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For working up a solo arrangement, I find it helpful to practice playing only the bass and melody lines, trying to make both work together as smoothly as possible. It helps me hear each voice clearly and gives me a chance to work through the mechanics of playing both parts together, which requires some stretches or octave jumps if the voices get too far apart. Then I'll add some chromatic and scale tone approaches to each voice. Then I'll try to fit a few chord tones in between as best I can. I think this approach results in a more orchestral or "pianistic" performance than a chord-focused approach. I'll try this with ATTYA and see if I can come up with anything interesting.
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11-23-2016 03:00 PM
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Originally Posted by pkirk
Wow, thanks Paul! I've gotta find an excuse to get down your way so we can play again. But yeah, it's really nice to hear people share their take on a familiar tune this way. Lots of really good players posted, but the thing that really impresses me is people putting up rough cuts, clips without backing tracks and very un-self conscious impressions of the tune where you can really hear what they're going after. I'm kind of embarrassed now that I posted a clip from a gig, rather than a scratch pad take. Next time.
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Jet Lag jazz guitar:
In any case something I've been thinking about working on - free counterpoint improv...
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I like that, Christian, sort of like that band arrangement you hear. Maybe you should combine it with the straighter version rather than all the time. But nicely played and good idea.
It gets you, this tune, doesn't it? Something about it seems to open up all sorts of endless possibilities. I always want to twist it inside out... and even then it's not quite enough!
Right now I'm waiting with baited breath for December's tune :-)
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Late effort from me. Done according to strict Christian principles, i.e. solo first, then accompaniment, and no metro-gnomes anywhere in sight.
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Originally Posted by grahambop
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Thanks guys.
The unison stuff was pretty random really but it seemed to work somehow. I'd like to try some more counterpoint-type things like that.
I did find that short, jabbing phrases like that worked better as an accompaniment than long lines, which is kind of annoying as I would have preferred the latter. But that approach needs further work!
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Originally Posted by grahambop
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Originally Posted by ragman1
In general, I'd like to move towards playing harmony contrapuntally rather than thinking about vertical chord grips.
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Originally Posted by christianm77
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Originally Posted by grahambop
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I thought you guys might like this:
Joe Yanuziello Electric
Today, 11:39 AM in For Sale