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GMC Forum _ Alex Feather _ Teodorom Jazz And Theory Mentoring
Posted by: Alex Feather Sep 19 2012, 11:11 PM
Hello! Welcome to my mentoring program! 
I thrilled to have you on board and looking forward to start working with you!
I have a few questions before we will start!
-What are your goals?
-What is your weakness?
-What is your strongest point?
-Your favorite guitar players?
Theory questions (will help me to get a better idea where to start! )
- Harmonize G major scale
- Build A7 chord
- Write ii - V - I chord progression starting with Cmi7
- D mi7 - Bb - Gmi - F What key this chord progression in?
Very excited to start! 
Posted by: teodorom Sep 20 2012, 09:12 AM
Hi Alex,
nice to meet you ! it will be a pleasure to work with you.
Let me try to give my answers.
QUOTE (Alex Feather @ Sep 19 2012, 10:11 PM) 
-What are your goals?
I'm 61 (as old as John Scofield, by the way) and I guess
I shall not have the time to become clever as him.I'm a Theoretical Physicist, and (even if I'm retired) I still continue to work, part-time, as a IT Consultant (I did this for 30 yars !).
I would like to be able to play some/may standards with some little group, and be able to improvise decently over them.
This is my "minimum" goal, my "maximum" goal would be to be able to play like Allan Holdsworth, even if I guess it would be impossible to find partners at the same level of Alan Pasqua and John Aslep.
In any case I like modern, modal, somehow dissonant Jazz.
QUOTE (Alex Feather @ Sep 19 2012, 10:11 PM)
-What is your weakness?
I have so many weaknesses ...
- I'm short in memory: what I remember today will be hard to repeat next week
- I'm slow, not so much in playing (I can reach 60%-80% of the speed of Level 4 lessons), I'm slow in remembering scales, chords, ...
- I'm slow in reading
- I have a poor sense of rhythm
QUOTE (Alex Feather @ Sep 19 2012, 10:11 PM)
-What is your strongest point?
Oh ! I should have one ...
QUOTE (Alex Feather @ Sep 19 2012, 10:11 PM)
-Your favorite guitar players?
- John Scofield
- Pat Metheny (not everything)
- Jim Hall
- Scott Henderson (not everything)
- Allan Holdsworth
QUOTE (Alex Feather @ Sep 19 2012, 10:11 PM)
Theory questions (will help me to get a better idea where to start! )
- Harmonize G major scale
- Harmonize G major scale
Gmaj7, Am7, Bm7, Cmaj7, D7, Em7, F#m7(b5)
My point that, when I read your question I was unable to anwser, but since I know how to harmonize I had to build the answer.
After that I recognized that I could answer more quickly: the harmonization of a major scale is
Imaj7, ii7, iii7, IVmaj7, V7, vim7, vii7(b5)
and since G major scale is
G, A, B, C, D, E, F#
(I should better remember the cycle of fifths !) here is the answer.
QUOTE (Alex Feather @ Sep 19 2012, 10:11 PM)
- Build A7 chord
(A, C#, E, G) = (T, 3, 5, 7)
QUOTE (Alex Feather @ Sep 19 2012, 10:11 PM)
- Write ii - V - I chord progression starting with Cmi7
Cm7, F7, Bmaj7
QUOTE (Alex Feather @ Sep 19 2012, 10:11 PM)
- D mi7 - Bb - Gmi - F What key this chord progression in?
The harmonization of the F major scale is
Fmaj7, Gm7, Am7, Bbmaj7, C7, Dm7, Em7(b5)
so I guess it’s a vi-iv-ii-I. I say “I guess” because it’s a progression I don’t know.
Thanks
Teodoro Marinucci
Posted by: teodorom Sep 20 2012, 10:44 AM
vi-IV-ii-I. Sorry about that.
Posted by: Alex Feather Sep 20 2012, 04:43 PM
QUOTE (teodorom @ Sep 20 2012, 08:12 AM)
Hi Alex,
nice to meet you ! it will be a pleasure to work with you.
Let me try to give my answers.
I'm 61 (as old as John Scofield, by the way) and I guess I shall not have the time to become clever as him.
I'm a Theoretical Physicist, and (even if I'm retired) I still continue to work, part-time, as a IT Consultant (I did this for 30 yars !).
I would like to be able to play some/may standards with some little group, and be able to improvise decently over them.
This is my "minimum" goal, my "maximum" goal would be to be able to play like Allan Holdsworth, even if I guess it would be impossible to find partners at the same level of Alan Pasqua and John Aslep.
In any case I like modern, modal, somehow dissonant Jazz.
I have so many weaknesses ...
Oh ! I should have one ...
Gmaj7, Am7, Bm7, Cmaj7, D7, Em7, F#m7(b5)
My point that, when I read your question I was unable to anwser, but since I know how to harmonize I had to build the answer.
After that I recognized that I could answer more quickly: the harmonization of a major scale is
Imaj7, ii7, iii7, IVmaj7, V7, vim7, vii7(b5)
and since G major scale is
G, A, B, C, D, E, F#
(I should better remember the cycle of fifths !) here is the answer.
(A, C#, E, G) = (T, 3, 5, 7)
Cm7, F7, Bmaj7
The harmonization of the F major scale is
Fmaj7, Gm7, Am7, Bbmaj7, C7, Dm7, Em7(b5)
so I guess it’s a vi-iv-ii-I. I say “I guess” because it’s a progression I don’t know.
Thanks
Teodoro Marinucci
nice to meet you ! it will be a pleasure to work with you.
Let me try to give my answers.
I'm 61 (as old as John Scofield, by the way) and I guess
I shall not have the time to become clever as him.I'm a Theoretical Physicist, and (even if I'm retired) I still continue to work, part-time, as a IT Consultant (I did this for 30 yars !).
I would like to be able to play some/may standards with some little group, and be able to improvise decently over them.
This is my "minimum" goal, my "maximum" goal would be to be able to play like Allan Holdsworth, even if I guess it would be impossible to find partners at the same level of Alan Pasqua and John Aslep.
In any case I like modern, modal, somehow dissonant Jazz.
I have so many weaknesses ...
- I'm short in memory: what I remember today will be hard to repeat next week
- I'm slow, not so much in playing (I can reach 60%-80% of the speed of Level 4 lessons), I'm slow in remembering scales, chords, ...
- I'm slow in reading
- I have a poor sense of rhythm
Oh ! I should have one ...
- John Scofield
- Pat Metheny (not everything)
- Jim Hall
- Scott Henderson (not everything)
- Allan Holdsworth
Gmaj7, Am7, Bm7, Cmaj7, D7, Em7, F#m7(b5)
My point that, when I read your question I was unable to anwser, but since I know how to harmonize I had to build the answer.
After that I recognized that I could answer more quickly: the harmonization of a major scale is
Imaj7, ii7, iii7, IVmaj7, V7, vim7, vii7(b5)
and since G major scale is
G, A, B, C, D, E, F#
(I should better remember the cycle of fifths !) here is the answer.
(A, C#, E, G) = (T, 3, 5, 7)
Cm7, F7, Bmaj7
The harmonization of the F major scale is
Fmaj7, Gm7, Am7, Bbmaj7, C7, Dm7, Em7(b5)
so I guess it’s a vi-iv-ii-I. I say “I guess” because it’s a progression I don’t know.
Thanks
Teodoro Marinucci
I am very happy to have you on board and very impressed with your story!
I love your choice of guitar players!I personally know Scolfield and Henderson we met a few years back and Henderson almost played on one of my tracks but in the end it didn't go through
You are absolutely correct! Perfect answers and very good analyzation
As I understand you would like to learn how to play Jazz and it is actually easier as it seems
The trick is to learn how to play chord tones and get comfortable playing over ii - V - I chord progression
So that is what we will start with!
I have created a backing track for you in the style of John Scolfield it is a II - V - I chord progression
so the chords are:
D7#9 - G7 - C9
Scolfield_jam.mp3 ( 2.35MB )
: 222I would like to start by analyzing the chord progression and finding the chord tones
The most important chord tones are III and VII
So let's analyze!
D7#9 = D - F# - A - C - E#
I would like you to do other two chords
Let me know if you have any questions or need help with anything!
Posted by: teodorom Sep 20 2012, 09:08 PM
G7 = (G, B, D, F).
I usually play it as 
, or as 
.
C9 ? Cadd9 = (C, E, G, D), but usually I play instead C7/9 as 
.
Anyway Cadd9 is 
.
On the contrary the D7#9 is a chord I didn't know.
The most reasonable voicing I have found (that I'm able to play) is 
.
I'm not sure that you are using the same voicings. So let me try to play over your track.
Can I have some detail on the clave you are using and for how may beats you repeat your chords ? I guess
|D7#9 / / /|6 times|G7 / / /|2 times|C9 / / /|2 times|
Thanks
Teodoro Marinucci
P.S. Playing and listening, listening and playing ... it seems to me that you are playing
, , .
I have difficulties with the clave: I never played with it.
Thanks
Teodoro Marinucci
Posted by: Alex Feather Sep 21 2012, 10:08 PM
QUOTE (teodorom @ Sep 20 2012, 08:08 PM)
G7 = (G, B, D, F).
I usually play it as, or as .
C9 ? Cadd9 = (C, E, G, D), but usually I play instead C7/9 as.
Anyway Cadd9 is.
On the contrary the D7#9 is a chord I didn't know.
The most reasonable voicing I have found (that I'm able to play) is.
I'm not sure that you are using the same voicings. So let me try to play over your track.
Can I have some detail on the clave you are using and for how may beats you repeat your chords ? I guess
|D7#9 / / /|6 times|G7 / / /|2 times|C9 / / /|2 times|
Thanks
Teodoro Marinucci
P.S. Playing and listening, listening and playing ... it seems to me that you are playing
, , .
I have difficulties with the clave: I never played with it.
Thanks
Teodoro Marinucci
I usually play it as
, or as .C9 ? Cadd9 = (C, E, G, D), but usually I play instead C7/9 as
.Anyway Cadd9 is
.On the contrary the D7#9 is a chord I didn't know.
The most reasonable voicing I have found (that I'm able to play) is
.I'm not sure that you are using the same voicings. So let me try to play over your track.
Can I have some detail on the clave you are using and for how may beats you repeat your chords ? I guess
|D7#9 / / /|6 times|G7 / / /|2 times|C9 / / /|2 times|
Thanks
Teodoro Marinucci
P.S. Playing and listening, listening and playing ... it seems to me that you are playing
, , .I have difficulties with the clave: I never played with it.
Thanks
Teodoro Marinucci
You did a great job! I am impressed by your analyzing! Very nice!
