开云体育

Several guys contacted me about the link to the Bebop scales. I had
a hard time finding my way back there too! Try:



By the way, transpose the scale up a half-step to F and play the
runs over a 12-bar blues in F or a vamp in Cm.

Maintain

Marshall


--- In jazz_guitar@..., "Wm. Marshall Faircloth"
<mfcpa1@a...> wrote:

Today's lesson showed me kind of where we're headed and especially

how

things build on the past lessons.

We worked on 2 single note runs played over a blues progression or

vamp

in F. One of these, we had run over briefly a couple weeks ago.

The

other was based on the Bebop scale*. These are introduced to give

my

improvisation a little more flavor. These is the same approach

the

teacher teaches in a college improv course to all jazz students
whatever the instrument.

Next, I have to work on the Eighth-note study and the Arp study on

p.

61 in Leavitt I. I am to use alternate picking only.

Last, new song, 'Nardis' by Miles Davis, Real Book, 6th ed. p.

296.

It's in G, so I have to go to Leavitt p. 80 for the position.

Teacher

says it may have been written by Bill Evans who was in Miles'

group at

the time. I am to research it.

*For guys that are following along: Go to

www.freeguitarvideos.com and

check out Track 11 - Lesson 2 - Bebop Licks, for an example of the
Bebop scale (in E or Bm) and a few licks similar to what I did

today.

Again feel free to contact me directly for any comments, questions

or

other communication.

Maintain

Marshall

My favorite version of this song is the 1959 Downbeat Magazine
jazz album of the year version by Johnnie Smith and Stan Getz. Johnnie's
trademark sound is the use of what I believe are called chromatic chords. They
are typically stretch chords that can be quite challenging to the tendons when
initially used. eg. I dont really know how to notate like this but here is
an attempt key E flat----first two bars

E flat 6th E flat 6/9 Eflat maj 9 Eflat 6/9 Fmi9 B flat 13 alt
--8-- --6-- --------- ------- ---3---
---3---
--11-- --8-- ---8---- --6-- ---4---
---3---
--12-- --8-- ---8--- ---7--- ---5---
---4---
--13-- --10-- --10-- ---8--- ---6---
----6----
------ ------ --13-- --10-- -------
----x---
----- ----- ------ ------ --------
---6---

I thought this was kind of fun when I first noticed it
Hope it helps
John Earl
Jazzism50@...

--- Theslammer@... wrote:

I'm not
quite sure how larger archtops will react to light
guage strings

....

Greetings,

I have D'addario Flatwound 12s on my D'Angelico Excel
and they sound fine ... I'm building up to 13s at
which time before I string them on my guitra shop
tech. said to see him first sohe can do any necessary
adjustments before putting on the added stress ...

...I like the 12s though ... they do not sund light,
most likely due to the box's well design and craftsmanship...

John Amato
Music blows the dust off your soul...
Isa.55:11




______________________________________________________
Yahoo! for Good
Donate to the Hurricane Katrina relief effort.

Sarcasm.........

--- dangelico603 <jpcombs@...> wrote:

Hey John,

Some classical guitarists can and do improvise.

Jason,

Granted that many classical players improvise -- but
do they "swing"? You can teach the rudiments of
improv. in any teacher/student relationship ... but
try and teach a student to "swing" -- have yoy tried
that with your students (I'm assumping that you teach
jazz guitar ... if not, thiink of your teacher trying
to teach you to swing).

Classically trained musicians are taught straight
1/8s, straight 1/16s -- it rudimentary -- and jazz
guitarists must also cut their teeth on straight 1/8s
otherwise there is no range in their scope of dynamics
...

Yes, theoretically, they say to "swing" a couplet all
you have to do is play a triplet and leave the middle
1/8 note out. Is that "swing" -- I once heard a
classical player trying to swing using that exact
method andhe sounded like just like the exercise that
he must have spent 100s of h ours with -- there was no
syncopation to his swing (I wouldn't call it swing) ..
it was more like morese code on a telegraph wire...

...Now, the value of straight 1/8s is invaluable to
all players, including jazz guitarists. When I pick up
Chet Atkin's chart for "Mr. Sandman" (check his
version out), he plays marvelous strings of continuous
1/8 notes that are genuinely gorgeous in feel and
execution. When I play that chart I have to be
especially careful not to "swing" because it would
ruin the whole effect of that song.

