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The 64 refers to figured bass symbols and the V refers to the dominant function. Meaning, the 64 refers to a sixth (E) and a fourth (C) above the 'root', which is G. You have to remember figured bass was around in a time before chords as we know them existed; a chord spelled G E C (from bottom to top) was, in fact, a 'G' chord - not a 'C' chord.
Has anyone here read "The Music Lesson" by Victor Wooten or "Effortless Master" by Kenny Werner? They are two of my favorite books about music. Does anyone know any other books that are similar to these? If you haven't heard of them or read them, I highly recommend checking them out. They are interesting if nothing else, but also contain some great ideas and techniques for learning, practicing, and performing music.
When identifying a chord like that, a good rule of thumb is finding the interval closest to the bottom of the harmonic series. That will usually (USUALLY) determine the root. In this case, the 5th (D - A) is closer to the bottom of the harmonic series than the 3rd (A - C#) and the major 7th (D - C#). So D would be the root. It's an easy trick of finding what will likely sound like the root of the chord without actually hearing the chord.
If you were truly tone deaf, you probably wouldn't want to play guitar or even listen to music. The pitches would not sound at all how they were meant to.
The only reason the supposed musician's reply seems ridiculous is because people view musician's work as worth less (or different, at least) than any other profession. That's what the reply is trying to illustrate. You wouldn't ask a chef to make you food for free, a maid to clean for free, or a business man work for free, so why is it acceptable to underpay/not pay musicians? I think that's the point that's being made. The musicians being referred to are musicians who make music their career, obviously.
Stravinsky and Mussorgsky both used half-whole and whole-half octaconic scales to get what they thought of as an almost "too Russian" sound.
Quote by GuitarMunky
^ pick up notes

makes alot of sense as it's quite a common thing in music.


It makes infinitely more sense, especially taking the style into account, that the entrances are on the 'and' of 4 or 1. The 'and' of 4 being one of the strongest beats to propel the music forward and one of the most popular beats to begin a phrase on in that style of music. Conversely, you almost never hear a phrase in that style starting on the 'and' of 2 or 3.
The horn part comes in on 1. If you think otherwise, you are completely turning the song around. The cymbal crashes you speak of are, in fact, on beat 3. If you say the horn part is on beat 3, then most of the vocal entrances would be coming in on the 'and' of 2 or right on 3. This makes no sense. It doesn't even sound like the horns are on beat 3.

In the roots version, it is easy to get confused because they have a couple extra bars of 2 in some of the phrases, I believe.

Also, the chords are on 1 and the 'and' of 2, not 3 and the 'and' of 4.

EDIT

In fact, every version that has been posted has the horn part in question coming in on a very obvious beat 1.
It generally just says something like "Piano Solo" over the staff, followed by the usual chord symbols for the duration of the solo. At the end, you'd generally see "End solo" or something of the sort.
Step Quiet by Bela Fleck
Anyone here listen to any Brad Mehldau or similar artists? I just started listening to him and his music is fantastic! My favorite album of his is 'Highway Rider'. Joshua Redman is also on that album, along with a string orchestra - I think the St. Paul Chamber Orchestra.

Any suggestions of good albums of his or anyone similar to him?
The best way to learn jazz is to listen to (and transcribe) everybody, not just people who play your instrument. For example, I play trumpet and guitar, yet I find Wayne Shorter's compositions and sax playing to be extremely good to listen to for new ideas.
I paused Joe Satriani for THIS?
Anyone know where I can find the Fortress tab book (or tabs from the book)? Been looking for it, but can't find it anywhere.
It was -30F this morning and I had an 8AM final that I had to walk to. School in Wyoming never closes for weather, and it makes me laugh when other places close for a few inches of snow.
Quote by kumamilesbear
I'm not insisting on black or white answers. Just an actual answer to the question. Not an avoidance.


He DID answer the question... "...we would reinstate that policy if Rick Santorum was president. Period. That policy would be re-instituted."

Watching the entire video and not taking things out of context will help you to not look like a fool in the future.
Listen to the album Caravan by Art Blakey and the Jazz Messengers. Great example of what you are looking for, I think.

http://www.youtube.com/watch?v=eP12RhmBIRw
I'd start by listening to blues solos in the bebop style. That's what this tune is, so what better way to get more ideas than learning from the greats? Don't just listen to guitar music either, steal ideas from everyone!
It sounds pretty good, if you're concerned about the 8th note lines. You're making the changes pretty well. The thing I'd suggest working on is making it interesting. You have a few cool ideas at the top of each chorus, but then the rest of the chorus seems to be just up and down on the chords. Try making it more interesting by accenting your lines on different beats. So, instead of four eighths up one chord and four eighths down another, you'd maybe go with 3-note groupings or 5-note groupings, like a hemiola effect. Does that make sense?
Quote by Jehannum
You don't really need to transcribe. It involves the slow middleman of writing everything down. Just listen closely to diverse and excellent solos. Your ear will do all the transcribing. Learn to imagine the sounds you want, and learn to play those sounds.


