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live at the speed of Jazz

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Reg's Thread... live at the speed of Jazz


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Reg

06-30-2012, 04:52 PM

Reg's Thread... live at the speed of Jazz


So here we, or at least Here I go... I've been asked to start a somewhat general thread about jazz, really more to the point, Playing Jazz.
I have as much expertise as most with traditional as well as jazz theory and harmony, at least well enough to discuss anything music related.
Obviously I have personal opinions, but that tends to happen when your involved with something for way too many years. I'll really make an
attempt to make posts interesting and helpful... and try and keep the BS to a minimum.
What I really would like to do is get into playing Jazz, becoming aware of different concepts and their applications... This will involve posting lots
of musical examples. I do have years of professional experience performing and can cover fairly well...
Anyway should be nice ride... and you will get insight of how I play with examples and explanations of how and why I approach playing.
Reg

paynow

06-30-2012, 04:57 PM

Bring it on brother. I look forward to it.

gingerjazz

06-30-2012, 05:01 PM

Hey Reg,that is very kind of you man,i will look forward to this.You seem to be a very giving person like me,i only wish i had more to
give.Peace.

MarkRhodes

06-30-2012, 05:11 PM

Looking forward to it, Reg. You know, you talk about forms, and how songs are made of parts---maybe you could do a segment on the most
common forms that a budding jazzer must master. (Just a thought.)

Franklin52

06-30-2012, 05:11 PM

Great Reg, thanks for your effort, I look forward to it too.

mr. beaumont

06-30-2012, 05:23 PM

Alright, got this one as a sticky...looking forward to watching it develop.


I'd like to hear you talk in detail about blue note harmony, as i think i have seen uou call it...

jster

06-30-2012, 07:22 PM

Thanks Reg. ;)

AmundLauritzen

06-30-2012, 08:07 PM

What a selfless and generous act, especially considering the level you play at and your knowledge!
I'd like to hear about how you analyze tunes for improvisation. Do you play from chord forms? Thinking scales? Fragments? If you have a visual
or cerebral approach to navigating the fretboard etcetra.
I'd also like to hear how you approach chord melody. Your process for arranging melodies and a bit about your personal "palette" of extensions
and alterations that you find pleasing to color the chords with.

AlsoRan

06-30-2012, 08:57 PM

Awesome.

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Reg's Thread... live at the speed of Jazz

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http://www.jazzguitar.be/forum/theory/22914-regs-thread-live-speed-jazz...

JakeAcci

06-30-2012, 09:31 PM

Cool, I am looking forward to it.

Helgo

07-01-2012, 04:15 AM

nice :)

0zoro

07-01-2012, 05:27 AM

This has obviouly gotten a lot of attention and is just a day old! I cant agree more with the comments above, and am looking forward to your
iniative Reg. Thank you!

NSJ

07-01-2012, 09:45 AM

Very cool and very much appreciated.

Reg

07-01-2012, 09:49 AM

Whow... thanks all... I'll get a few things together this afternoon and start posting...

MarkRhodes

07-01-2012, 10:27 AM

Can't wait!

marshall

07-01-2012, 07:17 PM

Reg;this is going to be great.I love the way you play and teach.Thank you man,cant wait.

richard vandyne

07-01-2012, 10:33 PM

teaching
Reg- Got to make this unanimous. We can,t hardly wait . SEND US THE BILL ha ha

guitarplayer007

07-02-2012, 08:59 AM

Awesome, i'm going to learn alot. Wonder if you show examples of voicing leading for inprov or patterns we can practice to hear the changes
othen just arpeggios.
Thx
Ken

Reg
I'm going to start these posts in sections... they will all tie together. You need to understand where I start from, my basic
references.

07-05-2012, 12:15 AM
1 Attachment(s)

Even though I'm going to begin with technical BS, fingerings, chords, scales, arpeggios... You need to understand the concepts, both actual
playing as well as approaches behind that playing.
So there are levels of playing as well as levels of harmony/theory approaches... your level of physical skills and your level of understanding what
your playing.
1) I'll start with fingerings... methods of organizing your fingers with all aspects of playing... I have a base fingering system or my default
starting point.
2) Through that fingering system, I'll get into scales, arpeggios etc...
3) Chords, how I comp...
4) I use the same methods or systems of organization... "reference, relationships and development" for almost all aspects of my playing.
5) I'll have to get into forms, rhythmic concepts and what reading and playing jazz charts is... not simply what's notated.
There are more skills and we can get into them as they come up...
My harmonic/theory approaches are simple, use of Modal interchange, use of Blue notes harmonically, Modal concept approaches and use of
Melodic minor non-functionally. There's actually more... but it's very standard.
An example... I'm soloing over Gmaj7 to Cmaj7...
My starting point is diatonic... Ima7 to IVma7...

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Reg's Thread... live at the speed of Jazz

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Next relationship could be... Function relationships or function subs;


Gmaj7... access to VI-7, then III-7
Cmaj7... access to II-7, then VI-7
Now I have choice of developing those subs, through modal interchange, blue notes, MM etc... lots of choices.
Or I can introduce more subs through different methods... tri-tone, approach, sub of subs, Related IIs or Vs... implied or deceptive relationships
for sources of subs. Other reharms etc... and then start developing through my basic jazz tools for developing relationships...
Every note I play represents a complete harmonic structure... On that Gmaj7... if I play 8th note line... starting on 2nd string 7th fret... F#, G,
1st String, 7th fret... B. 2nd string... 8th fret...G, F#
F# G B G F#. Harmony or what each note implies harmonically could be, F#ma9, Gmaj9, B-7, F9, E-9 all for that original Gmaj7 chord... with
those notes as lead line...
X 10 7 7 7 X
X 11 8 8 8 X
7X7777
X8788X
X7577X
Anyway this aspect of my playing, how I approach, will if nothing else help you understand how you play... everyone will get something out of it.
But I do need to start at basics.. with out a solid mechanical method of fingering and understandings of what your playing...you'll hit walls when
tempos get up.

1) Fingerings... I'm a position player, I base all my fingerings or how I see and hear and get out what I hear from positions. (1st finger
determines position).
I use different fingerings to help imply different styles. Same notes played in one position have a jazz feel, while when played with a different
fingering will sound like rock, blues etc...
I base all my fingerings off 6th string roots and use 2nd finger for those roots...which creates all 1st finger stretches. This is my starting point of
reference... My mechanical method of feeling and not having to look at the neck to hear or see where I am. It works well for me.
My reasoning was... my 2nd finger is the strongest, and my 1st finger has the most mobility... which lead to 2nd finger as base and 1st finger
for stretches.
There are other fingering... 1st finger, and 4th finger based and some 3rd, 4th finger stretches or combinations of 1st and 4th, hybrids and
special purpose etc... I do use many of those. But they are all used in reference to my 2nd finger base starting point.
Everything I do and play in music has a beginning, a starting point, a reference. From there I have methods of using, creating and developing
relationships. This doesn't mean I always go through the process of relating to the beginning... I've trained myself... and my instincts, I trust
them. My reactions even when spontaneous are really somewhat organized.
So I'll go through and make examples and charts of fingerings and make short video of hand positions etc... maybe wait on the vid for better
material.
I somewhat use the same mechanical system for comping...
I use root 6 or 6th string root chords along with Root 5 and root 4. I also see and can use root 3 chords but not much. Those are my starting
points... references for voicings and harmonic development.
I usually just voice my lead line, the top note, or have line going on in bass notes. All with reference to my position and what approach I'm
using, same with soloing... I don't simple hear a line and play it. I hear the line in context with a harmonic approach. Just as you hear a melodic
line or chord progression. What harmonic approach(es) I'm also hearing have influence on the melodic line or chords I'm referencing and
developing.
This fingering and mechanical references may be a little boring at first, at least I hope so, but my approaches for actually comping and soloing
won't be boring. They will help you understand different systems of playing the same collection notes with different implications.
Best Reg

JazzFanatik

07-05-2012, 02:09 AM

Reg, thanks AGAIN for all the information you just give to us. Please know that there are a lot of ppl on here that greatly benefit from it and
appreciate the information and wisdom bro. That's real talk brotha :)

JonR

07-05-2012, 05:12 AM

Quote:
Originally Posted by Reg
I base all my fingerings off 6th string roots and use 2nd finger for those roots...which creates all 1st finger stretches. This is my starting point of reference... My
mechanical method of feeling and not having to look at the neck to hear or see where I am. It works well for me.

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My reasoning was... my 2nd finger is the strongest, and my 1st finger has the most mobility... which lead to 2nd finger as base and 1st finger for stretches.

Lots of great stuff above, but I just thought I'd highlight this excerpt, Reg.
I like that logic. I realise you use other fingerings (as I do), but I don't often think of working this way.
But it ties in with what I'm always encouraging students to do (at a way lower level than we're talking here!): to think about balancing their fret
hands at the centre, as it were (around the middle finger). It's far easier to stretch an index back than it is to stretch a pinky up.
For beginners especially, the pinky needs all the help it can get, and I've found it helps (with chord shapes or scales) to think from the pinky
back, rather than the index up (which is the instinctive way). Ultimately it ends up with a balance around that middle finger, which makes the
biggest stretches more comfortable.

ColinO

07-05-2012, 09:30 AM

Quote:
Originally Posted by Reg
I base all my fingerings off 6th string roots and use 2nd finger for those roots...which creates all 1st finger stretches. This is my starting point of reference... My
mechanical method of feeling and not having to look at the neck to hear or see where I am. It works well for me.
Best Reg

Please excuse this if it is a stupid question. I am a pretty decent blues (not jazz blues - blues blues) player and have been trying to get a handle
on jazz for about a year so am approaching this from a little left of left field.
Are you saying that, when approaching a Gmaj scale I'm going to mostly see your hand in second position and when playing an A Dorian, you'll
be in 4th position? Or are you saying something else? I have spent considerable time learning a lot of scales in a lot of positions, and would
hate to think I have been exerting effort that could have been used doing something else.
I'm half kidding of course and understand that knowledge of he fretboard is important but I find simplifying things attractive.

Reg

07-05-2012, 10:14 AM

Quote:
Originally Posted by ColinO
Please excuse this if it is a stupid question. I am a pretty decent blues (not jazz blues - blues blues) player and have been trying to get a handle on jazz for about
a year so am approaching this from a little left of left field.
Are you saying that, when approaching a Gmaj scale I'm going to mostly see your hand in second position and when playing an A Dorian, you'll be in 4th position?
Or are you saying something else? I have spent considerable time learning a lot of scales in a lot of positions, and would hate to think I have been exerting effort
that could have been used doing something else.
I'm half kidding of course and understand that knowledge of he fretboard is important but I find simplifying things attractive.

Yes, I start with Gmaj from 2nd position, and A min, Dorian starts from 4th position... with 1st finger stretches.
Generally most Blues and Rock players play Amin Dorian from 5th position with 4th finger stretches or with change of position. That same 5th
position fingering with change to 6th or 13th, flatted, is also used for nat. min. and also Cmaj. They tend to stem from use of pentatonic's and
open position playing fingerings.
Reg

ColinO

07-05-2012, 10:33 AM

Quote:
Originally Posted by Reg
Yes, I start with Gmaj from 2nd position, and A min, Dorian starts from 4th position... with 1st finger stretches.
Generally most Blues and Rock players play Amin Dorian from 5th position with 4th finger stretches or with change of position. That same 5th position fingering
with change to 6th or 13th, flatted, is also used for nat. min. and also Cmaj. They tend to stem from use of pentatonic's and open position playing fingerings.
Reg

Thank you. That's interesting. When I started trying to get my head around playing jazz, the first thing I did was figure out the Dorian mode
and how it might relate to the minor pentatonic scale. I wound up in 4th position on the Am Dorian because it was pretty easy to add the B and
F# to the Am pent. However, because it is pretty easy to find the Am pent all over the neck, it is also easy to find A Dorian all over the neck
too, so I end up all over the place when using that scale, and ultimately all scales when playing jazz too.
I take from what you are saying that it may be better to anchor oneself rather than taking the approach that I have been taking which is to
look at the scales all over the neck on an equal footing.

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That's a different approach than playing blues in a sense since part of what creates variation in what is played in blues is the different way that
the notes fall in different areas of the neck.
Thank you again for this thread. You are being very generous with your time and knowledge.
07-05-2012, 12:20 PM

fep

ColinO, I've seen a lot of Reg's videos and I can assure you he can play any key and any scale anywhere and everywhere on the neck.
Reg, correct me if I'm wrong. Reg is talking about his fingerings which seem to be similar to the Leavitt fingerings. When he talks of A min
dorian that is a fingering which is also the same pitch collection as G major and C lydian and D mixolydian etc. So this is one of the fingerings
he'd use for A min dorian and is also one of the fingerings he'd use for G major.

