Reg's Thread... live at the speed of Jazz

**whatswisdom** · 07-08-2012, 10:29 PM

To add to Helgo. Reg: This is also related to the other Are Teachers Relevant thread. I dig your stuff as always. Do you teach, as in take students? Unfortunately I'm not in your area--if I was I'd be knocking on your door. It sounds like you are too busy gigging to have the time but I'd be interested in hearing about your take on how to get the best out of a student. (This is not counting all the helpful posts and vids you share here.) More like: Do you dig teaching a student one-on-one? (Not meaning to go off topic here, fep. This thread is cool.)

**Reg** · 07-09-2012, 03:07 PM

Don't want to get into discography, sorry. The teaching thing... I give single lessons to help players get past walls etc... Academica is a world in it's self. I don't know how to get the most out of students, besides the babysit game, or pushing buttons. If you don't have motivation, I would not be the best teacher.
Reg

**Helgo** · 07-10-2012, 04:49 AM

Originally Posted by Reg

Don't want to get into discography, sorry.

No problem... your music, your call!

greetings from germany,
Helgo

**jazzuki** · 07-10-2012, 12:01 PM

Reg.Great thread and sorely needed.I dont know what you are talking about half the time and find everything goes too fast for me.But I'm sure that after reviewing a lot of your material it will come together some time .Thanks.

**JohnRoss** · 07-10-2012, 01:22 PM

Originally Posted by edh

MM = Melodic Minor.

I think we should clarify this, just in case mrblues doesn't know. I believe (it isn't always easy to keep up with Reg, I think he thinks faster than ordinary mortals) Reg is not talking about the ordinary, 'classical' melodic minor you know about if you ever had piano lessons, but about the jazz melodic minor scale, what the Modern Method for Guitar calls the 'real' melodic minor. The difference is that the jazz melodic minor doesn't vary between ascending and descending versions, so, except for the minor third, it's the same as the major scale both up and down.

**mrblues** · 07-10-2012, 03:08 PM

Originally Posted by JohnRoss

I think we should clarify this, just in case mrblues doesn't know. I believe (it isn't always easy to keep up with Reg, I think he thinks faster than ordinary mortals) Reg is not talking about the ordinary, 'classical' melodic minor you know about if you ever had piano lessons, but about the jazz melodic minor scale, what the Modern Method for Guitar calls the 'real' melodic minor. The difference is that the jazz melodic minor doesn't vary between ascending and descending versions, so, except for the minor third, it's the same as the major scale both up and down.

thanks!

**Buster Loaf** · 07-10-2012, 04:24 PM

Yes, great thread indeed. I as well, don't know what you're talking about the other half of the time. But it I do believe it is at least the real deal and not that BS type stuff you get so often from those BS type of persons who don't gig 3 sets a day and just sit astound and BS all the time.

**Dad3353** · 07-10-2012, 05:10 PM

Originally Posted by Buster Loaf

...just sit astound and BS all the time.

You've been reading too many of my posts..!

**Reg** · 07-10-2012, 06:27 PM

Hey we're all full of BS... But when I don't make sense... Please slow me down and either make me explain the concept, the application or terminology . I will try and find a medium somewhere in the middle, or simply have more than one conversation about point of discussion. I might have a few too many expectation, please make me cover... I don't mind. Reg

**Jimand** · 07-10-2012, 07:20 PM

Originally Posted by Reg

I base all my fingerings off 6th string roots and use 2nd finger for those roots...which creates all 1st finger stretches. This is my starting point of reference... My mechanical method of feeling and not having to look at the neck to hear or see where I am. It works well for me.

I'm liking these 2nd finger anchor fingerings. The dorian position lays well with the common ii7 voicing (2nd finger 6th string). The phrygian (3) and locrian (7) positions are a bit awkward, but time will get them under the fingers.

Note that each of the 7 positions contain 7 arpeggio patterns within.

I primarily use the 5 CAGED fingerings which have their own quirks (shifts).
The 2nd finger anchor fingerings remind me of 3-note per string rock fingerings. Must be the stretches. (Fear of the stretch leads to Segovia scales :-).

Thanks for being so generous with your time Reg. Many times watching your videos I've wished I could stop and ask a question. I expect this thread will address some of my questions. If not I'll be able to ask at an appropriate point.