The easiest way to start playing over the changes is use different types of pentatonics over each chord and resolve into a chord tones (of course we will get into more complicated stuff but this is a good place to start! )
I chose:
Over D7#9
I used D minor pentatonic
http://www.guitarmasterclass.net/scalegenerator
Before chord switched I changed to G minor
http://www.guitarmasterclass.net/scalegenerator
And over C9 I played A minor pentatonic
http://www.guitarmasterclass.net/scalegenerator
I did a take to give you ideas and would like you to continue after my solo
scolfield_kam.mp3 ( 2.2MB )
: 208Question and answer technique will also work perfectly for it!
Let me know if you have any questions or need help with anything!
Posted by: teodorom Sep 22 2012, 05:08 PM
QUOTE (Alex Feather @ Sep 21 2012, 09:08 PM)
You did a great job! I am impressed by your analyzing! Very nice!
I studied during a year with a teacher specialized in Harmony, so I know something. As I said, my problem is speed: I'm like a child that, when asked how much is 2 + 3, starts counting with the fingers.
QUOTE (Alex Feather @ Sep 21 2012, 09:08 PM)
I did a take to give you ideas and would like you to continue after my solo
I still need buy the equipment needed to record what I play along with your track.
So, during these days, I shall try to continue your improvisation and to study the http://www.guitarmasterclass.net/rhythm-guitar/jazz-notes1-building-chords/.
Posted by: teodorom Sep 22 2012, 08:53 PM
Inspired by "Jeep On 35" ?
Posted by: Alex Feather Sep 23 2012, 01:01 AM
QUOTE (teodorom @ Sep 22 2012, 04:08 PM)
I studied during a year with a teacher specialized in Harmony, so I know something. As I said, my problem is speed: I'm like a child that, when asked how much is 2 + 3, starts counting with the fingers.
I still need buy the equipment needed to record what I play along with your track.
So, during these days, I shall try to continue your improvisation and to study the http://www.guitarmasterclass.net/rhythm-guitar/jazz-notes1-building-chords/.
I still need buy the equipment needed to record what I play along with your track.
So, during these days, I shall try to continue your improvisation and to study the http://www.guitarmasterclass.net/rhythm-guitar/jazz-notes1-building-chords/.
You don't really have to buy a lot of equipment video will work as well! You can just shoot it on your phone and it will be perfect!
There is also a free software that you can use as long as you have input to plug in your guitar you can make it work!
If you want I can suggest some software that you can start using!
Let me know!
P.S. Very good lesson to start with!
I am also will be giving you some cool exercise to work on but for now it is a very good start! Posted by: teodorom Sep 23 2012, 06:04 AM
QUOTE (Alex Feather @ Sep 23 2012, 12:01 AM)
You don't really have to buy a lot of equipment video will work as well! You can just shoot it on your phone and it will be perfect!
My home is not the right place to make any video: with a dog, a cat, a daughter, a wife, I spend half of my playing time in screaming "silence please !". So I usualy practice with the headphones, the guitar I use when I travel and a VOX Amplug (it's a pity, because I have some nice equiment: a Washburn HB-35, a Hagstrom Swede and a Laney CUB R12).
QUOTE (Alex Feather @ Sep 23 2012, 12:01 AM)
There is also a free software that you can use as long as you have input to plug in your guitar you can make it work!
If you want I can suggest some software that you can start using!
If you want I can suggest some software that you can start using!
Yes, please, even if I tried with Audacity and the microphone input of my PC, and the result was not good. I plan to buy a Peavey X-Port. I should be able to mix my guitar with your track.
Posted by: Alex Feather Sep 25 2012, 01:30 AM
QUOTE (teodorom @ Sep 23 2012, 05:04 AM)
My home is not the right place to make any video: with a dog, a cat, a daughter, a wife, I spend half of my playing time in screaming "silence please !". So I usualy practice with the headphones, the guitar I use when I travel and a VOX Amplug (it's a pity, because I have some nice equiment: a Washburn HB-35, a Hagstrom Swede and a Laney CUB R12).
Yes, please, even if I tried with Audacity and the microphone input of my PC, and the result was not good. I plan to buy a Peavey X-Port. I should be able to mix my guitar with your track.
Yes, please, even if I tried with Audacity and the microphone input of my PC, and the result was not good. I plan to buy a Peavey X-Port. I should be able to mix my guitar with your track.
Oh I see! You got some very nice stuff! Well when you will get your audio system together you will get to use it!
Audacity is a very nice program and you can make it work I would suggest Logic because you have more capabilities and that is what I am using:)
Also Peavey X port is very nice and I heard a lot of good things about it!
Here is another one called Apogee Jam
http://www.sweetwater.com/store/detail/Jam?utm_source=none&utm_medium=PPC&utm_campaign=none&gclid=CIbTlOu7z7ICFWWCQgodQ2UATg
It is a little bit more money but you will get a brilliant product!
Here the reviews of both I found
http://www.musiciansfriend.com/pro-audio/peavey-xport-usb-guitar-interface
http://www.sweetwater.com/store/detail/Jam/reviews?gclid=CK615_W8z7ICFWXhQgodQgUA5w
Let me know what you think!
Posted by: teodorom Sep 28 2012, 10:53 PM
After three days of pain I was able to get some decent sound out of the Peavey X-Port (http://forums.peavey.com/viewtopic.php?f=53&t=28385&p=216520#p216520).
In the meanwhile I tried to understand what to play over your basis.
Tomorrow I shall send you my recordings.
Thanks
Teodoro Marinucci
Posted by: Alex Feather Oct 1 2012, 02:11 AM
QUOTE (teodorom @ Sep 28 2012, 09:53 PM)
After three days of pain I was able to get some decent sound out of the Peavey X-Port (http://forums.peavey.com/viewtopic.php?f=53&t=28385&p=216520#p216520).
In the meanwhile I tried to understand what to play over your basis.
Tomorrow I shall send you my recordings.
Thanks
Teodoro Marinucci
In the meanwhile I tried to understand what to play over your basis.
Tomorrow I shall send you my recordings.
Thanks
Teodoro Marinucci
Sounds great! I am glad you figured it out!
I am looking forward to hear your take!
Posted by: teodorom Oct 1 2012, 04:37 PM
Here is my first "solo" I'm sharing with you.
I'm so shy !!!
When I listen to what I can play the only thing I would like to do is to throw away my (poor) guitar !
As I said I have no idea on how to improvise, that is my notes seems random notes played by a monkey !
I understand that I need to start from very, very, far.
Please be patient.
Thanks
Teodoro Marinucci
Posted by: teodorom Oct 1 2012, 08:23 PM
This is the recording my version of the "Jazz Notes 1 Building Chords" lesson (http://www.guitarmasterclass.net/rhythm-guitar/jazz-notes1-building-chords/). At 75%.
Here and there you can listen (and, with Reaper, I can see) that I tend to play somehow "ahead".
Due to some physical problems (two years ago I had a dislocation on the index of the left hand so it stays a little bit curved) I play as in the uploaded pdf.
Do you like the attached MP3 ? it's not me, it's GuitarPro, but I wrote it.
01_121001_1650.mp3 ( 1.2MB )
: 173
Jazz_Notes_1__Building_Chords.pdf ( 97.88K )
: 201
Scolfield_jam.TM.mp3 ( 279.81K )
: 160Posted by: Alex Feather Oct 3 2012, 08:15 AM
QUOTE (teodorom @ Oct 1 2012, 07:23 PM)
This is the recording my version of the "Jazz Notes 1 Building Chords" lesson (http://www.guitarmasterclass.net/rhythm-guitar/jazz-notes1-building-chords/). At 75%.
Here and there you can listen (and, with Reaper, I can see) that I tend to play somehow "ahead".
Due to some physical problems (two years ago I had a dislocation on the index of the left hand so it stays a little bit curved) I play as in the uploaded pdf.
Do you like the attached MP3 ? it's not me, it's GuitarPro, but I wrote it.
Here and there you can listen (and, with Reaper, I can see) that I tend to play somehow "ahead".
Due to some physical problems (two years ago I had a dislocation on the index of the left hand so it stays a little bit curved) I play as in the uploaded pdf.
Do you like the attached MP3 ? it's not me, it's GuitarPro, but I wrote it.
It sounds very good! You are doing a very good job! I got a little confused which one is your composition and Solfield jam is a lick only? It sounds good though! Both tracks were very good!
Also you got a very nice sound going and I am sure your are capable of doing recordings easily!
Posted by: teodorom Oct 3 2012, 08:49 AM
QUOTE (Alex Feather @ Oct 3 2012, 07:15 AM)
It sounds very good! You are doing a very good job! I got a little confused which one is your composition and Solfield jam is a lick only? It sounds good though! Both tracks were very good!
Also you got a very nice sound going and I am sure your are capable of doing recordings easily!
Also you got a very nice sound going and I am sure your are capable of doing recordings easily!
The guitar played by a monkey (that's me) is the first MP3. As you can hear I have also a poor sense of rythm.
The second MP3 is something I've got taking inspiration from some Scofield-like licks I had, modifying and glueing them, staying on pentatonics but mixing minor and major, and adding some passing notes. All a kind of stuff a good player should be able to do in real time.
Me, I did it in half an hour. It's GuitarPro, but I can play it, once I read it.
So, what's next ?
Thanks
Teodoro Marinucci
Posted by: Alex Feather Oct 3 2012, 05:04 PM
QUOTE (teodorom @ Oct 3 2012, 07:49 AM)
The guitar played by a monkey (that's me) is the first MP3. As you can hear I have also a poor sense of rythm.
The second MP3 is something I've got taking inspiration from some Scofield-like licks I had, modifying and glueing them, staying on pentatonics but mixing minor and major, and adding some passing notes. All a kind of stuff a good player should be able to do in real time.
Me, I did it in half an hour. It's GuitarPro, but I can play it, once I read it.
So, what's next ?
Thanks
Teodoro Marinucci
The second MP3 is something I've got taking inspiration from some Scofield-like licks I had, modifying and glueing them, staying on pentatonics but mixing minor and major, and adding some passing notes. All a kind of stuff a good player should be able to do in real time.
Me, I did it in half an hour. It's GuitarPro, but I can play it, once I read it.
So, what's next ?
Thanks
Teodoro Marinucci
You did good! Yes your timing can be improved but you did a great job composing and I liked it a lot!
I think what you need is to add more licks to your library and also let's work on combining pentatonics? What would you say?
Posted by: teodorom Oct 3 2012, 06:02 PM
QUOTE (Alex Feather @ Oct 3 2012, 04:04 PM)
You did good! Yes your timing can be improved but you did a great job composing and I liked it a lot!
I think what you need is to add more licks to your library and also let's work on combining pentatonics? What would you say?
I think what you need is to add more licks to your library and also let's work on combining pentatonics? What would you say?
I agree completely.
Before I can do any decent jazz improvisation I should be able to do some good blues improvisation.
Anyway I don't like "dumb" blues licks, that is based solely on pentatonics. I like something with some (even little) tension.
Said that, I like a lot the style of (my friend (*)) Buddy Whittington, the former guitarist (for 14 years !) of the John Mayall's Bluesbreakers.