ColinO

07-05-2012, 12:29 PM

Quote:
Originally Posted by fep
ColinO, I've seen a lot of Reg's videos and I can assure you he can play any key and any scale anywhere and everywhere on the neck.

I've seen a couple of his videos and think he is amazing. That's why I'm trying to understand exactly what he is saying here. I have a ton to
learn from a lot of people on this forum, Reg being at the top of the list. I certainly didn't mean to suggest that he is limited to one fingering
although maybe it came off that way.
Thanks.

fep

07-05-2012, 12:33 PM

No Collin, I didn't take it that way it all, I didn't think you were saying Reg's fretboard system is limited. I believe I know what Reg is saying, but
the way he wrote it is confusing to me also.

Reg

07-05-2012, 03:01 PM

Hey Thanks for interest and help. Sorry about confusion.


Yes Fep... very similar to Leavitts, I'm a grad from Berklee mid 70's. But I was using the basic fingerings already. I went to Berklee to learn
about jazz harmony and composition etc... I could already play... at least well enough to gig... I could read and had chops, the being able to
play part would have been subjective...
The point I'm trying to get across is all my playing, both on the guitar and in my head... has a starting point. My starting reference for
relationships and development.
All the fingerings on the 6th string are my starting references... Even if I'm playing Cmaj scale or arpeggio from 5th string 3rd fret... my tonal or
mental reference would be Cmaj. But my mechanical neck reference would be... all six strings fingering from Gmixo. The fingering is simply a
grid or pattern that always covers all six strings. My tonal point of reference can be anywhere on that grid or pattern.
I'm really just talking about mechanical fingerings... that cover all six strings and moves up the neck seamlessly with least amount of effort.
And these are just my starting points, I don't have to think about these fingerings... they are my instincts. There are other fingerings which
have same mechanical principles. At some point you need to make choices... I did. Obviously I really don't need to think about other fingerings
either, at least when I decide to use them.
There might be other points of interest... more work and making your fingers do more difficult fingering might contribute to pain and even
problems down the line... I've played for 50+ years, never just casually, I play and have played a lot. I've always enjoyed pushing the tempos,
never had any pains.
Another point... I for the most part of my career, have always played a Jazz Box with heavy strings and high action, helps create the style of
playing I like. During the 70's and 80's I played simi and solid body guitars also, the fusion thing. Any fingerings work... you almost want more
difficult fingerings to slow down or create some type of rebound.
My point... probable less chance of doing damage to hands on solid body guitars. But the starting point reference concept still applies.
We could get into structural aspects and mechanics of other systems, etc... do they have holes, hit walls, are they better.
Reg

whatswisdom

07-05-2012, 03:54 PM

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http://www.jazzguitar.be/forum/theory/22914-regs-thread-live-speed-jazz...

Quote:
Originally Posted by Reg
What I really would like to do is get into playing Jazz, becoming aware of different concepts and their applications...

Right on, Reg! I thought you were starting to live stream one of your gigs when I saw the title. Very generous of you to put in the time... Some
random thoughts: How about "Blues meets MM?" ... Interested in how you control blue notes--to paraphrase our buddy Mr.B. Also, Modal
Interchange 101--keep it simple to begin... Thank you!
07-05-2012, 03:57 PM

fep
Quote:
Originally Posted by Reg
I went to Berklee to learn about jazz harmony and composition etc...
Reg

Hi Reg,
I know you have done a lot of compositions and arranging. That also might be an interesting topic for your thread. It would be great to 'look
over your shoulder and ask questions' as you go through a composition.
Perhaps a little off topic, but maybe some food for future thought.
If you're looking for anyone to do some 'ditch digging' for these threads for you, let me know. I can transcribe and/or notate some of your
stuff.

AmundLauritzen

07-05-2012, 07:14 PM

I hope you don't mind, but I'd like to ask you about strings, picks and amps, because someone who has been playing as long as you have and
at your level must have pretty much tried it all(or maybe you're one of the cats who found his sound instantly?).
Myself, I'm going a bit back and forth when it comes to strings and picks. I've only been playing jazz for four years, so I haven't found my
sound yet, but I'm getting close! Benson talked about combining heavy picks with light strings and vice versa. I was wondering if you have any
thoughts about that and can share your observations about how different picks, strings and amps have worked for you and what your personal
preferences are.

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Reg

07-05-2012, 08:12 PM

It's more of... I use MM for source of Blue notes, not all the time but for what I hear as jazz blues or when I cover funk jazz. I don't really like
rock harmony.
It's pretty simple... I use different approaches when playing,(or composing), to change or add chords or harmonic areas to pull from melodically
and create harmonic movement... the changes. When I want or hear blues... I usually introduce MM as source for those blue notes... If nothing
else, it's great camouflage.
Simple example; I , VI- II- V7, Gmaj7, E-7, A-7, D7
VI- becomes V7 of II-, E-7 becomes E7. Now Tri-tone sub Bb7#11 for E7... that gives you access to Blue notes of Gmaj7, the Bb and the F.
When I use MM... I use in more of a modal style, non functional. Any chord structure or use of notes is cool... So the Bb7#11 is built from 4th
degree of F melodic min. I now have access to all chords built on any scale degree of F melodic min. Which opens a bunch of access points for
new relationships. I could also now sub for the sub... E7#9 for the 1st sub Bb7#11. The E7#9 chord has very typical blue note implications, very
blues like and can even rock. This same process can be applied to the D7... the sub or Ab7#11, or sub of sub, D7#9.
In this situation... the relationships and developments from my simple changes to VI- and the V7 chords are on the weak side of the Harmonic
Rhythm of simple chord progression... the rhythm is Strong, weak, strong weak. So the basic feel of progression, even after changes...is same
as original.
If your soloing over the original progression... you would need to be somewhat subtle with your use of new harmonic areas, at least while you
introduce to the ears.
Simply put... I'm using Melodic minor for source of blue notes. I'm using method of introducing access to MM as system of harmonic control...
the guidelines of use.
In that simple I,VI II V... I used F melodic minor from sub of VI and then also Eb melodic min from sub of V... both gave access to blue notes,
(and a whole lot more).
Play Gmaj7, to F-maj9, to A-7 to Eb-ma9. hummm I'll post some playing examples later after gig.
Frank, great idea, Would simple Jazz tune be cool. I need to write a few new tunes for upcoming new CD. Generally deadlines are the
guidelines for when I compose.
Reg

Reg

07-05-2012, 08:29 PM

Quote:
Originally Posted by AmundLauritzen
I hope you don't mind, but I'd like to ask you about strings, picks and amps, because someone who has been playing as long as you have and at your level must
have pretty much tried it all(or maybe you're one of the cats who found his sound instantly?).
Myself, I'm going a bit back and forth when it comes to strings and picks. I've only been playing jazz for four years, so I haven't found my sound yet, but I'm
getting close! Benson talked about combining heavy picks with light strings and vice versa. I was wondering if you have any thoughts about that and can share
your observations about how different picks, strings and amps have worked for you and what your personal preferences are.

I played through a Twin in the 60's and still use one when I need the volume or presence. I use a Polytone the rest of the time. I have way to
many amps... they sit or are loaned out. I use fender heavy picks, play from the sides, they last twice as long and change them quickly, they
get scratchy.
I'm always going between D'Addario chromes and Thomastic-Infeld or a mix of the two. I change strings at least once every two weeks,
depending on gigs, every week.
I've never really been that big on getting the best sound... I usually try and fit into the band. Everyone loves an ugly dog. Sorry just having
fun... Sound is always a struggle, every room or stage has different sound on stage and if there is sound person... locally they know what I
want, out of area, I do the best I can.
The next video I make I'll go through what and how I play, might give clearer picture...
Reg

jster

07-05-2012, 10:09 PM

Quote:
Originally Posted by Reg
Now Tri-tone sub Bb7#11 for E7... that gives you access to Blue notes of Gmaj7, the Bb and the F.

1) In this case, you get the #11 because the E stays around?
Quote:
Originally Posted by Reg

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I could also now sub for the sub... E7#9 for the 1st sub Bb7#11.

2) How does this sub of sub process work? It seems we would just get back to where we started. Here, I'm really not clear where the #9 = G
comes from since it isn't even in the Bb7#11. Or, going out on a limb, is the idea that you just want an altered chord/altered scale? Could have
said E7b9?
Thanks
07-05-2012, 10:19 PM

fep
Quote:
Originally Posted by Reg

Frank, great idea, Would simple Jazz tune be cool. I need to write a few new tunes for upcoming new CD. Generally deadlines are the guidelines for when I
compose.
Reg

Reg, that sounds great. Thanks


I'm thinking it would be very practical if I learned from your composition and then tried to write one of my own using the same concepts. I'd
then post it in a 'Tune in Progress' thread

edh

07-05-2012, 10:29 PM

Reg, I just a quick note to say thanks for your efforts. I know it's alot of work.
I'm looking forward to the instructions.

Mike Floorstand

07-06-2012, 03:33 AM

Quote:
Originally Posted by Reg
All the fingerings on the 6th string are my starting references... Even if I'm playing Cmaj scale or arpeggio from 5th string 3rd fret... my tonal or mental reference
would be Cmaj. But my mechanical neck reference would be... all six strings fingering from Gmixo. The fingering is simply a grid or pattern that always covers all
six strings. My tonal point of reference can be anywhere on that grid or pattern.
I'm really just talking about mechanical fingerings... that cover all six strings and moves up the neck seamlessly with least amount of effort.

Thanks for sharing this info Reg, I'm feeling on the brink of an epiphany!
Are you saying your approach to a IIm7-V7-IM7 in key of G at fifth position, your starting point is a mechanical reference and anchor to your B
Phrygian fingering, middle finger on string 6, fret 7?
Cheers

Reg

07-06-2012, 10:16 AM

Quote:
Originally Posted by Mike Floorstand
Thanks for sharing this info Reg, I'm feeling on the brink of an epiphany!
Are you saying your approach to a IIm7-V7-IM7 in key of G at fifth position, your starting point is a mechanical reference and anchor to your B Phrygian fingering,
middle finger on string 6, fret 7?
Cheers

The II V I in G is a chord progression. The tonal center or key is Gmaj. My mechanical fingerings are the patterns covering the entire neck. I
use 6th string reference points to talk about my fingering.
I usually wouldn't use a 5th position fingering.
1-3-4
1-3-s4
1-3-s4
1-3
1-3-4
1(3-4)

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Yes, I would use if I was in that position on my neck... the B Phrygian fingering. More often I would be in, or start in 4th position, or my A
Dorian fingering, with 1st finger stretches for A- D7 Gma.
Playing Amin from that 5th position with 4th finger stretches is very rocky, not bad of good, just doesn't have a jazz feel to me. When I use that
5th position fingering it's usually combined with 4th position A Dorian fingering and move to 5th position, (and 2nd) for pentatonic licks.
I rarely stay in one position for more than a beat or two. The position fingering become instinctive... I move up and down the neck to play
whatever and that... 7 positions 6th string reference is my mechanical guideline... my default starting point to be able to move up and down the
neck as needed.
Reg
07-06-2012, 10:32 AM

Reg
Quote:
Originally Posted by fep
Reg, that sounds great. Thanks

I'm thinking it would be very practical if I learned from your composition and then tried to write one of my own using the same concepts. I'd then post it in a 'Tune
in Progress' thread

Hey Frank... sounds fun, will be cool to hear from your ears... I'll make somewhat simple form and then try and camouflage...
E- / A- /..../ ..../ groove
E- / A- /..../..../ different groove developed from 1st groove leading to
?.../.../..../...../ longer maybe time change then pivot chord to rel. min..
F#-11, new groove , longer section, hip melody
last part... something sub-Dom, bVI like.
There we go "A" "A" "B" "C", some what typical form and harmonically close. I'll try and make it a little hipper and post later. (fill in the blanks)
Reg
07-06-2012, 02:52 PM

Reg
Hey jster...

