开云体育

What did you guys say is the best book for learning the technique and "riffs" of Charlie Christian? I"ve always been attracted to his work.

What I love about him and Django too is how natural their lines sound, riffs or not. In a way they invented jazz guitar ( Pass was a huge Django fan and Wes a huge Christian fan). They also have a ton of humor in their solos. That is something that is often missing in ultra serious music today, humor and wit. It seems they weren't burdened by all the theory that can bog us down.

john

--- In jazz_guitar@..., Bob Hansmann <bobbybmusic@> wrote:

On 11/18/2010 6:37 PM, Bob Hansmann wrote:

The Charlie Parker Omnibook is a great
example of this. In the end, all things lead to better music.

Two more things:
1) Charlie Christian was a "lick" (riff) player, and that's how Tal
Farlow studied him (and nobody studies Charlie Christian more than Tal
or Wes).

2) Both Ron Becker & I have both managed to discuss licks and keep it
musical....

best,
Bobby

On 11/18/2010 6:37 PM, Bob Hansmann wrote:

The Charlie Parker Omnibook is a great
example of this. In the end, all things lead to better music.

Two more things:
1) Charlie Christian was a "lick" (riff) player, and that's how Tal
Farlow studied him (and nobody studies Charlie Christian more than Tal
or Wes).

2) Both Ron Becker & I have both managed to discuss licks and keep it
musical....

best,
Bobby

It is reported this week that Susan Boyle has sold some
10m albums worldwide. Is seems that pirate download sites
have had no affect on her sales. Rod Stewart has had similar
reported success.

I do not think you can draw that conclusion.
Perhaps they would have sold more if there was no illegal
downloading.

This vindicates the view (for me,) that the people who
buy CDs are not interested in downloading from pirate sites
and that the teenagers who share pirated songs have very little
actual interest in the music.

It is not just teenagers. Have you ever used bittorrent, limewire, bearshare, kazaa, azureus, emule, rapishare, filesonic and seen what
is on these networks?

Mark

On 11/19/2010 4:57 AM, Will wrote:

when I point out that it would take
2 years to listen to everything they have they explain that it is not
about the music but scoring points as to who can share the most.

Your point?

I really hope you're not saying that this is why we shouldn't worry
about lost sales due to the Internet.

best,
Bobby

A similar exercise that I was turned on to combines both the arps and scale fragments. The main goal of the exercise was the concept of forward motion. Hal Galper has a book called "Forward Motion" as well. I haven't read the book, but an instructor of mine gave me this exercise to explore the "forward motion" concept.

Anyway, the exercise is pretty easy to grasp. I'll go over the patterns first, then the timing. The timing is key to get the forward motion concept.

Pattern(s):
Ascending starting note:
Essentially go up w/ a 4 note arpeggio, then go descend w/ a 4 note scale fragment. So in G major, that would be (arp) G, B, D, F# (scale) E, D, C, B. Then go up a note in the scale, in this case A, and play the arp then scale. This repeats until you run out of notes in that position. To descend, the process is reversed.

So in the key of G, you get:

(G Maj7) G, B, D, F#, E, D, C, B
(A min7) A, C, E, G, F#, E, D, C
(B min7) B, D, F#, A, G, F#, E, D
(C Maj7) C, E, G, B, A, G, F#, E
(D7 ) D, F#, A, C, B, A, G, F#
(E min7) E, G, B, D, C, B, A, G
(F# min7b5) F#, A, C, E, D, C, B, A

Descending starting note:
Play descending arp, then ascending scale fragment. Starting on the G on the high E string, the pattern would be: (arp) G, E, C, A, (scale) B, C, D, E. The next note for the arp would be F#, etc. This pattern continues all the way back down to the low E string.

Now for the rhythm/timing. The exercise is played w/ straight eighths. There are two timings to practice. The first is to start the exercise on the and of 3 (i.e. 3 + ). Also, you tap your foot on beats 1 and 3. So, you could think of it as playing 16th notes in 2/4 and starting on the "e" of 2. The second variation is to start on the and of 4 (i.e. 4 + ).

Once the whole exercise is under your fingers and in your ear, try playing it starting on the beat. It feels totally different and doesn't have the motion component to it that the other timings do.

This exercise can be extended to cover other positions/chords/scales as well. I haven't tried it w/ diminished or whole tone scales yet. That might be something to try in the near future.

I usually use this exercise as a warm up and speed study. It is a bit more interesting than just running scales.

Have fun with it.

-- Mike V.



--- In jazz_guitar@..., "john" <deanwork2003@> wrote:

I did get one involved response but there has to be an easier way with Audacity or something. BB converts directly to wave though and it isn't working.
-----------------
By the way my arpeggio practice with standards has worked out really well. I listed to what all of you guys told me from your own perspective, all of which helped.

I found what worked better than anything I have tried up to this point is to write out the notes for each chord in the tune as a - Third-Root-Seventh-Root and memorize that form for every chord type, major, dorian, dominant, diminished, etc,and learn them in two octaves each. This is helping me move through the tune without getting lost and better learn the notes of gravity of a chord. When I add notes of the melody line and a few scales and chromatic lines to the mix it is actually beginning to sound like music for the first time.

john

--- In jazz_guitar@..., "akmbirch" <akmbirch@> wrote:

--- In jazz_guitar@..., Ron Becker <ron45@> wrote:

While we are on the subject of biab files. Sorry I don't have any
help John as I don't own a jamman. But perhaps one of the biab forums
would have more people who are doing what you are trying.

You are right Bobby.

I have a book of Charlie Parker Songs for guitar that is great. Licks help me to hear the sounds that I want to play.

Nothing is better than the Charlie Christian stuff that is available on the internet for free.

My playing has reached the Charlie Parker statement of "Learn all that stuff" (scales and arpeggios) and then forget it.

So now I take my "forget it attitude" into my playing and just try to create what I want to hear.

I have worked on improvisation for almost 10 years... and some days it feels like I have just started. But, there are other days where I feel like "If it is in my head, I can play it".

I work with a jazz quintet of very good musicians, and that in itself is a very humbling experience.

I think the "learn licks period" is another step in the jazz learning process.


In my situation it is the next step after the learning of the scales and arpeggios

I am thinking of Juan and his group that we watched on You-Tube this week...
That is what it is all about and you have to experience that to really understand the jazz process. I am fortunate to have done that also in public.

Your gonads are on the line, and you are all alone at that time. But it is the greatest thrill you can have with a guitar.

Ron


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