My problem is that, even if I can decompose in my mind his solos into licks, I'm unable to start with.
Tell me please ...
Thanks
Teodoro Marinucci
(*) I call him a "friend" because he was so kind to answer promptly and with great modesty to my questions. Great player, and great man !
Posted by: teodorom Oct 4 2012, 07:52 PM
In the meanwhile I started studying the "Jazz Swing Lead Lesson" by Muris Varajic (http://www.guitarmasterclass.net/solo-guitar/jazz-swing-lead-lesson/).
It's an interesting lesson because it represents most of my vision of Jazz: the melody itself seems somehow trivial, but acquires it's magic whith the chord accompaniment.
It's reminds me "Orbit" by Bill Evans: magic with the chords, trivial the melody only.
I'm having problems with the "grace notes": I had to learn it without them so that I can stay on time, now I'm trying to replicate what Muris does.
The chords are not at my level, for a long time, I guess.
Thanks
Teodoro Marinucci
Posted by: Alex Feather Oct 5 2012, 07:48 AM
QUOTE (teodorom @ Oct 3 2012, 05:02 PM)
I agree completely.
Before I can do any decent jazz improvisation I should be able to do some good blues improvisation.
Anyway I don't like "dumb" blues licks, that is based solely on pentatonics. I like something with some (even little) tension.
Said that, I like a lot the style of (my friend (*)) Buddy Whittington, the former guitarist (for 14 years !) of the John Mayall's Bluesbreakers.
My problem is that, even if I can decompose in my mind his solos into licks, I'm unable to start with.
Tell me please ...
Thanks
Teodoro Marinucci
(*) I call him a "friend" because he was so kind to answer promptly and with great modesty to my questions. Great player, and great man !
Before I can do any decent jazz improvisation I should be able to do some good blues improvisation.
Anyway I don't like "dumb" blues licks, that is based solely on pentatonics. I like something with some (even little) tension.
Said that, I like a lot the style of (my friend (*)) Buddy Whittington, the former guitarist (for 14 years !) of the John Mayall's Bluesbreakers.
My problem is that, even if I can decompose in my mind his solos into licks, I'm unable to start with.
Tell me please ...
Thanks
Teodoro Marinucci
(*) I call him a "friend" because he was so kind to answer promptly and with great modesty to my questions. Great player, and great man !
I totally agree and hate typical blues licks myself!
I am not gonna give you anything like that
If you want to start transporting what is in your mind into a guitar you need to get your ear and hands synced! There is a few exercises that will help you out! Do you know the neck already? It is a very important to learn the neck first! Let me know!
Posted by: teodorom Oct 5 2012, 09:16 AM
QUOTE (Alex Feather @ Oct 5 2012, 06:48 AM)
I totally agree and hate typical blues licks myself!
I am not gonna give you anything like that
If you want to start transporting what is in your mind into a guitar you need to get your ear and hands synced! There is a few exercises that will help you out! Do you know the neck already? It is a very important to learn the neck first! Let me know!
I am not gonna give you anything like that
If you want to start transporting what is in your mind into a guitar you need to get your ear and hands synced! There is a few exercises that will help you out! Do you know the neck already? It is a very important to learn the neck first! Let me know!
There are regions where I'm faster, others where I'm slower, but yes, I know the neck.
Posted by: Alex Feather Oct 8 2012, 12:02 AM
QUOTE (teodorom @ Oct 5 2012, 08:16 AM)
There are regions where I'm faster, others where I'm slower, but yes, I know the neck.
I have 15 fusion licks if you are interested! They have a lot of chromatic runs and bends what you think?
E |--10-7----------------------|----------------------------|
B |-----------8--10------------|--8-------------------------|
G |--------9--------7--8--9----|-----7--6--7L-7-------------|
D |----------------------------|----------------------------|
A |----------------------------|----------------------------|
E |----------------------------|----------------------------|
--------5--------7----------|-----9--12-9----------------|
----------------------------|--10----------10------------|
--6--7-----6--7-----6s-9----|-----------------11-9L-9----|
----------------------------|----------------------------|
----------------------------|----------------------------|
----------------------------|----------------------------|
--10-7-----10-9--5----------|-----------------9--10------|
--------8-----------7-------|--------7--8--10------------|
-----------------------6----|--7--9----------------------|
----------------------------|----------------------------|
----------------------------|----------------------------|
----------------------------|----------------------------|
----------------------------|----------------------------|
----------------------------|----------------------------|
-----------7--6-------------|----------------------------|
--7--8--9--------7----------|----------------------------|
--------------------9--7----|--5--4--5--7----------------|
----------------------------|--------------5-------------|
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-----------------------7----|-----------5--------3-------|
-----6--7--8----------------|--6--4--6--------------2----|
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--------------------10L10b--|--10-8--7L-7b-7-------------|
-----------7--9--11---------|----------------------------|
--------9-------------------|----------------------------|
--7--10---------------------|----------------------------|
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----------------------------|-----7-----9--7--10-12-9----|-------|
-----------7-----8--7--10---|--8-----10------------------|--10---|
--6--9--7-----9-------------|----------------------------|-------|
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-----4--7--4--5--7----------|----------------------------|-------|
--5-------------------------|----------------------------|-------|
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-----------------------9----|--7--8--9-------------------|
--9--7--8--9----------------|----------------------------|
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15_Fusion_Licks.gp5 ( 5.08K )
: 121Also for your ear training we can start getting into transcriptions?
Let me know what you think!
Posted by: teodorom Oct 8 2012, 12:11 AM
I already tried to do some transcription, but without much success (the tempos ...). Yes, let me try again.
Tomorrow I shall have a deper look on your licks.
I don't know if writing things as
E |--10-7----------------------|----------------------------|
B |-----------8--10------------|--8-------------------------|
G |--------9--------7--8--9----|-----7--6--7L-7-------------|
D |----------------------------|----------------------------|
A |----------------------------|----------------------------|
E |----------------------------|----------------------------|
costs you some time, if yes you can avoid this notation: don't understand it. I usually work with GuitarPro: I can read (even if slowly) music.
Thanks
Teodoro Marinucci
Posted by: Alex Feather Oct 11 2012, 06:42 AM
QUOTE (teodorom @ Oct 7 2012, 11:11 PM)
I already tried to do some transcription, but without much success (the tempos ...). Yes, let me try again.
Tomorrow I shall have a deper look on your licks.
I don't know if writing things as
E |--10-7----------------------|----------------------------|
B |-----------8--10------------|--8-------------------------|
G |--------9--------7--8--9----|-----7--6--7L-7-------------|
D |----------------------------|----------------------------|
A |----------------------------|----------------------------|
E |----------------------------|----------------------------|
costs you some time, if yes you can avoid this notation: don't understand it. I usually work with GuitarPro: I can read (even if slowly) music.
Thanks
Teodoro Marinucci
Tomorrow I shall have a deper look on your licks.
I don't know if writing things as
E |--10-7----------------------|----------------------------|
B |-----------8--10------------|--8-------------------------|
G |--------9--------7--8--9----|-----7--6--7L-7-------------|
D |----------------------------|----------------------------|
A |----------------------------|----------------------------|
E |----------------------------|----------------------------|
costs you some time, if yes you can avoid this notation: don't understand it. I usually work with GuitarPro: I can read (even if slowly) music.
Thanks
Teodoro Marinucci
I don't mind writing licks out you can do both Guitar pro and tabs! I am looking forward to hear your opinion about the licks and in the meantime I will be working on my new assignment for you!
Posted by: teodorom Oct 11 2012, 05:05 PM
QUOTE (Alex Feather @ Oct 11 2012, 05:42 AM)
I don't mind writing licks out you can do both Guitar pro and tabs! I am looking forward to hear your opinion about the licks and in the meantime I will be working on my new assignment for you!
I worked on lick 1 and 2. So il will take a week or so untill I can propose what I can play.
I fear that I'll be unable to play licks 11-15 at the required speed: take into account that I can reach 135 bpm for licks 1-2 with some (minor) problem.
Perhaps this is the moment to ask you about TABs.
I can read music and I can adjust TABS so that I can reach the target speed. However (take as example lick 1): I can read until 40 bpm, then I switch to tabs, then, to reach 135 bpm I need to know quite perfectly (and look at the TABs from time to time) the score.
I don't know if I need to insist on "first sight reading" or if I can continue with my approach.
Thanks
Posted by: Alex Feather Oct 11 2012, 08:42 PM
QUOTE (teodorom @ Oct 11 2012, 04:05 PM)
I worked on lick 1 and 2. So il will take a week or so untill I can propose what I can play.
I fear that I'll be unable to play licks 11-15 at the required speed: take into account that I can reach 135 bpm for licks 1-2 with some (minor) problem.
Perhaps this is the moment to ask you about TABs.
I can read music and I can adjust TABS so that I can reach the target speed. However (take as example lick 1): I can read until 40 bpm, then I switch to tabs, then, to reach 135 bpm I need to know quite perfectly (and look at the TABs from time to time) the score.
I don't know if I need to insist on "first sight reading" or if I can continue with my approach.
Thanks
I fear that I'll be unable to play licks 11-15 at the required speed: take into account that I can reach 135 bpm for licks 1-2 with some (minor) problem.
Perhaps this is the moment to ask you about TABs.
I can read music and I can adjust TABS so that I can reach the target speed. However (take as example lick 1): I can read until 40 bpm, then I switch to tabs, then, to reach 135 bpm I need to know quite perfectly (and look at the TABs from time to time) the score.
I don't know if I need to insist on "first sight reading" or if I can continue with my approach.
Thanks
I think you can stick to your approach All you have to do to make picks your own is to start jamming and try to use them in your improvisation
Tempo doesn't really matter I just had to have it so the licks are at the consistent speed you can switch them around and play at your own speed! The whole point of doing this exercise is to get more ideas and add some licks into your library!
Posted by: teodorom Oct 11 2012, 10:45 PM
QUOTE (Alex Feather @ Oct 11 2012, 07:42 PM)
I think you can stick to your approach All you have to do to make picks your own is to start jamming and try to use them in your improvisation
Tempo doesn't really matter I just had to have it so the licks are at the consistent speed you can switch them around and play at your own speed! The whole point of doing this exercise is to get more ideas and add some licks into your library!
Tempo doesn't really matter I just had to have it so the licks are at the consistent speed you can switch them around and play at your own speed! The whole point of doing this exercise is to get more ideas and add some licks into your library!
So, as far as I understand, memory is more important than the ability to read.
I said so because in lick 3 the right fingering is an absolute need to get an appropriate speed (up to now I was able to reach 75% of your speed), and it's hard to read the fingering (even if added) from the sheet. TABs can help, but the score alone would be unuseful (unless you are Joe Pass ... oops ! I forgot he was unable to read music).
Thanks.
Posted by: teodorom Oct 12 2012, 03:25 PM
This is lick 1. At both 75% of the speed and at 100% (135 bpm) of the speed.
