For those who struggle with following changes !

anthon_74

Micro orgasms ! nice one will. Actually, what you're talking about is something I hear Django do all the time. start on the low end of an arp, go up it very fast and climax with a powerful vibrato at the apex.

I would say that's one of the only things I DO know how to do that sound really gypsy. Otherwise, I still feel that my phrasing sounds very rock and roll / blues ish.

Lango-Django

That's wonderful that you can achieve micro-orgasm, Anthony...!

So, do you have any tips for those of us who are still, um... impotent? :oops:

Jazzaferri

Stroke faster perhaps :oops:

anthon_74

this topic has officially de-evolved into the lowest common denominator !

My stroking speed is certainly getting faster by the day !

Jazzaferri

Rofl

Lango-Django

My RH speed is pretty good, but I"m still working on my LH.

Ahab

Great thread, and some great advice on here too.

I was thinking of posting something similar. I have been playing this style for two years now, and I came from a similar rock and roll, pentatonic background. My father is a saxaphone player and I've been listening to jazz since as far back as I can remember, but I never took the plunge into being able to improvise over jazz changes as I felt it was too complicated! Now, I wish I had earlier...

I've been getting a bit of a two-year itch as far as carrying on learning this style is concerned. I feel like I understand the basics pretty well, in as far as right-hand technique goes, although I know I have a lot to improve on, and my rhythm playing is ok. I can hear so much in my head, but I've really started noticing how much I lack in really being able to play the changes and it's very frustrating, I feel that if I can't do something well, then it's probably best not to, because above all I don't want to dishonour the music. I sometimes worry that if Django heard me, he'd turn in his grave! I also realise that this music takes a lot of dedication because it's very unforgiving. If one aspect of your playing is suspect, it sticks out like a sore thumb.

The bulk of my practicing involves transcribing, then a little bit of arpeggios, practicing the odd lick and then improvising over playalongs. I guess I feel like I'm not being methodical enough, it's very easy to get head of yourself, which is something I really don't want to do. Sorry for the rambling post, but any advice would be helpful!

kevingcox

Lango, it sounds like what you're talking about is "tension and release" (no pun intended) and it is the secret to great music (and solos) and stories. There are so many ways to achieve it that I would probably embarrass myself if I tried to make a comprehensive list, but certainly the "flurry of notes" method is one that people use. You can also try playing "outside" the changes, or discord, and coming back in.

Django is, of course, the master at this but most music that you find interesting will have it to some degree or another.

Jazzaferri

For those that struggle with the changes. Kenny Werner taught me that the reason one struggles with changes is that they are not known at a subconscious level.

If one has to spend a large percentage of ones conscious effort in trying to keep track of where one is, then there is little left for listening or improvising or reacting to what is going on etc etc.

Learn the melody of a tune and learn the chords. When you can play both at the same time (whistle or sing or hummm the melody whatever...doesnt matter how well intonated but rhythmically correct and with a good feel) then one can be sure one truly knows the song. And one now has a basis for ones improv.

Another point. Learn a number of phrases that connect over a set of changes. Most tunes utilize pretty standard changes for much of the harmonic movement.

I vi ii V rhythm changes. ii V I and its non jazz brother IV V I ....ii chord is the relative minor of IV

Play it a hundred times you know it ...a thousand times you own it. I have had the privilege of knowing a few really fine world class musicians and they all say something similar.... Its not talent that developed there skills..just thousands of hours of hard work and dedication....play with feeling even when you practice your scales.

Buco

Well on your advice Jay (I think it was you first who mentioned it) I started reading Kenny W's book.
I like it, it helps to get that kind of encouragement. I don't know if I can take "there aren't wrong notes" at a face value but I'm sure he's going somewhere with it.
But we all are lucky indeed that this GJ community is so supportive. There are a lot of pro players who contribute here and I've never read anything that wasn't supportive and encouraging.

After I started my little experiment I found that I don't have nearly as much trouble soloing over a tune while looking at the sheet and having a play along behind, it may sound silly but I used to.
Also I feel I'm getting better at following changes mentally without a playalong.
Which goes to tell me how work does pay off. You see my new year's resolution was/is to put in at least an hour a day, every day. I've stuck pretty closelly to it. I remember reading an interview with Tom Morelo, one of my favorite rock guitarists, and he said how his guitar playing "came like a surge" after he started puting in an hour a day every day versus not playing for a week and then having a 6 hours practice session on Saturday. Previously my practices were more like the latter.

Also I'm finding that I can start to combine ear based soloing (where my solos contain very few notes), just going where the next note wants to go sort to speak, and play the arps I practiced and know will fit over the chord changes (where I can play something faster). This is at the very early stage still, but I do hear a difference.
Another thing I started doing lately is to sing a solo to myself. This doesn't mean that I'm playing the note I'm singing necesarily, it's more of dictating a rhythm to myself. This helps to keep my beat and playing going in a couple of trouble situations. First if I'm "singing" a solo and I hit a bum note, I don't pause like before and if the rhythm is not interupted this mistake doesn't sound so much as a mistake. Secondly if I try to play a faster run, which I'm not good at yet, now I'll plow through it, again if I'm dictating a rhythm to myself, and while still not great it sounds so much better then giving up in the middle of it like before. I'll admit that I'm not a fan of hearing this "singing" while listening to others, even on some of the famous jazz records, but I see the benefits of it.

Regarding the tension and release thing, one time this guitar teacher told me to just make sure my phrase resolves on the 2nd (or 9th) and this actually kinda worked so try something like that. I think resolving on the 6th would also work especially for GJ? While not an answer it might lead someplace further.