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Thanks knotty. Will have a go at that.

TLT
Very encouraging. Still gonna plug away. It will come. In good time.
Tanks
SC

Correct. Chromatics can always be used on the offbeat and it's excellent for syncing up the chord tones. It's referred to as a "passing tone" when connecting two scale tones.

Is this a milestone type of thing.
From an
Post on page 40

No. It's a matter of observation. Let's say you're playing a line on CMaj7.

Constantly focusing on D F A will suggest a Dm.

It's really a basic concept that you have to be aware of what your solo is harmonizing. Did you really want to sound out a Dm over a CMaj7? If this is intentional it is one thing since it sounds off without a purpose.

For the solo to be in sync with the harmony, it would be expected that certain chord tones (3 and 7 and particular) express the harmony and that is why we put them on downbeats.

When you're at an advanced level, you may intentionally go against the chord to cause tension and then release it by coming back to the harmony.

That last post gotaway.
When I can hear notes being wrong against a chord I will have achieved a higher level.
Suppose that's what I was saying.
I can hear it when i listen back. Its also easier to hear when when there is harmony in the background. This will develope as I activly listen


Talk talk
SC

hi everyone, here is me trying to target thirds and then play a series of eight notes.

Would really appreciate it if you could tell me whether I am on the right track.

Thank you to everyone here especially jazzwee for your encouragement and inspiration

http://www.box.net/shared/nqrbt5dguy

I also tried to apply two handed voicings plus melody to ATTYA.

This is what I came up with for the A section. What do you guys think:

Fm7: F Eb, Ab C Ab

Bbm7: Bb Ab, Db F Db

Eb7: Eb Bb, Db G

Ab7: Ab Bb, C G

Db7: Db Ab, C F

G7: G F, B F

Cmaj7: C G, B D E

C-7: C Bb, D Eb

F-7: F Eb, Ab C Ab

Bb7: Bb F, Ab D

Ebmaj7: Eb G, Bb D

Abmaj7: Ab G, C

D7: D F#, C

Gmaj7: G F#, A B

Sounds good, saiman!

I will be looking at this closely. Sounds like it makes it easier to do longer quaver runs. Also helping join a sequence of chords.

As always thanks Jazzwee

I need to sit down and work these out as well Siaman.
Great to have them here for easy reference though. Me an chords still have a long way to go in our friendship. It is a work soon to be in progress.

Talk Talk
SwingC

Well done Saiman. Now let me see if I can improve the way you phrase this. Notice how you start everything on 1+? Let's break the pattern here so it will give you ideas.

This is not one of the numbered exercises but I'm just responding to what you played.

Try it now with occasionally putting chord tone quarter note played at beat 1. Then continue with what you're doing here. It should sound more melodic.

BTW at this tempo, which is fast, straighten those eighths some more and focus on offbeat accents. That'll give it more swing. Right now the emphasis is definitely on the downbeat. We've got to break that habit.

Siaman

I like the way you Do your left hand chords in the empty spaces. I must bring my two hands together as well.

Thanks for posting.
SC

hi jazzwee. thank you for listening to the example.

So when you say start with a chord tone quarter on 1, where do I place the approach note to the third. I am guessing it should be on the 2+ seeing that you wont be able to place it on the 1+?

So for the C-7 for example I would play G as a quarter note on 1 and then a series of eight notes starting from 2+ -> D (approach note) Eb F G

I have tried to give it a swing feel. Do you think you can elabortate a bit on where I go wrong to that I can break the habbit? thank you so much

Let's think that through. Try playing the chord tone as a dotted quarter. That should form a continous phrase through 2+. I just want you to hear what happens when you do this. Or you can start the quarter note at 1+. I want you to intersperse long notes in there.

The swing will solve itself when you emphasize the offbeat. A LOT. At this stage, REALLY ACCENT IT. And soften the downbeat. When I listened to the recording, I heard strong downbeats.

ok great. Will do just that. Did you manage to have look at my ATTYA chords?

Yes I did -- 1/7 3/1/3

Try the ones on this thread. I learned it from my teacher. Much jazzier sound.

1/5/9 3/7/3

Yours works too and I also do that. Depends on the moment and the effect.

But excellent thought process.

thanks Wee, a lot of times I also use the concept of two fifth's if the melody note is a low third

What I am realizing though is that it sounds quite boring to just play two handed chords and play the melody. Without a drummer or bass player its almost as if you feel the need to do more with your left hand to create a rhythm. Wondering if there is like an intermediate step between just holding chords and walking bass

Yes there are several methods. Certainly playing just a LH shell of 1/7 or 1/5 or 1/3 or 1/10 is good.

Then the other is a modern stride of Root and then rootless on 2+. Then other times you skip the root. So it's stride-like but only suggesting the root every couple of chords or so.

I do this a lot.

I actually never use walking bass. It's a very specific style.

There are simplified walking bass styles too made up of just 2 half notes. And this also sounds better when you play them as a pickup (4+). Gives a swing two-feel.

Some of this is discussed up top. Though there may not be examples.

Hi folks

Could someone put up a link to a YouTube stride example.
Alternating Root rootless

Swing Cbbage