It is played with my HB-35, the Peavey X-Port and some compression (to enhance volume) with Audacity. The "play along" you can hear is a WAV I've got from GuitarPro (to get also the "1-2-3-4" at the start).
For both it's take 5 of 5.
Thanks
Teodoro Marinucci
Posted by: teodorom Oct 13 2012, 11:47 AM
Lick 2, take 5 of 6. I'm unable to play faster than 75%.
My main difficulty is related to fingering: the best I've found is
However the glissando from C#4 to E4 (given that fingering) causes to me some coordination problem.
Thanks
Teodoro Marinucci
Posted by: teodorom Oct 13 2012, 06:04 PM
Lick 3, take 7 of 7, 100% (135 bpm).
I'm somehow rigid (contrary of fluid), but I can play the lick at the desired speed !
Thanks
Teodoro Marinucci
Posted by: Alex Feather Oct 14 2012, 05:34 PM
QUOTE (teodorom @ Oct 13 2012, 05:04 PM)
Lick 3, take 7 of 7, 100% (135 bpm).
I'm somehow rigid (contrary of fluid), but I can play the lick at the desired speed !
Thanks
Teodoro Marinucci
I'm somehow rigid (contrary of fluid), but I can play the lick at the desired speed !
Thanks
Teodoro Marinucci
Both licks sounding beautiful!!! Very nice tone and great dynamic! If you feel better using different fingering it is totally fine!
Great job!
QUOTE (teodorom @ Oct 13 2012, 10:47 AM)
Lick 2, take 5 of 6. I'm unable to play faster than 75%.
My main difficulty is related to fingering: the best I've found is
However the glissando from C#4 to E4 (given that fingering) causes to me some coordination problem.
Thanks
Teodoro Marinucci
My main difficulty is related to fingering: the best I've found is
However the glissando from C#4 to E4 (given that fingering) causes to me some coordination problem.
Thanks
Teodoro Marinucci
Learn a couple of more and I will explain how to add them to your playing!
Posted by: teodorom Oct 16 2012, 11:30 AM
QUOTE (Alex Feather @ Oct 14 2012, 04:34 PM)
Learn a couple of more and I will explain how to add them to your playing!
Some more. This time I used no compression on Audacity, only amplification.
15_Fusion_Licks.5.mp3 ( 113.29K )
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15_Fusion_Licks.6.mp3 ( 134.88K )
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15_Fusion_Licks.6.75.mp3 ( 1.31MB )
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15_Fusion_Licks.5.75.mp3 ( 149.52K )
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15_Fusion_Licks.4.75.mp3 ( 156.67K )
: 94Posted by: Alex Feather Oct 18 2012, 06:48 AM
QUOTE (teodorom @ Oct 16 2012, 10:30 AM)
Some more. This time I used no compression on Audacity, only amplification.
Sounds very good! I like the tone you are getting! Very nice! You have washburn if I am not mistaken?
Licks sounded very good as well be careful with your bends some of them a little out of pitch! A good thing to do if you would like to work on your bending is to use a tuner to get the right pitch! All you have to do is plug in and bend until you will get desired pitch when your ear and fingers will adapt you won;t need to use tuner again! Try it out this technique really works and you will get perfect bends in no time!
Posted by: teodorom Oct 18 2012, 07:09 PM
QUOTE (Alex Feather @ Oct 18 2012, 05:48 AM)
Sounds very good! I like the tone you are getting! Very nice! You have washburn if I am not mistaken?
Licks sounded very good as well be careful with your bends some of them a little out of pitch! A good thing to do if you would like to work on your bending is to use a tuner to get the right pitch! All you have to do is plug in and bend until you will get desired pitch when your ear and fingers will adapt you won;t need to use tuner again! Try it out this technique really works and you will get perfect bends in no time!
Licks sounded very good as well be careful with your bends some of them a little out of pitch! A good thing to do if you would like to work on your bending is to use a tuner to get the right pitch! All you have to do is plug in and bend until you will get desired pitch when your ear and fingers will adapt you won;t need to use tuner again! Try it out this technique really works and you will get perfect bends in no time!
1. The guitar you hear is my Washburn HB-35, the guitar I'm doubtful if it is worthwhile to replace the pickups. Once you heard it, what's your opinion ?
2. Agree, bending is my "beast" ! I'll try to use your trick to improve my intonation.
3. Apart learning the licks I'm trying to learn at my best the scales that are behind them: E Blues Minor Hexatonic and E Major.
Posted by: Alex Feather Oct 19 2012, 12:44 AM
QUOTE (teodorom @ Oct 18 2012, 06:09 PM)
1. The guitar you hear is my Washburn HB-35, the guitar I'm doubtful if it is worthwhile to replace the pickups. Once you heard it, what's your opinion ?
2. Agree, bending is my "beast" ! I'll try to use your trick to improve my intonation.
3. Apart learning the licks I'm trying to learn at my best the scales that are behind them: E Blues Minor Hexatonic and E Major.
2. Agree, bending is my "beast" ! I'll try to use your trick to improve my intonation.
3. Apart learning the licks I'm trying to learn at my best the scales that are behind them: E Blues Minor Hexatonic and E Major.
I love the sound! Very warm and jazzy! Sounded very good to me!
The trick is really working so try it out and let me know how it goes!
Well I am looking at those licks as E minor blues pentatonic with passing chromatic tones I wasn't thinking about hexatonic when I wrote those! If you are interested we can work on creating your own hexatonics
Let me know!
Posted by: teodorom Oct 19 2012, 11:06 PM
QUOTE (Alex Feather @ Oct 18 2012, 11:44 PM)
Learn a couple of more and I will explain how to add them to your playing!
Just played the 10th lick. On sunday I shall post my recordings.
Licks 11-15 are so difficult for me that, if I need to play them before I can afford the next step, I should wait another week (at least).
Can you led me to the next step ?
Thanks
Teodoro Marinucci
Posted by: Alex Feather Oct 22 2012, 04:33 PM
QUOTE (teodorom @ Oct 19 2012, 10:06 PM)
Just played the 10th lick. On sunday I shall post my recordings.
Licks 11-15 are so difficult for me that, if I need to play them before I can afford the next step, I should wait another week (at least).
Can you led me to the next step ?
Thanks
Teodoro Marinucci
Licks 11-15 are so difficult for me that, if I need to play them before I can afford the next step, I should wait another week (at least).
Can you led me to the next step ?
Thanks
Teodoro Marinucci
Don't worry about the other licks you can start working on them and slowly get them up to the tempo
Now here is the trick if you want those licks to become your own you need to start using them!
So what will work great is to jam over the chord progression I gave you and use some of those licks you can play anything in between but have to realize when you will be using the lick I hope that makes sense!
So This is one thing to work on!
About the path what I think you need to do is to get your technique to the next level and work on your rhythm
For the technique I have a few great exercises and for the rhythm I would like to check out this lesson
it is a funk rhythm lesson it will help you learn how to play on, behind and ahead of the beat!
http://www.guitarmasterclass.net/ls/Funk-Rhythms/
Let me know what do you think and I can post the exercise for you as well!
Posted by: teodorom Oct 22 2012, 11:23 PM
QUOTE
Let me know what do you think and I can post the exercise for you as well!
What would be the content of that exercise ?
Posted by: teodorom Oct 23 2012, 07:27 PM
Hi Alex,
here are the licks 8, 9, 10, played at 75% (that is at 101 bpm) of your speed. I can play them quite at the target speed, but I make too many mistakes.
You said that
QUOTE
So what will work great is to jam over the chord progression I gave you
I don't understand how an Em Blues (plus EM passing notes) can fit a D7#9 - G7 - C9: should I transpose the chord progression ?
I had a look on your "Funk Rythms". At first sight I was frightened, but, once kept the rythm, I felt I could afford them.
My main problem is that I'm too much dependent on the alternate picking on eighth notes:
I can understand (and play) the first row, the second one is much more difficult for me.
Thanks
Teodoro Marinucci
15_Fusion_Licks.10.75.mp3 ( 174.3K )
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15_Fusion_Licks.9.75.mp3 ( 215.19K )
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15_Fusion_Licks.8.75.mp3 ( 203.23K )
: 110Posted by: Alex Feather Oct 24 2012, 01:34 AM
QUOTE (teodorom @ Oct 23 2012, 06:27 PM)
Hi Alex,
here are the licks 8, 9, 10, played at 75% (that is at 101 bpm) of your speed. I can play them quite at the target speed, but I make too many mistakes.
You said that
I don't understand how an Em Blues (plus EM passing notes) can fit a D7#9 - G7 - C9: should I transpose the chord progression ?
I had a look on your "Funk Rythms". At first sight I was frightened, but, once kept the rythm, I felt I could afford them.
My main problem is that I'm too much dependent on the alternate picking on eighth notes:
I can understand (and play) the first row, the second one is much more difficult for me.
Thanks
Teodoro Marinucci
here are the licks 8, 9, 10, played at 75% (that is at 101 bpm) of your speed. I can play them quite at the target speed, but I make too many mistakes.
You said that
I don't understand how an Em Blues (plus EM passing notes) can fit a D7#9 - G7 - C9: should I transpose the chord progression ?
I had a look on your "Funk Rythms". At first sight I was frightened, but, once kept the rythm, I felt I could afford them.
My main problem is that I'm too much dependent on the alternate picking on eighth notes:
I can understand (and play) the first row, the second one is much more difficult for me.
Thanks
Teodoro Marinucci
I will prepare the transposition for you if it's something you would like to use!
Funk rhythms are very cool the trick is to keep your right hand movement at all times even if you are not strumming This way it will be much easier for you to understand those rhythm figures! you did very well with the licks and I love your tone! It is very nice and solid! I think I am gonna get myself a Washburn
Posted by: teodorom Oct 24 2012, 12:00 PM
QUOTE (Alex Feather @ Oct 24 2012, 12:34 AM)
I will prepare the transposition for you if it's something you would like to use!
Yes, please !
Posted by: Alex Feather Oct 27 2012, 04:48 PM
QUOTE (teodorom @ Oct 24 2012, 11:00 AM)
Yes, please !
Sounds good! Give me a few hours and I will post it transposed to a different key!
Posted by: teodorom Oct 27 2012, 10:00 PM
I tried to play your "Funk Rythms", and I'm having difficulties.
My coordination amonf left and right hands is far to be perfect, so that I play when i should stay muted. Furthermore my brain responds in too much retard.
If your purpose was to ask me to
QUOTE
learn how to play on, behind and ahead of the beat
can I propose a different exercise ?It has also the metronome in "2&4".
I have to admit that prior to trying your "Funk Rythms" and learning how to move always the right hand up and down that exercise was much more difficult to me: I tried it this evening and the results were not so discouraging.
Tomorrow I shall record it so that you will be the judge.
Thanks
Teodoro Marinucci
Posted by: Alex Feather Oct 27 2012, 11:12 PM
QUOTE (teodorom @ Oct 27 2012, 09:00 PM)
I tried to play your "Funk Rythms", and I'm having difficulties.
