Started by Jkendrick, May 29, 2014, 10:47:21 AM
Quote from: Hans Moleman on May 29, 2014, 06:51:46 PMYes, jazz! One of my bands is a trio (guitar/drums/bass) and we do standards and things of that nature. Love talking jazz. Apologies in advance if I suggest a lot of stuff you've already covered. One of the first things I would recommend is to practice with a metronome. The better your time gets, the more it will sound like you're playing 'the right way', regardless of the style of music. Locking into the grid, whether it be eight notes, triplets, whatever, will sound good regardless of notes played. Personally I have to work on my time feel a lot.Practicing arpeggios are great, I should do more of that myself. At the same time, getting comfortable with the modes is important so you can start adding the extensions to those chords you're playing over and getting more 'interesting' melodies. If you aren't familiar with the altered or diminished scales those are good ones to work on as well. To get those sounds 'into my ears' I played over minor ii-V-I loops for hours on end. Adding those to your repertoire will be really helpful in jam band and fusion stuff as well.I'm totally self taught like yourself and one thing I have found is that it's best to get very comfortable with some of the easier standards and then work your way up. All Blues, So What, Blue Bossa, Maiden Voyage, All of Me - things like that. Fusion stuff by Scofield, Freddie Hubbard and people of that nature is also great in that respect. Songs like that are a great place to work out ideas. One suggestion would be to work on playing 'through' the changes. A good way to think of it is to try and have all your phrases end on the 1 of the next bar, that way you've at least played into the next change. Hopefully that makes sense. How is your knowledge of theory? If you are solid on that front then you're ahead of the game. If not, it's not difficult to understand, just takes time. I find it much easier to run through changes if I take the time to read the lead sheet through and understand the harmony from a theoretical perspective. If you've already got that covered then forget I mentioned it. Happy to see someone going down the jazz rabbit hole. It's totally addictive. Hopefully there's something in that rant that can be of use!
Quote from: No Nice Guy on May 30, 2014, 09:01:14 AMI hate to hijack this topic, but would you guys recommend any good books for learning about jazz? I taught myself the basics a couple years ago and never really learned a specific style. I'd like to start with jazz.
Quote from: Hans Moleman on May 30, 2014, 10:36:36 AMThe Jazz Theory Book is really all you'll need for theory:http://books.google.ca/books/about/The_Jazz_Theory_Book.html?id=iyNQpJ4oaMcC&redir_esc=yBear in mind it's written by a pianist and as a result a bit piano focused, but it's a fantastic resource. It moves pretty quickly so I would really recommend taking your time. Read a page or two and then run through play-alongs of the songs they use as examples to actually get the ideas under your fingers.To get back to JKendrick's post - if you're having trouble getting the different modes and their sounds in your head beyond strictly theoretical, then instead of playing through standards with them, maybe play through a very simple 2 or 3 chord vamp that typifies that mode. For example, in Dorian just loop a Imin7 - IV9 change (Amin7 - D9). In Mixolydian use a I - bVII (A - G). For Lydian use a I - IIMaj (C - D) etc. etc. etc. Play that over and over until you get really comfortable using the scale and it's 'important' notes (in Lydian the key notes would be the 3rd, sharp 4th and major 7th, for example).For learning diminished/whole tone/altered shapes it's really all just about putting the time in shedding it. Personally I found that once I got the 'sound' in my head it made memorizing the positions easier. They're weird sounding scales so it can take time.I mentioned it before but I really think that the idea of breaking the neck into 4 fret 'zones' is a fantastic tool because it forces you to learn all of the available notes in that one position. Once you've mastered it, move on to the next zone. Works well for me. Also, minor ii-V-I's are a great thing to loop and use them. Using altered/diminshed stuff over vamps to create a little tension at the end of a phrase a la Scofield/Metheny is also a really amazing trick.
Quote from: Stiles12 on May 30, 2014, 01:03:29 PMI used to teach jazz guitar for about three years, I would love to talk some jazz with you guys. I also studied with Dave Allen for about two years who about two years ago came out with his album real and imagined, wich is pretty awesome stuff. he is a hell of a player.I think it is really important to pick a style of jazz that you want to learn, so many people I have found come in and want to learn "jazz" but have no clue what jazz sounds they want. pick a bebop type sound or a modal sound and try to focus on that while you are learning. There to much information to process when you are learning if you just want to learn jazz (might aswell say you just want to learn to play music)I really found george benson's early stuff to be my draw and hook to jazz guitar. His use of octaves and his rythmic timing is just something that I have never found any other jazz guitarist able to duplicate. Check out the CD Jazz moods Hot by George, and listen to songs like Take 5 (dave brubeck), or California Dreaming (momma and the poppas), hold on im coming (sam and dave). other songs like shark bite and 6 to 4 are also real good benson tracks off the album breezing. not ramble just love playing jazz and talking about it.
Quote from: Jkendrick on June 04, 2014, 03:55:52 PMHey guys, especially teachers! I've decided the best way to start with my arpeggio study is to work with a tune I already know. I found this arpeggio study of All The Things You Are and I am going to work on it. Good idea? Or is this putting the cart before the horse?