The original changes are; Ima, VI-, II- V7 , a diatonic chord progression, in my example... Diatonic to Gmaj. Ionian. All the complete chord tones
from each chord are from Gmaj. and all with reference to Gmaj.
Typically when playing or composing jazz... that is a little boring, beyond boring... There are many methods of introducing and developing
different types of relationships within that simple chord progression, with or with out melody, and still be based... have the same starting point
of reference and imply that same diatonic progression.
What I'm doing in this example is adding blue notes. I want to use Melodic Minor as my source for adding Blue notes. I'm using subs for my
access to MM.
So E- becoming E7 by becoming V/II- and the sub of that E7 is Bb7#11 which implies chord tones;
Bb, D, F, Ab, C, E, G, Bb, from F melodic Min. There are other choices, but this choice is very typical with Jazz Harmony and playing Jazz and
the one I'm using.
So now by way of introduction of Bb7... which now also has a relationship with the chord progression, and my reason for going through this
process is to frame and give harmonic implications to blue notes, all with reference to the original diatonic chord progression in Gmaj. Anyway
the Bb7 gives me access to the Bb and F.. blue notes of Gmaj.
So now if I want to get a little closer to blues or rock approaches to playing blue notes or pentatonic... Gma pentatonic or the relative Emin
pentatonic. I would use sub for Bb7#11... I'm flipping the tritone to come up with E7 but keeping the same collection of notes from F melodic
minor... result is E7altered. So in this case the sub of a sub.
There are other methods of using sub of sub;
Example; The sub Bb7 pulled from Note collection of F melodic Min.
Because MM can and is use in a Modal type of application. Once you introduce Melodic min. You can use any chordal or note collection built on
any scale degree of that MM. Anyway the Bb7 sub in my earlier example was pulled from F melodic Minor... So I could Sub any chord built on
any degree of F melodic min.
The typical example is E7alt. But could be Abmaj7#11 the 3rd degree of MM. I would be careful with the implied #5.
Or the II-7 chord of F melodic min. G-7.
All sub of subs...
Reg
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mrblues

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07-06-2012, 03:17 PM

Dear REg!
Thank You for Your kindness and help, its a pleasure to learn from one of the PROests here! Its the greatest journey to see things You like to
learn from a point of view of a guy (You) who has tons of the greatest materials in his head.
2 noob questions:
1st: what is that MM (Sorry, but really dont know what that means)?
2nd: How do you think when reading sheet music? I mean You take a look 1st on how many bs or #s are in the sheet, then You look at the
rhythm, and then are you thinking in chords when You see those "dumplings" -ups notes sry- or just put Your fingers on the exact frets? What
is the best method in jazz (i mean in jazz there are much more accidentals than in classical music)?
thanks
laci

edh

07-06-2012, 04:21 PM

MM = Melodic Minor.

jster

07-06-2012, 04:31 PM

Great Reg, I'm following you I think. After 12 months it's starting to sink in! One more question about this. When you say "use" this stuff, are
we supposed to imagine the bass player just plunking on an E? And wouldn't you have to talk it over with the piano player if you were going to
start going off Bb7#11 or Abmaj7#11? I have this image of you just using telepathy with the other guys in your bands and somehow everybody
instantaneously invokes the same subs. I can understand subs for chord solos/composition. But how does it work for solos? How much do you
have to talk over with the pianist beforehand? Thanks so much.

Gramps

07-06-2012, 05:20 PM

I don't think everyone has to play the subs unless you're reharmonizing, then give others a "heads up". I think of the subs just making the
original chord more complex. Am I wrong on this?

Reg

07-06-2012, 06:07 PM

Thanks edh, yes Melodic Minor.


How many layers and what methods I use to develop changes or use of harmony.... more into my understanding of in a jazz style... depends on
band. Most jazz musicians can and will hear the standard approaches, of which subs, Melodic minor, modal interchange, blue notes etc... are all
pretty typical. We'll hear what's going on and adapt as we play. And even if someone is really stretching... we know how to stay on form and
either simplify, pedal or at least stay in touch with the harmonic rhythm... what ever strong weak pattern is going on and listen for clues. Jazz
players are very good at making decisions with very little info.
Gramps is right.. if your not sure, or depending on gig...it's fairly simple to verbally say, let's use this approach, ... and yes subs still have same
tonal reference(s), Reharms imply new tonal center(s) . To me maybe simply more interesting. I mean every chord or note can imply any
numbers of standard chord patterns.
OK ...so I'll put together a post of how I comp. How I have beginning references, mechanical references up and down the neck, just like how I
have fingering that are always my default starting points. I use basic chord forms up and down the neck. I don't worry about inversions, drop 2
or 3 etc... obviously I'm aware of what they are... but I'll get into my mechanics. Reg

JonnyPac

07-07-2012, 06:18 PM

Glad to see this thread happening!

Reg

07-08-2012, 10:54 AM

Fep might go with a different thread for this... But I'll post to start.
Frank wanted to get into composing... so I talked about a basic form and harmonic idea... then I sat down and very quickly
added a few relationships to the very basic original idea... I started with this from post above...

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"Hey Frank... sounds fun, will be cool to hear from your ears... I'll make somewhat simple form and then try and camouflage...
E- / A- /..../ ..../ groove
E- / A- /..../..../ different groove developed from 1st groove leading to
?.../.../..../...../ longer maybe time change then pivot chord to rel. min..
F#-11, new groove , longer section, hip melody
last part... something sub-Dom, bVI like.
There we go "A" "A" "B" "C", some what typical form and harmonically close. I'll try and make it a little hipper and post later. (fill in the blanks)
Reg"
So here's the next step... a simple work lead sheet and I added a quick video to hear... One more time cleaning up and one down a few to go.
YouTube Video

ERROR: If you can see this, then YouTube is down or you


don't have Flash installed.

fep

07-08-2012, 11:15 AM

Cool Reg. I'm not sure I want to check your new post out yet as I'm still working on my 'homework' for this composition. Should I continue
fumbling down my own path a bit, or check out what you've done? I'm trying to decide.
I got busy learning a list of tunes to play bass on a local jam session, so I haven't spent much time on the composition. I did mention to you
that I had a little bass line in my head, so I notated that and added some chords trying to keep in mind to use chords from the melodic minor.
So this is all I've got right now. And, right now my wife is dragging me off to visit the relatives.
Is this little bit on the right track?
http://img545.imageshack.us/img545/6278/aa3e.png

Reg

07-08-2012, 03:02 PM

Hey Frank... nice groove... Hey two tunes are better than one.
We can both work together on both directions...
Some notes on my composition process... I wanted to camouflage My simple E- to A- , so I used approach chords which also gave me more
harmonic material to work with. Somewhat general rule of comp. maybe use something twice, never three times with out introducing a new
relationship etc... harmonically, melodically or rhythmically. There are always exceptions... especially when repetition is part of a concept.
I always dig playing around with getting balance between different aspects of composition... can be location of use, actual physical time line,
sections of tune, trying to compound balance different aspects with each other. Harmony and rhythm etc.. I like to see and hear music with all
aspects being part of contrapuntal concept... I'm using contrapuntal in respect to not just melodic... all parts of composition.
Reg

Helgo

07-08-2012, 04:48 PM

Hi Reg.
I know youre not one for big self-advertsing....but after reading a lot from you here and watching quite a few of your youtube vids i wanna
ask:
Are there any records out there with you playing on them? And do you have a website or something where we can browse them and read
about the line-ups and such??
I enjoy your playing a lot and would love to hear it in a band context...

Cheers,
Helgo

whatswisdom

07-08-2012, 10:29 PM

To add to Helgo. Reg: This is also related to the other Are Teachers Relevant thread. I dig your stuff as always. Do you teach, as in take
students? Unfortunately I'm not in your area--if I was I'd be knocking on your door. It sounds like you are too busy gigging to have the time but
I'd be interested in hearing about your take on how to get the best out of a student. (This is not counting all the helpful posts and vids you
share here.) More like: Do you dig teaching a student one-on-one? (Not meaning to go off topic here, fep. This thread is cool.)

Reg

07-09-2012, 03:07 PM

Don't want to get into discography, sorry. The teaching thing... I give single lessons to help players get past walls etc... Academica is a world in
it's self. I don't know how to get the most out of students, besides the babysit game, or pushing buttons. If you don't have motivation, I would

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not be the best teacher.


Reg

Helgo

07-10-2012, 04:49 AM

Quote:
Originally Posted by Reg
Don't want to get into discography, sorry.

No problem... your music, your call!


greetings from germany,
Helgo

jazzuki

07-10-2012, 12:01 PM

Reg.Great thread and sorely needed.I dont know what you are talking about half the time and find everything goes too fast for me.But I'm sure
that after reviewing a lot of your material it will come together some time .Thanks.

JohnRoss

07-10-2012, 01:22 PM

Quote:
Originally Posted by edh
MM = Melodic Minor.

I think we should clarify this, just in case mrblues doesn't know. I believe (it isn't always easy to keep up with Reg, I think he thinks faster than
ordinary mortals) Reg is not talking about the ordinary, 'classical' melodic minor you know about if you ever had piano lessons, but about the
jazz melodic minor scale, what the Modern Method for Guitar calls the 'real' melodic minor. The difference is that the jazz melodic minor doesn't
vary between ascending and descending versions, so, except for the minor third, it's the same as the major scale both up and down.

mrblues

07-10-2012, 03:08 PM

Quote:
Originally Posted by JohnRoss
I think we should clarify this, just in case mrblues doesn't know. I believe (it isn't always easy to keep up with Reg, I think he thinks faster than ordinary mortals)
Reg is not talking about the ordinary, 'classical' melodic minor you know about if you ever had piano lessons, but about the jazz melodic minor scale, what the
Modern Method for Guitar calls the 'real' melodic minor. The difference is that the jazz melodic minor doesn't vary between ascending and descending versions, so,
except for the minor third, it's the same as the major scale both up and down.

thanks!

Buster Loaf

07-10-2012, 04:24 PM

Yes, great thread indeed. I as well, don't know what you're talking about the other half of the time. But it I do believe it is at least the real deal
and not that BS type stuff you get so often from those BS type of persons who don't gig 3 sets a day and just sit astound and BS all the time.

Dad3353

07-10-2012, 05:10 PM

Quote:
Originally Posted by Buster Loaf
...just sit astound and BS all the time.

You've been reading too many of my posts..! :o

Reg

07-10-2012, 06:27 PM

Hey we're all full of BS... But when I don't make sense... Please slow me down and either make me explain the concept, the application or
terminology . I will try and find a medium somewhere in the middle, or simply have more than one conversation about point of discussion. I
might have a few too many expectation, please make me cover... I don't mind. Reg

Jimand

07-10-2012, 07:20 PM

Quote:

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Originally Posted by Reg


I base all my fingerings off 6th string roots and use 2nd finger for those roots...which creates all 1st finger stretches. This is my starting point of reference... My
mechanical method of feeling and not having to look at the neck to hear or see where I am. It works well for me.

I'm liking these 2nd finger anchor fingerings. The dorian position lays well with the common ii7 voicing (2nd finger 6th string). The phrygian (3)
and locrian (7) positions are a bit awkward, but time will get them under the fingers.
Note that each of the 7 positions contain 7 arpeggio patterns within.
I primarily use the 5 CAGED fingerings which have their own quirks (shifts).
The 2nd finger anchor fingerings remind me of 3-note per string rock fingerings. Must be the stretches. (Fear of the stretch leads to Segovia
scales :-).
Thanks for being so generous with your time Reg. Many times watching your videos I've wished I could stop and ask a question. I expect this
thread will address some of my questions. If not I'll be able to ask at an appropriate point.
- Jim
07-10-2012, 08:06 PM

AmundLauritzen
Reg, I'd like to ask you about pentatonic scales and how you use them in your playing.

Some players like to think of minor pentatonics as a minor 7th arpeggio plus a fourth. I assume this is for the sake of organization.
How do you view these scales and how do you relate and apply them to the chords you are playing over?
Any favorite applications and patterns that you find yourself playing?
Thank you for all you've given us so far - I'm picking up a lot of good stuff from this thread!
07-10-2012, 10:20 PM

Kman
We are very lucky to have Reg. There is a lot here, and it's very inspirational.

07-11-2012, 01:11 PM

fep
Quote:
Originally Posted by Reg

Fep might go with a different thread for this... But I'll post to start.
Frank wanted to get into composing... so I talked about a basic form and harmonic idea... then I sat down and very quickly added a few relationships to the very
basic original idea... I started with this from post above...
"Hey Frank... sounds fun, will be cool to hear from your ears... I'll make somewhat simple form and then try and camouflage...
E- / A- /..../ ..../ groove
E- / A- /..../..../ different groove developed from 1st groove leading to
?.../.../..../...../ longer maybe time change then pivot chord to rel. min..
F#-11, new groove , longer section, hip melody
last part... something sub-Dom, bVI like.
There we go "A" "A" "B" "C", some what typical form and harmonically close. I'll try and make it a little hipper and post later. (fill in the blanks)
Reg"
So here's the next step... a simple work lead sheet and I added a quick video to hear... One more time cleaning up and one down a few to go.
YouTube Video

ERROR: If you can see this, then YouTube is down or you don't have
Flash installed.