Metheny recorded a number of his early tunes in
straight 1/8s, and they are marvelous. As musicians we
have to master the straight and swing interpretation
-- however, "swing" is more than an interpretation,
it's a "feel" that comes from an attitude about the
bar, the measure, "four to the bar," etc., etc...an
attitude about the very music that moves ...

So, it remains, "to swing, or not to swing," 'that is
the question, whether 'tis nobler in the heart to
swing the 1/8 or delete the middle triplet ...'





John Amato
Music blows the dust off your soul...
Isa.55:11

__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around

Hi All

Just finished reading Adrian Ingham's biog of Wes. I own very little
of Wes's stuff and wondered which recordings I should get first. So
far, I have Bumpin' (love Tear It Down on that one), the Verve Masters
compilation and a recent repackaged issue of his early stuff with
Hamp's band. I have ordered The Incredible Jazz Guitar from Amazon,
but what else should I get to ensure I've heard the best of his stuff?

Cheers

Max

I have a question: can an archtop guitar meant for jazz playing,

instead of being fitted with med-heavy jazz guages, be fitted with
lighter guages that would allow playing other styles (fusion, blues,
etc.) with reasonable success? <
It will probably lose some of its acoustic properties and have intonation problems if you use an unwound third. Easily fixed with an adjustable (i.e. tune-a-matic type) bridge. Otherwise it might need a trip to a luthier for a complete setup, probably $100 or so unless it needs a new bridge, then it would be more. Electrically should sound okay, but may have to play with the pole for the third string for balance, may not.
Brad

I don't know about the presidential guitar folks, and I PROMISE that I won't stoop to politics in this post, and soil the pristine intent of our forum.
However, I'm working on an idea for the presidential toilet seat. It has an autographed portrait of George Bush on the underside of the lid, and a caption that says "flush every 30 days.

Dave Woods www.musictolight.org

I hae a Guild F-50 blond that I think is very good for jazz comping, It is as big as many archtops, but flattop, round hole, with a maple back and sides (arched back). Not cutaway, however, but probably not a problem for comping.
Brad

In a message dated 9/27/2005 1:28:05 AM Eastern Daylight Time,
JVegaTrio@... writes:

Nah most likely he was in an alternate tuning.







...or more likely an alternate reality.

Hi Gang,

I love playing jazz on acoustic instruments. I currently play an old Gibson L-4C which is a dream. For the flattop thing I use a Santa Cruz OM with a short scale (24 3/4) that has a spruce top and mahogany sides and back and a Taylor XXX KE (engleman top and Koa sides and back) also with a "short scale" 24.9. I agree with the previous advice about using an OM or 000 model. They seem to be suited for jazz and are very responsive and generally nuanced.

Every player has their favorites of course. And playing a nice steel string is just a gas.

DR

Hi YJGG,

Circa half a year ago I saw Wes's Belgium tape and I
switched to pick only with my thumb, thinking that if I ever
reach his speed that would be enough. Now its starting to
give me some results, it sounds really good, and gives me an
even more "intimate" connection with my guitar. Actually I
was always doin some sort of fingerpicking as some kind of a
fun, but when I practiced 'seriously' I always practiced
with a pick. That video really encouraged me to do it. There
are problems though, and that is fast rhythms, Im not able
to play a really good feel, hopefully not yet. I dont think
everybody should play that, but it worth to give a try, if
you practice daily anyway, the sound is really good. I just
cant wait to be able to play faster, but it might take
another 6 months, or most probably more.

How many of you play like that, esp for a longer time? What
are your experiences?

Bye
Szilágyi Péter


[Non-text portions of this message have been removed]

Date: Mon, 26 Sep 2005 12:10:14 -0700 (PDT)
From: John Amato <jamato316@...>
Subject: Re: Re: Jazz Guitar and the Internet
...having said that, not as an excuse, but as a
reality .. learning jazz on the guitar is the
highest
form of the instrument (and to me the hardest
form of
guitar) because of onemain thing: IMPROVISATION
...

