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Especially not if you use a wah pedal - jus' sayin'!
Originally Posted by jordanklemons
(Intention/conviction informed by knowledge and method.)
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02-18-2017 05:12 PM
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Here are a few variations that actually involve the harmonic side of these triads... so I might play more like this if I'm doing solo or trio playing and want to add some harmony instead of just the melodic side... but still... these lines and the voicings are all based on the same melodic progression (A- | B | G)
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I went ahead and started a thread and shared my two pages of ideas there. I figured rather than derail this thread, if anyone wants to chat about the stuff I shared on the study of this particular melodic progression, might be better to do that here instead.
Using Melodic Progression (Triads) to Develop Improv
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I'm just here to say GO JORDAN....
(and the third harmonic phrase from the post sounds like originated from a TRUE GENIUS, lol)
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I may add that physics has nothing to do with that (I could co in detail for those etc.)I might just add that there are strong reasons based on the physics of pitch that mean that the notes of the Lydian mode blend with the major chord and the notes of the Dorian blend with the minor. (I could go in detail for those who are interested.)
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Jordan -
x8444x x7543x
Do you have very big hands?
Ow!
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why?Jordan -
x8444x x7543x
Do you have very big hands?
Ow!
the first voicing is very easy stretch
The second could be a bit more difficult below VII fret... but it's quite common voicing anyway.
I have average hands and play both easily...
Probably just some stretching needed
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And get that neck up!
Cool stuff, Jordan! Thanks.
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I don't think so. William Faulkner and Shakespeare don't prove, through their disparate styles, that it's not worth looking at their styles or even taking the step to abstract and analyze them. Their disparities don't prove that the only standard for adults discussing them are 26 letters. Originally Posted by rpjazzguitar
Theory doesn't require a single outcome, especially with multiple variables. It's more about suggesting multiple SPECIFIC possibilities, rather than only broad generalizations. It's kind of how things like weather are analyzed.Last edited by matt.guitarteacher; 02-19-2017 at 12:00 PM.
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Because I don't do pain. Originally Posted by Jonah
unless I have to
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Hm... when you first pick up a guitar and stop a string you feel pain usually...Because I don't do pain.
unless I have to
Actually there's nothing extreme in these streches... considering you have good left hand basic technique and position it may take a few days to do it smoothly with no pain...
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Hahaha... I really don't. I actually broke my left wrist growing up, and my left hand is a few millimeters smaller than my right because of it. The first chord really shouldn't be much of a problem, I don't think... given that it's just a barre on the 4th fret. The second chord is a bit tougher. That's the type of voicing I always put an asterisk next to. I won't try and use it on the lower end of the fretboard unless it's during a ballad and I can break it apart (like play the melody note on top, hit the root, and then fill in the middle notes). But further up the fretboard, I don't feel it much of a challenge. Originally Posted by ragman1
Jordan -
x8444x x7543x
Do you have very big hands?
Ow!
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Hahaha... I woke up and saw the email with this message without seeing which phrase you were talking about in front of me. Thought you were just being really nice. Then I opened up to the forum to look and saw the truth, hahaha... well played sir. Originally Posted by yaclaus
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What happened to the thumbs up emoji?! Originally Posted by mr. beaumont
Ah well. Thumbs up to that! And keep that shoulder down too!
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Yes it does Originally Posted by Jonah
But I won't discuss it here :-)
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Ps I'm not talking about the overtone spectrum
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I like to tell my students that if we're playing any kind of functional or tonal music, then it's NOT a democracy. There are kings and queens and dictators and hierarchies at work. Doesn't mean we can't acknowledge the existence of vagrants and let them run the streets at times... but things should always be kept in perspective. Originally Posted by matt.guitarteacher
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No it does not. And I won't discuss it here too. (I don't discuss it now)Yes it does
But I won't discuss it here :-)
Come outside?
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Any semantic system (which Art is) is about hierarchy... otherwise we would not be able to percieve it, to recognize individiality of a piece, turnaround etc.I like to tell my students that if we're playing any kind of functional or tonal music, then it's NOT a democracy. There are kings and queens and dictators and hierarchies at work. Doesn't mean we can't acknowledge the existence of vagrants and let them run the streets at times... but things should always be kept in perspective.
I would say that democracy (in politics by the way too) is about possibility for any sound to take specific role or position... and I think that so-called equal temperance (where 12 tones are equally tuned) is something like this kind of democracy... (for example temeperence used in baroque time was definitely not democratic)))
but as soon as we get into the context of a real piece of music, it's like we get our democratic system into a real life where people hav edifferent ambitions, nature, enviroment etc.
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Er, I wasn't entirely serious Originally Posted by jordanklemons
The first one's no problem, nor is the second one up the neck, just like you say. But from 7 to 3 in the middle of something... maybe not. Breaking it up sounds an admirable idea.
I do have another idea... what do you think?
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In all fairness, those stretches require a classical sitting position, or at least sling the guitar very very high, otherwise your wrist will be bent so much is not healthy. Originally Posted by Jonah
I think I know only one guitarist (I'm sure there's more) who plays those stretchy chords almost exclusively, you've probably heard of him- Andrey Ryabov, who also was my teacher for a short while in college. But look how he holds the guitar!
Last edited by Hep To The Jive; 02-19-2017 at 08:31 PM.
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I took lessons from him privately not so long ago. He is a great guy - we had about 4 hours lesson for the price of 1 hour)... he does not seem to have any systematic approach for teaching... it's all about playing songs and hearing...I think I know only one guitarist (I'm sure there's more) who plays those stretchy chords almost exclusively, you've probably heard of him- Andrey Ryabov, who also was my teacher for a short while in college. But look how he holds the guitar!
He has fantastic experience (at least back now after years in NY - not so many guys down here who played with Jim Hall, Tal Farlow, Attila Zoller, Joe Pass and other greats).
And yes he does a lot of unsual stretched voicings but first - he has long skinny fingers and second - he holds a guitar as you noticed a bit in a classical way... he told me that there was some guitarist on tour in Russia back in 80s who held guitar that way and played piano voicings on guitar and that was his first influence on that. But he does not push you into that he just insists that you do not play shell voicings mechanically and pushes you into hearing voice-leading and arranging chords musically.
He is probably the only guitar player who has his own recognizable voice on the instrument here (irrespectively if I like the ideas he plays or not I can immediately hear it's him).
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John Stowell has the same tendencies coupled with a similar way of holding the guitar Originally Posted by Hep To The Jive
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Now I think it was him that Andrey mentioned as an influence since John Stowell was probably the only jazz guitar player to visit Russia in 80'sJohn Stowell has the same tendencies coupled with a similar way of holding the guitar
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That is John Stowell's hand!
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