Welcome

AndreasOberg

Hello friends and music lovers!
I welcome all of you to this little spot on Michael's forum. Here we're discussing my upcoming book but also feel free to ask if you have any other questions regarding gypsy jazz guitar or jazz guitar in general. I'll try to answer if possible :roll:
Yours Truly
Andreas

pallopenna

Andreas,

Can you elaborate a little on what you said (in reply to Dennis, I think) about running changes to tunes. I know that this was in response to be-bop playing, but I can't see why this wouldn't apply to gyspsy jazz as well. I guess my specific questions have to do with the mix of arpeggios with other melodic devices, and whether you base most of your lines (in this context of practicing) on the basic tones of the chords, or whether you also consciously try to work in lines that are rooted in harmonic extensions, etc?

Thanks!

-Paul

AndreasOberg

Paul, you're absolutely right when you're saying that this way of practicing works for gypsy jazz as well. It's a very good way of really getting into a song and hear all the changes and get a natural feeling for the different sections and the complete form of each song. In gypsy jazz there's more arpeggios compared to bebop (where the focus is more on scales with chromatic passing notes+some arpeggios of course)

In gypsy jazz, there's a lot of chord tones and arpeggios but I also try to outline the tritonic-substitution and other interesting harmonic devices.
I have some good advice when it comes to playing outside the chords. If you develop a sense for tension and release and learn how to resolve your outside lines you will get an enormuos freedom without sounding to extreme. The phrasing is also important, if you for example play a really outside phrase in a very swinging and convincing way, you will get a way with the most weird choices of notes. Bireli is a true master at this!
Best Regards
Andreas