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rice_pudding
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Post by rice_pudding »

Matthew wrote:Hi guys

I have posted below too but wanted to try and make you jazz dudes proud
:D
LOL i like that you reffer to me as a jazz dude, when the truth is i have limitted expierience in actually playing it. I know a fair bit and dabble in it, kind of like robben ford or larry carlton but strait jazz!!! :shock: thats suicide man :!:

Im going to start putting in some serious jazz practice though just like i am with the blues, thats my focus for the forseable future as far as electric guitar is concerned.
Cpt Matt Sparrow
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Post by Cpt Matt Sparrow »

You and Lord with your shades and tie all loose and a smokey billiard room...jazz dudes! :D

Matt all Classical and rigid ie un jazz dudeish...but becoming a jazz dude shortly LOL...well hopefully!

Matt
Having a break from online activity for a while to concentrate on music. Please email if you need to get in touch. Matt
rice_pudding
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Post by rice_pudding »

sorry to destroy you're wonderfull vision but im actualy sitting in a student dorm, wearing a blizzard of ozz T and eating a kit kat :wink:
LordThurisaz
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Post by LordThurisaz »

Matthew wrote:You and Lord with your shades and tie all loose and a smokey billiard room...jazz dudes! :D

Matt all Classical and rigid ie un jazz dudeish...but becoming a jazz dude shortly LOL...well hopefully!

Matt
Heh, Matt.. I'm just your typical shredder with a knack for knowing what the shit it is I am doing on the fretboard as well as using different assets of playing (jazz, blues, shred, neo-classical, etc as colors). Basically I just like to know "Okay, I'm going for a really dark, evil tone. Might wanna use Phrygian or Locrian." ...That sorta thing.
LTD FX260 [Dist/Jazz] [9s, E/Drop D]
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LTD H1001 [81/85] [10s, C#/Drop B]
GCB-95 [mod soon]
Boss SD-1 [mod soon]
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Cpt Matt Sparrow
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Post by Cpt Matt Sparrow »

LordThurisaz wrote:
Matthew wrote:You and Lord with your shades and tie all loose and a smokey billiard room...jazz dudes! :D

Matt all Classical and rigid ie un jazz dudeish...but becoming a jazz dude shortly LOL...well hopefully!

Matt
Heh, Matt.. I'm just your typical shredder with a knack for knowing what the shit it is I am doing on the fretboard as well as using different assets of playing (jazz, blues, shred, neo-classical, etc as colors). Basically I just like to know "Okay, I'm going for a really dark, evil tone. Might wanna use Phrygian or Locrian." ...That sorta thing.
8) :D
rice_pudding wrote:sorry to destroy you're wonderfull vision but im actualy sitting in a student dorm, wearing a blizzard of ozz T and eating a kit kat :wink:
NO!!!!

In Ronney Scotts with 3 blondes all smiling at you mesmorized until you walk up on stage and just take a solo!
Having a break from online activity for a while to concentrate on music. Please email if you need to get in touch. Matt
rice_pudding
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Post by rice_pudding »

Matthew wrote: NO!!!!

In Ronney Scotts with 3 blondes all smiling at you mesmorized until you walk up on stage and just take a solo!
in my dreams maybe :lol:
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Post by Cpt Matt Sparrow »

[quote="rice_pudding"]Harmony, The II-V-I Cadence, Progressions

Ok, I figure it would be best to lay down some theory on this subject first, particularly as there are some things I think all jazz/fusion players should know. I’m sure many people on UR will already know all this but I hope that someone finds it useful.
***

Basics
Just to refresh, in each key there are 8 diatonic chords that are made up of the notes in that key.
So in the key of Cmajor;
1...2...3...4...5...6...7...8
C...D...E...F...G...A...B...C
The scale yields the following chords (specifically triads) which are marked with the following roman numerals:
I..........ii........iii.....IV........V........vi......vii*....VIII
Cmaj...Dm....Em....Fmaj...Gmaj...Am...Bdim...Cmaj
If anyone needs more info on how/why these chords are the way they are just ask.
Note: I wont refer to the VIIIth chord anymore as it is just an octave of I.

Chord Family’s
Those 8 chords can be divided into three groups.
Tonic: I, iii and vi
Sub-Dominant: ii and IV
Dominant: V and vii
The exception to this rule being that in minor keys vi is often considered a sub-dominant chord (depending on the context) as it’s notes could facilitate it being part of either group

The interaction of these different groups could be seen as the foundation of all western music
Typically a chord progression will start in a place of rest move to a place that is clearly different then to a place of tension before returning to the tonic.
EG. Tonic – Subdominant – Dominant – Tonic

Cadences
A cadence is the movement of chords from one chord family to another. Cadences essentially help establish key centres and song structure. Their role in contemporary popular music I would argue is less defined though (certainly as a conscious effort by the composer). There are many different ways to look at cadences or rather types of cadences. Theorists often disagree about how many types there are.
A cadence normaly consists of an anti-penult a penult and a target chord.

The most important cadence (and chord movement in western music) is an authentic cadence.
It is the movement of dominant to tonic And uses V as its penult resulting in V – I

The plagal cadence is also very powerful sub-dominant to tonic e.g. IV – I

A deceptive cadence occurs when a V chord resolves to a chord other than a tonic for instance V – vi

I would include a half cadence on the list as well which would be a cadence that simply fails to resolve often simply repeating itself.

The ii – V – I
This is regarded as the most important progression in Jazz. I would like to quote RAWLINS and EDDINE BAHHA on this:
“the ii – V – I Cadence has a certain level of sophistication, in that it starts on a subdominant instead of the tonic, making the key less immediately clear.The root motion is still upward by perfect 4th and downword by perfect 5th, the stronmgest possible in both jazz and classical music. The ii – V – I provides the cornerstone of jazz harmony. In addition, the voice leading suggested by the cadence furnishes highly recognisable contoursâ€Â
Having a break from online activity for a while to concentrate on music. Please email if you need to get in touch. Matt
rice_pudding
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Post by rice_pudding »

since to site went down some of the symbols in those posts have messed up :lol:

it was going fantastic when i was in a band :( i came up with some very unique stuff and developed into a real musician, i was doing something truly worthwhile.

Its going slowly now though. Im not doing any fusion/jazz at the moment. But come christmas im going to learn some country to intergrate and do some jeff beck/hybrid picking lessons. i stay well clear of straight jazz though. I dont have enough time to learn it and if it needs one thing its a lot of time.

im kinda getting more into metal again these days. i must be angry :lol:

but at the moment im petty much just a blues player

Rob
Cpt Matt Sparrow
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Post by Cpt Matt Sparrow »

Hi Rob

I have been put in touch with this lady recently. The Guitar playing is just melting. See what you think; and that voice!

http://profile.myspace.com/index.cfm?fu ... =379941901

Matt
Having a break from online activity for a while to concentrate on music. Please email if you need to get in touch. Matt
rice_pudding
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Post by rice_pudding »

i tried checking it out but the music wont load properly LOL damn myspace! i will check it out tommorow though, hopefully it will be alright then

Rob
Cpt Matt Sparrow
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Post by Cpt Matt Sparrow »

I have linked this in this thread

http://www.youtube.com/watch?v=2-e0e8haczo

It is a Frank Gamble demonstrating how the often used Pentatonic scale can have a lease of new life in some very musically played sweeps.

Matt
Having a break from online activity for a while to concentrate on music. Please email if you need to get in touch. Matt
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