开云体育

Hi everyone,
Before address Dan's post below, I'd like to introduce
myself as I've been lurking on this group for a while. My
name's Mike Woo and jazz is relatively new to me. I took
it up about 3 years ago and gig in a trio (guitar/piano/bass)
doing standards at weddings/parties/restaurants/bookstores...
whatever we can find. :-) I also study at the McGill Jazz
Conservatory in Montreal (you must come check out our world
reknowned jazz fest sometime) where I get to play in a 5-6 piece
combo setting and learn from the more experience teachers there.
Apart from the jazz thing, I've been playing guitar for more
years than I care to admit :-) and like some of you, come from
a blues/rock/r&b background, having gigged steadily since '85
in various cover bands. But now I can't get enough jazz (and
neither can my wife since my band rehearsals have gotten a lot
quieter :-D). Anyway I'm really looking forward to exchanging
ideas about jazz with all of you and learning from this great
little players community. Cheers from Canada.

On the topic of antecedent-consequent phrases, there's an
excellent book by Bert Ligon called "Connecting Chords With
Linear Harmony" which covers this exact territory. He basically
breaks down ii-V lines into three basic "outlines", explains
WHY they work harmonically and shows you how to embellish them
so you can come up with your own (the chapter on embellishment
is worth the price alone IMHO). He then gives loads of transcribed
examples as played by famous jazzers to illustrate how the masters
use/embellish these outlines. I've amassed quite a collection of
jazz educational materials over the years, but this one has
definitely been one of the most helpful (YMMV). In any case,
it's a great way to learn how to construct your own antecedent-consequent
phrases which really spell out the changes...a good place to start.
Highly recommended.

Mike
mike@...