.com/watch?v=Vd2MtTMQ97Qx

    It's possible that it was the blues sound that saved that. Blues can work quite well at slow tempos.

    By the way, I meant to ask you how your recording studio time went. I'm not sure you were in the best of moods when you came back so I haven't yet... hope it went well.

  24. #173

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    Quote Originally Posted by ragman1 View Post
    (remove x's):

    xhttps://www.youtube.com/watch?v=Vd2MtTMQ97Qx
    John Scofield - Someone To Watch Over Me - guitar jazz - YouTube
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  25. #174

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  26. #175

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    Wow what amazing guitar tone! It puts a whole new spin on it.

  27. #176
    Quote Originally Posted by kris View Post
    This is my last take of Tenerly.I used Frameworks modern clasic nylon strings guitar.
    ]
    Thanks for that. Great take.
    Last edited by matt.guitarteacher; 03-14-2018 at 11:36 PM.

  28. #177

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    Quote Originally Posted by grahambop View Post
    Yes I like Kreisberg’s version just as much as Johnny Smith’s, can’t see what the problem is. Some of the harmonies are a bit more dissonant or altered from the original changes, so what, sounds great.
    Agreed , sounds awesome. It was nice to listen to Johnny first , then that.


    Sent from my iPhone using Tapatalk

  29. #178

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    Quote Originally Posted by matt.guitarteacher View Post
    Thanks for that. Great take.
    Thanks Matt,
    All The Best...
    Kris

  30. #179

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    Strange... I think I must live on a different planet to you folks. My Tenderly 6 seems to have been completely ignored but I know it's a good piece of music, skilful and interesting. I'm saying this as a matter of fact, it's not an ego thing at all.

    I actually find the other versions a bit twinkly. Nice enough but not terribly inventive, to be honest. Well played and all that but they seem to drift by a bit. Again, this is objective, not personal in the least.

    So I'm asking myself why this is. Is it because of the quality? Would there be a different reaction if I'd recorded it with an electric guitar and good, clear quality? It could be because my quality doesn't come over well on a mobile phone. Or you don't like me personally, possibly? I don't know!

    I actually think the tune doesn't suit the single-string and backing track treatment very well. Probably the nicest way is the chord melody style. And there's no doubt that the one that stands out from all of our versions is Jeff's one. Beautifully played, worth transcribing. That's the definitive version here in my opinion.

    That's the one I'd take to the desert island :-)

  31. #180

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    Quote Originally Posted by ragman1 View Post
    Strange... I think I must live on a different planet to you folks. My Tenderly 6 seems to have been completely ignored but I know it's a good piece of music, skilful and interesting. I'm saying this as a matter of fact, it's not an ego thing at all.
    Can not comment on musical ideas, they are matter of taste and understanding.

    What I can say:

    - do not let the notes ring
    - ditch that piano
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  32. #181

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    Quote Originally Posted by Vladan View Post
    Can not comment on musical ideas, they are matter of taste and understanding
    Oh, I don't know. By that criteria nobody could ever comment on anything, Beethoven, Mozart and Bach included.

    - ditch that piano
    Possibly agree but it came with the track :-)

  33. #182

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    Quote Originally Posted by ragman1 View Post
    Oh, I don't know. By that criteria nobody could ever comment on anything, Beethoven, Mozart and Bach included.



    Possibly agree but it came with the track :-)
    Beethoven, Mozart and Bach - there are great composers.
    Everybody can coment interpretation of the music composed by masters.
    You coment youself /about 6 take/-that it is boring.
    Make the take not boring.

  34. #183

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    Quote Originally Posted by kris View Post
    Beethoven, Mozart and Bach - there are great composers.
    Everybody can coment interpretation of the music composed by masters.
    True, anybody can comment on anything but some comments carry more weight than others. There are doubtless people who hate Picasso but he also is a master.

