Re: [jazz_guitar] John's comp post
John Amato
I forgot about the Bb Jazz/Blues "comp" files I did for students years ago, based on Denzel Best's "Move":
3-String groups:
http://chordmelody.org/doc/MoveOn2/Move%20On_0001.pdf
http://chordmelody.org/doc/MoveOn2/Move%20On_0002.pdf
4-String groups:
http://chordmelody.org/doc/MoveOn2/Move%20On_0002.pdf
http://chordmelody.org/doc/MoveOn/moveon2.pdf
And yes, this file is yours ... I use it with my students:
http://chordmelody.org/pdf/walkinbass.pdf
John Amato
Isaiah 55:11
________________________________
From: Dave Woods <david...@verizon.net>
To: jazz_...@yahoogroups.com
Sent: Mon, January 4, 2010 8:33:57 PM
Subject: [jazz_guitar] John's comp post
John,
Excuse the title. I'm not talking about what you use to nourish the plants
in your garden. The first example looks like my stuff. I'm like you. I've
followed the guitar trail all my life, and I want others to benefit from
what I've learned over the years. I love it, and I've always loved teaching.
So whether its mine or not, I don't care as long as it gets out there. This
is why we both have free sites. I like your second example, the one that
works off the bass line. I would use all three voice chords to do it
though. I may work up a few examples like this too to show what I mean.
Thanks for sharing.
On guitar, ease of fingering is the key to a chord sequence that doesn't
sound labored when played. Speaking of that, a piano player only has to
move one finger to change a note in a chord, and we usually have to move
three or all four to do it, and that's the hanger. However, when it comes
to moving chords fast chromatically, the shoe's on the other foot and we've
got em' beat.
Effective fingering takes years to understand and work out. It's not just
about how fast your hands are. When I went to school, a couple of
professors who were composers asked me for advice saying they didn't know
how to write effectively for guitar. Back then' I wasn't much of a help
though.
In regard to the first example, my mistake back then, was starting off too
complicated right away. That's not the way to teach this stuff. I intend
to take this "all Inversions" example, and gradually embellish it with the
chromatic and upper and lower neighbor devices. After all, these "devices"
are all used in a group setting when the right opportunity in the
interaction presents itself.
Anyway, thanks' for taking an interest in what I'm trying to do. Coming from
you, that's a compliment.
Dave
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Dave Woods
Dave
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