The Jazz Guitar Chord Dictionary
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  1. #326

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    I've been using the cycles in a way I hadn't thought of before. That is, in a solo context. In chord soloing, it's always been an emphasis on playing everything TOGETHER, in block chord arrangements at its most extreme. I've found that by separating the melody and chord functions, I could play the melody with the minimum of chord voicing underneath, and then play chord progressions separately. I know Jim Hall did this to great effect.
    Now I'm finding that taking a string of voice led cycle chords, with the diatonic chord I want to use at the end of that grouping, I can use the cycles as movement of voices into a specific chord. Pretty nifty.

    Still exploring it, but I thought I'd share it as it was coming into my toolbox. The more I play the melody separately, rather than simultaneously with chords, the more "outside" I can start without creating a feeling of conflict. This is changing the way I play chord soloing.

    Anyone else worked in this way?
    David

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    The Jazz Guitar Chord Dictionary
     
  3. #327

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    Any more info on when these books will be back in print?
    What is the hold up, my money is ready.

  4. #328

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    Quote Originally Posted by TruthHertz
    I
    Still exploring it, but I thought I'd share it as it was coming into my toolbox. The more I play the melody separately, rather than simultaneously with chords, the more "outside" I can start without creating a feeling of conflict. This is changing the way I play chord soloing.

    Anyone else worked in this way?
    David
    You mean you think in terms of an independent main top melody played together with a more sparse supporting triad progression (in case of 4 notes chord harmonisation)? using the cycles to "optimize" the voice movements to fit your needs?
    Something like having e.g. a singer part, with a "triadic pianist" comping underneath... ?

  5. #329

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    Hey a little off topic, but has anyone out there used Lulu.com for publishing? I'm running into some problems and it's holding up the publication of several books here. It has to do with them accepting a specific sizing format in the upload. Any experienced advice would be appreciated in PM. Thanks.
    David

  6. #330

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    Quote Originally Posted by e_del
    You mean you think in terms of an independent main top melody played together with a more sparse supporting triad progression (in case of 4 notes chord harmonisation)? using the cycles to "optimize" the voice movements to fit your needs?
    Something like having e.g. a singer part, with a "triadic pianist" comping underneath... ?
    Yes, exactly. Now on piano, it's kind of easy to separate roles, but guitarist's challenge is to think in multiple roles with a single hand. But when it works...boy is it great.
    David

  7. #331

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    Also any guitarists around Boston interested in working on guitar issues and just plain having a place to work on having fun and putting it all together? I'm using the space in my new shop on Westland Ave in Boston as a meeting place, open to players of all levels to explore things in a group setting. One night devoted to the task of playing duos, one to group improvisation, one night combining art and playing free improvisation, and more to come. Really, if you're really going to use that guitar, come out and use it. Goodchord will be a part of things in there soon too. And I'll have materials to work with within the group.
    You can PM me if you're interested. All levels. And I'm doing this for free. If you're there and you buy a guitar, that too, but this is for those that are interested in playing. We're enjoying the contributions of many really great resources and talented musicians from around the area and schools; they love the idea too, so know it's here and you are welcome.

    David

  8. #332

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    Here are some thoughts triggered by these last posts...
    don't know if it can be fully considered "a tool", but... had to kill some time during these holidays...

    Talking in C for simplicity, but the same method applies for all the voicings, chordal, non chordal, triad+Bass, etc...

    Q1: what cycle do I use to go from a diatonic chord to another?
    A1: here is a trivial schema...
    Anybody use the Goodchord Voice Leading Books?-chord-matrix1-jpg

    Q2: ok, so if in my arrangement I need to go from chord A to chord B in <n> steps, what cycle should I use?
    A2: here is another (unfortunately less) trivial schema!
    Anybody use the Goodchord Voice Leading Books?-chord-matrix2-jpg
    - You choose the starting chord in the upper left column (talking C major in the example)
    - Then proceed to the right along the row, and choose the target chord.
    - From there you descend along the column in the lower table, and decide the number of steps (chord changes) you want to use... and you find the cycle that fits your needs...

    DISCLAIMER: bear in mind that it started like a spreadsheet exercise, and maybe it's not that useful to experienced musicians, but I wanted to share it anyway... if you find it useless, or worse, confusing, the trashcan is just a click away... no harm intended

  9. #333

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    Quote Originally Posted by e_del
    Here are some thoughts triggered by these last posts...
    don't know if it can be fully considered "a tool", but... had to kill some time during these holidays...



    DISCLAIMER: bear in mind that it started like a spreadsheet exercise, and maybe it's not that useful to experienced musicians, but I wanted to share it anyway... if you find it useless, or worse, confusing, the trashcan is just a click away... no harm intended
    Nice! Thanks. There are many ways to think of this material and this is great, putting some spacial context on the cycles. It is a very useful way to juxtapose movement with chord root motion. Thanks a lot e_del!
    David
    Last edited by TH; 12-26-2014 at 10:19 AM.

