The Jazz Guitar Chord Dictionary
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  1. #26

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    Functional Jazz is simply T/D. It changed everything.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    I'm still getting my head (& fingers) around this one....


    Realising that because any note in a diminished chord can function as its root the same note can function as the Flat 9 of a Dominant 7th chord, that these repeat every three frets & that I can already play Diminished chords on 5 different string sets without thinking...


    Suddenly I'm never more than one fret away from at least five inversions of every 7th chord in every key not by learning any new 'grips', but by understanding the relationships between the intervals.


    All I've got to do now is play 'em at the right time...

  4. #28
    I've had quite a lot over the last few years. Have to think....

    One big one is the role of harmonic rhythm in outside harmony/patterns. Altered on the "weak side" etc. Suddenly things I couldn't make work a lot of times, were much easier to hear and play. Opened to a lot more harmonic possibilities.

    The idea of targeting pitches with specific harmony/chords/arpeggios, as opposed to just "chromatics" has been huge and very liberating for this hobbyist in finding things which work , more than just randomly experimenting or only copying specific lines here and there.

    The use of extended diatonic relationships (e.g. thirds) to work on chord extensions/alterations. (Gmaj9 is really Bm7. so I can work off of B minor and all of its harmonic implications/chord patterns as a way of playing G major.)

    The last one isn't really theoretical, I guess, but... The real magic happens when you start to subdivide at lower levels. I can't explain it . You really have to just do the work and do it. There's nothing more important in the music in my opinion. I believe it has the greatest potential implications for music in every other style you might play as well. Jazz isn't my main gig, but I enjoy EVERYTHING I play much more now than I did before I did a lot of this work on rhythm.
    Last edited by matt.guitarteacher; 05-13-2017 at 09:41 AM.

  5. #29

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    Incorporating intervals and string skipping when building solos - along with-training my ear to hear this. Tommy tedesco spoke about this in an article I read 25 years ago and I was hooked

  6. #30

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    Quote Originally Posted by PrestonHall
    What's this three keys thing? I don't get it.
    D-7 appears in the key of C as the II
    in the key of F as the VI
    and in the key of Bb as III

  7. #31

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    I got one about reading rhythms

    That sometimes its best to feel
    the note before the barline as belonging
    To the phrase after the barline ...

  8. #32

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    Chord Namer

    I don't know how many times I have looked for the names of chords that I play that aren't in books. I have to figure them out and am never quite sure that they actually exist. For the most part I trust my ears, but I don't want to fool myself if I am doing something wrong and I can't tell from listening. This thing helps.

  9. #33

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    Tried one chord on that site, not even close to right.

    Chord naming is easy. Figure out what you hear as the root (might not actually be in the notes you're playing) and then everything's relative.

  10. #34

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    Hmm. Maybe it is trash then. Are you sure that you are using it correctly? The ones that I have crossed referenced to books seem to be correct.

  11. #35

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    Oh, the names are correct, but not necessarily "correct," or practical, and it doesn't seem to give rootless options.

    I typed in x x 4 5 6 6, one of my favorite multi purpose shapes, an Ab13 or D7#5#9, rootless.

    Chordfinder suggested an F#maj7b5 (correct) and a C#7sus#11 whatever, completely correct, but completely impractical.

  12. #36

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    I understand what you are saying. I think that it is beyond its capabilities to judge what is practical and what isn't. I just want very basic info anyway. Rootless would also help for sure.

  13. #37

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    Only 36 "aha-ha" experiences? Someone is holding out.

    How about...we share music with the piano player.

    His instrument is symmetrical; ours is asymmetrical.

    When he hovers his hands over the keys there is nothing.

    When we pick up ours, it is already saying E min 7 add 11.

    He starts a chord, we stop one.


