Chord substitution problems

ChristopheCarington

@Twang - no need to apologize.

I'll ask you the same thing I've asked my students: what do you want from your music?

If your answer is to "play gigs semi-professionally" or to "get better," my answer is well then, put your money where your mouth is otherwise you don't really want that, do you?

Harsh, overly simplified, but it's the basic point.

You only have 3 resources in life: time, effort and money. It seems you've already spent time and effort, and it's not gotten you where you want to be. You're willing to spend the money (looking for books or other source material), but my opinion is that a teacher that resonates with you is the best bang for your buck time wise and will get you the results.

Twang

@Buco That diminished over the major is so cool! I'm trying to use it a lot. As Duved says... BAM! Django

Twang

@ChristopheCarington Thanks Chris, sometimes I think I'm my own worst enemy and thats the real problem. This sounds a bit naff but I dont like choices and I tend to analyse things too much. These are not the best attributes of a good gypsy jazz guitarist, who likes to feel the wind in their hair and flies by the seat of their pants. But I love the music and in the rare moments when it comes together it's the best buzz I've ever had!

bbwood_98

@twang - loads of great advice here.

A few comments and add ons -

@ChristopheCarington exactly!!!

@Wim Glenn and @djangology hit on an idea Id' mention - Each dominant chord has it's own set of diminished associated with it (G7= Ab dim, B dim, D dim, F dim) if these Diminshed are 7's your in flat nine zone - thus . . .

Also the Fm6 is the start of what is commonly referred to as a back door sub (for a ii-V, instead play vim6, bVII7 orb VII9 or whatever, and go to I. This is to say, try adding a Bb in between your Fm6 and G7. it's a cool sound.

Finally, fantastic idea on the book - but would you want this from a rhythm perspective, or a soloist perspective?

Keep at it - you're on to some cool sounding things!

B

Twang

Thanks again everyone. @bbwood_98 It’s really soloing I’m interested in.

Buco

Don't know if this is helpful at all but in my opinion you can't rush things. You do need to make sure to put in time and make steady progress (even though it may feel like no progress is being made) but things will click when they're ready, no sooner or later.

Regarding the teacher, a good teacher will help get you there but won't get you there faster necessarily. What a good teacher will help you with is to put you and more importantly keep you on the right track. And that might feel faster but it's more that you're being more focused because of it. Answers aren't that hard to find especially in this day and age. Sure a well informed teacher might save a little time and give you an answer faster but that's not the main point to search for one. It's for guidance and support and critiquing, someone you have a certain responsibility towards and on the other hand a good teacher will take responsibility and personal interest to push you where you want to go.

You mentioned and asked about the book. That book doesn't exist yet, you need to write it. I'm not saying this philosophically either. And it's possible that something is out there that you'll find, read and say "aha that's it!". But more likely you need to take a little bit at a time from multiple sources and build your knowledge, especially your ears, to complete this picture that you're missing now.

Twang

Thanks Buco when I get “there” and am able to look back on my journey, I’ll write the book 😁.

Getting a good teacher is easier said than done and there’s an element of luck involved. I notice many gypsy guitarists, professionals and amateurs alike have a keen interest in jazz guitar in general. They often have archtops and incorporate much of this style into there gypsy playing. I dont have an issue with this of course, but It’s not something that interests me.

jazz guitar teachers I’ve encountered up till now have been more interested in teaching Scott Henderson than Tchavolo Schmitt.

I could do online but I dont think the technology is really there yet. Zoom, Teams etc is designed for conferencing not picking up the subtle nuances of a guitar. I still might though.

I learn a heck of a lot here.

Lango-Django

Hey, Twang, have you ever checked out the Daniel Givone method?

I got a lot out of that one... maybe as long as you are between teachers...

Will

Twang

Thanks Will

yes I have it! It’s really good and I have also got something from it. If nothing else it showed my how to apply licks and lines to songs. His forms are very well written and I think there is a little of this permanently in my playing now without me realising it. Is his 24 pieces (cant remember exactly what it’s called)book worth getting?

I never quite got why he wrote them starting on the low e running up and down the neck like a scale. For me they didn’t work as well lifting fragments out and then I realised it would be easier to do this with my own licks.Unless i was missing something. Still I’m grateful that the book set me on that path.

I just got the Van Hemert method but have not looked at it much yet. Just looks like the Givone method but more jazz and less Gypsy but, as I say, I haven’t given it a proper look.

Twang

https://m.youtube.com/watch?v=7_KvHTJKmXc

This could have been made for me! Denis even uses the minor substitution I was talking about to illustrate his point. Spooky