    You coment youself /about 6 take/-that it is boring.
    I was being self-deprecating (self deprecjacje) at the end of the post. It's a humorous mode of speaking. I said I thought it was skilful and interesting. Read more closely please!

    Make the take not boring
    Why do you think it's boring? Speak, I don't mind at all. Providing you're serious, of course.

  35. #184

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    Quote Originally Posted by ragman1 View Post
    Oh, I don't know. By that criteria nobody could ever comment on anything, Beethoven, Mozart and Bach included.
    I do not know how serious you were in previous posts, about how good you think it was and all, but if you really want it, OK ...

    If you were really serious, it might be you got too involved, listening too close, so some notes, rhythms, intervals, phrases you hear as intriguing and clever, just the right thing ... I just might think "WTF?!", to paraphrase Kris " out of control out notes". Now, you do repeat them from time time, so it must be on purpose, so it means that I do not understand it, and if I do not understand it, that is where my comments should end.

    Being there, if some of longer ringing notes were damped shorter, I think good part of "uncontrolled outness" would sound at least as if it was under control, if not totally "in".
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  36. #185

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    Quote Originally Posted by ragman1 View Post
    True, anybody can comment on anything but some comments carry more weight than others. There are doubtless people who hate Picasso but he also is a master.



    I was being self-deprecating (self deprecjacje) at the end of the post. It's a humorous mode of speaking. I said I thought it was skilful and interesting. Read more closely please!



    Why do you think it's boring? Speak, I don't mind at all. Providing you're serious, of course.
    1.We talk about music interpretation ,not about Picasso.
    2. o...sorry...6 takes with similar sound...
    3.I am not the best but at my level of playing I have to be diplomat...I hear too much...

  37. #186

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    I hear to much...it is more than you think.
    It is not only what and how you play.
    It is also quality of the sound,mixing,conception,form etc...
    Maybe this help.

  38. #187

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    Quote Originally Posted by Vladan View Post
    I do not know how serious you were in previous posts, about how good you think it was and all, but if you really want it, OK ...

    If you were really serious, it might be you got too involved, listening too close, so some notes, rhythms, intervals, phrases you hear as intriguing and clever, just the right thing ... I just might think "WTF?!", to paraphrase Kris " out of control out notes". Now, you do repeat them from time time, so it must be on purpose, so it means that I do not understand it, and if I do not understand it, that is where my comments should end.

    Being there, if some of longer ringing notes were damped shorter, I think good part of "uncontrolled outness" would sound at least as if it was under control, if not totally "in".
    Thanks, I'll have a look at that. I hadn't thought about ringing notes before.

    I'll look at the outside stuff too. Actually I wouldn't say they were wholly uncontrolled. I mean to put them in and I like that sound. The lines resolve as far as I can see, they don't just wander. But I'll think about that again.

  39. #188

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    Quote Originally Posted by kris View Post
    I hear to much...it is more than you think.
    It is not only what and how you play.
    It is also quality of the sound,mixing,conception,form etc...
    Maybe this help.
    Well, sorry, but you're not really saying anything definite, Kris. The sound/mixing is the best I can do because I don't have your expensive equipment. But the music can be separated from the quality, I believe.

    Apart from that all I hear is 'I don't like it' -

    It is...what and how you play
    .
    That's pretty general! So maybe you just don't care for my style because you don't care for it. In which case, too bad :-)

  40. #189

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    I actually found #6 a pleasant listen. The outside notes, I hear 'em, didn't bother me so much.

    The rhythm floats a bit...I think some stuff, if played more "in pocket," would stick better, sound less meandering...

    I'm going to try and go back and listen to everyone's again today.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  41. #190

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    It’s always profoundly annoying when self deprecation backfires.

    Quite a few cultures really don’t get it lol.

