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Hey thanx eric and brad. I'll check this out.

rodd

-----Mensagem original-----

In a message dated 8/22/01 1:58:54 PM Eastern Daylight Time,
jclarke1308@... writes:

Thanks for the tip about the Metheny site - lots to read
there. How can anyone doubt he is the 'Main Man' of jazz
guitar in the last 20 years ?

I can doubt it. I think he is great, but I wouldn't give him
THAT label. If anyone should ge that label it should be Jim
Hall.

Just my $.02

Andy

________________________________________________

Hi Rodrigo!

Charlie Parkers' "Au Privave" is something like this. On
school I used to play it in both the original progression as
in the traditional jazz blues progression, and it works too.
If you think in functional harmony you're gonna see that its
the same thing.

Abra?o, Eric.
__________________________________________________

Message: 15
Date: Tue, 21 Aug 2001 23:57:15 -0300
From: "Rodrigo Gondim" <rodrigogondim@...>
Subject: Kind of blues

Hey people

I listed to a song yesterday called "spring is sprung" by
mulligan and it's a blues like that:

| C7 | Bm7b5 E7b9 | Am7 | Gm7 C7 |
| F7 | F#dim | C7 | Em7 A7 |
| Dm7 | G7 | C7 Am7 | Dm7 G7 |

Can you tell me what other standard tunes have changes
like that??

Thanx a lot

Rodd

It looks like this is the book of which you're speaking?



-Jim


--- In jazz_guitar@y..., "Alisdair MacRae Birch" <akmbirch@y...>
wrote:

Hi Vitor

A good book as a springboard for some new ideas is:

Melodic Chord Phrases by Ron Eschete

It was/is published by REH Publications
ISBN 0-943686-08-3

I believe some other publishing company is
now publishing it. Search on the web and see
what you can find.

Alisdair MacRae Birch
Jazz Guitarist


--- In jazz_guitar@y..., Vitor <varp@n...> wrote:

Hi!
Thanks for all. I'm much more elucidated now.
I would like knowing more about more modern aproaches.

Thank's.

Me again,
I assume this question will draw some responses like
whatever works for you but having spent the last few years
learning the mandolin (bluegrass, old time fiddle tunes etc)
where alternate picking (down on the one and up on the
and)is almost a religion and the picking motion comes almost
solely from the wrist, I find the method proposed by Chuck
Wayne in his book on scales very interesting. If I
understand it correctly he gets all his picking motion from
his finger joints and not his wrist and depending on the
scale and which way it is heading he will play consecutive
down-down or up-up strokes when changing strings. I assume
this is only for single note work, I don't know how you
could get a good rhythm sound and feel without playing form
the wrist. My question is, how common is this approach among
the jazz players? Is it more something that some guys do
some of the time or closer to most guys do it all the time?

Thanks, Jay Jessup

Hi Folks,
Just joined this group yesterday and I have a few questions.
First about me, I played music for a living from 75 till 82
with pedal steel guitar being my main instrument but I also
wound up playing lead guitar as well as banjo. After I
retired in 82 I didn't touch an instrument for about 10
years but over the last eight or so years have slowly begun
to get more interested in playing again when I have been
able to find the time to practice. I have been a subscriber
to Just Jazz Guitar for about four years but really haven't
been working on jazz at all other than collecting some good
cd's and doing some listening. I have been working pretty
hard on the mandolin the last few years which has at least
presented me with the oportuninty to get out and play with
some folks at jam sessions a couple of times a month when I
can get there.
Enough about me now question #1 I bought a instruction book
on scales by Chuck Wayne a few years back, in this book he
refered to some other books in that series that I assume
were to follow that book, did he ever publish those and if
so where can I get them?

Thanks,
Jay Jessup

Hey Josh,
You can contact Goodrich here:

He teaches at Berklee too I think.
Jim Kelly is a great player/teacher
in that area, too. You can probably
throw a rock and hit several great
guitarists anywhere in Boston.
Mark


--- joshua lopes <augeleven@...> wrote:

A couple of common ones are:
Blues for Alice-Charlie Parker in "F"

Bluesette-Toots Thielemans, a 3/4 blues usually in "G"
or"Bb"

Also check out the A section of Parkers' tune
Confirmation for the use of similar changes in an AABA
32 bar form.

