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Actually, to somewhat bring this thread back to guitars, speaking of my Gitane DG-250M, it's just been sitting here not doing anything for a few years now so I should probably sell to someone who might actually play it. I'm not in any hurry to move it either so not starting a new thread but if anyone is reading this and wants a decent deal for an older one from the 2000s, I'd be willing to part with it for $900, case and shipping included (only lower 48). No cracks or damage, just the usual pick scratches and wear from playing, dm for pics. Should note there's a few used ones out there priced similarly but without shipping included.
(Also @voutoreenie ) I started figuring it out from the YT video and then saw Adrian's comment that he posted a slice. Since I needed to make a pizza dough shortly thereafter, I peaked in. Because major and minor were straightforward but dim played that way was new to me. I wasn't immediately sure what's he playing. That's why I went to Sounslice. That was maybe the biggest lesson for me, how he skipped a note in dim arp in order to organize fingering and picking uniformly, so elegant.
He actually skips a note that makes it diminished but it still sounds like it, because of the b5. Which would be important for me to learn because I always cheat by playing dim arp over ø. Which kinda works. This arepggio works for both equally because you're omitting both dom7 and diminished note.
@voutoreenieI've heard about the concept of making the harmonized scale chromatic by adding diminished chord between the steps. I never spent time on it because I didn't see the practical usage to be honest.
Something that's on my to do list to spend more time on is to practice modes. But! From the same root.
I've heard about the concept of making the harmonized scale chromatic by adding diminished chord between the steps. I never spent time on it because I didn't see the practical usage to be honest.
@Buco Oh yeah if I'm understanding you correctly I completely agree, it's not particularly useful within the literal chromatic sense all the way up a scale during tunes...but that said, it can help in bringing more ideas to bridge chord progressions that incorporate chromaticism (e.g. within a 2-5-1, rhythm changes or really anything utilizing diminished chord substitutions). I mean, on that note, the entirety of Adrian's exercise isn't really musically useful during tunes lol...but you can definitely apply many portions of it to GJ and jazz improv, certainly the arpeggios as well.
Because major and minor were straightforward but dim played that way was new to me. I wasn't immediately sure what's he playing.
That was the biggest thing for me too. I understood the concept he was employing but was trying to figure out what he was doing on the dim arp b/c that isn't the way I would play it. Its nice--another tool to try to use. Made me also think one could try this same exercise starting in A major with the open 5th string as the root and then you would be practicing the 5th string root shapes. Not sure how the timing would work as there would be a few less notes but perhaps with an ornament thrown in it would work out?
I share Bireli's lack of knowledge of all this theory (it actually makes my head spin reading this, and I feel very lost and like I'm missing out). Unfortunately, that's all I share with Bireli!!!
I shall sit down and try to play through these arpeggios tomorrow and see how I go.
@Jangle_Jamie How do you know how to play so much nice, harmonically rich music?
@billyshakes I didn't try translating into the 5th string root, I'll take a look.
My bad for going into a theory direction with Adrian's arpeggio exercise (too much caffeine lol) - I certainly don't want to create the impression it's useful for improv, or at least certainly in a literal sense of trying to play through it during a tune; ultimately, it's purpose is for building rest stroke technique and becoming proficient in the 3 primary arpeggios used in GJ.
Buco, you're too kind!
If I could just introduce a bit of proper regimented practice into my playing, I reckon I'd see some improvements quite quickly. Kids, work, and all the other things I like to do mean my playing, my staying power and my concentration all suffer!!!
I would love to go on a gypsy jazz retreat - it would be the boost I really need.
@billyshakes I made a video and dropped it here, better spot to talk arpeggios too...
Since this thread is all over the place now I'll put up a couple of vids....not GJ of course. No Nat on these but we play a fair amount, just don't have recordings of them. Our bassist (and the Idiomatiques) Kim Collins is an excellent singer, Brian (piano) and I are just hanging on in the vocal department. Video was taken on the spur of the moment from a friend and cutoff so it is what it is.
https://www.youtube.com/watch?v=tnZohfZPSSc&list=PLVrMW0RD6oaMcxMRgQ83qyk5WGWPrnScl
www.scoredog.tv