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chord melody
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pierre richard

PostPosted: Wed Apr 20, 2005 1:17 am    Post subject: Re: chord melody Reply with quote

any melody note is the top most note of the chord listed as the acompanyment- -just harmonize under it- -using the voices of the chord- -inversions will appear also but you should know these by now--do simple melodies first to get the feel of it- before you know it you'll sound like Charlie Byrd. .and that ain't bad- -

draqza wrote:
One of the things I really enjoyed about my classical/

fingerstyle studies was that the songs I learned I could just sit down and play by myself, instead of having to record a backing track/set one up on Whole Note or find people to play with. Does anybody have good resources or tips for going about doing chord-melody arrangements from a fake book?
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Joined: 28 Dec 2004
Posts: 205

PostPosted: Wed Apr 20, 2005 8:35 pm    Post subject: Reply with quote

Heh, actually today was the first time I started learning about inversions... I mean yeah, I've seen tabs or stuff that say to use inversions of chords, but nobody ever told me what that meant or how to go about constructing them until today my teacher was walking through finding 4-note grabs for inversions of 7, maj7, and min7 chords.
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PostPosted: Wed Apr 27, 2005 11:57 am    Post subject: Reply with quote

I tell you what helps. I've bben working on timing, because I feel I've neglected it.

Start up a fast tune. Use a live band if pssible, but a backing track if not. Under no circumstances use a metronome - it's got to be music.

Make a really consious effort to play everything as late as you can. Think Miles. See how late and lazy and 'sloppy' you can go before it sounds wrong. I was really surprised at how obscenely late I could be.

The thing is - it sounds great! And it makes it really much easier to solo over those fast changes like Giant Steps et al.

I htink, sometimes you need to play tighter on the beat, locked to the eight notes. That requires more technique, I guess! I think the important thing there is getting the right accents to make sure you don;t rush.

I also underestimate the extenet to which I can relaxz triplets. I find if I let them dribble out of my fretting hand like sticky gunk, it sounds really good.

Other thoughts - check out the difference between Stan Getz recording with an American band and a Brazilian. Gilberto's feel is a world away from Charlie Byrd's.

Right I'm off to join a Samba school, to learn how to play rhythm properly.
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