Brad

Rodrigo Gondim wrote:

Vitor,
Check his CD "Sunscreams" (RAM) with Jerry Bergonzi, Bruce
Gertz and Gary Chaffee. He has another CD under his name,
"Bio Rhythms", not so good, IMHO.

Also on Gary Burton's "Dreams So Real", "Ring", "New
Quartet", on Harvie Swartz "Arrival" (w/Abercrombie too), on
Jack DeJohnette's "Irresistible Forces" and "Audio
Visualscapes", and in duo with Joe Diorio "Rare Birds"

At 01:24 22/08/01 +0000, you wrote:

Hi!
Do any of you know other goodrick's records than "in passing"?
Every time i search for audio samples of his records, is always
the same that appears.
I'd like to know some other great performances of him, expecialy
if he does a lot of chordal stuff.
Tanks.

Vitor.
Portugal.

Guillermo Bazzola
Buenos Aires, Argentina

Hey people

I listed to a song yesterday called "spring is sprung" by
mulligan and it's a blues like that:

| C7 | Bm7b5 E7b9 | Am7 | Gm7 C7 |
| F7 | F#dim | C7 | Em7 A7 |
| Dm7 | G7 | C7 Am7 | Dm7 G7 |

Can you tell me what other standard tunes have changes
like that??

Thanx a lot

Rodd

I just found out that my teacher will not be able to
continue my lessons due to family obligations. I live
in Rhode Island, where most of the jazz guys seem to
think that Charlie Parker is still the head of the
Avante Garde (not to knock Bird but stuff has happened
since 1942). So I'm in the market for a new teacher
but since there doesn't seem to be anyone RI I was
thinking of commuting to Boston. Possibly to study
with with an Official Heavyweight like Mick Goodrick.
My question is this: how could someone like me (read
'mere mortal') find out how to contact said
Heavyweight? Does anyone know if Mr. Goodrick excepts
students that are not New England Conservatory
students? Is there anyone out there currently
studying with Mr goodrick that would be in a postion
to give me advice on how to arrange an audition for
him. Is there anyone in the Southen New England area
that is studying with a teacher that they would
recommend? Any help appreciated
josh

Hi!
Do any of you know other goodrick's records than "in passing"?
Every time i search for audio samples of his records, is always
the same that appears.
I'd like to know some other great performances of him, expecialy
if he does a lot of chordal stuff.
Tanks.

Vitor.
Portugal.

Metheny explains it in detail at


-mark

--- jclarke1308@... wrote:

I read this somewhere, too, and did not understand
it. Can you
explain. He seems to have 3 signals - straight, and
the two delayed
pitch bends. As he doesn't want delayed pitch bends
mixed with
straight in one speaker, he would have to have 3
amps. Or does he
have straight on one amp, and the two delayed pitch
bends coming from
the other. The Yamaha SPX90 patch #23 Mike Stern
uses delayed pitch
bends on each stereo channel, each mixed with
straight. Seem to be a
lot of possibilities here if you want a fat chorus
like sound which
is not stomp box chorus.

Enlightenment welcomed !

John


--- In jazz_guitar@y..., "Michael Crutcher"
<Funkifized@h...> wrote:

Right from the man's keyboard:

only thing, i HATE the way "chorus boxes" sound,

my sound

is mostly the "straight" 134/digitech line which

is behind

me with NO PITCH BEND which gets blended IN THE

AIR with

the the two DISCRETE delay pitch bends (which

are much

softer than the "straight" amp volume) to get a

bigger

sound. i HATE when i hear the "pitch bend" and

the straight

mixed together and coming out of the same

speaker. it

drives me crazy.

__________________________________________________
Do You Yahoo!?
Make international calls for as low as $.04/minute with Yahoo! Messenger

At 08:42 PM 8/21/01 +0000, you wrote:

So for cycle 6 you be doing on the piano something like:

C-E-G-B (Cmaj7)
C-E-G-A (Amin7)
C-D-F-A (F6 or Dm7?--normally for the harmonized scale you'd have
Fmaj7 here, which would mean something like: C-E-F-A but more like C-
F-A-E to remove that nasty minor 2nd.)

What voicing is next? Which chord?