  10. #334

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    I must thank this efforts, but I think that the goal has to be to make easier the task.

    The easier the better. Chord voice leading.

    Cycle 2. The old tonic will be the seventh.
    Cycle 3. The chord tone is inside (part of the departure chord). The third becomes the root.
    Cycle 4. The root becomes the fifth.
    Cycle 5. The chord tone is inside. The fifth becomes the root.
    Cycle 6. The root becomes the third.
    Cycle 7. The chord tone is inside. the seventh becomes the root.

    For me thinking this way makes the things easier and i don't have to worry about what notes stay and what notes move because those things happen automatically.

    Another important thing is that moving with voice leading the chords gravitate towards the nut, and sometimes is better to move up diatonically.

  11. #335

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    Combining voicing spreads.

    Cycle 2

    Separate 1st:

    1573

    CGBE --- CDFA --- BEGD --- AEFC --- etc.

    1735

    CBEG --- CADF --- BGDE --- AFCE --- etc.

    Alternating:

    CGBE --- CADF --- BEGD --- AFCE --- etc.

    or take it a step further integrating TBN 1 into each voicing:

    CGBE --- CGBD --- CADF --- CADE --- BEGD --- BEFD --- AFCE --- GFCE --- etc.

    As David has said, many divergent paths can be explored.

  12. #336

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    Quote Originally Posted by sjl
    I must thank this efforts, but I think that the goal has to be to make easier the task.

    Another important thing is that moving with voice leading the chords gravitate towards the nut, and sometimes is better to move up diatonically.
    Practicing I also sometimes add a diatonic upward movement, to remain roughly in the same place on the fretboard, with the goal to play whatever chord progression in whatever position...
    (although while performing it's still very hard, if not impossible, to stay away from the "comfort zone" made by the usual fingerings...)

  13. #337

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    Quote Originally Posted by sjl
    I must thank this efforts, but I think that the goal has to be to make easier the task.

    .
    Yes, but one thing about this material, the new question becomes "what is the task?" and the longer I work with it, the more I see it not as a linear connexion from one chord to another, but as a series of textures inherent in each distinct cycle that can be mapped to fit from one particular tonal point to another in a composition. Or at least that's the way I've used them in the past over standards. Having a quick graphic lets one see different "mappings" to be internalized, something I had to do myself so it's a nice way to share some possibilities, ones that don't seem linear at first.
    Too, once these sounds are internalized, my ideal is to be able to mix and match cycles for even more interesting sounds. Anybody doing that yet?
    David

  14. #338

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    How did I just discover this thread? Count me in when the revised books are published?

    Some inotial thoughts about (diatonic) cycling --

    Cycle 2--Just going up the scale
    Cycle 4,5--good ol Circle of 4ths and 5ths
    Cycle 7--just going down the scale

    Cycle 3, 6--now these seem to be the cycles to really explore !

    yet another great way to learn the workspace --ie, fingerboard

  15. #339

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    Quote Originally Posted by NSJ
    How did I just discover this thread? Count me in when the revised books are published?

    Some inotial thoughts about (diatonic) cycling --

    Cycle 2--Just going up the scale
    Cycle 4,5--good ol Circle of 4ths and 5ths
    Cycle 7--just going down the scale

    Cycle 3, 6--now these seem to be the cycles to really explore !

    yet another great way to learn the workspace --ie, fingerboard
    The nice thing is that with cycles you go up the scale, while going down the neck.
    Total control of fingerboard space...

    All the voice movement memorization tricks, that I also try to use, fail (for me, at least) when it comes to the more sophisticated quartal triads/tetrads, TBN , ect.. where there is nomore the concept of e.g. "the seventh descends and becomes the root of the next chord"... those are not chords anymore

  16. #340

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    I found by playing the cycles against a drone of each scale tone, I'm learning to hear each chord of the cycle as an extension and or passing chord in relation to the root.

    Cycle 3 moves up the extension chain of a given root and Cycle 6 in the opposite direction.
    In the same way that there are some modes that embrace all notes easily within the chord color,
    extensions work the same way.

    Cycle 6 examples.

    Lydian

    drone note: F

    Em7 --- Cma7 --- Am7 --- Fma7

    drone note: D

    Cma7 --- Am7 --- Fma7 --- Dm7

    drone note: G

    Fma7 --- Dm7 --- Bm7b5 --- G7

    So, in mixing and matching, cycle 3 plus cycle 2 = Cycle 4. Progressions in 4ths are very common.