My coordination amonf left and right hands is far to be perfect, so that I play when i should stay muted. Furthermore my brain responds in too much retard.
If your purpose was to ask me to can I propose a different exercise ?
It has also the metronome in "2&4".
I have to admit that prior to trying your "Funk Rythms" and learning how to move always the right hand up and down that exercise was much more difficult to me: I tried it this evening and the results were not so discouraging.
Tomorrow I shall record it so that you will be the judge.
Thanks
Teodoro Marinucci
My coordination amonf left and right hands is far to be perfect, so that I play when i should stay muted. Furthermore my brain responds in too much retard.
If your purpose was to ask me to can I propose a different exercise ?
It has also the metronome in "2&4".
I have to admit that prior to trying your "Funk Rythms" and learning how to move always the right hand up and down that exercise was much more difficult to me: I tried it this evening and the results were not so discouraging.
Tomorrow I shall record it so that you will be the judge.
Thanks
Teodoro Marinucci
It takes some time to get your hands in sync! Just practice it a slower tempo and you will get it! It might take some time but the results will be worth it!
I am not sure what did you posted? Is it the exercise you would like to work on? Let me know!
P.S. Looking forward to hear your take!!
Posted by: teodorom Nov 1 2012, 05:09 PM
QUOTE (Alex Feather @ Oct 27 2012, 10:12 PM)
It takes some time to get your hands in sync! Just practice it a slower tempo and you will get it! It might take some time but the results will be worth it!
I am not sure what did you posted? Is it the exercise you would like to work on? Let me know!
P.S. Looking forward to hear your take!!
I am not sure what did you posted? Is it the exercise you would like to work on? Let me know!
P.S. Looking forward to hear your take!!
Here are my (poor) attempts to show you how I can play ahead, on , after the beat.
It's an old exercise and has an old story.
At this point I would like to state the methodology to adopt in our interaction.
Give me please assignments that (given my level, that you have now understood) could be completed in one week, so that we can have some synchronization day (preferably monday). I guess I could show something on your "Funk Rythms" in three weeks and I feel depressed if I'm asked to stay on the same exercise for a so long time.
Thanks
Teodoro Marinucci
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: 91Posted by: Alex Feather Nov 2 2012, 07:25 AM
QUOTE (teodorom @ Nov 1 2012, 04:09 PM)
Here are my (poor) attempts to show you how I can play ahead, on , after the beat.
It's an old exercise and has an old story.
At this point I would like to state the methodology to adopt in our interaction.
Give me please assignments that (given my level, that you have now understood) could be completed in one week, so that we can have some synchronization day (preferably monday). I guess I could show something on your "Funk Rythms" in three weeks and I feel depressed if I'm asked to stay on the same exercise for a so long time.
Thanks
Teodoro Marinucci
It's an old exercise and has an old story.
At this point I would like to state the methodology to adopt in our interaction.
Give me please assignments that (given my level, that you have now understood) could be completed in one week, so that we can have some synchronization day (preferably monday). I guess I could show something on your "Funk Rythms" in three weeks and I feel depressed if I'm asked to stay on the same exercise for a so long time.
Thanks
Teodoro Marinucci
I undertand! So how about every Monday I will be giving you new assignments? I will try to do my best and get you something that you can finish in a week! But I would like you to continue funk rhythms as well!
I have a very cool assignment for you
http://www.guitarmasterclass.net/ls/5-Styles-Lead/
It has 5 styles lads in it I would like you to concentrate on the last one it is in a style of jazz and has some interesting phrasings
Let me know if you like it and we can analyze the chord progression together and I will explain what I have played and why I chose those notes!
I will also cut the backing track for you so you can continue jamming over it!
Let me know what do you think!
P.S. You did well on the funk rhythms I will listen to them closely and will give you a detailed suggestions about each take in a few hours!
Posted by: teodorom Nov 2 2012, 08:42 PM
QUOTE (Alex Feather @ Nov 2 2012, 06:25 AM)
Let me know if you like it
I like it ! and like also the Blues track and the Fusion track. the Fusion track looks very "Hendersonish", but, for the moment is far from my possibilities.
QUOTE
We can analyze the chord progression together and I will explain what I have played and why I chose those notes!
Let me try to understand it. You could save me some time if you tell me something more on the chord progression: you state "C6, Am9, Dm9, G11, C, Am7, Bm7, D7, G6, G6, F#m7, B9, E, G7#5", 14 chords, while in the track there are 25 bars.
QUOTE
I will also cut the backing track for you so you can continue jamming over it!
Yes, please ! I cannot download the tracks singularly.
QUOTE
P.S. You did well on the funk rhythms I will listen to them closely and will give you a detailed suggestions about each take in a few hours!
These are my version of playing ahead, on, and after the beat. In any case I shall try to record your funky rythms as long as I can play them.
Thanks
Teodoro Marinucci
Posted by: teodorom Nov 4 2012, 09:14 PM
QUOTE (teodorom @ Nov 2 2012, 07:42 PM)
Let me try to understand it. You could save me some time if you tell me something more on the chord progression: you state "C6, Am9, Dm9, G11, C, Am7, Bm7, D7, G6, G6, F#m7, B9, E, G7#5", 14 chords, while in the track there are 25 bars.
As far as I understand "C6, Am9, Bm9, G11" all belong to C Major. While "C, Am7, Bm7, D7" all belong to G Major.
" F#m7, B9, E" is a "ii -V-I" in E Major.
What I don't understand is the role of G6 and G7#5.
Whay I don't understand is the relationship among the scales C Major, G Major, and E Major.
Posted by: Alex Feather Nov 5 2012, 07:45 AM
QUOTE (teodorom @ Nov 4 2012, 08:14 PM)
As far as I understand "C6, Am9, Bm9, G11" all belong to C Major. While "C, Am7, Bm7, D7" all belong to G Major.
" F#m7, B9, E" is a "ii -V-I" in E Major.
What I don't understand is the role of G6 and G7#5.
Whay I don't understand is the relationship among the scales C Major, G Major, and E Major.
" F#m7, B9, E" is a "ii -V-I" in E Major.
What I don't understand is the role of G6 and G7#5.
Whay I don't understand is the relationship among the scales C Major, G Major, and E Major.
You are correct about the keys good job!
G6 and G7#5 is a part of E harmonic minor
do you know this scale?
Posted by: teodorom Nov 5 2012, 10:44 AM
QUOTE (Alex Feather @ Nov 5 2012, 06:45 AM)
You are correct about the keys good job!
G6 and G7#5 is a part of E harmonic minor
do you know this scale?
G6 and G7#5 is a part of E harmonic minor
do you know this scale?
Yes, G7#5 is part of E harmonic minor (the full harmonization is: Em7M, F#m7(b5), GMAJ7(#5), Am7, B7, CMAJ7, D#DIM7, as a reference of that I have the book of Susanna Gramaglia), but G6 ? Since G6=Em7/G=GADD13 I understand that you are always there ... but, how can this trick properly described ?
How you can modulate from C Major, G Major, E Major, and E harmonic minor ?
I still have a problem about the comping: I understand things in the 1st and 2nd bar: |C6-AmADD9|DmADD9-GADD11| then at 4th and 5th bar: |C-Am7|Bm7-D7|..., but then ... I'm lost ! Can you be more precise ?
Then there are the voicings ...
I said "monday", but I guess it will be not this monday. Untill now I was able to play the 4 pieces (24, 25, 26, 27) separately and at the speed of those videos (so, not at the full speed). Now I need to put all the things together and play faster (I guess I'll be able to use the Jazz 100 backing track).
Thanks
Teodoro Marinucci
Posted by: Alex Feather Nov 5 2012, 06:17 PM
QUOTE (teodorom @ Nov 5 2012, 09:44 AM)
Yes, G7#5 is part of E harmonic minor (the full harmonization is: Em7M, F#m7(b5), GMAJ7(#5), Am7, B7, CMAJ7, D#DIM7, as a reference of that I have the book of Susanna Gramaglia), but G6 ? Since G6=Em7/G=GADD13 I understand that you are always there ... but, how can this trick properly described ?
How you can modulate from C Major, G Major, E Major, and E harmonic minor ?
I still have a problem about the comping: I understand things in the 1st and 2nd bar: |C6-AmADD9|DmADD9-GADD11| then at 4th and 5th bar: |C-Am7|Bm7-D7|..., but then ... I'm lost ! Can you be more precise ?
Then there are the voicings ...
I said "monday", but I guess it will be not this monday. Untill now I was able to play the 4 pieces (24, 25, 26, 27) separately and at the speed of those videos (so, not at the full speed). Now I need to put all the things together and play faster (I guess I'll be able to use the Jazz 100 backing track).
Thanks
Teodoro Marinucci
How you can modulate from C Major, G Major, E Major, and E harmonic minor ?
I still have a problem about the comping: I understand things in the 1st and 2nd bar: |C6-AmADD9|DmADD9-GADD11| then at 4th and 5th bar: |C-Am7|Bm7-D7|..., but then ... I'm lost ! Can you be more precise ?
Then there are the voicings ...
I said "monday", but I guess it will be not this monday. Untill now I was able to play the 4 pieces (24, 25, 26, 27) separately and at the speed of those videos (so, not at the full speed). Now I need to put all the things together and play faster (I guess I'll be able to use the Jazz 100 backing track).
Thanks
Teodoro Marinucci
Well for the 6th chords you cann assume extensions so for example
G6 will have : G-B-D-E let's assume that this chord has 7th as well so now let's write it out:
G-B-D-F-E we got G 11 chord now the same trick again we can assume that this ćhord has 9 as well so that is what we will get: G B D F A E now as you can see this chord is a part of C major (V)
I hope that makes sense
Do you know what to play over dominant chords? Except of mixolydian?
Tomorrow I will post a track for you so you can jam over it!
The voicings I will write them out for you so it is easier to understand give me a few hours to do so!
Posted by: teodorom Nov 6 2012, 09:58 PM
QUOTE (Alex Feather @ Nov 5 2012, 05:17 PM)
Well for the 6th chords you cann assume extensions so for example
G6 will have : G-B-D-E let's assume that this chord has 7th as well so now let's write it out:
G-B-D-F-E we got G 11 chord now the same trick again we can assume that this ćhord has 9 as well so that is what we will get: G B D F A E now as you can see this chord is a part of C major (V)
I hope that makes sense
G6 will have : G-B-D-E let's assume that this chord has 7th as well so now let's write it out:
G-B-D-F-E we got G 11 chord now the same trick again we can assume that this ćhord has 9 as well so that is what we will get: G B D F A E now as you can see this chord is a part of C major (V)
I hope that makes sense
It's still unclear to me ... I guess I could better understand if I could have a more precise indications on what chord to play on each bar.
QUOTE
Do you know what to play over dominant chords? Except of mixolydian?
No, sorry.
