The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by ragman1
    Trouble is, you don't want to be too diatonic on a dominant :-)
    Why not?

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    I have absolutely no idea

  4. #28

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    Working through both of these books. Halfway through the first one. Next one is on deck.


    Quote Originally Posted by whiskey02
    Sandcatcher, I highly recommend you pick up a copy of Garrison Fewell’s book Jazz Guitar Improvisation a Melodic Approach. Here’s an idea of what you’ll get:


  5. #29

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    I was taught in the context of a blues to take a Bebop dominant scale and build arpeggios from the 1/3/5 and b7 so you get-

    from 1 - dom 7
    from 3 - m7b5
    from 5 - m7
    from b7 - bmaj7

    which covers all the tones and extensions using arpeggios as a base.

    wrong approach?

    Will

  6. #30

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    That's what I do, right there. Especially if you just mean Maj7 on the last one, off the b7. IV across the V. Sometimes I play the IV across the ii V.

    Quote Originally Posted by WillMbCdn5
    I was taught in the context of a blues to take a Bebop dominant scale and build arpeggios from the 1/3/5 and b7 so you get-

    from 1 - dom 7
    from 3 - m7b5
    from 5 - m7
    from b7 - bmaj7

    which covers all the tones and extensions using arpeggios as a base.

    wrong approach?

    Will

  7. #31

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    Quote Originally Posted by WillMbCdn5
    I was taught in the context of a blues to take a Bebop dominant scale and build arpeggios from the 1/3/5 and b7 so you get-

    from 1 - dom 7
    from 3 - m7b5
    from 5 - m7
    from b7 - bmaj7

    which covers all the tones and extensions using arpeggios as a base.

    wrong approach?

    Will
    I teach this too. I think it’s fine, but there are more options.

    Basically you can look at the dominant scale (ie the diatonic scale on V) as a big ole repeating stack of thirds.

    1 3 5 b7 9 11 13 1 3 5 b7 etc

    And if you take any three notes you get a triad, and any four notes you get a seventh chord, and so on.

    So all the diatonic options are there. The four you mention are simply the first four options. Barry Harris teaches that any of these can be used freely...

    Anyway those four are a useful teaching tool. You can convert any chord type into a dominant and vice verse .

  8. #32

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    Quote Originally Posted by christianm77
    I think the thing to realise is that every diatonic note works on a dominant, but the same is not true of the I chord.
    Why not? Moving through the 11th as part of an arp extension sounds ok to me, just as long as the line resolves satisfactorily.

  9. #33

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    Quote Originally Posted by princeplanet
    Why not? Moving through the 11th as part of an arp extension sounds ok to me, just as long as the line resolves satisfactorily.
    Yeah that’s because in that case you are still playing the dominant.

    You can do it if you know how to resolve.

    But then you can play literally anything if you know how to resolve.

  10. #34

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    Warren Nunes, and, apparently, others taught this...

    Two types of chords from the major scale. He called them I and II. I'd call them major and dominant.

    In a harmonized C major scale, Cmaj7, Em7 and Am7 are all major.

    Dm7 Fmaj7 and Am7 are dominant. Bm7b5 is dominant, but it's a little different.

    Now, in the other poster's example, basically, he's thinking G7 Bm7b5 Dm7 Fmaj7.
    For the dominants, that's G7, a rootless G9, G11/D and G11/F.

    Same as what he wrote, just another way to think about it. An advantage is that once you know the names in all 12 keys, it isn't just soloing, it's also substitution while comping.

  11. #35
    Quote Originally Posted by whiskey02
    Sandcatcher, I highly recommend you pick up a copy of Garrison Fewell’s book Jazz Guitar Improvisation a Melodic Approach. Here’s an idea of what you’ll get:

    Many thanks for the recommendation, will give it a look.

  12. #36
    Looks good, just ordered!

  13. #37

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    fewell's book is fantastic if wes is your man

  14. #38

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    Fewell wrote two books, but they aren’t really meant as a series. The “Harmonic Method” book covers much of the same ground in its first chapters as “Melodic” but goes way beyond.

    The second book covers a lot of ground and is quite dense. In some ways the first book is easier to get started with. But if you want the whole package I would suggest skipping it and just getting his 2010 release.

    He died not too long after that book came out, which is really a shame. I think he had some really interesting ideas for building lines. But I sense he was just pulling together how to explain and teach his approach. I know I’ve been left with questions I wish he could answer.


    Sent from my iPhone using Tapatalk Pro

  15. #39
    Quote Originally Posted by rlrhett
    Fewell wrote two books, but they aren’t really meant as a series. The “Harmonic Method” book covers much of the same ground in its first chapters as “Melodic” but goes way beyond.

    The second book covers a lot of ground and is quite dense. In some ways the first book is easier to get started with. But if you want the whole package I would suggest skipping it and just getting his 2010 release.

    He died not too long after that book came out, which is really a shame. I think he had some really interesting ideas for building lines. But I sense he was just pulling together how to explain and teach his approach. I know I’ve been left with questions I wish he could answer.


    Sent from my iPhone using Tapatalk Pro
    I learnt a lot from the first video posted! Look forward to more in the book.