Hey Reg,
Thanks so much, this is great being able to analyze a tune with the help of the composer.
My first thought is that it is interesting to see how you start a tune. You started with an overall structure and then filled in the details. That is
something I really want to develop. I think the reason I have so many little ideas that I'm hoping will become tunes is that I don't start with the
structure, I usually start with a little phrase and try to build from there.
My approach, it's kind of like hoping to build a nice house by just putting together a few bricks and mortar and hope something develops.
So, I listened to your tune, sounds real good, I hope to hear your recording with the band. It's also interesting to see how this evolved from
your original structure sketch.
My 1st question: On the Em - Am first part, you then groove on Ab13. It sounds good, but I don't theoretically understand the AB13. Is there

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some theory behind that that will help me understand?


I did some work and can see you can get an Ab13 chord from the notes of the Eb MM as it had a MM sound to my ear. Is that on the right
track? If so, how do we get to Eb MM, that doesn't seem to be a modal interchange?

Reg

07-12-2012, 04:17 PM

Hey Frank...
Yea, generally I fill in the blanks. I usually have or hear something... and decide on form, and fill in the blanks. Different harmonic or melodic
concepts have built in compositional structural guidelines.
You can simply compose... let the pieces fall into place, I have always been on schedules... deadlines, $ and all the other BS. But that how I
basically function... form.... organized inspiration. You can always dump the starting shape etc...
So harmonically... Yes, Em - Am starting point. I introduced the 1/2 step approach chords... which open doors to new relationships or even what
I want to use as the structural relationship devices. I used Ab as my pivot for relationships... And used 1/2 step relationships as structural
device... can be functional, or by design mechanical. What I usually try and do is tie as many aspect of each together without being obvious.
Long story short... yes tonal center of Ab, with Eb melodic min as source... I simply heard as relative II- of Ab, but I could theoretically BS a
much hipper explanation... who cares. But the Eb- becoming MM does come from use of modal interchange... I basically use MI all the time.
Just as many players use functional subs... use of tonic, sub-dom and dom chords as subs or addition... I use modal interchange all the time in
same manor... a few more guidelines... but same thought and use process.
This is about a 30 min compositional process... I find that taking too much time with the artistic details slows the process down almost to the
point that I lose the concept. Not always... but generally.
I have a recording session in two weeks to record, this tune and hopefully a few more... Deadlines get more done than anything. I'll post 1st
rough take.
Reg
07-13-2012, 11:26 AM

fep
Thanks Reg, I'll have to play around with those concepts. I can see that it would open a bunch of doors.
30 minutes, I can get what you're saying, it keeps it fresh. And it keeps you focused.

Yesterday, I wrote a tune and tried to do it quickly. I believe I followed your overall structure with a AABC and included a groove jam section.
Other than that I wondered off on my own path. If nothing else, I think I've got a cool title. Let me know what you think. It's here:
http://www.jazzguitar.be/forum/showc...tml#post240662
And, oh yeah, I play to come back to that Em groove that I started and turn that into a tune.
Thanks again.

Reg

07-13-2012, 02:54 PM

Quote:
Originally Posted by fep
Thanks Reg, I'll have to play around with those concepts. I can see that it would open a bunch of doors.
30 minutes, I can get what you're saying, it keeps it fresh. And it keeps you focused.
Yesterday, I wrote a tune and tried to do it quickly. I believe I followed your overall structure with a AABC and included a groove jam section. Other than that I
wondered off on my own path. If nothing else, I think I've got a cool title. Let me know what you think. It's here:
http://www.jazzguitar.be/forum/showc...tml#post240662
And, oh yeah, I play to come back to that Em groove that I started and turn that into a tune.
Thanks again.

Hey Frank... very cool, dig it. I'll dig in a little deeper later and play through...Reg

edh

07-13-2012, 06:09 PM

Frank, very nice.


07-14-2012, 01:45 PM

fep
Quote:
Originally Posted by Reg

12/25/2014 2:18 PM

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Hey Frank... very cool, dig it. I'll dig in a little deeper later and play through...Reg

Quote:
Originally Posted by edh
Frank, very nice.

Thanks guys, feel free to play it if you want, I think it's a fun tune. And the world needs more jazz waltzes.

Space Pickle

07-20-2012, 11:10 PM

Reg, would you be willing to talk about how you are able to make a living at jazz? I was surprised to read that you don't teach much and that
rock doesn't interest you. There don't seem to be that many gigs, and the ones there are don't pay.

Reg

07-30-2012, 04:50 PM

Back in town, I'll get something posted... playing wise.


In the mean time,
Space pickle... That living thing is very subjective. I have quarterly checks and other sources of income, I invested. I was in LA local 47,
composed and arranged. I'm in local 6 in SF Bay Area now. I don't need to teach and can play gigs I choose. Still play too many...
If your going to be session player... you still need to live in London, Nashville, LA or NY, or be well established. And yea... be able to play
anything thrown in front of you... the 1st time. Join AFM and local in your area. You can still play non-contract gigs.
As far as non-contract gigs...which is what we're probably talking about.... it's fairly simple to make $1000 a week. If you don't mind tux and
playing whatever... $2000 a week... that's still very subjective as far as a good living, but most can get by.
If you can't get gigs... there's usually a reason. I play all kind of day gigs, Department stores, Macy's, chains like Trader Joe's etc... They pay
well, there usually short and you can still have regular gig after. I don't play background music... We burn, and push everyone listening. They
almost always dig it, usually pick up lot's of names for email lists. The bottom line... you have to be able to play, (and all the skills), entertain...
and be able to promote yourself... In that order.
Reg

JohnRoss

07-30-2012, 06:19 PM

Quote:
Originally Posted by Reg
non-contract gigs...which is what we're probably talking about.... it's fairly simple to make $1000 a week.

I'm not saying you're wrong, but I've suspected for a long time that you and I are from different planets, now I know it. I probably wouldn't
have said anything if that had been 'possible' or 'feasible', but 'fairly simple?' I don't believe it. Your neck of the woods is thousands of miles
from mine, but I imagine that even where you are, for that kind of income, you must a) be really good, b) be 110% reliable, allowing you to
have c) built up a reputation over long years, so that you d) have a whole truckload of contacts, that e) call you several times a week, because
f) there is an enormous demand for live music in your area. I don't call that 'fairly simple,' Reg.

Reg

07-30-2012, 06:46 PM

I'm going to get into how I comp in a jazz style... there are a few different approaches... but I've made a choice as to how
I approach. It's fairly simple.

1 Attachment(s)

As usual... I have concepts, which then take a shape or arrangement of the form of the tune. To get to that point of being able to use
concepts... you need starting points, references that become instinctive.
Here is a sample of basic movable chord forms, all based on open position with roots on 6th, 5th and 4th strings. There all 7th chords which is
somewhat the starting point, that starting reference that I always relate to... at least with jazz.
You can take any form of a chord... be aware of the voicing style, how the notes are arranged, and then use that "voicing form", again the
arrangement of the notes.... and use for all chords of a tune. You'll become aware of what the lead note is as well as what other lead notes are
available from that form of voicing. Eventually you'll be able to hear and use as you choose.
If you keep the same voicing style through a passage... your creating a style or sound... when you mix different voicing styles, again your
creating a different style or sound. Your arranging whether your aware of it or not.... It's almost like traditional voice leading, but instead of a
few sets of one dimensional rules... (I'm taking it for granted we all know and understand traditional voice leading... if you don't... it's not
complicated.) Again you have many different voicing styles which become a tool to use as you choose. You can make a lead line, a melody or a
groove line on top be out front or somewhat more background like... by how you use your voicing types. Voicing styles are one of many tools
which help create different jazz styles.
All voicing have inversions, you can play all the notes or some of the notes, whatever you choose... The root position chords... become a

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reference point, a mechanical method of learning your fret board and what's available in any position.
The sample voicings I notated are somewhat vanilla, very basic but useful and for most guitar players great starting point.
One of the goals or where you want to get... is to be aware of all the aspects of comping... Generally you want to get to the point where you
have control of the lead line, next the bass motion and then the inner voices. If you have control of the bass line, you'll generally not get in the
way of the bass player. And as far as implying the harmony... when you understand harmony, jazz harmony... there are many methods of
implying a chord besides simply playing the 3rd and 7th. Fifty years ago maybe... I'll get into some of those methods... in next few posts.
I'll post video later tonight and play/talk through some tunes with different styles of comping...
Reg

Reg

07-30-2012, 07:37 PM

Quote:
Originally Posted by JohnRoss
I'm not saying you're wrong, but I've suspected for a long time that you and I are from different planets, now I know it. I probably wouldn't have said anything if
that had been 'possible' or 'feasible', but 'fairly simple?' I don't believe it. Your neck of the woods is thousands of miles from mine, but I imagine that even where
you are, for that kind of income, you must a) be really good, b) be 110% reliable, allowing you to have c) built up a reputation over long years, so that you d)
have a whole truckload of contacts, that e) call you several times a week, because f) there is an enormous demand for live music in your area. I don't call that
'fairly simple,' Reg.

Hey John... I've always thought all musicians are from different planets... it is a different life style. I play golf most weeks with all different
types... Touring musicians, local symphony and opera orchestras, shows, all the pits etc... and many non-contract private gig players. ( Oh yea,
during the summers...teachers, the hacks) Most of us have our $ together. I am talking about pros... all of your points included. I don't believe
many hobby players can cover etc... well enough to get called back.
My playings OK... but I read well, on a few instruments, can direct ensembles or bands live... can entertain with my playing as well as MC
events... but what really makes me the big bucks.... I mingle well.
OK... sorry John, I just don't take music that serious... I'm not saving lives etc... It is fairly simple for myself and many of my friends.
Reg

Buster Loaf

07-31-2012, 02:28 AM

Quote:
Originally Posted by Reg
I play golf most weeks with all different types... Touring musicians, local symphony and opera orchestras, shows, all the pits etc... and many non-contract private
gig players. ( Oh yea, during the summers...teachers, the hacks) Most of us have our $ together. I am talking about pros... all of your points included. I don't
believe many hobby players can cover etc... well enough to get called back.
My playings OK... but I read well, on a few instruments, can direct ensembles or bands live... can entertain with my playing as well as MC events... but what really
makes me the big bucks.... I mingle well.
OK... sorry John, I just don't take music that serious... I'm not saving lives etc... It is fairly simple for myself and many of my friends.
Reg

That's so cool! you are very cool and modest too!

ECHOPLEX

07-31-2012, 02:50 PM

I think an important message is being given off here by Reg,even though he may not be aware of it.This is not aimed at anyone in particular
but it is aimed at any amateur guitarists who are thinking they are not progressing or that they just were not born to be great musicians.Often
people have said to me they do not think they are ever going to be great musicians because they do not have natural ability like other
musicians like Reg do.When asked how often they play their instrument they often announce very proudly something like ,oh i do a good hour
every day.After reading REG posts you hopefully realize that he is constantly playing his music often gigging more than once a day .This is what
it takes if you want to reach the standard of a pro llike Reg,so go practice.Reg i will PM my address to you so you know where to send the
cheque.

JakeAcci

07-31-2012, 03:19 PM

Quote:
Originally Posted by ECHOPLEX
.This is what it takes if you want to reach the standard of a pro llike Reg,so go practice.

Of comparable importance is playing with other people. Unfortunately, just working on stuff in the bedroom isn't enough.

12/25/2014 2:18 PM

Reg's Thread... live at the speed of Jazz

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http://www.jazzguitar.be/forum/theory/22914-regs-thread-live-speed-jazz...

08-01-2012, 02:00 PM

ECHOPLEX
Quote:
Originally Posted by JakeAcci
Of comparable importance is playing with other people. Unfortunately, just working on stuff in the bedroom isn't enough.