Thanks
Teodoro Marinucci
Posted by: Alex Feather Nov 7 2012, 07:10 AM
QUOTE (teodorom @ Nov 6 2012, 08:58 PM)
It's still unclear to me ... I guess I could better understand if I could have a more precise indications on what chord to play on each bar.
No, sorry.
Thanks
Teodoro Marinucci
No, sorry.
Thanks
Teodoro Marinucci
Here is the chord progression
|C6| Am9| Dm9| G11| C| Am7| Bm7| D7| G6| G6| F#m7| B9|E| G7#5|
The only chord that stays for two bars is G6
The best thing about dominant chord progressions is that you can pretty much play anything you want!
I will be explaining one by one
Let's start with a diminished scale
http://www.guitarmasterclass.net/scalegenerator
So when G6 chord comes you can play this scale over it
It will also work over G11, D7 and B9 chords because it is a mirror scale!
Try it out and let me know what do you think!
Also I would like you to start by learning triads using Joe Pass technique
Have you heard about it?
Let me know!
Posted by: teodorom Nov 7 2012, 09:26 AM
QUOTE (Alex Feather @ Nov 7 2012, 06:10 AM)
Here is the chord progression
|C6| Am9| Dm9| G11| C| Am7| Bm7| D7| G6| G6| F#m7| B9|E| G7#5|
The only chord that stays for two bars is G6
|C6| Am9| Dm9| G11| C| Am7| Bm7| D7| G6| G6| F#m7| B9|E| G7#5|
The only chord that stays for two bars is G6
My problem is that I dont understand how a C6 can go with the A at the start of the first bar. Yes, C6 has an A, but is quite weak. Same for the D of the second half of the second bar, that should be accompanied by a Am9=[A, C, E, B]. And so on ...
In attachment A you can hear |C6-Am9|Am9-D9|D9-G|. G, because G11 there worries me, and I need still to understand it.
In attachment B you can hear |C6-C6|Am9-Am9|D9-D9|.
QUOTE
The best thing about dominant chord progressions is that you can pretty much play anything you want!
I will be explaining one by one
Let's start with a diminished scale
So when G6 chord comes you can play this scale over it
It will also work over G11, D7 and B9 chords because it is a mirror scale!
Try it out and let me know what do you think!
I will be explaining one by one
Let's start with a diminished scale
So when G6 chord comes you can play this scale over it
It will also work over G11, D7 and B9 chords because it is a mirror scale!
Try it out and let me know what do you think!
Ok, let me the time to understand ...
QUOTE
Also I would like you to start by learning triads using Joe Pass technique
Have you heard about it?
Let me know!
Have you heard about it?
Let me know!
Please wait one or two days. I still need to submit my play of the "5 Styles Lead lesson.Jazz". I need your opinion on that. I had difficulties while playing over GuitarPro, and not so much while playing over your track. And I have not yet understood why.
Posted by: teodorom Nov 7 2012, 11:25 AM
QUOTE
Let's start with a diminished scale
Sure, I didn't know. And I'm amazed by that ! The scale is
and it's harmonization is
That is you get only DIM chords in correspondence with the the notes of the scale.
I already knew about the symmetry of those chords, that is that
GDIM7=A#DIM7=C#DIM7=EDIM7 (the red square)
G#DIM7=BDIM7=DDIM7=FDIM7 (the blue square)
The yellow square
makes the missing chords:
CDIM7=D#DIM7=F#DIM7=ADIM7
Let me try to play over it !
Thanks
Teodoro Marinucci
Posted by: teodorom Nov 7 2012, 10:13 PM
Hi, I'm unable to find any documentation about "dominant chord progressions".
Or you are talking about "secondary dominant chord progressions" ?
Can you help me ?
Thanks
Teodoro Marinucci
Posted by: teodorom Nov 7 2012, 11:43 PM
Let me guess.
You write C6, Am9, Dm9, G11, C.
Let me read the last three chords as Dm7, G7, CMAJ7. This is a standard ii-V-I progression.
The secondary dominant of Dm7 (in the key of C) is A7.
So I would read CMAJ7, A7, Dm7, G7, CMAJ7 as I-V/ii-ii-V-I.
I've found quite common to use Am7 instead of A7.
Or it is a I-vi-ii-V-I (quite common too) ?
But ... what is the relationship with the diminished scales ?
The Mark Levine book is trying to tell me something, but it is so difficult ...
Thanks
T.M.
Posted by: teodorom Nov 9 2012, 09:28 PM
QUOTE (teodorom @ Nov 7 2012, 10:43 PM)
The Mark Levine book is trying to tell me something, but it is so difficult ...
I have read (and played) the chapter on the Mark Levine book on diminished scales. I liked a lot.
However I'm still unable to complete the harmonic analysis of your track and I see non relationship with the diminished scales.
Thanks
T.M.
Posted by: Alex Feather Nov 10 2012, 06:11 PM
QUOTE (teodorom @ Nov 7 2012, 08:26 AM)
My problem is that I dont understand how a C6 can go with the A at the start of the first bar. Yes, C6 has an A, but is quite weak. Same for the D of the second half of the second bar, that should be accompanied by a Am9=[A, C, E, B]. And so on ...
In attachment A you can hear |C6-Am9|Am9-D9|D9-G|. G, because G11 there worries me, and I need still to understand it.
In attachment B you can hear |C6-C6|Am9-Am9|D9-D9|.
Ok, let me the time to understand ...
Please wait one or two days. I still need to submit my play of the "5 Styles Lead lesson.Jazz". I need your opinion on that. I had difficulties while playing over GuitarPro, and not so much while playing over your track. And I have not yet understood why.
In attachment A you can hear |C6-Am9|Am9-D9|D9-G|. G, because G11 there worries me, and I need still to understand it.
In attachment B you can hear |C6-C6|Am9-Am9|D9-D9|.
Ok, let me the time to understand ...
Please wait one or two days. I still need to submit my play of the "5 Styles Lead lesson.Jazz". I need your opinion on that. I had difficulties while playing over GuitarPro, and not so much while playing over your track. And I have not yet understood why.
It doesnt sound weak to me:) i know what you are saying but in this case i was looking for a really sharp changes thats why i chose it i used a lot of chord tones for this lesson and needed changes
Right now I am trying to research the book you are talking about I found it and will read some of it this way I can see what information you got
Give me a few hours to reply to the rest of your questions and I will also post a new assignment so you can use diminished scales
Posted by: Alex Feather Nov 11 2012, 09:37 AM
QUOTE (teodorom @ Nov 7 2012, 10:43 PM)
Let me guess.
You write C6, Am9, Dm9, G11, C.
Let me read the last three chords as Dm7, G7, CMAJ7. This is a standard ii-V-I progression.
The secondary dominant of Dm7 (in the key of C) is A7.
So I would read CMAJ7, A7, Dm7, G7, CMAJ7 as I-V/ii-ii-V-I.
I've found quite common to use Am7 instead of A7.
Or it is a I-vi-ii-V-I (quite common too) ?
But ... what is the relationship with the diminished scales ?
The Mark Levine book is trying to tell me something, but it is so difficult ...
Thanks
T.M.
You write C6, Am9, Dm9, G11, C.
Let me read the last three chords as Dm7, G7, CMAJ7. This is a standard ii-V-I progression.
The secondary dominant of Dm7 (in the key of C) is A7.
So I would read CMAJ7, A7, Dm7, G7, CMAJ7 as I-V/ii-ii-V-I.
I've found quite common to use Am7 instead of A7.
Or it is a I-vi-ii-V-I (quite common too) ?
But ... what is the relationship with the diminished scales ?
The Mark Levine book is trying to tell me something, but it is so difficult ...
Thanks
T.M.
I - VI - II - V - I is a very common progression
The diminished scale comes when you are getting to G7 chord!
By playing G diminished scale over it you will get a slightly outside jazz sound!
Now let's look at the scale it is a whole half diminished scale
http://www.guitarmasterclass.net/scalegenerator
as you can see it has:
A minor triad, C major triad
Now let's see half whole diminished scale
http://www.guitarmasterclass.net/scalegenerator
It has
G major triad and D minor triad without V
So basically you can play both scales over the whole progression!
Try it out and let me know what you think!
Posted by: teodorom Nov 11 2012, 06:23 PM
Hi Alex,
here is my version of the track you asked for.
Again: it's far for being perfect, but this is the best I can do for now.
Quite all the "embellishments" you add are missing: here and there, now and then, I'm able to add them, but then sometimes I loose my tempo. So, in order to give you a reasonable version, I avoided most of them.
The main difficulty I have is on bars 17-21: sometimes I play ahead, sometimes I play after. This doens'nt happen when I play along you: I have problems when I play over the backing track. Please forgive me.
Thanks
Teodoro Marinucci
P.S. I don't understand your schemas: they appear identical to me ! More: the diminished or octatonic scale (http://en.wikipedia.org/wiki/Octatonic_scale) and the half-diminished or "Locrian ♮2" (http://en.wikipedia.org/wiki/Half_diminished_scale) are different scales.
In fact the scale of my post of "Nov 7 2012, 10:25 AM" has 8 notes.
Posted by: teodorom Nov 11 2012, 08:54 PM
QUOTE (teodorom @ Nov 11 2012, 05:23 PM)
P.S. I don't understand your schemas: they appear identical to me ! More: the diminished or octatonic scale (http://en.wikipedia.org/wiki/Octatonic_scale) and the half-diminished or "Locrian ♮2" (http://en.wikipedia.org/wiki/Half_diminished_scale) are different scales.
In fact the scale of my post of "Nov 7 2012, 10:25 AM" has 8 notes.
In fact the scale of my post of "Nov 7 2012, 10:25 AM" has 8 notes.
I guess you are talking about the whole-half diminished scale and the half-whole diminished (
)scale that on the fretboard are the same: it depends on where the symmetry is.
Posted by: teodorom Nov 12 2012, 11:27 AM
QUOTE (teodorom @ Nov 11 2012, 07:54 PM)
scale that on the fretboard are the same: it depends on where the symmetry is.
This statement is wrong ! sorry about that.
Posted by: Alex Feather Nov 13 2012, 09:02 AM
QUOTE (teodorom @ Nov 11 2012, 05:23 PM)
Hi Alex,
here is my version of the track you asked for.
Again: it's far for being perfect, but this is the best I can do for now.
Quite all the "embellishments" you add are missing: here and there, now and then, I'm able to add them, but then sometimes I loose my tempo. So, in order to give you a reasonable version, I avoided most of them.
The main difficulty I have is on bars 17-21: sometimes I play ahead, sometimes I play after. This doens'nt happen when I play along you: I have problems when I play over the backing track. Please forgive me.
Thanks
Teodoro Marinucci
P.S. I don't understand your schemas: they appear identical to me ! More: the diminished or octatonic scale (http://en.wikipedia.org/wiki/Octatonic_scale) and the half-diminished or "Locrian ♮2" (http://en.wikipedia.org/wiki/Half_diminished_scale) are different scales.
