Forum Replies Created
-
Posts
-
Thanks for the insight Richie. I misinterpreted the assignment and am now back on track. I showed the exercises I’m working on to a professional jazz pianist and professional jazz guitarist I’m close to. They were very impressed and highly endorsed this arpeggio-based approach to playing. I played out the other week and the guys on the bandstand commented that my lines were more cohesive. It’s clear that I’m training my chops to center the chord tones on the beat. Thank you for this series! Now back to the shed….
Hi Ken,
Yes, I’m just substituting “1-trip-let” for “1-and-a” in my head. When I swing 8th notes, I think triplet feel and do not play the second note. Sorry for the confusion. I’m discussing my approach to counting. The “1-trip” is tied and so serves as the long 8th note. the “-let” is the short 8th note giving the swing feel. I remember hearing it explained that with swing 8ths you want to IMPLY 12/8 rhythm without actually playing 12/8. I may be all wrong here…all my knowledge is from the “University of Life” so I may be filled with a whole lot of odd scraps of information. When on the bandstand, I usually just feel it and try to lock in with my band mates.
Mark
I’ve been doing Modal super-imposition my entire jazz guitar life (about 8 years now.) I can see very clearly how Ritchie’s approach of arpeggio shapes is superior for creating connected lines across chord changes…particularly when sticking close to one region of the neck. The trick for me is to internalize the seven fingering patterns in real time through a tune. My old habits are getting in the way!! This would be so much easier if I didn’t have to go to work…I want those hours to practice! 🙂
I took a few drum lessons about a year ago…a great idea for the non-percussionist, aspiring jazz musician by the way. My teacher counted “1-trip-let 2-trip-let, etc….” Therefore, with my foot, I “lift on -let”. Also, I reserve “and-a” for 16th notes “1-e-and-a”. It helps me to switch duple and triplet feel by using different syllables entirely. Smooth duple/triplet transitions are hallmarks of my favorite jazz solos, and very tricky to do seamlessly. Just my thoughts though.
Mark
P.S. I agree with Ken, this is the first program I’ve seen that really addresses the issue of connecting proper fingering to create smooth lines. I’ve always had to just wing it to this point. It caused me to go to the same ingrained fingerings, but trip over myself whenever I had to leave that comfort zone. I’m loving the 1st module. I hope I can keep pace with the releases over the next year.