I could not agree more with you Jake,interacting with musicians is a crucial part of someones musical development.
08-01-2012, 02:38 PM

Franklin52
For those who aren't aware of it, Reg has also a youtube channel:
Reg523's channel - YouTube

08-08-2012, 08:10 PM

Fred Pepper

I find these videos very inspiring. They really have a positive impact on my own appoach. I find myself trying to emulate the clarity of the
articulation and the fantastic, snappy rhythmic flow.
If you are still taking suggestions Reg, I would be fascinated to hear your take on the kind of older standard that has a lot of changes,
something like "All the things you are" or "The Song is you".
Cheers,
Fred.
08-08-2012, 09:08 PM

Reg
Hey all... sorry for not checking in, this time of year is incredibly busy.
I have a list of vids to make,

1) Thought I would use last months practical group's tune... Summer Time to show some different ways to play harmonically, the tunes very
vanilla, but that gives lots of space to develop harmonic grooves, room to easily show how single chords can represent chord patterns. Those
chord patterns can develop from harmonic concepts, a mechanical way to organize which chords you use and how you use them. yada yada...
2) make vids of some of the 1st steps I use personally for both comping as well as soloing... example could be... when you use a D-7
arpeggio... D, F, A, C.... keep going but use the functional extension of F maj7, F, A, C, E..... complete arpeggio of D,F,A,C,F,A,C,E. I know very
simple... but that's just opening the door to the concept.... there are many applications...
3) I'll gladly play through any tunes... If I don't know the tune, I'll just read through... I basically really only have time to record single takes
etc... they'll be rough. But that's how it is at gigs, You fake it as well as you can...
Anyway again sorry for not posting more...
Reg
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gersdal

08-09-2012, 08:09 AM

Quote:
Originally Posted by Reg
I'll post video later tonight and play/talk through some tunes with different styles of comping...
Reg

Looking forward to seeing them . Thanks

fourfret

09-13-2012, 04:31 PM

I wish I could take part in this conversation. I'm catching fragments, but it's 90% over my head (teaching myself jazz, starting at age 38).
Reg, you are easily the most exciting guitar player I have seen/heard. Somewhow, it's not discouraging though.

whatswisdom

09-26-2012, 11:19 AM

Quote:
Originally Posted by Reg
Hey all... sorry for not checking in, this time of year is incredibly busy....I'll gladly play through any tunes... If I don't know the tune, I'll just read through... I
basically really only have time to record single takes etc... they'll be rough. But that's how it is at gigs, You fake it as well as you can...Anyway again sorry for not
posting more...Reg

Reg: Looking forward to seeing you back on here. I miss your posts. When you get back, please talk bebop and give some examples of how
you organize and apply language to create some interesting lines in a solo--also how to comp behind soloist at fast bop tempos. Best wishes,
WW

Reg

10-03-2012, 12:00 AM

Long Time... there is simply not enough time... weak but that's all I got.
Anyway... I'll try and start posting....
Here's something to start with, I played two trio gigs with same guys a week ago. Long story short, was fun and we were in the pocket from
the start. So the following Monday we recorded four sample tunes... all one takes, (none of us have any extra time, but we all like what we
played at gigs...) and all quick head arrangements. Head arrangements are verbal arrangements you make right before you play the tune.
There a little loose, I didn't know the jobin tune... but we just wanted a demo for booking etc... doesn't need to be perfect.
The tunes were picked by the keyboard player... he worries about his playing. He has funk history, the jazz thing is still new to him... he can
cover... and he recorded. Anyway the tunes are;
Mellow Mood
Cold Duck Time
Girl Talk
If you ever come to me
04 Track 4 by Reg523 on SoundCloud - Create, record and share your sounds for free
02 Track 2 by Reg523 on SoundCloud - Create, record and share your sounds for free
03 Track 3 by Reg523 on SoundCloud - Create, record and share your sounds for free
01 Track 1 by Reg523 on SoundCloud - Create, record and share your sounds for free
Check the tunes out... be easy, they're rough, But I'll go through any of them and breakdown, comping, soloing... how I fake it through etc...
Reg

Spirit59

10-03-2012, 01:42 AM

Killin' it as usual Reg! Great playing from all!

Reg

10-03-2012, 01:15 PM

Thanks Spirit59'''
I always talk about Form as being one of the most important aspects of my playing, composing etc... I guess I'll get a little into Form.

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Traditionally... Form is thought of as somewhat general principles and schemes that govern the over-all structure of music... through practice
becoming traditionally established.
So from a jazz perspective... the constructive organizing elements in music, governing the presentation, development and the interrelationships
of ideas.
So not only the structure of a tune... but also the techniques and concepts used to develop ideas within that structure...
Form also controls how and where we pull from when we solo... can be as simple as just the starting point for relationships or have a
multilayer, multi concept harmonic system.
So when I talk about Form... I'm not just implying,
A,A',A''
A,B
A,B,A
A,A,B,A
A,B,A,C,etc
Blues Forms... I'm also talking about harmonic concepts, improve concepts all the concepts used to play jazz...
This should open some doors... the good part is how using form will simplify using and understanding melodic, harmonic and rhythmic concepts
performing.
Reg

"Umm, fish?"

10-03-2012, 01:30 PM

I get that by form you don't just mean the form of the song itself, but the form of the "genre" as it were. The jazz background, yeah?, that the
beginner struggles with as they start training their ears to hear it, their brains to grasp the "jazz sound," their fingers to play it by learning the
standards. Is that about right?

Reg

10-03-2012, 05:29 PM

Quote:
Originally Posted by "Umm, fish?"
I get that by form you don't just mean the form of the song itself, but the form of the "genre" as it were. The jazz background, yeah?, that the beginner struggles
with as they start training their ears to hear it, their brains to grasp the "jazz sound," their fingers to play it by learning the standards. Is that about right?

Hey fish... ya gotta love that,


Sounds good enough, that word genre needs to have lots of very physical implications.
Just as CCP or european classical tradition has implications and understandings of what musical terms mean and what music actually is... and
that's just the tip of the iceberg, Jazz has a few more layer of understandings which are Jazz Common practice.
One of those is implications of and from Form. That Jazz Sound can very easily be broken down into very physical harmonic, melodic
etc...concepts. Form can be used to structurally control harmonic usage.
And with jazz harmony's usage of Modal Interchange, modal use of controlling function... not Major/Minor tonal general tendencies. Which leads
to harmonic concepts or systems other than traditional Maj./Min. basic functional harmony.... Blue notes, Jazz use of MM and MM harmonic
practice.
It may sound simple... usually that's from not really understanding jazz practice. Most try and fit and understand Jazz from a traditional
perspective... somewhat like just using the white notes on a piano.
Anyway... training your ears to hear and understand by trial and error...is very slow and doesn't always work. We don't all have perfect pitch or
photographic memory, (like Wes had, at least that one of the stories).
Long story short... yes the form in music ... Form means more than just structural design of space.
Different periods of music use Form to imply existence of harmonic, melodic and rhythmic schemes and concepts... Rondo Form, Sonata Form
etc... Jazz has simply different Forms in music...
Sorry to BS so much... but there are very real problems with Jazz education... and the understanding of what Jazz is. In the end who cares...
it's just music.
Reg

JohnRoss

10-03-2012, 06:36 PM

Come on Reg, I see no BS at all in what you're saying, quite the contrary, this is the real stuff. Keep it coming.
(Incidentally, that "who cares, it's just music," reminds me antithetically (I just invented that word) of Alf Ramsey or whichever football coach

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Reg's Thread... live at the speed of Jazz

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saying (approximately), "Some people think football is a matter of life or death, but it's much more important than that.")
10-04-2012, 02:04 AM

Reg
Ahhh it's good to hear... read JohnRoss again. thanks

Ok moving on... here's a example of using a concept to control how I might approach playing a tune.
I'm using MM somewhat like a blanket or template over the tune, "Alone Together".
I modal interchange all the minor chords to MM... at least as starting point, my reference. Now I add all the related V7#11 chords to those Min
chords. I really want to actually change my tonal reference to those related V7 chords.
If I have a V7 chord, I add related II- with again MM Modal interchange which could change the source of original V7 chord . I always have
access to all subs.
I now have source for Blue Notes and I'm changing the original tonal concept... creating different relationships and what actual note create
those relationships.
I'm doing this on the spot... like a head arrangement at most gigs...
I'll write out the arrangement of the tune which will show a set of results... that's part of playing Jazz... every time I play the tune it can change
There is always a balance to use of any concept or technique...
So here is a vid of result... rough, but I dig the resulting changes and influence on the tune.... I'll make lead sheet and post later.
YouTube Video

ERROR: If you can see this, then YouTube is down or you


don't have Flash installed.

I'm fairly sure I'm not very clear, verbally or musically but will help start a dialogue about this process.. which is very cool.
This is just one example of using jazz concepts to play through tunes.
Anyway check it out
Reg

jster

10-16-2012, 03:09 PM

Hey Reg,
In another thread today you wrote,
Quote:
Originally Posted by Reg
...Then you complicate the situation with use of Modal interchange, blue notes and of course Melodic Minor... in a non-functional modal and modal interchange
practice. And as Jon said... usually there all going on simultaneously.
Obviously Wes was extremely straight and played in the older tonally functional practice with use of blue notes and their influence, Benson was very similar...
more blue note influence and beginnings of Melodic Minor jazz practice...

Can you give us a little history of jazz/jazzguitar as you see it? In your most outspoken moments, you say that straight functional jazz is boring
and that jazz at its best has your four ingredients "all going on simultaneously". So when does jazz really take off in terms of being interesting?
Sometime in the 70's? And can you give us some names of players (don't have to be guitarists) who were seminal in putting the four ingredients
together?
Thanks as always.

Reg

10-16-2012, 05:20 PM

Hey Jster... I can try... Outspoken... I like that.


When I say boring... that is to me personally, and the reason is fairly simple, least amount of physical choices... you already know what and
where the soloist is going to pull from. Granted great players can make anything sound great. But most of us mortals are not in that group.
If you watch the compositions of Horace Silver and Art Blakey's bands compositions. you can watch and see/hear the changes. Then check out
Joe Henderson and Wayne Shorter for developments in those concepts.
Let me put together a list of set of examples to back up what I preach. In the mean time here's a video of Wes's West Coast Blues.
Very straight... chord tones and blue notes. I play all octaves... slows me down... hopefully easier to hear. As always... loose...

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YouTube Video

http://www.jazzguitar.be/forum/theory/22914-regs-thread-live-speed-jazz...

ERROR: If you can see this, then YouTube is down or you


don't have Flash installed.

Reg
10-18-2012, 08:36 AM

Reg
I posted this in the comping section... nothing special or detailed but might be useful.

Here's a quick Video of one of many applications of approaching comping... in a jazz style. The concept would include use of,
1) organized use of "Form of", the actual space. call answer or strong weak pattern for reference. Organize how you use subs or any other
source of adding or changing chords.
2) organized use of Subs.
3) use of typical jazz "Chord Patterns", changes from typical jazz tunes. I VI II V, I bIII II bII, II V's ...basically any chord progression from any
tune and can be used as...one chord. Don't get hung up on making sure all the notes plug and play according to basic theory... most Chord
patterns are used and heard somewhat like Pedals... their a constant with something over the top... the melody or improve. And you can
generally alter the progression to fit situation through any number of harmonic jazz practices.
Anyway check it out... and try coming up with your own use of the concept and applications of.... that's somewhat the point... being able to play
in a jazz style with out memorizing, for example what ever I post as possibilities.
YouTube Video

ERROR: If you can see this, then YouTube is down or you


don't have Flash installed.

Reg

Reg

10-18-2012, 08:09 PM

I was posting some comments in the improve section... And I though my advice might help some to think about how they approach playing
Jazz... The post was second in response to guitarist having difficulty playing through faster II V's...

Hey euterpe... do you understand what I'm trying to explain.


When you comp or solo... anyway you fill the physical space. Unless your spontaneously creating... with no reference or RELATIONSHIPS.
What your hearing or playing does have relationships. In your example of difficulty playing over contiguous or sequenced II V's... what your
trying to hear or play only works... if there is some type of relationship between the changes and what your playing.
When you memorize mechanical methods of playing through changes... whether it's chord scales, chord tones or arpeggios... the relationships
are simply momentary... the set of pitches are in relationship to the chord or short chord pattern. That's the concept or system of
organization... you can hear or see as melodic or harmonic... it's a one dimensional mechanical relationship.
When you play jazz... very rarely do the changes stay the same. And there are generally melodic or harmonic concepts... jazz concepts being
implied by both the soloist and players comping. Mechanical skills cover very few of them.
I know most teach and say... hear what your playing, keep practicing the technical skills... and it will come... But if you don't hear what your
playing over, and that usually means... some type of harmonic understanding... it won't ever happen.
You can get to the point where you have enough memorized mechanical skills to cover some situations... as long as they're simple and not too
fast... but that's usually it. I'm taking for granted your not a prodigy.
Sorry to somewhat single you out... My comments are directed to most on this forum. Your example was just one of the classic examples...
If you want more advice from this direction or school of playing jazz. I'll gladly help... or if doesn't sound right for you, no problems... I can also
help with the method your using now...

jster

10-24-2012, 05:44 AM

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Thanks Reg. So I was listening to this Martino tune and I was wondering about what you hear when you listen to a tune by somebody else.
https://www.youtube.com/watch?v=COyOxqyEeTs
1) Can you hear the whole chord progression? Do you have to use your guitar to do that?
2) Do you just hear all the "implications"? How many "implications" are we talking about? A handful? A dozen? In this one piece. And can you
give us a couple of examples? I'd pay big money to get a list of all the possible implications you work with. Hehe.
3) Can you hear your four pillars: functional, MM, blue notes, and modal interchange whenever they occur? Can you hear them in this Marino
Tune? Can you give us some points in the video where you hear things?
Yeah, so I guess what I am asking is for you to download your brain so to speak and tell us everything you hear when you listen to a video like
this.

