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Triple-o

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    Beginner jazz

    in Guitar Open Talk

    Posted

    “A jazz musician is a juggler who uses harmonies instead of oranges”. Session 18  

    I recently started to spend more time  trying to understand just some simple jazz. Now that quote  makes a lot more sense. Before I let chords like  F13 ,Bbmaj13, Fm7 (jazz version) and A9 scare me away.Now  I realize how much jazz as to offer and how it can help one utilize the fret board  by juggling scales, arpeggios  and chord shapes using simple jazz Standards.

    • Like 1

    Shifting Pentatonic Scale Boxes Up/Down a Fourth/Fifth on Fretboard

    in Music Theory

    Posted · Edited by Triple-o

    Thanks for posting, very informative. 

    The major scales, like  C for example has three major pentatonic beginnings C F and G and three minor pentatonic beginnings A D and E.  ( l lV V )

    When someone is playing  a 12 bar blues over a l lV V chord progression  using the relative minor scale  in the key of C and using the 5 pentatonic patterns, they would  use this knowledge quite a bit.

    When playing the Am pentatonic and using the subdominat F (lV) it really doesn’t need to be resolved. It would also make a good passing tone. It could also be a leading tone going from Am  to Dm  e F g.....D
     

    Something along the same line, when you are playing a minor pentatonic and you go down 3 frets you are in the 5th position of the parallel major pentatonic scale. Which also can be used  to change things up while playing the minor pentatonic scale.

    Reminds  me of the saying “there are no wrong notes just wrong choices.

    https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0112209

    https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0074448

    https://www.youtube.com/watch?v=Vn7as_o3pIA

    How to build a realistic practice routine?

    in Guitar Open Talk

    Posted · Edited by Triple-o

     

    Mohammed, Diane has given you a lot of good information.

    I thought I would share with you my current practice  lesson

    1.     Hand stretching exercise. (I do this while preparing my morning coffee and usually under warm/hot water.)

    2.     15 minutes work on scales,modes and arpeggios, those needed  for my core material.I use a timer. for all my practice, if I take a break I stop the timer. Once I learn the material I will use a metronome to improve, it’s not my favorite tool and if I don’t have a fairly good “handle” on what I am playing  the metronome  doesn’t help.

    3.     15 to 30 minutes on my “Core  Material”.  This practice period my core Material is Autumn leaves melody 5 th position, (jazz standards)  Sundance, 5th position. (Mel bay)  12 bar blues solo 5th position, (activemelody on-line) This particular practice routine can last months.(I usually work on more than one thing to keep my sessions interesting and to avoid fretting hand fatigue.

    4. 15 minutes chord melody chords for Autumn Leaves, barre chords and other chords used in the 12 bar blues solo sheet music.

    5, 15 minutes working on a solo for Autumn Leaves. I am using scales and arpeggios I worked on in the first fifteen minutes of practice.plus, I also searched the internet for material for Autumn leaves done by better players and found two etudes  and one solo to help me create my own solo.

    6. Have a lesson plan with all the material organized. so you aren’t wasting time looking for chords or patterns. Have a major scale worksheet and a fretboard worksheet. I keep all the material in a folder.

    7. in the evening I usually spend a little time reading  music theory pertaining to my lesson and listening to the song  I am trying to learn.

    Beginners have it easy. The material is already prepared in their guitar course. A private  teacher  will also have lesson plans ready to go.

     

     My “Guitar  Goal”  is learning to play the blues,

     

            “ if you sound good, you're probably not practicing.”   unknown 

     

     

     

     

    • Like 3

    Charl Frank Pride

    in Guitar Open Talk

    Posted · Edited by Triple-o

    Corvid 19 claims another life. Charl was his given name, but due to a  clerical error Charley became his legal name. It must have been a real shocker for 10,000 folks in 1966 when he walked out on stage. They had no idea what he looked like. I think  you probably could have heard a "pin drop" at the "Old Red Barn Stadium". Guitarist and professional baseball player, he will be missed. 

    Struggling to find good pentatonics sources, is it just me??

    in Guitar Open Talk

    Posted · Edited by Triple-o

    On 12/10/2020 at 6:12 AM, filipmo said:

    I recently went back to playing my guitar, I'm loving it. I've started looking up pentatonics as I'd love to improvise to some background music, but I can't find any good places with all the information neatly served, is it just me?? what's your experience been like in looking for this?? What did you use and what do you recommend?
    Keep on rockin

    I learned the pentatonic scales and patterns from the “Learn and Master Guitar course” which is “neatly served “.

     Sounds  like you’ve searched a lot of on-line guitar sites and couldn’t fine anything  that you liked. Did you come across the guitar site ActiveMelody? How about  GOSK.com for basic info about pentatonic scales.

    You might consider the books “Connecting Pentatonic Patterns” and “Soloing Strategies for Guitar” by Tom Kolb. Other books on  chord tone soloing / soloing with arpeggios  might also  be useful, if your not already familiar with those topics.

    And if you have been playing for at least a year and know the major scales and can read music you might check out the “Basic Improvisation” class at Berklee on -line It’s expensive,but viewing their syllabus might help identify  musical topics you need to better understand improvisation.
    Most beginners start their “Improv” journey on the shoulders of skilled players, seeing and listening and copying what better players  are playing. One can also  use  books like  “12 bar Blues solos” and “Solo Jazz standards” to help learn.

    Steve also has a jazz standards course you could check out,since improv is a major part of jazz.

    Why more than 2 scale shapes?

    in Guitar Playing & Technique

    Posted · Edited by Triple-o

    On 10/19/2020 at 2:01 PM, Han said:

    Just watched Steve’s lesson on jazz arpeggios. It didn’t answer a question I’ve had for years now: I still find it difficult to understand why one would want to play arpeggios all over the neck. In each position, with root on string 6, you can cover two octaves. Maybe add another set of arpeggios working from the fifth string. This means only two scale shapes to learn. No need for anything more. Or am I missing something?

    I am currently reading a book on arpeggios by Stephan Ross.In the book he says  "the ability to move around the neck fluently through all of the arpeggios forms provides greater creative freedom and leads to more interesting lines".

    It also said to use what you know, so he wouldn't  be concerned about  you using two scale shapes.  In the book he is using the 5 pentatonic patterns. It is a beginner book, so I assume he is trying to keep it simple and not over whelming. One of my books listed about 35 shapes and the caged system as must know. It doesn't even mention arpeggios and the first time I saw it I was a little depressed. Now' I see all the over-laps of those shapes and its not as daunting as it first appeared.

    Seems like I remember other teachers talking about how they use E and A shape barre chords to help them get oriented moving around the neck to find chord tones. Then there’s all the triad shapes on the neck hiding in plain sight.

    I haven't had the time to play much with the caged system, but from what I've seen,  it’s also a good away to  provide a viable method of playing arpeggios and moving around the neck. I like the way it lays out. Again, without spending much time with it  I am assuming that in addition to the  5 main patterns, there are the  other  like maj7 ,dim 7, min7,dom7.

    I have also seen many teachers using the same method Steve was talking about. Hal Leonard's theory book shows that method along with a few other books.Steve  said it sounds and looks more complicated than it really is and I am sure he knows. 

    I  think that if one started with a major or minor scale shape or mode shape (dorian or mixolydian)  and fingered only the chord tones you would eventually end up with all the shapes he was showing. 

    https://www.youtube.com/watch?v=Y6IpgFOPc1E

    https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0178770

     

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