Transcription =/= writing it out.

I almost never write down my transcriptions. If you learn it by ear and memorize it without ever seeing it written down, the sounds become very internalized.
I'm very interested, can't wait for more!
Transcribing is probably the best way. Transcribing solos of your favorite artists (or people who you aren't so familiar with) is a great way to connect your ear and mind to the guitar. But the best person to transcribe is yourself. Hear what you want to play, then figure it out. That's what the goal of improvisation should be anyways: to let your body create the music you hear in your head.
reported
Quote by Icehawk217
Using "Are" is British English.

Using "Is" is American English.

/thread


See, I thought this might be the culprit. Thanks!
Quote by institutions
This is the really the problem you have with UG's articles?
It's not the ridiculously misleading titles or the fact that every other one is something like "What Slash ate for lunch today"?


And I don't even bother reading the comments, but I find the titles entertaining, like a guessing game of what the article will REALLY be about!
I just figured it would be correct to refer to it as a singular on the grounds that it is. If you were addressing the band members, wouldn't you say "The members of Iron Maiden are great!" Instead of "Iron Maiden is great!" I don't see why it wouldn't follow the rules that every other word follows when talking about singular/plural. Saying "The Eagles are my favorite band!" would be correct because Eagles is plural. Doesn't make sense to me.
Whenever I come to UG, I usually check the front page news stories first. Many times, there will be a headline such as "Radiohead Are 'Splitting Up'" or "Korn Are Too Loud". These headlines treat band names as if they are plural when they aren't. Shouldn't they read "Radiohead is 'Splitting Up'" or "Korn Is Too Loud"? Since the band is being addressed as a single entity. It's not a huge deal, just something I notice often and I wonder why it is the way it is.
Typically, half-time on drums is just a matter of changing the pulse. I.e. instead of putting the snare on 2 and 4, the snare is only on 3. It feels half as slow, but the quarter stays the same. So the riff would still be eighths.
Quote by Hyjek
Check out the wicked drum solo by Max Roach at about 4:30....wicked. http://www.youtube.com/watch?v=sQKVUc5Wg3g


That whole album is swingin', Clifford is one of my all time favorites, if not favorite.
It's improvising over chords, not really with one scale or another. If scales are specifically being used, it's changing every 1 or 2 chords.
To the people saying you must be born with perfect pitch...

Nobody is born with perfect pitch. To say that a human can be born already knowing this set of notes we've based on 440hz perfectly is foolish. I mean, what if we tuned to A430? Would everyone who was 'born with it' be screwed? It is simply developed at a very young age when learning is easiest.
Learn some clifford brown solos. Trumpet stuff that's really fast and melodic. Should sit nicely on a guitar.
I didn't read the thread. But 'better' isn't a word that can really apply to music. It's not a competition.
Why do you need someone to give you a set of notes to choose from? Play something on your guitar. Does it sound good? Keep it. Does it sound bad? Then don't play that. Try experimenting on your own before you start looking for sets and formulas.
Quote by rbnbass
AAhh okay, so you compare playing sax to singing?
I am not that much of a singer but I'm not so bad with timing, but then again learning new things is something you won't pick up immediatly unless you really have a natural feel for it.
Good thing about the sax lessons I'm going to have is that he is going to make a personal learning plan. But my biggest concern is the money I have to pay for it: 25 for 50 minutes lessons and using his sax cause I dont have any. When I first started bass I had an hour class for 12 and could use his bass. So is 25 normal, or was I just lucky with my bass teacher?


If your teacher is a professional, that's a good price. Professional lessons can cost up to $45 for a half hour.
I stopped reading Pilo's posts when he said (paraphrased) "Jazz is dying and is a dead-end career, and baroque music's only value is to be a building block." What a moron.
I'd start with a simple 12-bar blues, learning how to play over blues changes (and not just using pentatonics or a blues scale), actually using guide tones, enclosures, arpeggios, and practicing a ii V I at the turnaround before you start AABA form jazz tunes. Even the most basic jazz tunes are almost always 1 chord per bar at the least. Sometimes you'll see every 2 bars, but one per bar and two per bar are much more common. With blues, you learn the basics (again, if you do more than just pentatonics and blues scales) while having 1, 2, and 4 chords per bar. If blues really isn't your think, try a tune like cantaloupe island, it's got slow changes but you can still practice jazz over it. Perfect for a beginner.
Quote by GoIrish668
Just warning you TS, if you commit yourself to this new tuning, you will have to completely relearn how to play guitar.


So he will instantly forget how to hammer-on and pull-off? And how to play legato? And how to sweep? And all other skills he's learned?

He'll just have to relearn where notes are and where certain intervals are. Not really much more to it.
Quote by food1010
As is bari.


As is the double contrabass sax.