- Jim

**AmundLauritzen** · 07-10-2012, 08:06 PM

Reg, I'd like to ask you about pentatonic scales and how you use them in your playing.

Some players like to think of minor pentatonics as a minor 7th arpeggio plus a fourth. I assume this is for the sake of organization.
How do you view these scales and how do you relate and apply them to the chords you are playing over?
Any favorite applications and patterns that you find yourself playing?

Thank you for all you've given us so far - I'm picking up a lot of good stuff from this thread!

**Kman** · 07-10-2012, 10:20 PM

We are very lucky to have Reg. There is a lot here, and it's very inspirational.

**fep** · 07-11-2012, 01:11 PM

Originally Posted by Reg

Fep might go with a different thread for this... But I'll post to start.
Frank wanted to get into composing... so I talked about a basic form and harmonic idea... then I sat down and very quickly added a few relationships to the very basic original idea... I started with this from post above...

"Hey Frank... sounds fun, will be cool to hear from your ears... I'll make somewhat simple form and then try and camouflage...

E- / A- /..../ ..../ groove
E- / A- /..../..../ different groove developed from 1st groove leading to
?.../.../..../...../ longer maybe time change then pivot chord to rel. min..
F#-11, new groove , longer section, hip melody
last part... something sub-Dom, bVI like.

There we go "A" "A" "B" "C", some what typical form and harmonically close. I'll try and make it a little hipper and post later. (fill in the blanks)
Reg"

So here's the next step... a simple work lead sheet and I added a quick video to hear... One more time cleaning up and one down a few to go.

Hey Reg,

Thanks so much, this is great being able to analyze a tune with the help of the composer.

My first thought is that it is interesting to see how you start a tune. You started with an overall structure and then filled in the details. That is something I really want to develop. I think the reason I have so many little ideas that I'm hoping will become tunes is that I don't start with the structure, I usually start with a little phrase and try to build from there.

My approach, it's kind of like hoping to build a nice house by just putting together a few bricks and mortar and hope something develops.

So, I listened to your tune, sounds real good, I hope to hear your recording with the band. It's also interesting to see how this evolved from your original structure sketch.

My 1st question: On the Em - Am first part, you then groove on Ab13. It sounds good, but I don't theoretically understand the AB13. Is there some theory behind that that will help me understand?

I did some work and can see you can get an Ab13 chord from the notes of the Eb MM as it had a MM sound to my ear. Is that on the right track? If so, how do we get to Eb MM, that doesn't seem to be a modal interchange?

**Reg** · 07-12-2012, 04:17 PM

Hey Frank...
Yea, generally I fill in the blanks. I usually have or hear something... and decide on form, and fill in the blanks. Different harmonic or melodic concepts have built in compositional structural guidelines.

You can simply compose... let the pieces fall into place, I have always been on schedules... deadlines, $ and all the other BS. But that how I basically function... form.... organized inspiration. You can always dump the starting shape etc...

So harmonically... Yes, Em - Am starting point. I introduced the 1/2 step approach chords... which open doors to new relationships or even what I want to use as the structural relationship devices. I used Ab as my pivot for relationships... And used 1/2 step relationships as structural device... can be functional, or by design mechanical. What I usually try and do is tie as many aspect of each together without being obvious.

Long story short... yes tonal center of Ab, with Eb melodic min as source... I simply heard as relative II- of Ab, but I could theoretically BS a much hipper explanation... who cares. But the Eb- becoming MM does come from use of modal interchange... I basically use MI all the time. Just as many players use functional subs... use of tonic, sub-dom and dom chords as subs or addition... I use modal interchange all the time in same manor... a few more guidelines... but same thought and use process.

This is about a 30 min compositional process... I find that taking too much time with the artistic details slows the process down almost to the point that I lose the concept. Not always... but generally.

I have a recording session in two weeks to record, this tune and hopefully a few more... Deadlines get more done than anything. I'll post 1st rough take.
Reg

**fep** · 07-13-2012, 11:26 AM

Thanks Reg, I'll have to play around with those concepts. I can see that it would open a bunch of doors.

30 minutes, I can get what you're saying, it keeps it fresh. And it keeps you focused.