I'm not sure I agree with you on that...I mean, a
classical guitarist has to dedicate the same
amount of time and discipline a jazz guitarist
has to...they just focus it on other things. The
amount of focus they dedicate to execution and
tone production is not usually found amongst jazz
guitarists.

It's really just a matter of how far you wnat to
take it. Do you just want to be able to play
over a simple blues? Standards? Do you want to
be able to play over Donna Lee up to tempo?
Countdown at 400bpm? etc...

The point is that a lot of kids are intimidated
by jazz...they see guy playing strange chords and
go "oh that looks difficult, must be jazz..."
There's this whole mystery behind it, and time
and time again you see kids wantind to know every
possible substitution and chord scale to use for
a tune, and they can't even hum the melody!

There this general impression that you have to be
either a theoretical monster or a born genius in
order to play jazz, but the basics aren't really
that hard. From there it depends on how far you
want to take it and if you want to make it your
lifelong pursuit.

Ernesto


__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around

I've never had a chance to see a real gibson ES-150. Anyone know what
the fretboard radius of this guitar when Charlie Christian would have
played one? I guess they always describe pre-war 150's and post-war
150's. How much did they change?

Nah most likely he was in an alternate tuning.

It was a Carvin flat top with a Presidential seal sticker on it. Blonde (or natural) was the color. Judging form the picture he was playing an open position AbM7(b5, #9). C harmonic major all the way. Way to go Mister Pres!!! Who knew he was so "out".

Ken Wrote

My point was that oftentimes, beginners/novices will spend TOO MUCH

time on all that theory, scales, modes, arpeggios, inversions at the
expense of learning some tunes, transcribing solos and just trying
to create music!

Dave

You can force feed yourself all of this availabe information, and be nothing but a half assed , nebbish guitar player. This is because you've covered a lot of territory, but you don't have anything down well enough to actually make music with it.
Because you've only skimmed the surface of all this stuff that you THINK you know, it's going to take twice or three times as long to absorb it.

Ken

You can go very far with very little. ( yea! Ken)

The statement that Ken makes here is the true secret of how to evolve as a player, and I hope everybody on this forum listens!
Someone who has a limited scope of knowledge, but the depth of their realization enables them to bounce people off the walls, and land them on their feet dancing, KNOWS..... how well..... and how deep you have to know, in order to get that to happen.
Therefore, every new thing they learn gets absorbed to that same level of understanding. This is true practical evoloution. This....is the way to evolve.

As far as the internet and information is concerned, speaking as someone who started off 55 years ago, sitting on a horse trough playing the Okie Boogie to a cow, I'm glad it's here.

Dave Woods www.musictolight.org

HI YJJG,

I really like my epiphone dot deluxe; it's a gibson es-335 copy. I
own several archtop guitars, and so far I really enjoy the dot the
most. Maybe , it's the scale length; but it's a really nice action
and sound. Perhaps , one of the best non jazz jones out of archtop
guitars is steve howe of yes, and ironically, rocker ted nugent. Not
to mention the legendary 335 tone of larry carlton!

I put light jazz type strings on my dot ( .12 - .52 wound 3rd ).
They don't feel that heavy to me; however, you will probably desire
a non wound 3rd string if you like to bend the string. I'm not
quite sure how larger archtops will react to light guage strings.

good luck!

Donnie L.


--- In jazz_guitar@..., "rstl99" <rastlouis@r...> wrote:

I'm considering my options for acquiring an electric guitar (I own
some nice acoustics). In my case, for mainly solo playing (the

odd

jamming), practicing, learning, and recording into a digital mini-
studio (ie. plugging the guitar directly into the recorder).

Someone locally is selling a very nice Japanese archtop (Yamaha).

I

liked the acoustic and especially the amplified sound it had, very
nice and "jazz-like". But playing the heavy guage flatwound

strings

that it has fitted (which give it the best "jazz" sound), I

realized

that it could not easily be used for other purposes (fusion-type
jazz or blues, to name that I like to toy with).

So I'm thinking: maybe the archtop is not a versatile enough

guitar

for me. I searched through the archives of this great forum and
came across some suggestions for nice versatile guitars: ES-335
types like Epiphone Sheraton II, Ibanez AS-120 etc.