    Sent from my iPad using Tapatalk

  14. #38

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    Let's see...I've had a lot of physical break throughs the past few years...playing and chewing gum at the same etc...But a very early one was the stacked thirds thing in Walter Piston..
    1-3-5-7-9 / 2-4-6-8-10 / 3-5-7-9-11 / 4-6-8-10-12 etc . I ............... ii ................ iii ........ IV
    etc

    So I could see the ' extensions' if I superimposed Diatonic Arpeggios over the I chord.
    So - is there an easy way to do this using a Minor as the i for Dorian and Aolean and Phrygian ?

    Obviously I stack relative Major Arps and ii and v over minor chords but the whole * graph isn't as clear as with Major.
    Graph is looking at Diatonic Arpeggios superimposed over the I chord.

    Any simple graphs for superimposing over a Minor i ?

    Also there are amazingly simple Relationships between Major Scales and Modes and the way each one generates 3 Major and 3 Minor Pentatonics which are all enharmonic and can substitute for each other.

    So I saw a Video with two Advanced and well known Jazzers talking about Major ii-V- Is and THEN improvising using a Major Scale INSTEAD of using parent key and all the Diatonic Arpeggios - they were playing like 1st year Students with a C Major Scale - weird .
    ...Well with C Major you have the I, IV ,V, Major Pentas AND their Relative Minor Pentas so that is 6 Pentatonic Scales that are enharmonic or subsets to Riff On in addition to the lonely squiggly stiff C Major Scale ! For 1 Example AHA?
    Last edited by Robertkoa; 11-29-2017 at 10:50 PM.

  15. #39

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    Another Aha! moment was the realization that when soloing, rhythmic ideas and phrasing are more important than what notes are played. (Perhaps that claim will be controversial in this crowd?)
    Last edited by KirkP; 05-26-2017 at 01:29 AM.

  16. #40
    Quote Originally Posted by KirkP
    (Perhaps that claim will be controversial in this crowd?)
    "this crowd".... Oy.

    Yeah that's crazy. Everyone knows that phrasing doesn't matter. All anyone talks about here in "this crowd".

  17. #41

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    Quote Originally Posted by matt.guitarteacher
    "this crowd".... Oy.
    Yeah that's crazy. Everyone knows that phrasing doesn't matter. All anyone talks about here in "this crowd".
    I didn't intend that parenthetical comment to be taken too seriously, but seems to me there's much more discussion on the forum about what notes to play than rhythms. Of course, one reason might be that it's much easier to communicate notes than rhythms in a post. To communicate complex rhythms adequately requires audio.
    Last edited by KirkP; 05-26-2017 at 10:43 AM.

  18. #42

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    Quote Originally Posted by KirkP
    Another Aha! moment was the realization that when soloing, rhythmic ideas and phrasing are more important than what notes are played. (Perhaps that claim will be controversial in this crowd?)
    This seems especially true when playing a bass.

  19. #43
    Quote Originally Posted by KirkP
    Of course, one reason might be that it's much easier to communicate notes than rhythms in a post. To communicate rhythms adequately requires audio.
    Absolutely, unintended consequence of the format, as opposed to "wrong focus" IMO.

  20. #44

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    Quote Originally Posted by KirkP
    Another Aha! moment was the realization that when soloing, rhythmic ideas and phrasing are more important than what notes are played. (Perhaps that claim will be controversial in this crowd?)
    Well...I am currently Rhythmatizing my Solo Lines and I play or have always played accurate Rhythm Guitar ...not Jazz but many Jazz Voicings...

    So I can do a lot of Rhythmic Lines and if they don't fit the changes at Cadence Points it will sound bad as in not good .

    Now I can get away with murder IF I ' Frame' the Rhythmic Motif and it starts on a Chord Tone then wanders off into' lala land self justifying Rhythmic Motif Melodic Sequence '
    THEN ends up on a chord tone or two at Phrase End.

    So the ' Pattern' is' Framed' at Start and End by chord Tones.