Yes that's an F Maj, but make it an F Maj because that E voice is not ready to move yet:

C E F A is FMaj
C D F A is Dmin
B D F A is B -7b5
B D F G is G 7
B D E G is Emin
B C E G is C Maj again only voiced with Root in second voice
A C E G is Amin
A C E F is F
A C D F is Dmin
A B D F is B -7b5
G B D F is G7
G B D E is Emin
G B C E is C again this time with the Root in the 3rd voice
G A C E is Amin
F A C E is F
F A C D is Dmin
F A B D is B-7b5
F G B D is G7
E G B D is Emin
E G B C is C again this time root in top voice
E G A C is Amin
E F A C is F
D F A C is Dm
D F A B is B-7b5
D F G B is Gm
D E G B is Em
and then we're at the start of the cycle again where you began. Whew. You see? It all works out and you go through all the voicings for each group and for each chord. Pretty neat eh? Now I've really got to get back to practicing. Let me know how this works out for you and if it makes sense musically and to your ear.
David

Welcome to the group, Braden!

Ted Vieira

--
Listen to my CDs for free:

--- In jazz_guitar@y..., "David E. Lee" <dalee@c...> wrote:

The method involves the consistant movement of voices based
on the root movement involved. There's a different formula
for cycle 3 (movement up a third) than ,say, cycle 6.

Try this:

Take a chord voicing that consists of any 4 part 7th chord.
You can choose one any of the permutations that you want.
For cycle 6, movement up a 6th (C to Amin) the 1, 3, and 5
stays the same. The 7th ALWAYS comes down a space of 2
steps. This will yield an A min chord voiced in a way where
a minimum of voice movement has been used. Try it. It will
cycle around the diatonic harmonized scale until it returns
you to the starting point.

So for cycle 6 you be doing on the piano something like:

C-E-G-B (Cmaj7)
C-E-G-A (Amin7)
C-D-F-A (F6 or Dm7?--normally for the harmonized scale you'd have
Fmaj7 here, which would mean something like: C-E-F-A but more like C-
F-A-E to remove that nasty minor 2nd.)

What voicing is next? Which chord?

Could you just jot down one cycle 6 for C so I can see what you're
talking about?

Thanks!

Cheers,
Kevin
www.TheNettles.com

--- In jazz_guitar@y..., <ian.jackson.nuages@n...> wrote:

Can I second Pauls request, having recently recorded some gigs and
rehearsals I would have to say that I'm disappointed with the lack
of swing in my lead playing. I listened to the Pat Metheny guitar
lessons that were discussed in recent postings and I totaly agree
with what he was saying about the need to get inside the rhythm
rather than floating above (or in my case sometimes fighting it).
Could I request some thoughts on how and what
to practise to develope that sense of playing within the rhythm.
Paul like you I find it harder as the tempo increases. I'm sure we
cann't be the only ones.

After some serious playing and listening last night, I've come to the
conclusion that most jazz guitarists _can't_ play uneven eighth notes
at very fast tempos, the way most sax players can. My solution is to
simply play fast lines straight but a little bit behind the beat --
if you can synchronize the weak eighths with those in the rhythm,
your lines will both swing and be "inside the rhythm" while still
containing equal note values. I've heard various jazz instumentalists
use this technique from time to time.

I read this somewhere, too, and did not understand it. Can you
explain. He seems to have 3 signals - straight, and the two delayed
pitch bends. As he doesn't want delayed pitch bends mixed with
straight in one speaker, he would have to have 3 amps. Or does he
have straight on one amp, and the two delayed pitch bends coming from
the other. The Yamaha SPX90 patch #23 Mike Stern uses delayed pitch
bends on each stereo channel, each mixed with straight. Seem to be a
lot of possibilities here if you want a fat chorus like sound which
is not stomp box chorus.

Enlightenment welcomed !

John

Hey! Doesn't Jimmy have an album by the name
of "Lucky So and So"?

(Just kidding)

Hello,

I would like to let everyone know that Kenny Burrell has a
NEW record out by the name of "Lucky So and So" which has
received excellant reviews. It contains 4 vocal tracks which
is the first time KB has had vocals on an album since 1960's
Weaver of Dreams (hah- you want to talk about old records-
how's that !) I think it would be wise to stop wasting your
time debating the use of a phrase for a record's title- be
it old or new- and instead head out to your favorite local
music store to pick up all the great new, CURRENT music out
there- by Jimmy Bruno, Kenny Burrell, and a host of others !

PS. We at Concord Records encourage Jimmy Bruno and all of
our artists to create in whatever vein they wish- we do not
dictate their artistic content.