FatJeff

10-24-2012, 07:00 AM

Not to answer for Reg, and I in no way compare myself with him...but this progression is pretty standard. Static vamp in a minor key, followed
by descending ii-Vs (starting, I think a step down from the original vamp?). The bridge is also just descending ii-V-Is (like in Tune Up). This
sounds exactly like Jeannine...is that what is is?

Reg

10-24-2012, 08:16 PM

Quote:
Originally Posted by jster
Thanks Reg. So I was listening to this Martino tune and I was wondering about what you hear when you listen to a tune by somebody else.
https://www.youtube.com/watch?v=COyOxqyEeTs
1) Can you hear the whole chord progression? Do you have to use your guitar to do that?
2) Do you just hear all the "implications"? How many "implications" are we talking about? A handful? A dozen? In this one piece. And can you give us a couple of
examples? I'd pay big money to get a list of all the possible implications you work with. Hehe.
3) Can you hear your four pillars: functional, MM, blue notes, and modal interchange whenever they occur? Can you hear them in this Marino Tune? Can you give
us some points in the video where you hear things?
Yeah, so I guess what I am asking is for you to download your brain so to speak and tell us everything you hear when you listen to a video like this.

So jster... How much $... you seem a little full of it...


1) yes and no
2)yes... 2, combination of functional and Modal. Martino is old school modal style of player... he uses his modal versions of playing. I'm not sure
you would actual understand if I did detail.
3)pillars... that would be your BS... but he does use functional harmony structurally, he also uses modal harmony, again with functional
structure. His use of MM is functional with use of modal interchange... more like modal use of MM. Except with his use of altered, which he does
use in MM style. His use of blue notes are ornamental...
(A)
(A)
(B)
(A)

Dmin9....C-9, F7alt, Bbma7, Eb7#11, Drepeat ?... I barely made it through 1st chorus
C-9, D-9, C7alt( V of implied relative Maj)
D...

I dig Martino... steady 8ths with some grooves.


But the tunes pretty simple.
Why don't you post video of you playing his groove tune... I'll write it out for you if that would help... and break down your playing... what your
playing reflects. Might be helpful for you...
Reg

jster

10-25-2012, 02:52 AM

Quote:
Originally Posted by Reg
So jster... How much $... you seem a little full of it...
1) yes and no
2)yes... 2, combination of functional and Modal. Martino is old school modal style of player... he uses his modal versions of playing. I'm not sure you would actual
understand if I did detail.
3)pillars... that would be your BS... but he does use functional harmony structurally, he also uses modal harmony, again with functional structure. His use of MM is
functional with use of modal interchange... more like modal use of MM. Except with his use of altered, which he does use in MM style. His use of blue notes are
ornamental...

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(A) Dmin9....C-9, F7alt, Bbma7, Eb7#11, D(A) repeat ?... I barely made it through 1st chorus
(B) C-9, D-9, C7alt( V of implied relative Maj)
(A) D...
I dig Martino... steady 8ths with some grooves.
But the tunes pretty simple.
Why don't you post video of you playing his groove tune... I'll write it out for you if that would help... and break down your playing... what your playing reflects.
Might be helpful for you...
Reg

Hey, at least I didn't ask you how many hours a day you practice. I've been busy with other things, and what I think I need to do is serious ear
training; so I really want to know how you hear a tune. My playing is too vanilla right now. What I learned in the last year was how to play the
changes with arpeggios. I can really outline the changes in most tunes I read. But now I need to start adding more stuff. So rather than commit
myself to some particular possibly mistaken approach, I think it is better to just get some serious ear training. I'll need that anyway. It's most
important. Do it first. Cause I can't just spit out the chords to tunes that I hear the way you just did. And it makes me sad.

FatJeff

10-25-2012, 07:28 AM

Quote:
Originally Posted by jster
what I think I need to do is serious ear training

Quite possibly.
2 1/2 years of undergrad music theory with associated ear training classes will completely change the way you listen to music. :-) Least, that's
what it took for me. Oh, and another couple of years of listening to and transcribing standards from records. (Not just transcribing solos;
figuring out the chord progressions and melody as well).
Depending on how good your theory already is, you could look into Marc Sabatella's book on the harmonic language of jazz standards.

Reg

10-25-2012, 10:15 AM

I always push for playing live... better way to learn to play jazz.
Hey jster... I don't really ever get to practice... but I usually gig from three to eight hours a day. I'm a live player, I can read anything put in
front of me, that's expected, and I usually can add... depending on gig.
An example could be... if I was called.. for Martino video you posted gig, I could read the head or create one on the spot in that style. I could
play the gig with or with out a chart, and sound like I knew the chart...that's my ear training practice.
Most jazz players would be able to do the same...
I posted on a practice thread... there is practicing your skill, becoming aware of what those skills are. And then practicing performing,
internalizing those skills, which is the somewhat the goal.
As Jeff, (how go's Jeff), the becoming aware of what it takes to become a jazz musician and then developing those skills does take some
serious time and motivation. But for most that's a given and they dig all aspects of the journey.
Reg

Reg

11-07-2012, 09:39 AM

Though I would try and get back to playing Jazz... at least how one can approach playing Jazz.
There appears to be a few approaches...
What's your goal, where you want to get. Do you simply want to be able to play some jazz tunes. Cover some of the old standards etc.. There
are some great tunes, lots of fun.
Or do you want to learn how to play in a jazz style... be able to play any tune in a jazz style.
There is a big difference between playing jazz tunes and being a jazz player...
How you structure your learning process will reflect your choice. Learning to play jazz tunes generally won't make you a jazz player... maybe if
your really talented and put in way too much time...
Years ago you could get away with learning the tunes... sort of. Doesn't work anymore. To many tunes... to many different harmonic choices,
concepts and applications. No one has the time...
So my first recommendation... get your reading skills together. Being able to read you will mechanically and almost through an osmosis
process... become aware of structural elements of what defines jazz.

12/25/2014 2:18 PM

Reg's Thread... live at the speed of Jazz

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You'll become aware of Form, all aspects of Form, not just spatial aspects... the actual physical time...but how almost all of the technical playing
skills you develop, all your theoretical concepts and applications of those concepts... all work within Form.
Once you begin to hear and then understand Form... you will be able to begin the process of what to put into those Forms.
As with most teachers... you need to get your playing skills together. There are different methods... they're all just a method to get to that point
where your playing skills, (or lack of those playing skills), won't get in the way of...1) playing what you hear or 2) playing what you want to play,
developing or using a concept.
Playing jazz is not simply playing what you hear or think you hear. You need to be ahead of what your actually playing.
Example... Your playing, soloing or comping through"Autumn Leaves", someone uses a reharm. a different Chord Pattern, any type of playing
that implies something. You need to be aware and already have that concept or application ready to plug and play next time through... you
need to be able to anticipate where you or the other members of the ensemble might go. If your in the moment... your late.
Part of being able to anticipate is being aware of Form... both spatially and harmonically, melodically, rhythmically etc...
So I think I'll post some standards, maybe some newer standards and try and play through with examples of what are possible jazz concepts
etc... I'll make efforts to speak clearly... and slowly....
Reg
11-07-2012, 12:53 PM

jazzuki

Hi Reg!Great article.At last you have written something I can understand, and I agree with all your comments and views.So am looking forward
11-07-2012, 12:55 PM

jazzuki
Reg.Sorry hit wrong key=looking forward to see what you will come up with.

11-25-2012, 07:16 PM

Vladan

Reg, i've just discovered this thread and your youtube channel.
While it's all too advanced, and going too fast for me to follow and understand at ease, I think ther's lots in common to my general idea of
playing, more less, improvised music.
I'll keep reading this thread and watch your channel.
12-04-2012, 11:45 AM

Bigmagic

Great stuff Reg, to be able to make all those subs on the fly seems incredible. You are virtually rewriting the tune on the fly. Using chord
progressions in place of chords and forcing melodic minor. Seems a lot to comprehend but I am trying.
I think it would help if you played a Standard with the written changes and then with a couple choruses of your alterations and explained how
you got to them. I arrived naturally at your fingering concept long ago. I wish the rest of it came as easy. Carry on and thanks.
12-04-2012, 12:07 PM

ColinO
Quote:
Originally Posted by Reg
I posted this in the comping section... nothing special or detailed but might be useful.

Here's a quick Video of one of many applications of approaching comping... in a jazz style. The concept would include use of,
1) organized use of "Form of", the actual space. call answer or strong weak pattern for reference. Organize how you use subs or any other source of adding or
changing chords.
2) organized use of Subs.
3) use of typical jazz "Chord Patterns", changes from typical jazz tunes. I VI II V, I bIII II bII, II V's ...basically any chord progression from any tune and can be
used as...one chord. Don't get hung up on making sure all the notes plug and play according to basic theory... most Chord patterns are used and heard somewhat
like Pedals... their a constant with something over the top... the melody or improve. And you can generally alter the progression to fit situation through any
number of harmonic jazz practices.
Anyway check it out... and try coming up with your own use of the concept and applications of.... that's somewhat the point... being able to play in a jazz style
with out memorizing, for example what ever I post as possibilities.
YouTube Video

12/25/2014 2:18 PM

Reg's Thread... live at the speed of Jazz

8 of 10

YouTube Video

http://www.jazzguitar.be/forum/theory/22914-regs-thread-live-speed-jazz...

Reg

I keep watching this and every time I hear something new. Thank you very much for your efforts here. I hope you keep them coming.

pingu

12-04-2012, 01:51 PM

'if you're in the moment , you're late'


Absolutely priceless Reg
You are indeed a diamond geezer !

Vladan

12-04-2012, 05:00 PM

Quote:
Originally Posted by Reg
Every note I play represents a complete harmonic structure... On that Gmaj7... if I play 8th note line... starting on 2nd string 7th fret... F#, G, 1st String, 7th fret...
B. 2nd string... 8th fret...G, F#
F# G B G F#. Harmony or what each note implies harmonically could be, F#ma9, Gmaj9, B-7, F9, E-9 all for that original Gmaj7 chord... with those notes as lead
line...
X 10 7 7 7 X
X 11 8 8 8 X
7X7777
X8788X
X7577X

I'm just starting, and want to get it straight, so let me ask, is above a typo?
I mean, isn't
X 10 7 7 7 X = GM9
X 11 8 8 8 X = half step above GM9?
I don't want to nit pick, it would not be the first time I've got something totaly wrong.
Also, If I'm correct that there was a typo, are fingerings wrong, or chord names in preceeding sentence?

sutra

12-08-2012, 06:38 PM

Thank Reg
Just a little slower for us old folks ha ha. Im not sure I understand Modal Interchange exactly. Also kind of lost on access to VI-7 and iii-7 what
do you mean by access? I been playing for almost 50 years and really not that ignorant. Just a little slow out of the gate. I can hear it when
you play it. Also when you take off up the neck doing that stutering type thang I cant explain, could you shed some light here bro. Thank you
soooooo much. Great Chops my friend! Timing is impecable!

Reg

12-08-2012, 08:41 PM

12/25/2014 2:18 PM

Reg's Thread... live at the speed of Jazz

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http://www.jazzguitar.be/forum/theory/22914-regs-thread-live-speed-jazz...

Hey cool... interest...


I need to leave in just a few moments for gig... but I'll post some examples sun. am. I'll take standard and develop some harmonic directions
for playing.
Thanks pingu
Vladan... thanks... yes, Chord names...Gmaj9, Abmaj9, B-7, F9, E-9. Not first or last mistake I'll make. Is that from this thread, I'll have to fix
that, again thanks.
sutra... thanks, I'll pull up some of my posts on modal interchange and make a new video of possible applications.
VI-7 implies the chord doesn't have typical classical, maj/min tonal implications... as compared to vi-7, which reflects a standard analysis.
What I usually mean by access is what the beginning tonal reference is...where one could start developing relationships., Different beginning
can lead to different results... by means of using harmonic applications of concepts.
Not quite sure of which lick etc... melodic or chordal... I'll gladly shed what ever I can...
Thanks Reg
12-09-2012, 01:51 AM

sutra
Great

It will be greatly appreciated! I can hear in your playing there are concepts that will help alot. So happy to have found this and your youtube
stuff. Put a new spin on everything. Your comping is way too cool. Just what I have been looking for. I studied a little with Joe Pass when he
was alive and others. Recent Year or two Andreas Oberg so Im not really easily impressed but you got the stuff happening bro, as good as any
I have heard. Thank You!
Robert Lee
12-09-2012, 02:39 AM

Bigmagic

Here's my suggestion "Autumn Leaves" I have heard "Autumn Leaves" played so many different ways for such a simple tune. Reg already has
a video on it and there is a thread on it but it's worth a review. Newbies and Intermediate players would probably get a lot out of it. Advanced
players.......heck with them lol. :)
Here's a link to the "Autumn Leaves" thread with Reg's comments and video. http://www.jazzguitar.be/forum/theor...is-please.html
(I thought of myself as an advanced player until I got serious about Jazz)
12-10-2012, 11:14 AM

Reg
Thought I would post some previous vids to help get things going, (plus I'm lazy).
Here's that Modal version of Autumn Leaves,
\
YouTube Video

ERROR: If you can see this, then YouTube is down or you


don't have Flash installed.