In fact the scale of my post of "Nov 7 2012, 10:25 AM" has 8 notes.
here is my version of the track you asked for.
Again: it's far for being perfect, but this is the best I can do for now.
Quite all the "embellishments" you add are missing: here and there, now and then, I'm able to add them, but then sometimes I loose my tempo. So, in order to give you a reasonable version, I avoided most of them.
The main difficulty I have is on bars 17-21: sometimes I play ahead, sometimes I play after. This doens'nt happen when I play along you: I have problems when I play over the backing track. Please forgive me.
Thanks
Teodoro Marinucci
P.S. I don't understand your schemas: they appear identical to me ! More: the diminished or octatonic scale (http://en.wikipedia.org/wiki/Octatonic_scale) and the half-diminished or "Locrian ♮2" (http://en.wikipedia.org/wiki/Half_diminished_scale) are different scales.
In fact the scale of my post of "Nov 7 2012, 10:25 AM" has 8 notes.
That sounded very very good! The only part that was a little off is the ending try to swing it a little bit more and don't do such a big pause in between the notes and it will be fine!
Also octaves could be a little bit more precise you can try using your fingers instead of the pick
Let me know how it goes and we can move on to improvisation on the same backing track!
Posted by: teodorom Nov 13 2012, 11:10 AM
QUOTE (Alex Feather @ Nov 13 2012, 08:02 AM)
That sounded very very good! The only part that was a little off is the ending try to swing it a little bit more and don't do such a big pause in between the notes and it will be fine!
Also octaves could be a little bit more precise you can try using your fingers instead of the pick
Let me know how it goes and we can move on to improvisation on the same backing track!
Also octaves could be a little bit more precise you can try using your fingers instead of the pick
Let me know how it goes and we can move on to improvisation on the same backing track!
Thanks.
For sure my work on that track has not ended, that is I'm convinced that with the time (and working on something else) I shall improve that (it has always been impossible with me to repeat endessly the same track at perfection, I get ennoyed: improvement comes with variety).
In the octaves I'm using both pick and the fingers: perhaps the higher note are less distinguishable because I'm using a 10-46 gauge string set.
So, please, for the moment, let's move on.
Thanks
T.M.
Posted by: teodorom Nov 13 2012, 08:14 PM
I tried, I tried, I tried, to improvise over your track.
But the results were still disappointing.
I was unable to see how the half-whole or the whole-half diminished scales could fit the backing track.
I don't know: yes I can try to improvise, but it this is my only task I guess I would stay there indefinitely.
On the contrary, playing tracks like the one I have just played, give me the feeling that my fingers are better moving on the fretboard.
Before I can try to improvise (seriously) I guess I should improve and learn so many things ...
Thanks
T.M.
Posted by: Alex Feather Nov 14 2012, 08:37 AM
QUOTE (teodorom @ Nov 13 2012, 07:14 PM)
I tried, I tried, I tried, to improvise over your track.
But the results were still disappointing.
I was unable to see how the half-whole or the whole-half diminished scales could fit the backing track.
I don't know: yes I can try to improvise, but it this is my only task I guess I would stay there indefinitely.
On the contrary, playing tracks like the one I have just played, give me the feeling that my fingers are better moving on the fretboard.
Before I can try to improvise (seriously) I guess I should improve and learn so many things ...
Thanks
T.M.
But the results were still disappointing.
I was unable to see how the half-whole or the whole-half diminished scales could fit the backing track.
I don't know: yes I can try to improvise, but it this is my only task I guess I would stay there indefinitely.
On the contrary, playing tracks like the one I have just played, give me the feeling that my fingers are better moving on the fretboard.
Before I can try to improvise (seriously) I guess I should improve and learn so many things ...
Thanks
T.M.
What do you mean how it fits? I think I explained why and how it works? I can try again and do it in more details?
You also need to get use to a sound! When I started playing diminished scales it sounded off but after a while I got use to it!
If you would like we can start slowly improvising and I will be adding new things as we will go along!
Let me know!
Posted by: teodorom Nov 14 2012, 10:37 AM
Perhaps my problem is the lack of self-confidence, or exaggerate self-criticism, reality is that I don't like what I play (improvise).
In fact, when I was teenager, my friends in our band were used to tell me that I improvised better when being a little drunk ...
I know I have many other problems:
[1] I read to slowly (both the notes and the rhythm)
[2] I play too slowly
[3] The amount of chords I know is too limited
[4] My knowledge of the jazz theory stops before the modes
QUOTE (Alex Feather @ Nov 14 2012, 07:37 AM)
If you would like we can start slowly improvising and I will be adding new things as we will go along!
Yes please !
Thanks
T.M.
Posted by: Alex Feather Nov 15 2012, 06:57 PM
QUOTE (teodorom @ Nov 14 2012, 09:37 AM)
Perhaps my problem is the lack of self-confidence, or exaggerate self-criticism, reality is that I don't like what I play (improvise).
In fact, when I was teenager, my friends in our band were used to tell me that I improvised better when being a little drunk ...
I know I have many other problems:
[1] I read to slowly (both the notes and the rhythm)
[2] I play too slowly
[3] The amount of chords I know is too limited
[4] My knowledge of the jazz theory stops before the modes
Yes please !
Thanks
T.M.
In fact, when I was teenager, my friends in our band were used to tell me that I improvised better when being a little drunk ...
I know I have many other problems:
[1] I read to slowly (both the notes and the rhythm)
[2] I play too slowly
[3] The amount of chords I know is too limited
[4] My knowledge of the jazz theory stops before the modes
Yes please !
Thanks
T.M.
Ok so give me a few hours to prepare a new assignment! We will start very slowly and I will explain what to play step by step over each chord I will also make positions easy to use and understand!
Posted by: teodorom Nov 15 2012, 08:32 PM
QUOTE (Alex Feather @ Nov 15 2012, 05:57 PM)
Ok so give me a few hours to prepare a new assignment! We will start very slowly and I will explain what to play step by step over each chord I will also make positions easy to use and understand!
My problem is that since I don't know what to do I don't practice ...
Posted by: teodorom Nov 16 2012, 07:58 AM
QUOTE (teodorom @ Nov 15 2012, 07:32 PM)
My problem is that since I don't know what to do I don't practice ...
Please don't feel asked to always provide some original material from your own.
What I'm asking is a consistent path along the (good) material contained in the GMC site, path allowing me to improve what are my weak points, together with some feedback.
Improvisation is ONE on these weak points, but I'm convinced that it would come once my overall knowledge of the instrument (and of the theory) has been largely improved.
I'm a patient guy, so that don't worry if you propose me Level 3 or Level 4 exercises. What I need, on the contrary, is the feeling that I'm clearly pointing somewhere.
Thanks
T.M.
Posted by: Alex Feather Nov 16 2012, 06:39 PM
QUOTE (teodorom @ Nov 16 2012, 06:58 AM)
Please don't feel asked to always provide some original material from your own.
What I'm asking is a consistent path along the (good) material contained in the GMC site, path allowing me to improve what are my weak points, together with some feedback.
Improvisation is ONE on these weak points, but I'm convinced that it would come once my overall knowledge of the instrument (and of the theory) has been largely improved.
I'm a patient guy, so that don't worry if you propose me Level 3 or Level 4 exercises. What I need, on the contrary, is the feeling that I'm clearly pointing somewhere.
Thanks
T.M.
What I'm asking is a consistent path along the (good) material contained in the GMC site, path allowing me to improve what are my weak points, together with some feedback.
Improvisation is ONE on these weak points, but I'm convinced that it would come once my overall knowledge of the instrument (and of the theory) has been largely improved.
I'm a patient guy, so that don't worry if you propose me Level 3 or Level 4 exercises. What I need, on the contrary, is the feeling that I'm clearly pointing somewhere.
Thanks
T.M.
Well the best way to get results is to be consistent I would suggest we will continue working on the same backing track just start with simpler scales at first and keep adding new once as we will move forward
So here is what I want you to do
|C6| Am9| Dm9| G11| C| over this part I would like you to play C major scale
| Am7| Bm7| D7| G6| G6| over this part I would like you to switch to G major scale
| F#m7| B9|E| G7#5| over this part I would like you to play F# Dorian
If you would like I can't post positions as well
Please record improvisation using scales I provided
This way I will be able to help you more we will continue adding new scales and positions as we will move along also in a few day I will be adding my takes to give you ideas
Let me know if you have any questions or need help with anything
Posted by: Alex Feather Nov 18 2012, 06:23 PM
Just wanted to follow up and see how are you doing?
In a few days I will record a solo to give you ideas!
Let me know if you have any questions or need help with anything!
Posted by: teodorom Nov 19 2012, 12:22 AM
QUOTE (Alex Feather @ Nov 18 2012, 05:23 PM)
Just wanted to follow up and see how are you doing?
In a few days I will record a solo to give you ideas!
Let me know if you have any questions or need help with anything!
In a few days I will record a solo to give you ideas!
Let me know if you have any questions or need help with anything!
As I said, when I listen what I have recorded (improvising) I hear a monkey playing random notes on the keyboard.
Thanks
T.M.
Posted by: Alex Feather Nov 20 2012, 02:20 AM
QUOTE (teodorom @ Nov 18 2012, 11:22 PM)
As I said, when I listen what I have recorded (improvising) I hear a monkey playing random notes on the keyboard.
Thanks
T.M.
Thanks
T.M.
I think you are to critical to yourself! I need to hear you play in order to suggest areas you can improve! I am sure it doesn't sound like a monkey playing piano!
The thing is everyone feel this way when I am improvising I feel that I am playing wrong stuff sometimes and there is nothing wrong with that! If you can hear your mistakes you improving!
I really would like to hear at least 12 bars of your improvisation! Also don't forget that there is no right and wrong in music everything sounds good as long as you believe in it!
Posted by: teodorom Nov 23 2012, 09:39 PM
QUOTE (Alex Feather @ Nov 20 2012, 01:20 AM)
I think you are to critical to yourself! I need to hear you play in order to suggest areas you can improve! I am sure it doesn't sound like a monkey playing piano!
The thing is everyone feel this way when I am improvising I feel that I am playing wrong stuff sometimes and there is nothing wrong with that! If you can hear your mistakes you improving!
I really would like to hear at least 12 bars of your improvisation! Also don't forget that there is no right and wrong in music everything sounds good as long as you believe in it!
The thing is everyone feel this way when I am improvising I feel that I am playing wrong stuff sometimes and there is nothing wrong with that! If you can hear your mistakes you improving!
I really would like to hear at least 12 bars of your improvisation! Also don't forget that there is no right and wrong in music everything sounds good as long as you believe in it!
I see you point, but please, try to understand me.
I have no idea on how can I play the chords you told me. I attach what I have understood. The first 4 bars are ok, then the situation becomes more and more confused (at least for me).
Can I have the correct version please ?