  42. #191

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    Quote Originally Posted by ragman1 View Post
    ... I'll look at the outside stuff too. Actually I wouldn't say they were wholly uncontrolled. I mean to put them in and I like that sound. The lines resolve as far as I can see, they don't just wander. But I'll think about that again.
    I think it's in the level of commitment to listening, how hard and deep one will go, or the time one will allow for to be sucked in.

    Having it in the background, I have no objections, it's all just fine, you know ... music going on.
    Listening to it with some care, I can recognize the song ... going deeper ... some attention ... things jump at me .... and so on ...
    I'm sure there is a level of commitment where I would start to hear those same things as pleasant, maybe even as good moves around obstacles ... however, listening to decipher deep and somewhat obscure nuances is not what I like to do with music. Also, I do not allow it for to much time to start working.
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  43. #192

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    Quote Originally Posted by christianm77 View Post
    It’s always profoundly annoying when self deprecation backfires.

    Quite a few cultures really don’t get it lol.
    Or the opposite and people take you to be a super ego maniac. things like "I don't think I'll have time to work on that between my European tour and my date at Carnegie Hall"
    White belt
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  44. #193

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    Quote Originally Posted by mr. beaumont View Post
    The outside notes, I hear 'em, didn't bother me so much
    Well, that's the trouble, this whole thing is so subjective.

    What exactly does 'in the pocket' mean? I know what it means generally speaking 'together' - but I mean in respect to my stuff. As far as I know it sounds okay although I do occasionally play slightly behind the beat. Just comes out that way, as it does with quite a few players, I think.

    The other thing that occurs to me is, assuming I take on board the various suggestions, can I actually play them without it sounding contrived? Mind you, haven't tried it yet so I don't know.
    Last edited by ragman1; 03-16-2018 at 06:45 PM.

  45. #194

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    Quote Originally Posted by christianm77 View Post
    It’s always profoundly annoying when self deprecation backfires.
    But they have a word for it. So presumably it exists and is understood. The clue is in the apparent contradiction it appears to make.

    The smiley after it helps too, I suspect

  46. #195

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    Quote Originally Posted by Vladan View Post
    Also, I do not allow it for to much time to start working.
    That's a good point. But one could say that about jazz music as a whole. The whole 'wrong notes in the right places' idea can be very strange to people unused to it. But, when you are used to it, that's the whole point.

  47. #196

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    Jazz - it is a very personal art special for musicians.
    There are a lot of recordings on youtube/millions jazz Cds/ with good quality takes but I can not say that I like all of them.
    ...anyway I love JAZZ.

  48. #197

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    Apparently, 'in the pocket' for swing feel apparently means locking with the upbeat of the rest of the ensemble. It's science or something.

    May go some way towards explaining how some musicians can play waaaaaay behhiiiind the beat and never sound like they are dragging. And how some players change their beat placement without ever sounding out of time....

    Here's a good video with links to the scientific literature.



    He says a lot of jazz players aren't consciously aware of this, but a few years back a teacher advised me to practice with a metronome on the off beat, so at least some have an idea. It's a great exercise BTW.

  49. #198

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    I think the best thing you can do for locking in is to dance to slow and medium tunes with your 1y/o daughter. I feel the beat like this now:

    1- right foot
    2- head neck chest
    3-left foot
    4 ""

    Like an arch back and fourth with 2 and four at the top of the arch. Faster tunes I tap my foot real fast lol
    White belt
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  50. #199

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    I'll bear that in mind Joe :-)

  51. #200

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    First question is: how to practise jazz?
    Ther are a lot of different methods all are going in the same direction/to play beter and better/.
    about takes:
    Maybe this thread is a little similar to the jam session...?
    Musician play solo and audience like it or not.
    The soloist have to interest the audience.
    The level of musicians at jam are different/beginer to advanced/ also.
    for ex:Beginers for the first time loose the time and sometimes change the form...they simply learn how to play in new situation.
    More advanced know how to work with rythm section making music more interesting...
    Playing music like jazz is a long proces.
    Without expierniece/live practise playing jazz it's only a theory.