Then here is Alone Together... with an example how I might approach.


I could use one aspect of Modal Interchange... interchanging to Melodic minor. I could drop a Melodic Minor Template over the entire tune. The
concept is every Minor chord could become pulled from Melodic Minor. That is the first step. my basic reference to create relationships and
develop.
One simple relationship could be simple use of related V7 chord, or adding related II-7 chord to any V7 chord. I can pull from MM for either,
both or take it one more level... create another relationship... introduce V7altered chords from V7 chords that could become V7#11 chords from
original MM modal interchange. Anyway check it out...

YouTube Video

ERROR: If you can see this, then YouTube is down or you


don't have Flash installed.

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To go with the Modal interchange use and creating a reference and then introducing relationships... here's a short video of one method of
accessing Alter tonal area...

YouTube Video

ERROR: If you can see this, then YouTube is down or you


don't have Flash installed.

Check the vids out and maybe something will click and we can go from there...
Reg
12-10-2012, 02:38 PM

djangoles
Great Stuff as always!!! When is the album coming out?

12-10-2012, 06:09 PM

sutra
No valid youtube link

Thanks Reg for the video attemp, but cannot acces link here through my ipad. Is the any way you could just send me a link address so i can
view these, wonder why they are not on your regugalr youtube page? Anyway thanks for your help!
12-10-2012, 06:21 PM

Vladan
They are there on his youtube channel. Click browse videos.

12-10-2012, 06:24 PM

sutra
Ok

I see Alone together and Autumn Leaves on youtube channel. ha ha And things starting to click. Just a little foggy seeing exactley whats
happening as far as laying template over these changes. Once I get a grip on new way of looking at this I will be hell on wheels. ha ha I just
keep watching,listening to vids over and over. The other thing was at times you seem to take a 3 or for note rhythmic motiff and move it up in
either half steps or whatever up the neck and wondering if you do this over turnaround or what. You probably dont even notice but its a cool
sound. Wish I could nail this. Thanks Robert
lee
12-10-2012, 08:59 PM

sutra
Chord in all Blues

Reg, just out of curiousity what would you call the chord after Gmi7 you are playing on All Blues. I would use that as the I Chord in Blues in C.
Never seen used this way but sounds great! Robert Lee
12-10-2012, 09:09 PM

sutra
Embelishing Chords

So as I try sorting this stuff out looks like say going to Gmi you would sometimes go Dmi6 to G7#11 to Gmi is that correct? Sorry for so many
post but as I go want to make sure Im on right track.
12-11-2012, 04:14 PM

jster

Reg,
I'm looking at the Alone Together video for the second time. You say at 1:23 that you are going to replace all the minor chords with melodic
minor but play off the V of those chords. But then at 1:42 you say that it's going to be the fourth degree of melodic minor, lyd b7. Did you
mean to say that you are going to play off the IV of those minor chords? The V makes some intuitive sense to me because V goes to i. But I
also know that mix b6 isn't that popular a mode for whatever reason. So I'm a bit confused. Can you clear that up?
Thanks
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Reg

02-28-2013, 09:16 PM

Hey jster... Fastest tempos... hmmm... 240 to 260 is pretty common. I don't really know what the fastest would be... I think 180 - 200 is
somewhat the base or reference tempo... medium. Most tunes are felt in 2 so the pulse is really never that fast. Some latin gigs in cut time are
burnin. I gig with this smokin B-3 player that starts tunes off at 300 and above and then speeds up... No charts, we just play, very live and fun
gigs. I think the next gig is May 3rd, Tom P from TOP might be sitting in on Tenor. I'll try and have some vids from the gig posted.
As far as note selection... just less fill between the melodic spaces. If there are complicated changes...I just do the best I can. I play arps all
the time, just not always chord tone arps. I'll try and think about that tonight... post something tomorrow.
Reg

Vladan

03-23-2013, 10:05 AM

ey Reg,
Quote:
... When we modal interchange that D- chord to Dmm ...

I see this expression "modal interchange" a lot, but am not sure what it really means.
Judged from quoted half sentence, it seam like I decide, on my free will, to use melodic minor, in place of ordinary minor?
That way I get 6, as in dorian, but also M7, that goes well with dominant function chord, V of that minor, as in harmonic minor.
If I move up min 3rd, and finger mm from there, I get b5, b7 and some more, in reference to original root of the minor.
If I'm correct, where above is different from adaptation of blues scale to get those same notes, like I currently do, is that I could harmonize
lines made of mm with stacked triads from mm, while if going from blues I'd have to search for apropriate out of scale extensions?
All that would be great thing if I could think like that. Unfortunately, I always think basic chord, then search for extensions, no mater how
common or odd they may be.
So, am I correct in my uderstanding, if I say:
- Deciding to use different scale = modal interchange
- Using notes from that new scale for chords to a tune, and playing from there = change of reference (in regard to original scale)
?
What I see as a problem, I don't have both 5 and b7 in same scale. b7 is so common that lot of people incorporate it in their chords by deafult,
so it'll most likely pop out and clash with that 6, unless I go from the 3rd up, but then I'd always have to force that b5 into blues. Or, I could
stay on original root, but always add b7 and alternate it with 6, like R'n'R/Boogie Woogie? Actualy I do it already, but from a blues scale
reference. Could a switching to mm reference, help my line playing cross from blues side to the jazz one, no matter what they're played over?
All this provided my initial judging was correct.

hed_b94

03-23-2013, 02:59 PM

How do you think one should approach ear training in regard to jazz?
I've done some of the regular "classical" ear tranining - hearing intervals, triads with inversions and some harmonic movement (mostly diatonic)
but obviously in jazz it's much more than that. How do we go beyond?

Reg

03-24-2013, 04:05 PM

Hey...
So Vladan... usually there are more organized methods for choice of using Modal Interchange... but I'm OK with "on my free will".
So say... A nat. min. modal interchange to A dorian or as as you used A melodic minor.
Using note organization of Amm... the V chord is E7 with 9, 11 and b13. Ok to keep your A harmonic min V chord,
E7 with b9,11 and b13.
If you move up min 3rd and use Amm from there... would be bIIImaj7#5 with 9,#11 and 13. (Cmaj7#5 with 9, #11 and 13. b5 could be from
#11... don't know where b7 comes from....
If your using Blue note references, which can be a organizational method of developing harmony... not clear of how your applying.

12/25/2014 2:19 PM

Reg's Thread... live at the speed of Jazz

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http://www.jazzguitar.be/forum/theory/22914-regs-thread-live-speed-jazz...

But since your real reference seems to be Blue notes... you need to become aware of all the possible chords which reflect that Blue Note
reference. Chords built on any degree of any scale with blue notes added as method of developing harmonic organization.
Are the Blue note used as ornamentation... or are they used in an organizational method of developing Function.
You seem to have your harmonic system of organization... and then camouflage. Not right or wrong... just trying to help you understand
relationships from references... which lead to different development... possibilities of developments.
Anyway... If I'm going in wrong direction, get me back on track.
Reg
Hey hed-b94...
It's the same process... you just need to add jazz references. Notes and intervals are the same, right. The difference is with what you hear
them in reference to. With Jazz there is always... possibilities of in reference to.
What does that triad imply, or what could it imply. Voice leading and harmonic practice of traditional Maj/Min functional Harmony... has basic
guidelines. Jazz also uses those as guidelines and references... but also use other harmonic systems of organization. Different rules for creating
function or movement... and guidelines for resolution.
Short answer... become aware of standard jazz harmonic practice... with reference to standard traditional Maj/Min functional harmony
practice... and also in reference to standard Jazz harmonic practices ... they're different.
Reg

Vladan

03-24-2013, 05:44 PM

Thanks Reg,
I think this will prove helpfull. I still have to try it out, but one main idea I got from your post:
- Modal interchange is applied on tonic scale, but with dominant in mind. I always think from I or i-, while it seams I'd better think about V.
Extensions I poke about were in regard to mm over i-. You pointed out process is actually about extensions to V of that i-. O.K.
-----------------------------------------------------------------------------To answer your questions:
b7 imention is b7 of minor chord I'd be playing mm from the b3 above.
Ex.: playing cmm over a-, ther's G in cmm which is b7 of A.
Problem with 5th I spoke about is also in regard of mm scale over original minor chord.
Ex.: ther's Eb note in cmm, while I need E. I amm over a-, I have E, but not G, but, I do have Gb and Ab.
Ab is good for E, while Gb is what I call 6 (of A). So each time I come to play Gb, ther's high propability it'll clash with ubiquitous 7 (G).
Further, looks like what I refer to as 6, is more correctly called 13.
Don't know if my reference are blue notes. As I said I always think from 1, but once uppon a time I realised b3 interval is essence of blues, so
one could almost always go a b3 up from just about any "in" note, stronger in the better, and then to another "in" note and sound almost
always good. I think of it as playing blues from any scale note. Something ike that. Then I found my way where to play so wanted b3 come
under my fingers, but I do not search for blue notes, rather I do for 1 in apropriate place.
So, even if I wanted to, above written won't let me deny - you say: "own reference then camouflage", that's not what I call it, but I could,
because it would be true. I'd not to loose it, as it's something similar to style, but to learn doing it proper way, too, as a backup.

Reg

03-29-2013, 08:09 PM

I posted this on a different thread... It might be useful...


The reference fingerings are posted below...
Hey Jadarite...
why do you use that fingering for a maj scale... what's the reference, the next question would be what are your default fingerings for the same
scale starting on each scale degree, same question, why those fingerings.
When you don't develop a base or default fingering system that covers the complete fret board for each scale... your going to have problems
and have questions like you asked.
Even though I use that example I posted as my default fingering reference for maj scale and all degrees of... I use all kinds of different
fingering for reasons....but those different fingerings still have reference to, and are based off my default fingerings.
What eventually happens... the fret board becomes grids or mechanical patterns which reflect what I choose. In your example of Abmaj or

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G#maj. When I hear or decide to use that harmonic reference, Abmaj... as I said my entire fret board becomes those fingering patterns... from
my Example.
What is cool... if I choose to hear or add another harmonic influence... I just drop the new harmonic grid on top of the existing or starting grid.
I can hear or physically see the relationships.
Example could be... I start with your Abmaj. which I choose to be Ionian, Then I decide to add Ab Lydian as my first relationship. I now hear
and see the two patterns.
Now I decide to drop F Dorian... from the Ab Lydian relationship and from that F Dorian I drop F min pentatonics as the next relationship...
1)Abmaj Ionian
2)Abmaj Lydian...(modal interchange)
3)Fmin Dorian ... (Fdorian is function sub of Ab Lydian)
4)F min pentatonics...(different harmonic application of same notes)
5) add blue note application to Fmin pentatonics
So I used harmonic concepts to create applications to pull from for creating relationships and developing them...
Improvisation...
But I performed using very physical applications applied to my fret board... How I realize what I'm hearing or creating... how I finger what I
hear.
Eventually the fingerings... the fret board becomes internalized, you think about it only if you choose to.

Basic maj scale fingerings from each scale degree...


http://www.jazzguitar.be/forum/image.../paperclip.png Attached Images http://www.jazzguitar.be/forum/attac...fingerings.jpg

Reg

Vladan

03-29-2013, 08:25 PM

Quote:
Example could be... I start with your Abmaj. which I choose to be Ionian, Then I decide to add Ab Lydian as my first relationship. I now hear and see the two
patterns.
Now I decide to drop F Dorian... from the Ab Lydian relationship and from that F Dorian I drop F min pentatonics as the next relationship...
1)Abmaj Ionian
2)Abmaj Lydian...(modal interchange)
3)Fmin Dorian ... (Fdorian is function sub of Ab Lydian)
4)F min pentatonics...(different harmonic application of same notes)
5) add blue note application to Fmin pentatonics

Could this be it, a springboard example? I think I can find myself in this one.

Reg
I just got copy of one of my new tunes on coming CD......it not mastered yet, who knows when, but it's based on a tune I
composed on this thread back when Fep,(Frank) and I were getting into compositional BS...
Titled appropriately "Side Steppin"

04-02-2013, 05:33 PM
1 Attachment(s)

I don't even remember the session... I dig the piano solo.


Attachment 6634
Reg

Tom Painter

04-02-2013, 07:00 PM

Nice!
Reminds be of Kreisberg's twentyone a bit.

JohnRoss

04-02-2013, 08:42 PM

Oooh, yes.