I have a question: can an archtop guitar meant for jazz playing,
instead of being fitted with med-heavy jazz guages, be fitted with
lighter guages that would allow playing other styles (fusion,

blues,

etc.) with reasonable success? Or is that defeating the purpose

of

the instrument, and is one better off finding a nice compromise
guitar like an ES-335 type?

I suppose I should say that my budget is around $700-800, and I'd
rather get something used/aged than new.

Thanks for your thoughts.

Hey John,

Some classical guitarists can and do improvise. I'm not just
talking about throwing in an ornament here and there either. I had
a master class with Roland Dyens and he improvised while I was
playing (and in the style). His point was that most of the great
composers were great improvisers and that to be a good classical
player you should be able to improvise. There is a book (I forget
by whom) for classical guitarists for learning to improvise in three
voices! If somone sits down and improvises a fugue (on any
instrument) they have my respect. Now granted, improvising
classical guitarists are by far the exception and not the rule but
they do exist and those cats can play! Later.
Jason


--- In jazz_guitar@..., John Amato <jamato316@y...>
wrote:

--- kuboken1 <kuboken1@y...> wrote:

--- In jazz_guitar@..., "kuboken1"
<kuboken1@y...> wrote:

The big mistake that I made and many people make

is that in jazz

there is this 'hurdle' in terms of knowledge and

skill you need to

achieve before you can play jazz...

Ken,

The reality of learning jazz guitar is a subset of
learning jazz, ...a subset because the instrument has
certain limitations and blindspots that other
instruments may not have ...

...having said that, not as an excuse, but as a
reality .. learning jazz on the guitar is the highest
form of the instrument (and to me the hardest form of
guitar) because of onemain thing: IMPROVISATION ...

Hear me out ... what we do requires extra
specialization ... it requires a high degree of
intellectualization (not be misconstrued with
"intellegence," as well as feeling, emotion, and all
gooey stuff we call "FEEL" ...

The closest form of instrumental virtuosity on the
guitar, I would say, is Classical Guitar (a subset of
that would be Flamenco) ... but, in classical guitar
the study of dynamics would be the closest they would
come to "improvisation..." But there is absolutley no
comparison to what they do and what a jazz guitarist
has to learn in order to play "Jazz Guitar".

I studied some Classical -- I love lassical guitar,
but it's not me ... I have a great respect for
classical guitarists ... their's is a hard road ...
but it's not "Improv"..... The Flamenco players do
employ improvisation, but not the degree as in
Jazz....

...why is jazz guitar so sweet...because it is so
hard...because it is such an art that requires
dedication and one thing that makes jazz guitarists
maybe a step beyond (not above) all the other genres
of guitar playing is this: DISCIPLINE & DEDICATION ...

....w/out Discipline anything worthwhile in life will
never come to any achieveable height ...

...many young players have to learn discipline --
either before, during, or while they are studying ...
there is not such thing as "discipline" after an
achieveable goal because the goal will never be
reached ....

The greatest thing about discipline is this: it gives
you a hunger and thirst for the thing you are being
discipline in..."

...yep, it's like a circle, the more you pratice and
get betterm the more you want to play, and the more
you play, the better you get ... and more
discipline...etc...etc...



John Amato
Music blows the dust off your soul...
Isa.55:11

__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around

There's a lot out there, and there're lots of opinions. A few things I'd say you should look for:
A cutout in the upper bout. For jazz, 14 frets is a limitation. I'd say check out something with a waist, not a dreadnought, there tends to be more balance vs the deep boom of a dreadnt; think Gibson Jumbo or smaller, Martin OOO or OM size, Taylor auditorium or concert shapes. There're lots of manufacturers out there, most of which are made by Samick in Korea. Look at the Samick Greg Benett line, they're Samick's "better than your run of the mill Samick" guitars. A good buy for the money and well set up. An onboard pickup isn't a bad idea since they're pretty cheap these days. Mahogony is nice and warm. Rosewood has a deep bass punch but it tends to be expensive. Cedar is warm, Spruce has a clear tone. Maple, if you can find one gives a clear round tone that works really nice in jazzy situations, I like it combined with spruce. More important than materials is the construction, a good well built box will make you happy no matter what the material is.
David