Robert S.
Super Moderator
Re: Random jazzy improv wanking
A couple things that I noticed. For one, the rhythm track is not swing style so it doesn't really lend itself to swing style playing.
There are two ways to look at tonality in my mind. One is where the harmony moves around the note and another where the note moves across the harmony. If you play a static C note in a C major chord, you are extremely "inside" hormonically. If the chord changes to a C#-7 and you stay on a C, you are now at the extreme "outside" harmonically. This is the harmony moving across the note. To play a C# across a static C major chord has the same effect harmonically but you are moving the melody across a static harmony.
This is done a lot in Jazz to create interest but there is a danger in Jazz because the upper extensions define the chord family you are working in. This is often the case where the root of the song is based off of a harmonic minor where a leading tone has been added or where the key signature changes for brief periods. Instead of trying to jump around trying to make scale and shape changes to fit these "outside" opportunities it can be helpful to figure out the inserted key or family of chords you are working with and play across them as a group. That way your phrasing wont be as clunky because you aren't trying to shift gears harmonically every time a chord/key changes. Using chromatic type phrases and passing tones can also help to smooth things out.
Resist the temptation to rely too heavily on some kinds of shapes. They are a great playing tool and can often lead to some great outside tonalities which creates interest in the listener but if you dont use your ear there is the chance that you will end up so far outside that it sounds more like a mistake than an opportunity.
Pretty cool stuff!
And lets let the racism stuff go. Drew wasn't being hateful but he sure was clumsy and only dug the hole deeper trying to explain himself, though I still don't see the opportunity for swing in this particular piece. Truth is though if you want water, sometimes you have to go to the well. I honestly think that is the point he was trying to make. If I wanted to learn Bop I would listen to Charlie Parker. CP was one of the best, not because of color but because he was.
Now lets stop pointing fingers and get back to playing guitar!
A couple things that I noticed. For one, the rhythm track is not swing style so it doesn't really lend itself to swing style playing.
There are two ways to look at tonality in my mind. One is where the harmony moves around the note and another where the note moves across the harmony. If you play a static C note in a C major chord, you are extremely "inside" hormonically. If the chord changes to a C#-7 and you stay on a C, you are now at the extreme "outside" harmonically. This is the harmony moving across the note. To play a C# across a static C major chord has the same effect harmonically but you are moving the melody across a static harmony.
This is done a lot in Jazz to create interest but there is a danger in Jazz because the upper extensions define the chord family you are working in. This is often the case where the root of the song is based off of a harmonic minor where a leading tone has been added or where the key signature changes for brief periods. Instead of trying to jump around trying to make scale and shape changes to fit these "outside" opportunities it can be helpful to figure out the inserted key or family of chords you are working with and play across them as a group. That way your phrasing wont be as clunky because you aren't trying to shift gears harmonically every time a chord/key changes. Using chromatic type phrases and passing tones can also help to smooth things out.
Resist the temptation to rely too heavily on some kinds of shapes. They are a great playing tool and can often lead to some great outside tonalities which creates interest in the listener but if you dont use your ear there is the chance that you will end up so far outside that it sounds more like a mistake than an opportunity.
Pretty cool stuff!
And lets let the racism stuff go. Drew wasn't being hateful but he sure was clumsy and only dug the hole deeper trying to explain himself, though I still don't see the opportunity for swing in this particular piece. Truth is though if you want water, sometimes you have to go to the well. I honestly think that is the point he was trying to make. If I wanted to learn Bop I would listen to Charlie Parker. CP was one of the best, not because of color but because he was.
Now lets stop pointing fingers and get back to playing guitar!