Reg

04-03-2013, 11:39 AM

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Thanks for listening... I have one more, a ballad I composed for this sax dude...Called, "In Search Of Blue". I guess I'm
supposed to make comments for reference with mixing, any comments are welcome... beside put the tunes aside for a
week or so ... then throw them away,

2 Attachment(s)

Reg

Vladan

04-03-2013, 12:39 PM

Listening on headphones, comenting on In Search ... mix (no comments on music and playing).
Generally, I think it's good, sound is reckongnizable as Jazz.
Sax and guitar are Ok.
Dont like snare sound and rim sound, somehow they're not soft enough. Too natural in a way, while certainly EQed and compressed = it ended
bit unnatural. Something like that.
Is this real piano, or synth? I can not decide.
Sometimes I fell like I'm inside drum kit, which is inside this piano?
Like there are some phase issues ie. microphones should have been further or closer appart, or better isolated from instrument to instrument,
or everything's flanged, or chorussed a bit too much.
None of the observed issues has any influence on perception of music and performance ie. I don't give a **** about suchthings.

Reg

04-03-2013, 08:03 PM

Thanks Vladan...
The piano was real... big and covered with insulated blankets... I'm sure it was a good grand.
As I remember we were all in booths... Pn in big room.
I thought the snare might be a bit bright... but I believe that is the effect the enginner is after. I also want to hear more Guitar...
Thanks for checking out. I'll pass on comments...
Reg

Vladan

04-03-2013, 09:21 PM

Ah, blankets. The sound was right, but it lacked "noises", blankets explained it. Also means player can really control himself.
I don't know, that phasing thing, maybe that's just .mp3 playing games? Ther's this natural livenes to it, that's good thing, I think. Nothing
fauveistic to it.

sutra1

04-05-2013, 03:03 AM

Reg, could you tell me what looper you use? And if those drum presets were stock. Thank You

Reg

04-05-2013, 09:58 AM

I use a DigTech JamMan pedal type... The drums are from one of my keyboards... stock. Garage Band has some great stock drums that you
can play with and loop. I keep it very simple...

sutra1

04-06-2013, 02:14 AM

Thanks Reg for the quick reply. Slowly but surely grasping and using your ideas so thanks for hangin with this thread. ha ha What good are big
muscles when your life is hanging by a thread? Ha ha good stuff man!

Reg
Though I would post a tune that i had to read through... at a recording session. There are a few threads going on about
sight reading... Most know how I stand on SR... it's a skill you need. But that's just my personal opinion.

04-06-2013, 12:59 PM
1 Attachment(s)

The tunes a pretty standard sample of what's expected...


The pianist composed the tune and arrangement. Sax and Gui doubled melody for A sections except for written out counter lines. Piano took B
section, pretty standard. The sax player and I read through together 1st and decided on articulations etc... then practiced one time through...
stopped to make a few changes and then band played tune. Two takes, 1st time through was really just practice, get the form to feel right, try
and make solos lock... came out OK... would be much better if we played together more. We all just took one chorus and traded 4's with
drums. There just isn't the time or $.

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So anyway here is the recording...

Reg

04-07-2013, 11:05 AM

How about some input as to what to post on... general or specific...Whatever...


Reg

FatJeff

04-07-2013, 12:34 PM

Hi Reg,
How about a little insight on your thought process behind comping? I've been working quite a bit on mine. I'm at a point now where I have
some choices on which voicings or what approach I want to use for a particular trip through a tune. Given the fact that an accompanist
generally comps for several choruses of a song form while the soloist does his thing, I've been playing with the idea of comping successive
choruses from simple and subtle, to more complex & fuller. So for instance, chorus 1 might be very subdued 2- note punches (focusing on
3rd/7ths); chorus 2 might introduce a 3rd voice to those diads (introducing extensions or alterations); chorus 3 might use some standard 4-note
drop-2s and drop-3s with more dynamic, moving lines; and chorus 4 might start using substitutions, voicings with minor and major 2nds, 4ths,
etc. What do you think of this idea, and more generally, what's your thought process behind comping?

Vladan

04-07-2013, 01:37 PM

@Reg
1. This last tune is like it came directly from the Realbook, to classic to comment on,. I think your originals are much more original. I liked the
mix on this last one better than on previous 2. That's a sign, in the end, everything will come to sit just like it should.
2. That favourite tick lick of your's, when you ascend with something like arrpegio, and descend with a very fast scale like thing, that descending
part, what is it exactly? Is it just a scale of current chord, or the previous, or the next? I know it's part of Jazz to play somewhat muffled, and
you spoke quite a bit about camouflage, but it must have staryed from somewhere (current reference, as I think you call it)?
@Fatjeff
I like your question, hopefully Reg will shed some light. I'd to say, I don't think comping should build up. If we take solo will propably build up,
it'd lead to more clashing should comping build up at the same time. I think comping should stay more less steady in overall complexity, with
points of more complex and less complex chunks moving arround the form. Something like that.

Bigmagic

04-07-2013, 02:34 PM

Reg, I'd like to hear more about your setup as well, strings, guitars, amps and thoughts on venues. @Fatjeff count me in on the comping as
well Reg.
Let us know when that CD comes out.

Reg

04-07-2013, 02:59 PM

Hey Jeff
The cool thing... your thinking about what your going to play, which will develop into... Jeff's bag of approaches to comping. After going through
the organizational process of putting together mechanical plans of how to comp. You will have a library to choose from.
They will go from mechanical to internal... you will feel and hear them and what you play will become instinctive... as well as if you choose, a
cogitative thought process.
I always start with a basic harmonic analysis of tune... reflective of how the ensemble performs the tune. This is my standard mental process...
I can from listening as the performance unfolds... create my analysis.
That's my basic reference... I generally give soloist space up front to see if they have a concept or direction they want to go... generally live
jazz isn't a soloist and we're the backing track. So we interact and are usually part of the improve.
Harmonic reference... the tonal reference to the tune as well as target tonal references,(different changes in the tune), as well as any given
point of a tune... are going on all the time. I don't worry about which pitches I use... ie, 3rds and 7ths... there heard whether I play them or
not.
Every chord change is a complete structure... all the notes don't all need to be played, but which ones I use need to help create and develop
the relationship the soloist is using or help create possible choices for the soloist to develop.
I am a lead line player, my lead line should reflect the harmonic context... the changes or reference the soloist is implying or again... possibilities
for the soloist. I play lots of notes... and usually have a busy part... But where and how I play is as important as what I play.
Tunes have a Harmonic Rhythm... the chordal or harmonic accent pattern of the tune... If the tune is a I VI II V... there is an accent pattern of
the strong attacks. Where the harmony falls... If that's what is going on... I work around that harmonic rhythm... The I VI II V... what ever
version the chords are. I then create relationships with those chords... they become constant tonal targets.... and I use how I approach them to
create the effect I want the tune to have for the soloist. I can leave the tune very vanilla and have a complex weak side of that harmonic
rhythm harmonic concept going on.

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The soloist can play on original changes and what I do is help create more layers of relationships for the soloist's improve interact with... or the
soloist can also play with these relationships. Or I can always just play vanilla changes and rhythmically create desired effect of soloist... as
improve develops.
But the point is I have organized pre planed concepts... like your note addition concept. And because they have become internalized... they can
change and still work.
Like I've always said... The Form of whatever you do is always the strongest basic starting reference.
Sorry to go on so much... but these concepts are not one liners.
Reg

Reg

04-07-2013, 04:04 PM

Pretty standard jazz set up.


Guild artist, 94. I have high action...use Thomastic-Infeld... Jazz swing, 13 to 53.
Most of the time I play through AER ... usually my compact 60... on stand.
For most gigs it all works well, get miked for bigger venues. I do add another amp below my AER when I need bigger stage presence...
depending on ensemble. When traveling use what ever the house has... I own them all, so usually no big deal.
I'm a very simple down the middle musician. I cover whatever needs to be covered. I'm playing Bass a couple times this coming week at gigs...
just because I read well and can cover different feels. I stay in the pocket.
Thanks for interest on new CD... I'll give out a bunch when their finished.
Reg

FatJeff

04-11-2013, 10:08 AM

Thanks for the reply Reg. Lots to consider there. It really is a process isn't it? :-)

Reg

04-12-2013, 10:29 AM

Hey Jeff... sure is.

targuit

05-15-2013, 06:28 AM

Ciao, Reg! New to the forum, but with fifty years of guitar playing experience (sigh...). Love your technique, but sometimes I think the task of
trying to explain how one plays and hears music is just so...ineffable...that all attempts founder. So this is just my existential crying out in the
dark, but bear with me.
I studied classical guitar from the age of eleven or so for about four or five years, then played rock, country, fusion, and on through my
twenties and beyond jazz guitar. I also play keyboards decently, though I'm self taught on piano. And while I have a very good education in
music theory and all, in the end I believe that it mostly comes down to what Joe Pass said - just learn songs.
I think you might agree (perhaps not) that when you play you have to be in the moment. Just as your thread is entitled "live at the speed of
jazz", I always say that improv is music at the speed of intuition. If you have to "think about" what you are playing, you lose the mojo. You
have to 'dream' the music. By which I mean "surrender" your conscious super-ego critical function and turn the wheel, so to speak, over to the
subconscious. Analyzing how this process works at the speed of intuition is difficult to put into words, but for me I hear the melody in my head,
perhaps as 'target tones' kind of like a point of departure and arrival and let my subconscious connect the dots and find the musical path in
between. As you point out, this requires total awareness of the fret board, deep knowledge of chord structures and voice leading, and fluency in
terms of fingering and technique - all acquired over time and experience to the degree that it becomes intuitive. Of course, over the years I
have developed my own tricks or principles that serve me mostly to help distill my playing in the quest to make every note and phrase mean
something coherent and hopefully beautiful, like poetry. But they are so simple.

From a practical point of view, I found over the years that harmonizing Segovia's major and minor diatonic scales in conjunction with learning
chords and inversions in various positions on the fret board, and then applying that knowledge to actual jazz standards was key to developing
fluency and voice leading skills. I understand modes, various scales, harmonic analysis and such - but when the rubber meets the road in actual
playing, the theory and analysis and all the rest just falls away. I have to dream the music in the moment. I had to learn to 'surrender' to my
subconscious and to become the vessel for the music. The analogy I use is like dreaming. A dream is a kind of creative organization of our
thoughts, experiences, and desires. As such it can be quite wild or strange, but the theme and sequence of the dream has a kind of
subconscious organization. Playing music is the same.
I know this post strays from the discussion, and I give you so much credit, both for your obvious musical talent, knowledge, and skill, but also
for your generosity of time and effort in trying to explain the ineffable. I've been listening lately to Keith Jarrett's trio on YouTube, rediscovering
his music which I've ignored for a number of years. But I am inspired by some of his performances over the years of standards where he just
reaches down inside the music and his heart and brings forth a beauty that is profound. And in the end it's not about the technical analysis, but
it's about singing from the heart. And that is what is in the end the ineffable thing that we musicians must seek on our personal journey. Just so

12/25/2014 2:19 PM

Reg's Thread... live at the speed of Jazz

7 of 7

http://www.jazzguitar.be/forum/theory/22914-regs-thread-live-speed-jazz...

hard to explain.
Jay
06-26-2013, 06:23 AM

jster

Hey Reg,
I think I saw you write or say that you "finally" got yourself BIAB. Given that you play tunes so many different ways, do you have different BIAB
files for different versions of the same tune?
Thanks
06-26-2013, 09:46 AM

Reg
Hey Jster...
not really, I don't really use Biab very much. I thinks it's great and a very good tool for practicing performance etc...
Just don't have the time. And I don't like having to search for different feels or styles for backing tracks.
I don't have the skills of using it down very well.

01-03-2014, 02:21 PM

Vladan
Ping!
Probably busy mixing CD?

01-07-2014, 01:20 PM

Boston Joe
Hi Reg, et al.

I've been reading through this discussion for the past couple of days, and while I have no doubt that there's a lot of great information here, I'm
having trouble because Reg's style of exposition does not match up with the way I learn. So basically, I'm going to try to recap what Reg as
said, as I understand it, and if I'm wrong, I'd really appreciate it if someone would correct me. So... Autumn Leaves.
Original chords (First phrase)
A-7 / D7 / GMaj7 / CMaj7
First round of subs - Melodic Minor
A-M7 / D7 alt / GMaj7#5 / CMaj7#5
Second round of subs - Diatonic
A-M7 E7#11 / D7alt G#7#11 / GMaj7#5 Bm7 / CMaj7#5 Em7
Final subs - tritones
A-M7 Bb7 / G7 / D7 Bm7 / Em7 CMaj7

Am I on the right track there?


04-18-2014, 08:40 AM

Liarspoker
How is that CD coming along Reg and where can we get a copy?

04-18-2014, 08:55 AM

Scott Jones
Phenomenal thread, Reg!

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