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Re: New Member Introduction
Mark Stanley
Hi Thomas. I'm a nyc based guitarist as well.
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I have studied w/ Wayne Krantz, Bruce Arnold and am now starting to study again w/ my old teacher Paul Bollenbeck. Do you know him? He's really fantastic. He's playing at the Zinc bar w/ Jeff "Tain" Watts this coming week. I'll let you know when if interested. Mark --- Thomas Venturini <Thomas.Venturini@...> wrote: I have played and studied jazz guitar for 25years in |
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Re: Stella suggestions..
Mark Stanley
I think this "such and such chord = such and such
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scale" is OK for beginners to think about. I really think that you have to be aware that this is a means to an end. You have to know your instrument COLD-know your modes and scales and theory inside and out, but when a great improviser is playing, it is about sound, feeling and time (or the three T's- tone, time and taste). If you always play the same scale tones over the same chord it really sounds like painting by numbers. I dont think any great improviser like Freddie Hubbard or Metheny for example, are thinking about any scale. I hear Eric Dolphy rip thru 5 modes and keys in a single line. I just think you have to be careful about how you approach imrovising. I really screwed up my playing by practicing licks and scales all the time. Guess what I played when I improvised.... I am glad that I got the language down, because that's really important too, but you have to work on just hearing and finding the sound you are going for over the changes. That's how I see it anyway. Mark --- Eddie Low <eddie@...> wrote: Hello, |
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Re: Mick Goodrick's Advancing Guitarist
Mark Stanley
That Goodrich excercise really helped my
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musicality. I think any limitations like that really force you to discover new things. --- Steve chili Grebanier <chili@...> wrote: Hi, |
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Re: Stella suggestions..
Eddie
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Here are some thoughts on Stella. The first thing I do when approaching a new tune is listen to recorded versions of the tune and if possible refer to the original sheet music changes. The reason I do this is so I get a clearer idea of what the composer intended for the tune and harmony. Stella is on of the tunes in the real book which has someone else's reharmonisations of the original changes. Nothing wrong with that, but the original changes give a much clearer picture of the composers intent and hence what scale/arpeggio approaches may be best. A quick look over your suggested approach looks fine. A Few Thoughts.. The first thing that most people think when they look at Stella is that the changes seem strange. First 16 Bars (Based on the Real Book chart) Emi7b5 | A7b9 | Cmi7 |F7 Fmi7 | Bb7 | Ebmaj7 |Ab7 Bb Maj7 | Emin7b5 A7b9 | Dmin7 |Bbmin7 Eb7 F Maj7 | Emin7b5 A7 | Amin7b5 | D7b9 Questions Why does Em7b5|A7b9 not go to Dm7 or even Dmaj7 ? Why does the Ab7 (4th bar) not go to Dbmaj7 or Dbmin7 ? Answers The original sheet music (and players who didn't grow up with the real book!) play for the first two bars Bbdim7. Now Bbdim7 = Edim7 = Dbdim7 = Gdim7. Or you can think of them as Edim7/Bb, Dbdim7/Bb, Gdim7/Bb. I think I recall one of the Aebersold volumes uses these changes. Probably somewhere along the line someone was playing Edim7/Bb and noticed that they could change one note and end up with Em7b5. Cool they thought! So if that works what about about making the second bar A7 just to add some harmonic movement. The point of all this is that the first Em7b5 A7b9 still function as a Bbdim7 Chord. The Bbdim7 chord can either be thought of as Idim7 or with reference to the following chord Cm7 (iim7) as Dbdim7/Bb the iiibdim7 going to the iim7. So what's this Ab7 ? Well it's an Ebm6/Ab (the old plagal cadence) Giving us IVMaj7, ivmin7 to IMaj7. Which means that Eb Melodic Minor is probably the best choice. Turning to the rest of the chart my preference for short (1 bar) minor ii - V sequences is to use Harmonic Minor rather than Melodic. So for Em7b5 A7b9 in one bar I would tend to use D Harmonic Minor. For long (1 bar each) minor ii - V I would use the melodic scales as you have indicated. Alisdair MacRae Birch Jazz Guitarist --- In jazz_guitar@y..., Eddie Low <eddie@l...> wrote:
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Re: Wholetone and Diminished scales
i would like to hear more on this also. thx.