Yesterday, I wrote a tune and tried to do it quickly. I believe I followed your overall structure with a AABC and included a groove jam section. Other than that I wondered off on my own path. If nothing else, I think I've got a cool title. Let me know what you think. It's here:

https://www.jazzguitar.be/forum/showc...tml#post240662

And, oh yeah, I play to come back to that Em groove that I started and turn that into a tune.

Thanks again.

**Reg** · 07-13-2012, 02:54 PM

Originally Posted by fep

Thanks Reg, I'll have to play around with those concepts. I can see that it would open a bunch of doors.

30 minutes, I can get what you're saying, it keeps it fresh. And it keeps you focused.

Yesterday, I wrote a tune and tried to do it quickly. I believe I followed your overall structure with a AABC and included a groove jam section. Other than that I wondered off on my own path. If nothing else, I think I've got a cool title. Let me know what you think. It's here:

https://www.jazzguitar.be/forum/showc...tml#post240662

And, oh yeah, I play to come back to that Em groove that I started and turn that into a tune.

Thanks again.

Hey Frank... very cool, dig it. I'll dig in a little deeper later and play through...Reg

**edh** · 07-13-2012, 06:09 PM

Frank, very nice.

**fep** · 07-14-2012, 01:45 PM

Originally Posted by Reg

Hey Frank... very cool, dig it. I'll dig in a little deeper later and play through...Reg

Originally Posted by edh

Frank, very nice.

Thanks guys, feel free to play it if you want, I think it's a fun tune. And the world needs more jazz waltzes.

**Space Pickle** · 07-20-2012, 11:10 PM

Reg, would you be willing to talk about how you are able to make a living at jazz? I was surprised to read that you don't teach much and that rock doesn't interest you. There don't seem to be that many gigs, and the ones there are don't pay.

**Reg** · 07-30-2012, 04:50 PM

Back in town, I'll get something posted... playing wise.
In the mean time,
Space pickle... That living thing is very subjective. I have quarterly checks and other sources of income, I invested. I was in LA local 47, composed and arranged. I'm in local 6 in SF Bay Area now. I don't need to teach and can play gigs I choose. Still play too many...

If your going to be session player... you still need to live in London, Nashville, LA or NY, or be well established. And yea... be able to play anything thrown in front of you... the 1st time. Join AFM and local in your area. You can still play non-contract gigs.

As far as non-contract gigs...which is what we're probably talking about.... it's fairly simple to make $1000 a week. If you don't mind tux and playing whatever... $2000 a week... that's still very subjective as far as a good living, but most can get by.

If you can't get gigs... there's usually a reason. I play all kind of day gigs, Department stores, Macy's, chains like Trader Joe's etc... They pay well, there usually short and you can still have regular gig after. I don't play background music... We burn, and push everyone listening. They almost always dig it, usually pick up lot's of names for email lists. The bottom line... you have to be able to play, (and all the skills), entertain... and be able to promote yourself... In that order.

Reg

**JohnRoss** · 07-30-2012, 06:19 PM

Originally Posted by Reg

non-contract gigs...which is what we're probably talking about.... it's fairly simple to make $1000 a week.

I'm not saying you're wrong, but I've suspected for a long time that you and I are from different planets, now I know it. I probably wouldn't have said anything if that had been 'possible' or 'feasible', but 'fairly simple?' I don't believe it. Your neck of the woods is thousands of miles from mine, but I imagine that even where you are, for that kind of income, you must a) be really good, b) be 110% reliable, allowing you to have c) built up a reputation over long years, so that you d) have a whole truckload of contacts, that e) call you several times a week, because f) there is an enormous demand for live music in your area. I don't call that 'fairly simple,' Reg.

**Reg** · 07-30-2012, 06:46 PM

I'm going to get into how I comp in a jazz style... there are a few different approaches... but I've made a choice as to how I approach. It's fairly simple.

As usual... I have concepts, which then take a shape or arrangement of the form of the tune. To get to that point of being able to use concepts... you need starting points, references that become instinctive.

Here is a sample of basic movable chord forms, all based on open position with roots on 6th, 5th and 4th strings. There all 7th chords which is somewhat the starting point, that starting reference that I always relate to... at least with jazz.

