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> Teodorom Jazz And Theory Mentoring
Alex Feather
post Oct 24 2012, 01:34 AM
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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

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 smile.gif


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teodorom
post Oct 24 2012, 12:00 PM
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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 !
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Alex Feather
post Oct 27 2012, 04:48 PM
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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!


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teodorom
post Oct 27 2012, 10:00 PM
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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
Attached File(s)
Attached File  Charlestons.mp3 ( 7.35MB ) Number of downloads: 41
Attached File  Charlestons.pdf ( 585.94K ) Number of downloads: 214
 
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Alex Feather
post Oct 27 2012, 11:12 PM
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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

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!!


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teodorom
post Nov 1 2012, 05:09 PM
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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!!

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
Attached File(s)
Attached File  Charlestons.8.mp3 ( 517.26K ) Number of downloads: 34
Attached File  Charlestons.7.mp3 ( 566.16K ) Number of downloads: 35
Attached File  Charlestons.6.mp3 ( 530.43K ) Number of downloads: 37
Attached File  Charlestons.5.mp3 ( 513.31K ) Number of downloads: 32
Attached File  Charlestons.4.mp3 ( 520.64K ) Number of downloads: 36
Attached File  Charlestons.3.mp3 ( 503.01K ) Number of downloads: 34
Attached File  Charlestons.2.mp3 ( 533.08K ) Number of downloads: 34
Attached File  Charlestons.1.mp3 ( 501.34K ) Number of downloads: 33
 
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Alex Feather
post Nov 2 2012, 07:25 AM
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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

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
https://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!


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teodorom
post Nov 2 2012, 08:42 PM
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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
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teodorom
post Nov 4 2012, 09:14 PM
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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.

This post has been edited by teodorom: Nov 4 2012, 09:14 PM
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Alex Feather
post Nov 5 2012, 07:45 AM
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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.

You are correct about the keys good job!
G6 and G7#5 is a part of E harmonic minor
do you know this scale?


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teodorom
post Nov 5 2012, 10:44 AM
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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?

Yes, G7#5 is part of E harmonic minor (the full harmonization is: Em7M, F#m7(b5), G MAJ 7(#5), Am7, B7, C MAJ 7, D# DIM 7, as a reference of that I have the book of Susanna Gramaglia), but G6 ? Since G6=Em7/G=G ADD 13 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-Am ADD 9|Dm ADD 9-G ADD 11| 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

This post has been edited by teodorom: Nov 5 2012, 11:06 AM
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Alex Feather
post Nov 5 2012, 06:17 PM
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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), G MAJ 7(#5), Am7, B7, C MAJ 7, D# DIM 7, as a reference of that I have the book of Susanna Gramaglia), but G6 ? Since G6=Em7/G=G ADD 13 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-Am ADD 9|Dm ADD 9-G ADD 11| 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!


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teodorom
post Nov 6 2012, 09:58 PM
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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

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
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Alex Feather
post Nov 7 2012, 07:10 AM
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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


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! smile.gif
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!
Also I would like you to start by learning triads using Joe Pass technique
Have you heard about it?
Let me know!


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teodorom
post Nov 7 2012, 09:26 AM
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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

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! smile.gif
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!

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.
Attached File(s)
Attached File  A.mp3 ( 132.44K ) Number of downloads: 33
Attached File  B.mp3 ( 133.71K ) Number of downloads: 34
 
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teodorom
post Nov 7 2012, 11:25 AM
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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
G DIM 7=A# DIM 7=C# DIM 7=E DIM 7 (the red square)
G# DIM 7=B DIM 7=D DIM 7=F DIM 7 (the blue square)
The yellow square

makes the missing chords:
C DIM 7=D# DIM 7=F# DIM 7=A DIM 7
Let me try to play over it !
Thanks
Teodoro Marinucci

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teodorom
post Nov 7 2012, 10:13 PM
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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

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teodorom
post Nov 7 2012, 11:43 PM
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Let me guess.
You write C6, Am9, Dm9, G11, C.
Let me read the last three chords as Dm7, G7, C MAJ 7. This is a standard ii-V-I progression.
The secondary dominant of Dm7 (in the key of C) is A7.
So I would read C MAJ 7, A7, Dm7, G7, C MAJ 7 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.

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teodorom
post Nov 9 2012, 09:28 PM
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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.

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Alex Feather
post Nov 10 2012, 06:11 PM
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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.

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


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