#1
Hi.
I just wrote a jazz tune and recorded it. I don't know alot of subgeneres, and can somebody help me analyze my song and tell me if its gypsy, bebob, fusion smooth etc...
Thank You.

http://www.youtube.com/watch?v=A7EErvdHKyg
Last edited by Usernames sucks at Sep 19, 2011,
#7
Brush up on your chord voicings; your lead voice is stronger. Practice laterally as well as vertically. Get to know double stops, vamps, tensioning, and resolving your lead. In other words, most players lead in at the root note of the first chord in the progression. The root tone is the weaker of the tones. Resolve your lead as you anticipate the chord progression and resolve your scale to the third. Major is a great key, to add color, practice in the melodic minor but DO NOT limit yourself to the melodic minor. Japanese fellas are fixated on smooth jazz melodic minors. It's really a bastardized version of the pre g benson era. It never began with benson-- it started from swing 20's, bebop 1940's through the 60's which twisted c berry, little richard etc. Take your favorite jazz artists and track where they got their flavor from, and where they got their flavor from and so on down the line. Trace it backwards then forward, front to back and so on. The other trick is to know every note on the fret board within 3 seconds and then instantaneously. If you hang on to a note before the next, hang on to it. Start with each string progressing up the fret board and back in the major scale, know it like you know your abc's and 123's. Hone your strengths. Then attack the melodic minor with each string so on and so forth. And remember, each chord has it's own scale. Know your chords then articulate the scale in the chord, linking your lead voice with the chord progression resolving to the third, not the root.

Major Scale -- Paul Hardcastle - 'Paradise Cove'
Melodic Minor -- Norman Brown - Thats the Way Love Goes
Major and Melodic minor -- Norman Brown - 'After the Storm'
Major, Melodic, and Lydian (one of the seven greek modes) -- George Benson - 'Fly By Night'
#8
you should internalize chords and their upper extensions, like a minor7 chord becoming a minor9th, becoming a m11 becoming a m13. And dominant chords, especially altered ones. As a guitarist, often times those are the chord tones you want. And they make for awesome solos, I tend to end mine on 9ths or 7ths
#10
Thanks man, you too. Your post was incredibly informative.

Our asker here should absolutely take your advice, but he'll learn it so much faster if he's able to go out and perform, applying it. I learned a ton from guitar lessons before college, but once I got here I started attending an open jazz jam at a cafe near campus. I've been learning a ton from that, even though I've only been there a few times, especially in comparison to the years of lessons.

Some tips I've picked up:

Sing along with your solos - as a guitarist, you have the benefit of not worrying about breathing, but when you sing along with your solos, not only does that mean you have to think about the notes you're playing before you play them, (familiarizing yourself with music in general), it has a huge effect on your phrasing. an endless series of 8th notes can be pretty boring. But by introducing the need to breathe, you'll see a huge change in the way you play.

When learning a song, comp it all the way through in one position, then change positions and do it there until you're comfortable with every inversion you'd need. You can comp any song in any given range of frets, and as you get better at that, you'll become a much better player, since that doesn't just help with comping, understanding what notes make up that chord make it easier to find chord tones anywhere when playing.

Repetition when soloing - Develop a rhythmic or tonal motif (theme) that lasts a few beats, and repeat it. If it's rhythmic, change the notes, tonal, change the rhythm. I had always heard this and tried it here and there, but once I got here and started playing with some real rhythm sections, I really got to see how well they'll respond to it. In my experience, rhythmic is better, since the drummer and piano player (if there is one), maybe even the bassist can pick up on it, and use it to build excitement. I tend to make phrases last less than a measure, so they can be displaced into the next few measures

I'll let you know if I think of any more, those are the best ones, especially for beginners, I can think of off the top of my head.
Last edited by smartguyreviews at Oct 21, 2011,
#11
Exactly what the doctor ordered Alex. I've invested tons of money, discipline and perseverance into my jazz voicing and the great thing is that it's such a wide open journey over pop and hard bop. If I could change one thing it would be instant maturity by 13 years old-- that's when I abandoned 20's swing for chuck berry then modern pop. I am absolutely captivated by modal fusion. Even with perfect pitch the chromaticism and melodic harmonics reduces my ear to relative pitch. There's so much more fertile ground in jazz and improv and I agree with you whole heartedly-- nothing takes the place of performing and swinging into musical action. I took notice of the way you resolve your lead voice and added it to my jazz tool box. Now, if you can tell me how norman brown executed his note articulation twice over the speed of benson I'll fly you out to my hometown for a recording session. Man is Norman's technique hard to freeze into slow motion. I've even employed Melodyne to isolate and chart his scales-- performs beautifully but it doesn't reveal his specific technique and angle of articulation.
#12
there's a shitload of wisdom in this here thread.

also, smartguy, are you directly related to like ... THE dragonetti?
#DTWD
#13
That IS the funniest quote-- I'm stealing it! What I like about the vid posted by the OP is his LEAD voice is stronger than his comping-- and he's doing it the correct way by not ice-picking the notes like a metal lead guitar soloist. Alex-- btw-- you saved the day. I'm reworking some Norman Brown material; using that lead in on the 9th revealed a technique in an almost 32nd triplet-sounding lick he uses.

Nevertheless, everyone interested in getting a head start in modern jazz should pick up truefire.com's 'Survival Guide to Comping I and II' and, '50 Jazz Guitar Licks You Must Know' Together costs about 40 dollars, well worth it, it is THE BEST DAMN 40 dollars you will spend. Instant download upon payment, burn to disk and use it EVERY DAY from warm ups to altered improv. BIG names, inside scoops, industry trademark licks, how to do them, when to do them, slow, fast, including various positions. I stand by it-- the methodology is incredible. It WORKS.

As soon as this Norman Brown material is polished I'll upload a clip to this site.
#14
^Looking forward to hearing it!

Quote by primusfan
there's a shitload of wisdom in this here thread.

also, smartguy, are you directly related to like ... THE dragonetti?


I don't think he had any kids, considering the whole mannequin wife thing... but I can always hope. The name hasn't quite helped me with upright bass much though