    Dm7 G7 | Cma7 ||

    Fma7 Am7 Bm7b5 Dm7 | Em7 Gma7 Am7 ||

    I of course cheated to arrive at a lydian I chord extension.
    Scale pairs through cycles is another on/off project of mine.

    I'm not seeking to build a massive collection of moves to implement, more of a gradual osmosis through
    exposure to alternative paths moving through space to arrive at a destination.

  17. #341

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    Probably obvious to many.....

    In pursuit of hearing cycles as extensions:

    Play through a cycle against a root motion that starts on a different degree, moving through the same cycle.

    C Harmonic Major

    CMa7 Dm7b5 Em7 FmMa7 G7 Abma7+ Bdim

    Starting the bass on yields:

    C --- 1 3 5 7

    Ab --- 3 5 7 9

    F --- 5 7 9 11

    D --- 7 9 11 13

    B --- 9 11 13 1

    G --- 11 13 1 3

    E --- 13 1 3 5

    Some things sound better and more immediately applicable than others.
    This is a type of inventory taking, checking out in detail what the intervals within each mode have to offer.

  18. #342

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    Been following this thread for awhile now and the almanac materials are really expanding horizons on the guitar. Love this stuff.
    Any news on publishing through Lulu? So ready to buy some more of Mick's materials!

  19. #343

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    Hey guys,

    Just a heads up, but over at Truefire Chris Buono has a series called Guitar Gym: Triad Chord Scales for Major, Melodic Minor & Harmonic Minor. He mentions that these are inspired by Goodrick's Almanac series.

    Here's a link: https://truefire.com/search.html?q=Chris%20Buono

    Thought you'd be interested!

    Cheers!

  20. #344

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    Does anybody have a book for sale or a pdf since it's out of print? I skimmed the topic, but may have missed it!

  21. #345

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    They're presently being formatted for publication as a 8 volume set. The originals were done as 3 huge and very intimidating volumes that included diatonic, melodic minor and harmonic minor based books. For a vast majority of people who bought these books, it was too much information and I dare say 98% of the people who bought these books shelved them and never even started using the material.
    So occasionally somebody takes theirs off the shelf and puts it on Ebay. They go for $200-300@ and the third volume, which was never a big seller, never appears.
    The legalities of the Goodchord dissolution are being worked out and the plan is to have books that focus on one particular chord family, for a specific group of voicings. That makes the actual assimilation of the material a bit more bite sized and helpfully organized, not to mention, affordable.
    In answer to your inquiry, Dioxic, stay tuned, I'm about to make some kind of announcement in the next 10 days or so. A bunch of things I'm busy working on may be coming to fruition. This thread on the forum will be the first in the loop.
    David

  22. #346

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    Great news! I for one am looking forward to the new books. Thanks for all the effort you've put in!

  23. #347

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    My money is ready when you are, TruthHertz!

  24. #348

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    Quote Originally Posted by TruthHertz
    They're presently being formatted for publication as a 8 volume set. The originals were done as 3 huge and very intimidating volumes that included diatonic, melodic minor and harmonic minor based books. For a vast majority of people who bought these books, it was too much information and I dare say 98% of the people who bought these books shelved them and never even started using the material.
    So occasionally somebody takes theirs off the shelf and puts it on Ebay. They go for $200-300@ and the third volume, which was never a big seller, never appears.
    The legalities of the Goodchord dissolution are being worked out and the plan is to have books that focus on one particular chord family, for a specific group of voicings. That makes the actual assimilation of the material a bit more bite sized and helpfully organized, not to mention, affordable.
    In answer to your inquiry, Dioxic, stay tuned, I'm about to make some kind of announcement in the next 10 days or so. A bunch of things I'm busy working on may be coming to fruition. This thread on the forum will be the first in the loop.
    David
    Count me in for the books! Keep us posted.

  25. #349

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    Now, that sounds great. Although I do own the original three volumes, I might just as well be interested in the new books for the sole reason of having a bit more help with the structuring of it all...

  26. #350

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    Quote Originally Posted by zirenius
    Now, that sounds great. Although I do own the original three volumes, I might just as well be interested in the new books for the sole reason of having a bit more help with the structuring of it all...
    zirenius, you are one of the very rare souls who has these. So I don't need to tell you that the original format was pretty dense, not to mention unwieldy even on a hefty music stand. The new volumes will be that material, and frankly, if you took the first two volumes, unbound the spiral wire and grouped them by colour, pink, blue, yellow…that's be it. Any additional material, notes, helpful words of wisdom I'll try to make available as a free download or something nominal like that.
    As a matter of opinion, I'd say do that anyway. And then just take one "reduced" volume off the shelf and work through a pair of pages one group at a time. And expect to spend weeks on any one cycle/voicing group. Yes, it's plenty daunting just as a segment. But that's the way to do it. Oh yeah, and share your impressions and results with us!

    David