PlayJazzGuitar.com Forum

[steve]

Hi vlad,
It's called TAB and it's a cheap and crappy way to communicate limited info on the guitar only. However since I don't know how to get regular notation onto this forum It's all I got.

It's very simple. There are six lines. The first/top line is your first string (the skinny one - sorry!) and the numbers are the frets. Cool?

Take care, Steve
_________________
Miles is the answer.

[vlad]

thanks Steve!

[steve]

Here' a concept (or two?) that I've been after for a long time. The first was how to play a major third over a minor chord, other than just a passing note (I'd heard it done by people like brecker and Kenny Garret), because it has a surreal sound to it. The other was to understand the ii V in the New Zealand Song (There Will Never Be another Yew), the Am7 D7 Ebmaj7, just before the big turnaround.
I couldn't handle writing it off as a "passing chord" , I wanted something that would fit my way of thinking and approach. Best I had was it was the regular two five moved up in tones because of the augmented relationship. Still didn't like this.
Anyway how's this: It's a ii V into the very common iiim sub for the I?
In other words we're thinking Am7(b5) D7(b9) Gm instead of Fm7 Bb7 Eb. Now I liked that! Plus it gives me the major third in a minor chord sound!!
Of course it take time to get used to it and all that, but it works well.
Here is proof for my thinking:

[the nirs]

Whats up Steve,

Thanks for the great idea! I was thinking about this concept as well, playing major third over ii7.
I think reharmonizing the progression works well. So for example:

for:
dm7----|G7----|C Maj7

solo over
am7 D7| dm7 G7|Cmaj7

or

ebm7 Ab7|dm7 G7|Cmaj7|

I don’t think it matters how you reharmonize, so long as you know where your going. If you are playing with a sick rhythm section, they will be able to pick up on what your doing, and play the new changes.

Here is something I was messing around with.

(am7----------D7 )-------------(dm7 ----------G7)
dm7_____________________G7 _____________________CMaj7


---------------------------------|------------------------------|
---------------------------------|----------------11-9---------|---
----------9-12-11-8------------|-----9----------------12-10 |--9---
-10--12--------------12-11----|-10----12-10----------------|-----
---------------------------------|------------------------------|
---------------------------------|-------------------------------|



in this example the D7 sets up the next short ii - V to C.
How do you get you tab nice and neat?

[steve]

the nirs, who are you, you crazy cat!?

that lick of yours was a beauty!

[steve]

Here's a neat little idea that stumbled across while fiddling on my guitar.
I used to be very much a scale based player before I got into the bebop and hard bop genres of jazz and then switched to be very much a chord based player because thatn creates the sounds that I currently dig the most.
Anyway, I was looking into the chordal implications of the half whole scale that i had known for quite some time, and I realised that the half whole scale can be seen as a G7b9 with a semitone approach note to each note. (or you can approach each note from the scale tone above and get that cool Stitt pattern that he used on Mile's Autumn Leaves).
Then I realised that to appraoch each chord tone from a semitone above while descending was simply done by moving the half whole tone scale up a semitone! How COOL!! So you can burn up one HW scale, move up a semitone, and burn back down.

Examples, both start on the "and" of two.
First one is bebop straight eights.
Second one is a fusion sixteenth note thing, so put your Strat on, hit the crunch and squeal!

[steve]

G'day folks? These ideas doing anyone any good?
Like I said I love to share stuff. part of it is selfish I confess, just using this thread to organise my own ideas, but also because I do enjoy sharing. If you have any cool concepts nomatter how bizarre I'd love to learn 'em?

This idea I is a lifetime of study! I've known it for many years and have never had time enough to develop it. I can't remeber where I got this one from. Mick Goodrick rings a bell. (But then, so does Quazzimodo)

Basically the concept is to play any pattern you like regardless of the key so long as you start on a chord tone. The idea that the chord tones will ring enough to stabilise the idea and give its direction. So invent a pattern starting on a chord tone, then repeat it identically starting on another chord tone.

First two ideas start on the "and" of three, and use sixteenths. First idea being build on a G7 chord, second the same but using the b9.

Last example is bebop eights, constructed by playing a note from the G7 chord followed by a note from an E7#9 chord.

Like??

[steve]

Oh no, I learned a new thing!
This one I just recently learned from one of our own (the forum's) resident guns. The idea is simple, but the work..........

Play arpeggios using intervals.

For this idea I have played a Bbm/maj9 arp harmonised in thirds as a sub for A7:

[PaulD]

Cool Steve!! I like it!

Here's my contribution:

[steve]

dewey decibel's post on the use of 3rd and b3rd reminded me of another concept I learned ages ago and use frequently.

The idea/concept is that you play a substitute target I chord over the Dom7 in anticipation, but then divert back to the original I chord at the appropriate time.

It is limited by what constitutes a I chord, and also by the need to develop tension (so not good to go Dm7b5 | Cmaj7 | Cm7|| for example) but never the less could lead to to creative ideas and rut busting.

The first idea anticipates a Cm/maj7 as the I chord.
Second example anticpates an F#maj7 as the I chord.
The last example anticipates a Cm7 as the I chord, and brings in the b3 over the G7.

Whaddaya think?

[dewey decibel]

Just started going through this thread- some nice stuff here!

Anyway- I liked the idea of using the ii-V (namely the V) of the relative minor. It makes a lot of sense, especially if you're treating either as a b9 chord, and it does let you recycle some old licks, but the way they resolve to the Imaj7 chord can be different, but in a good way. That last idea I've used in some forms, but when I anticipate it's only for a beat or two. That second example sounds really cool, but I can't hear how it would sound in context. It's funny, a lot of these you could explain many different ways.


BTW- I liked this one, too;

[Yagyu]

and some idea with major triad stepping outside (this way I`ve got one outside note and two notes from altered chord) + chromatic pass on the end, this one do funny things with tension/release, but it`s working (or so thinks my ear )

[jingles]

Wow, lot's of great stuff here! thanks guys
I really liked the VI-vi-I progression, I've never even tried it before. Thanks again, a lot of this is complicated, but I'll get busy analyzing the licks, runs and progressions and maybe I'll understand some more

take care

[mr. beaumont]

i want you all to know i'm sitting here at work without a guitar and i'm salivating...can't wait to get home and try some out...great post!
_________________
“For the guitar is the most unpredictable and least reliable musical instrument in existence...and also the sweetest, the warmest, the most delicate, whose melancholic voice awakes in our soul exquisite reveries.”

Andres Segovia

[Bjorn]

I would like to shar some too, but how the h...Do I do this tabulature
system....