    But I can Play cool Rhythms ( lines ) over Giant Steps and it will sound like crap...lol

    So having chops and good Time and Rhythm will only get you so far ..and my Music has stronger Harmonic Rhythms than most Jazz[ let's say Standards ]..so I *WISH what you are saying is 100% true..but any Statement like this assumes the Player has a rough idea and can outline the Changes by ear or by math or both -right ?

    * meaning If I come up with some cool Rhythmic Groove Chord Progression - I still have to ' learn' it to Solo over it and it will generally take ME longer than a Jazz Veteran to learn it...
    Last edited by Robertkoa; 05-26-2017 at 11:10 AM.

  21. #45

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    Quote Originally Posted by lammie200
    I understand what you are saying. I think that it is beyond its capabilities to judge what is practical and what isn't. I just want very basic info anyway. Rootless would also help for sure.
    The "Chord Namer" site should add an option to specify the root.

  22. #46

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    Quote Originally Posted by KirkP
    Of course, one reason might be that it's much easier to communicate notes than rhythms in a post. To communicate complex rhythms adequately requires audio.
    Henkjan Honing has an interesting scheme for communicating rhythms visually. It takes a bit of getting used to but is pretty cool.
    http://cf.hum.uva.nl/mmm/mmm-2003/papers/mmm-TvM.pdf
    Share Your Aha! Moments-rhythm-triangles-jpg

  23. #47

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    Quote Originally Posted by WilliamScott
    Henkjan Honing has an interesting scheme for communicating rhythms visually. It takes a bit of getting used to but is pretty cool.
    http://cf.hum.uva.nl/mmm/mmm-2003/papers/mmm-TvM.pdf
    Share Your Aha! Moments-rhythm-triangles-jpg
    Can I just close my eyes while I Play and think of the Pyramids ?

    I like Conceptual Tools but this one is over my head..

    I think a way to conceive Intervallic Density ( or openness= wider intervals )

    And Rhythmic Density ( or Space )
    openness = fewer notes - half time -sparseness

    So plot those two over time...maybe coloring lines over the sheet music with one color for intervals one color for Rhythms - you might get some visual cues...

    But Aural is the Real Thing and even rudimentary Notation with People like me who can barely read music gives visual cues....right ?
    Last edited by Robertkoa; 05-26-2017 at 11:26 AM.

  24. #48

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    Quote Originally Posted by Robertkoa
    So having chops and good Time and Rhythm will only get you so far ..and my Music has stronger Harmonic Rhythms than most Jazz[ let's say Standards ]..so I *WISH what you are saying is 100% true..but any Statement like this assumes the Player has a rough idea and can outline the Changes by ear or by math or both -right ?
    I'm glad I stirred up a little discussion. Share Your Aha! Moments
    My statement that rhythm is more important than note choices was obviously way too broad, but there's still some truth in it. I'd much rather hear someone tap an interesting rhythm with the strings muted than play the "right" notes with bad rhythm.

  25. #49

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    Quote Originally Posted by KirkP
    I'm glad I stirred up a little discussion. Share Your Aha! Moments
    My statement that rhythm is more important than note choices was obviously way too broad, but there's still some truth in it. I'd much rather hear someone tap an interesting rhythm with the strings muted than play the "right" notes with bad rhythm.
    In some latin/afro/Cuban based tunes the rhythm is crucial..way beyond the descending minor 6 cliché..it can be very subtle as in 'flamenco sketches" by miles to very complex works of some latin music masters..in keeping time with some is an art in itself

  26. #50

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    Quote Originally Posted by KirkP
    I'm glad I stirred up a little discussion. Share Your Aha! Moments
    My statement that rhythm is more important than note choices was obviously way too broad, but there's still some truth in it. I'd much rather hear someone tap an interesting rhythm with the strings muted than play the "right" notes with bad rhythm.
    Yeah..this one I can definitely agree with...

    I have to remember that Jazz Veterans presuppose a certain Level of expertise ....

    And 'Time ' Players are so much more fun and sometimes dramatic to listen to for sure .
    Last edited by Robertkoa; 05-15-2018 at 08:21 PM.