How can I improvise if the chord sequence is unclear to me ?
Thanks
T.M.
Posted by: Alex Feather Nov 23 2012, 11:23 PM
QUOTE (teodorom @ Nov 23 2012, 08:39 PM)
I see you point, but please, try to understand me.
I have no idea on how can I play the chords you told me. I attach what I have understood. The first 4 bars are ok, then the situation becomes more and more confused (at least for me).
Can I have the correct version please ?
How can I improvise if the chord sequence is unclear to me ?
Thanks
T.M.
I have no idea on how can I play the chords you told me. I attach what I have understood. The first 4 bars are ok, then the situation becomes more and more confused (at least for me).
Can I have the correct version please ?
How can I improvise if the chord sequence is unclear to me ?
Thanks
T.M.
I have an idea how about we will schedule an hour Skype session where I can answer all your questions and make sure you understood everything!
Let me know and we will work something out!
Posted by: teodorom Nov 25 2012, 02:00 PM
QUOTE (Alex Feather @ Nov 23 2012, 10:23 PM)
I have an idea how about we will schedule an hour Skype session where I can answer all your questions and make sure you understood everything!
Let me know and we will work something out!
Let me know and we will work something out!
As I said I prepared some "improvisation" over the Jerry Arcidiacono lesson http://www.guitarmasterclass.net/rhythm-guitar/jazz-notes4-swing-rhythm-lesson/.
I said "improvisation" because, even if the Backing Track comes from the Jerry lesson, and the Solo comes from GuitarPro.
It's not me playing at all !
Next: I have to learn it.
I tried to be less repetitive (and boring) as possible. You can judge ...
It took me two hours. My gap is among two hours and real time.
Enjoy !
Thanks
T.M.
Posted by: Alex Feather Nov 27 2012, 08:44 AM
QUOTE (teodorom @ Nov 25 2012, 01:00 PM)
As I said I prepared some "improvisation" over the Jerry Arcidiacono lesson http://www.guitarmasterclass.net/rhythm-guitar/jazz-notes4-swing-rhythm-lesson/.
I said "improvisation" because, even if the Backing Track comes from the Jerry lesson, and the Solo comes from GuitarPro.
It's not me playing at all !
Next: I have to learn it.
I tried to be less repetitive (and boring) as possible. You can judge ...
It took me two hours. My gap is among two hours and real time.
Enjoy !
Thanks
T.M.
I said "improvisation" because, even if the Backing Track comes from the Jerry lesson, and the Solo comes from GuitarPro.
It's not me playing at all !
Next: I have to learn it.
I tried to be less repetitive (and boring) as possible. You can judge ...
It took me two hours. My gap is among two hours and real time.
Enjoy !
Thanks
T.M.
This solo sounds very good and I like what you did with it! Very melodic and nice! Not boring at all!
I think I figured out your system
You like to compose solo first and than learn it but it is not improvisation it is more composition It is a very interesting approach and I think it will help you because you are creating phrases and learning them! Would you like me to create some licks for you to learn so you can start using them in your improvisation as well?
Posted by: teodorom Nov 27 2012, 08:53 AM
QUOTE (Alex Feather @ Nov 27 2012, 07:44 AM)
This solo sounds very good and I like what you did with it! Very melodic and nice! Not boring at all!
I think I figured out your system You like to compose solo first and than learn it but it is not improvisation it is more composition It is a very interesting approach and I think it will help you because you are creating phrases and learning them!
Would you like me to create some licks for you to learn so you can start using them in your improvisation as well?
I think I figured out your system
You like to compose solo first and than learn it but it is not improvisation it is more composition It is a very interesting approach and I think it will help you because you are creating phrases and learning them! Would you like me to create some licks for you to learn so you can start using them in your improvisation as well?
I slightly disagree: "improvisation" is "real-time composition", otherwise is random notes, or monkey-like playing.
When I see people explaining what they do during this "real-time composition" I realize how far I am: they have a "real-time" knowledge of scales, of arpeggios, of melodic structures that I don't possess.
Knowledge of licks helps, but doesn't fill the gap.
They are certainly useful, so, "yes, please".
Thanks
T.M.
Posted by: Alex Feather Nov 28 2012, 07:22 PM
QUOTE (teodorom @ Nov 27 2012, 07:53 AM)
I slightly disagree: "improvisation" is "real-time composition", otherwise is random notes, or monkey-like playing.
When I see people explaining what they do during this "real-time composition" I realize how far I am: they have a "real-time" knowledge of scales, of arpeggios, of melodic structures that I don't possess.
Knowledge of licks helps, but doesn't fill the gap.
They are certainly useful, so, "yes, please".
Thanks
T.M.
When I see people explaining what they do during this "real-time composition" I realize how far I am: they have a "real-time" knowledge of scales, of arpeggios, of melodic structures that I don't possess.
Knowledge of licks helps, but doesn't fill the gap.
They are certainly useful, so, "yes, please".
Thanks
T.M.
Wow you really put it from a very interesting angle! And I agree it is a real time composition!
I have also noticed that what helps is to listen a lot of different music and get influences! Because your ear and your mind picking it up and eventually it will translate on the fretboard!
I will post licks in a little bit!
Posted by: Alex Feather Dec 3 2012, 07:40 PM
QUOTE (Alex Feather @ Nov 28 2012, 06:22 PM)
Wow you really put it from a very interesting angle! And I agree it is a real time composition!
I have also noticed that what helps is to listen a lot of different music and get influences! Because your ear and your mind picking it up and eventually it will translate on the fretboard!
I will post licks in a little bit!
I have also noticed that what helps is to listen a lot of different music and get influences! Because your ear and your mind picking it up and eventually it will translate on the fretboard!
I will post licks in a little bit!
Hi I have created some cool licks for you
I chose different famous guitar players
Those are II - V - I licks
here is the tab
Pista 1
Pat Martno
E E E E E E E E E E E E E E E E
E||----------------------------------|--------------------------|
B||----------------------------------|-----------------------5--|
G||----------------------------------|-----------4--7--4--5-----|
D||----------------------------5-----|--4--5--7-----------------|
A||-------------------5--6--7-----7--|--------------------------|
E||--5----------7--8-----------------|--------------------------|
E E E E E E E E E E E E E E E E E E E E H
-----7--6-----5-----------|--------------------------|-----------------------|
--8--------8-----8--7--5--|-----------5--------------|-----------------------|
--------------------------|--7--4--5-----4--5--4-----|-----------------------|
--------------------------|-----------------------7--|--5--------------------|
--------------------------|--------------------------|-----7--5--7-----------|
--------------------------|--------------------------|-----------------------|
W W
-------------------|-------------------|
-------------------|-------------------|
-------------------|-------------------|
-------------------|-------------------|
-------------------|-------------------|
-------------------|-------------------|
(V) Wes Montgomery (V)
Q E E E E E E E E E E E E E E
---------------------------3------------|-----------------------------|
------------------------5-----6--5p--3--|-----------------------------|
----------------------------------------|--5---4p--3--------2---------|
----------------------------------------|----------------3-----5--3h--|
----------------------------------------|-------------5---------------|
----------------------------------------|-----------------------------|
(I) (V) (I)
H H E E E E E E E E W
--------------------|-------------------3--3-----|-------------------|
--------------------|-------------3--6--------6--|--5----------------|
--------------------|--5---3h--4-----------------|-------------------|
--2-----------------|----------------------------|-------------------|
--------------------|----------------------------|-------------------|
--------------------|----------------------------|-------------------|
Mike Stern
Cm7 F7
W W H Q E E
-------------------|-------------------|------------------------|
-------------------|-------------------|------------------------|
-------------------|-------------------|---------------------8--|
-------------------|-------------------|------------------------|
-------------------|-------------------|------------------------|
-------------------|-------------------|------------------------|
Bb6 Bb7 Eb6 Ebm6
Q E E E E E E Q E S S E E E E
---------------------------|-----------------------------|
---------------------------|-----------------------------|
--L----7--5----------------|-----------------------------|
-------------8---7p--6--8--|--5----L--6-4-3-------6------|
---------------------------|-------------------6-----6h--|
---------------------------|-----------------------------|
Dm7
E E Q H W W
-----------------------|-------------------|-------------------|
-----------------------|-------------------|-------------------|
-----------------------|-------------------|-------------------|
------3--L-------------|-------------------|-------------------|
--5--------------------|-------------------|-------------------|
-----------------------|-------------------|-------------------|
Bbm7 Charlie Parker Eb7
|--3--|
E E E E E E E E E E E E E E E E E
-------------------------------------------|------------------------------|
-------------------------------------------|------------------------------|
--8-------------------6--------5-----------|---------6-----5--7--5--4-----|
----------------------------6-----8-----6--|--5---8-----8--------------6--|
-------------------------8-----------8-----|------------------------------|
-------------------------------------------|------------------------------|
Abmaj7
H H W W
--------------------|-------------------|-------------------|
--------------------|-------------------|-------------------|
--------------------|-------------------|-------------------|
--5-----------------|-------------------|-------------------|
--------------------|-------------------|-------------------|
--------------------|-------------------|-------------------|
G7 Dominant Licks
E E E E E E E E E E E E H
------------------------------------------|-----------------------|
--3-----------------5--6--5--3------------|-----------------------|
--------------------------------5--2--3S--|--4-----2--------------|
------------------------------------------|-----5-----5-----------|
------------------------------------------|-----------------------|
------------------------------------------|-----------------------|
E E E E E E E E E E E E H
--------------------------------|-------------------------|
--------------------------------|-------------------------|
------9--10--9------------------|-------------------------|
--12------------12--10p--9------|--9------9---------------|
----------------------------12--|-----12-----10-----------|
--------------------------------|-------------------------|
E E E E E E E E E E E E H
---------------------------------|--------------------------|
---------------------------------|--------------------------|
---------------------12----------|-------------12-----------|
-----12p--10------9------7--12h--|--10------9---------------|
--------------12-----------------|------12------------------|
---------------------------------|--------------------------|
E E E E E E E E E E E E E E Q
--15--14--13--12--------------12--|--------------------------------|
------------------15------13------|--15--13--12--------------------|
----------------------14----------|--------------14--12--11--10----|
----------------------------------|--------------------------------|
----------------------------------|--------------------------------|
----------------------------------|--------------------------------|
|---3---| |---3---|
Q E E E Q E E E
--12----9----------12---------------|
-----------10------------9----------|
---------------10-----------10------|
--------------------------------10--|
------------------------------------|
------------------------------------|
|---3---| |---3---| |---3---| |---3---| ---
E E E E E E E E E E E E
--12p--9--12--9----------12p--9--12--9----------|-----||
-----------------10---------------------10------|-----||
---------------------10---------------------10--|-----||
------------------------------------------------|-----||
------------------------------------------------|-----||
------------------------------------------------|-----||
Here is a guitar pro file
II_V_I.gp3 ( 2.7K )
: 107Let me know what do you think
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