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-----Original Message-----
From: Deolindo Casimiro [mailto:dcasimiro@...] Sent: Tuesday, August 07, 2001 10:43 PM To: jazz_guitar@... Subject: Re: [jazz_guitar] Re: Wholetone and Diminished scales From: "Paul Erlich" <paul@...>Paul, could you please elaborate? |
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Re: Pat Martino's Star System
Ross Ingram
Re:Dan
delemia, if you reach the star you will see groups of fourAlways appeciate your entries.To add to everyones tones at all clock positions (12o'clock,1o'clock etc.).Look at the tones in each group as being either top,right,bottom or left.If you go around the master circle clockwise while at the same time changing the position circles at the same time you get some beautiful mathematics.(T-R-B-L)=aug. chord.(T-L-B-R) whole-scale.(T-B-T-B) circle of 5th's.Some players talk about looking at every chord as being some form of an dominant chord the master scale being the chromatic.I think the main thing intended in Pat Martino's star is the mathematical beauty.The triangle and the square also have the the same tones if you superimpose them on a chromatic cycle (like Pat did) or a conventional cycle of 5th's. ----- Original Message -----Ross From: dan@... Sent: Wednesday, August 08, 2001 5:04 PM To: jazz_guitar@... Subject: [jazz_guitar] Re: Pat Martino's Star System It's explained By Pat himself on his web site: under the 'Nature of the Guitar' link. Follow the links at the bottom of the pages, it's around page 3 or 4. -Dan --- In jazz_guitar@y..., Graham Cox <jazzguitar@o...> wrote: Hi Fellow Listers, |
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Re: Stella suggestions..
Graham Cox
Hi,
All your choices are good, to them you could add: Lydian and Lydian#5 for any Major Locrian for m7b5 Altered (or Super Locrian) or Diminished Blues (Half Tone/WholeTone) for 7b9 Altered for the G7+ (b9) [bar 17] TriTone Substitutes over Dom7 -> Tonic e.g. F#m7 B7 ->Bbmaj7 Try that technique in all sorts of situations to get that Michael Brecker. John Scofield-ish contemporary outside sound. Use arpeggios as a major part of the tool box as opposed to purely thinking scales. I don't feel your analysis is very "student-like" but right on the money - the difficulty is to come up with interesting, melodic and musical ideas I hope this is useful, any other suggestions? Cheers, Graham Cox |
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Re: Mick Goodrick's Advancing Guitarist
Patricio Murphy
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I'm looking for opinions on Mick Goodrick's concept (from[...] A while back I saw a video of Yehudi Menuhin practising the violin, and, you guessed it, he was playing scales going up and down each string, sometimes with just one finger. I think the guitar's tuning "helps" a lot to get stucked in position playing. I'm playing mandolin too right now and the fifths tuning makes yuo move a lot more. I think viewing the guitar in "horizontal" is of utmost importance, and, as Mr.Goodrick mentiones in his book, most of the best guitar players in the world do it, so there must be something to it! The Advancing Guitarist is a hell of a book, in that he just throws tons of concepts and you're entirely responsable for what you do with them. No licks, no shorcuts, but a lifetime of work ahead. I like it. :-) Patricio Murphy NAN - Buenos Aires, Argentina |
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Re: Pickup
Ross Ingram
Re:to Tom >>>What about a seymore duncan Seth Lover(I assume
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you're looking for a regular humbucker). I have two I put into a Samick L-5 copy(they're advertised as being able to warm up the coldest axe) >> Ross ----- Original Message -----
From: Thomas Venturini Sent: Wednesday, August 08, 2001 5:17 PM To: jazz_guitar@... Subject: [jazz_guitar] Pickup I have just gotten a Tom Anderson mahogany Hollow-T. Can anyone suggest a neck pickup replacement for the Anderson that would approximate an archtop more closely. I have played a '61 Dot 335 all my life and want the Anderson to function as a jazz ax as well as all the other things it can do. |
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Re: Stella suggestions..
its cool that u have started looking at some jazz charts. Have u learned
many other standards yet? Stella is a pretty advanced song. My suggestion for playin over would be to learn the scales as if they were thier own. Like ... instead of saying melodic min up a min 3rd, learn the scale and the right name. this will give u a clearer understanding of what ur doing! I dont think u can use dorian all the way through on the min 7 because it changes keys. good luck |
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Re: Edinburgh, UK: Strings, Teacher
Skantzos
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There are quite a few good players and teachers to choose from in the Edinburgh, UK area. Try an old friend of mine Ged Brockie You can mail him here - you will have to delete the spaces in the address. g.brockie @ blueyonder . co . uk Also check out: Alisdair MacRae Birch Jazz Guitarist --- In jazz_guitar@y..., skantzos1@y... wrote:
Does anybody know of any guitar teacher in Edinburgh, UK? |
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New Member Introduction
Thomas Venturini
I have played and studied jazz guitar for 25years in the NYC area. I
spent 12 years as a full time player and now would like to swap thoughts and ideas with other players. I studied with Chuck Wayne and briefly with Joe Pass on the West Coast some years back. My main instrument is a '61 ES335 dot but have recently bought an Anderson Hollow-T. Please feel free to correspond. |
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Stella suggestions..