You can take any form of a chord... be aware of the voicing style, how the notes are arranged, and then use that "voicing form", again the arrangement of the notes.... and use for all chords of a tune. You'll become aware of what the lead note is as well as what other lead notes are available from that form of voicing. Eventually you'll be able to hear and use as you choose.

If you keep the same voicing style through a passage... your creating a style or sound... when you mix different voicing styles, again your creating a different style or sound. Your arranging whether your aware of it or not.... It's almost like traditional voice leading, but instead of a few sets of one dimensional rules... (I'm taking it for granted we all know and understand traditional voice leading... if you don't... it's not complicated.) Again you have many different voicing styles which become a tool to use as you choose. You can make a lead line, a melody or a groove line on top be out front or somewhat more background like... by how you use your voicing types. Voicing styles are one of many tools which help create different jazz styles.

All voicing have inversions, you can play all the notes or some of the notes, whatever you choose... The root position chords... become a reference point, a mechanical method of learning your fret board and what's available in any position.

The sample voicings I notated are somewhat vanilla, very basic but useful and for most guitar players great starting point.

One of the goals or where you want to get... is to be aware of all the aspects of comping... Generally you want to get to the point where you have control of the lead line, next the bass motion and then the inner voices. If you have control of the bass line, you'll generally not get in the way of the bass player. And as far as implying the harmony... when you understand harmony, jazz harmony... there are many methods of implying a chord besides simply playing the 3rd and 7th. Fifty years ago maybe... I'll get into some of those methods... in next few posts.

I'll post video later tonight and play/talk through some tunes with different styles of comping...
Reg

**Reg** · 07-30-2012, 07:37 PM

Originally Posted by JohnRoss

I'm not saying you're wrong, but I've suspected for a long time that you and I are from different planets, now I know it. I probably wouldn't have said anything if that had been 'possible' or 'feasible', but 'fairly simple?' I don't believe it. Your neck of the woods is thousands of miles from mine, but I imagine that even where you are, for that kind of income, you must a) be really good, b) be 110% reliable, allowing you to have c) built up a reputation over long years, so that you d) have a whole truckload of contacts, that e) call you several times a week, because f) there is an enormous demand for live music in your area. I don't call that 'fairly simple,' Reg.

Hey John... I've always thought all musicians are from different planets... it is a different life style. I play golf most weeks with all different types... Touring musicians, local symphony and opera orchestras, shows, all the pits etc... and many non-contract private gig players. ( Oh yea, during the summers...teachers, the hacks) Most of us have our $ together. I am talking about pros... all of your points included. I don't believe many hobby players can cover etc... well enough to get called back.

My playings OK... but I read well, on a few instruments, can direct ensembles or bands live... can entertain with my playing as well as MC events... but what really makes me the big bucks.... I mingle well.

OK... sorry John, I just don't take music that serious... I'm not saving lives etc... It is fairly simple for myself and many of my friends.

Reg

**Buster Loaf** · 07-31-2012, 02:28 AM

Originally Posted by Reg

I play golf most weeks with all different types... Touring musicians, local symphony and opera orchestras, shows, all the pits etc... and many non-contract private gig players. ( Oh yea, during the summers...teachers, the hacks) Most of us have our $ together. I am talking about pros... all of your points included. I don't believe many hobby players can cover etc... well enough to get called back.

My playings OK... but I read well, on a few instruments, can direct ensembles or bands live... can entertain with my playing as well as MC events... but what really makes me the big bucks.... I mingle well.

OK... sorry John, I just don't take music that serious... I'm not saving lives etc... It is fairly simple for myself and many of my friends.

Reg

That's so cool! you are very cool and modest too!

**ECHOPLEX** · 07-31-2012, 02:50 PM

I think an important message is being given off here by Reg,even though he may not be aware of it.This is not aimed at anyone in particular but it is aimed at any amateur guitarists who are thinking they are not progressing or that they just were not born to be great musicians.Often people have said to me they do not think they are ever going to be great musicians because they do not have natural ability like other musicians like Reg do.When asked how often they play their instrument they often announce very proudly something like ,oh i do a good hour every day.After reading REG posts you hopefully realize that he is constantly playing his music often gigging more than once a day .This is what it takes if you want to reach the standard of a pro llike Reg,so go practice.Reg i will PM my address to you so you know where to send the cheque.