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  • Upcoming Events: TUESDAY DEC 1ST - LEARN A CHRISTMAS TUNE! It's time to start off the holiday season with learning a Christmas song! WEDNESDAY WORKOUTS: DEC 2ND TRAVIS PICKING BOOTCAMP - FINGER INDEPENDENCE Continuing to work on our Travis Picking skills, finger independence and alternating bass. Bring your guitar and I'll guide you step by step as we play together. You can do it! Let's finally master these and move forward in your music! Watch LIVE on our Guitar Gathering YouTube Channel. It's going to be a great month! Learn all you can!
  • 3rdwaverider

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    3rdwaverider last won the day on November 28

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    1. Thank you, Neil. The chart I used is in The Real Book, Volume 1. The harmonized chord melody was an exercise I worked through with my teacher, when I was deep into learning altered chords. The key is to keep the melody on the uppermost note, either 1st or 2nd string, and find the chord shapes right underneath them.
    2. Thank you, Greg. It is good to be back. Auditions for Jazz Port Townsend are required for placement, not for admission. Guitarists were required to submit three tunes: a chord melody (Here’s That Rainy Day), a bebop tune (Have You Met Miss Jones), and a jazz-blues (Sandu). The recordings came out fine. But to my surprise we were asked to perform live in an combo setting upon arrival. No sheet music - just folks calling tunes at random - with all the instructors in the audience. I leaned real fast to call tunes I know!
    3. This tune was composed for the broadway musical, Carnival in Flanders, by Johnny Burke and Jimmy Van Heusen. The play opened in 1953 and ran for just six days. What is best remembered about the production is this tune from the second act. I became aware of 'Rainy Day' listening to a recording by Wes Montgomery on his Bumpin' LP. This chord melody arrangement was inspired by the first chorus of Kenny Burrell's cover on his LP, Soul Call. I recorded it for an audition for the Jazz Port Townsend Workshop in 2019. Thanks for listening!
      Steve - Question about the harmonized major scale exercise in the bonus workout: why not simply play the vi chord rather than substituting the IV? Is it to keep the voicing relatively close? Thanks!
      This is a truly amazing resource! I completed the L&MG Course some years ago and moved on to explore jazz guitar, attending jazz workshops, taking private lessons, and finally - playing gigs regularly. This summer, I am attending an online jazz workshop and the instructor said he presumed we'd have the basic triad shapes nailed. It is the baseline for a course on jazz chord substitution. So I returned home to Steve's house and what do I discover - well-written, stepwise approach to triads, complete with video instruction. Steve - thanks so much for this - it's a life-saver!

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