Eddie Low
Hello,
I have been lurking for a bit now and got rather excited:-P when I saw a query about "Stella.." obviously this is a great tune. I am trying to work thru it in a musical way. I've played blues/rock guitar for many years and now I am trying to pay more attn to the changes going by. Granted, I am early in my jazz guitar development but since I havent seen any comments yet or perhaps it is an old topic(but not seen in the archives that I could find...), I thought I would kick it off with a few comments.. I hope the many knowledgeable players out there will help me in tackling this tune.. I have derived some scale choices based on a few principles I have learned and appreciate your comments and suggestions. (Based on the Real Book chart) Emi7b5 | A7b9 | Cmi7 |F7 G Melodic min E Mel minor C dorian C mel minor Fmi7 | Bb7 | Ebmaj7 |Ab7 F dorian B mel minor Eb major Eb mel minor Bb Maj7 | Emin7b5 A7b9 | Dmin7 |Bbmin7 Eb7 Bb Maj G mel min D dorian Bb mel minor F Maj7 | Emin7b5 A7 | Amin7b5 | D7b9 F Major G mel min C mel min Eb mel minor G7+ | G7+ | Cmin7 | Cmin7 Eb mel min C dorian Ab7 | Ab7 | BbMaj7 | BbMaj7 Eb mel min Bb maj Emin7b5 | A7b9 | Dm7b5 | G7b9 G mel min Bb mel min F mel min Ab mel min Cm7b5 | F7b9 | BbMaj7 |BbMaj7 Eb mel min Gb mel min BbMaj Summary: You will notice that I am suggesting dorian for all the min 7 chords.. I havent checked this out yet against the melody notes but it seems to make sense. For the min7b5 chords I am suggesting the melodic minor up a minor third. In general for the Dom7 chords I am suggesting Melodic minor up a fifth if it doesnt resolve to a I, and Melodic minor up a half step if it resolves..(general suggestion from the Emily Remler vids) I recognze that my analysis is very "student-like" but nevertheless with these choices and focusing on the 3rd or 7th of the changes I am able to play something that is way more musical than trying to jam pentatonic blues riffs into a tune like this..:-) I hope this is helpful in getting this thread going and thanks again for you comments.. Eddie |
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Pickup
Thomas Venturini
I have just gotten a Tom Anderson mahogany Hollow-T. Can anyone
suggest a neck pickup replacement for the Anderson that would approximate an archtop more closely. I have played a '61 Dot 335 all my life and want the Anderson to function as a jazz ax as well as all the other things it can do. |
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Mick Goodrick's Advancing Guitarist
Steve chili Grebanier
Hi,
I've been lurking on the jazz guitar group for some time now and genuinely enjoy many of the topics. I'm looking for opinions on Mick Goodrick's concept (from his book "The Advancing Guitarist") of starting students off by playing on a single string with one finger. As someone who has been playing for some time now, I find it a great exercise. Playing on one string truly allows one to see (and hear) the scale intervals in a linear fashion; thus breaking down the usual mystique that comes with learning scales (and chords) on the guitar; and as you move on to the other strings you start natarually seeing and hearing how the different strings relate to each other. From this, shapes and patterns begin to appear that aren't based in "boxed in" finger patterns. Opinions? Chili |
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Re: Lenny Breau Links / CDs
Don't know about "Lenny Breau Now"
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but here are links that may help; -scott --- In jazz_guitar@y..., "Ross Ingram" <beadgcf7@m...> wrote:
I agree, I like Lenny too. Does anyone know where to find "Lenny |
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Re: DeArmand (Guild) x115
John Sorell
I recently got one from Sam Ash for $299. I understand they are out. I
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also understand Musicians Supply has some for $299. A terrific value in my NSHO. John Sorell Boulder, Colorado eddie_helton@... wrote:
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