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Originally Posted by ragman1
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! :-)
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04-02-2017 08:22 PM
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Originally Posted by mr. beaumont
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.
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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.
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04-05-2017, 06:08 PM #29Jkniff26 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
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Originally Posted by fuzzthebee
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.
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Originally Posted by Jkniff26
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Speak of the devil...
Last edited by ragman1; 04-05-2017 at 07:14 PM.
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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.
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Loosely related...
When did Jazz Musicians start using the altered scale?Last edited by matt.guitarteacher; 04-13-2017 at 02:21 PM.
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Originally Posted by ragman1
Last edited by matt.guitarteacher; 04-13-2017 at 03:06 PM.
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Originally Posted by matt.guitarteacher
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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.
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Originally Posted by mr. beaumont
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.
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I'm confused, you're using a scale with a b9 to target 9? Like as an enclosure/approach note?
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Originally Posted by mr. beaumont
Last edited by matt.guitarteacher; 04-14-2017 at 09:23 AM.
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But you're obviously not using one scale over the whole form, right?
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Originally Posted by mr. beaumont
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Originally Posted by fuzzthebee
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.
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Originally Posted by matt.guitarteacher
Then you use that to target the natural A of the G9. Is that what you mean?
(Using F mel over G7 is a known sub).
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Originally Posted by ragman1
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Originally Posted by fuzzthebee
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Originally Posted by matt.guitarteacher
The most extreme one I know is Bbm pentatonic. Every note in it is an altered note of G7!
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Here is my take on Willow Weep for Me with bassist Mike Sharfe.
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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?
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No, the bass player is Mike Sharfe. The rest is me. Thanks.
HeadRush?
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