Posts Tagged ‘Methods’

More on Konokol, simple exercise

In Methods, Theorie on March 5, 2014 at 9:30 am

Regarding improving your rhythm, the following is the Konokol method for practicing music without playing an instrument. One can practice thinking and coordinating rhythmic subdivisions in music.

Try this:
First you need to keep time. Here’s a 4/4 that has a common 4 times quarter note count:
1. For beat 1, simply clap
2. For beat 2, clap with the little finger of your right-hand (if you are right-handed) against your opposite palm
3. For beat 3, clap with your ring finger of the same hand
4. For beat four, clap in the same manner with your middle finger.

Pick a steady tempo, and as you clap each beat say ‘Da’ (or ‘1’). i.e:
Da
Da
Da
Da

To sub-divide into quavers (sub-dividing into halves) say Ta-ka (or ‘2’). Here as you clap, say ‘ta’, then in the exact middle of the space before the next beat say ‘ka’. You have 4 taka’s in one 4/4 bar. i.e:
Ta-ka
Ta-ka
Ta-ka
Ta-ka

To sub-divide into triplet quavers (sub-dividing the quarter note count into thirds or 12ths of one bar) say ‘Ta-ki-ta’. Here as you clap, say ‘ta’, then in two equal spaces before the next beat say ‘ki-ta’. You have 4 takita’s in one 4/4 bar. i.e:
Ta-ki-ta
Ta-ki-ta
Ta-ki-ta
Ta-ki-ta

For semi-quavers (sub-dividing the quarter note count into fourths or 16ths of one bar) say ‘Ta-ka-dim-i’. Here as you clap, say ‘ta’, then in three equal spaces before the next beat say ‘ka-dim-i’. You have 4 takadimi’s in one 4/4 bar. i.e:
Ta-ka-dim-i
Ta-ka-dim-i
Ta-ka-dim-i
Ta-ka-dim-i

To achieve triplet sixteenth note (sub-dividing the quarter note count into sixths or 24ths of one bar) say ‘Ta-ka-dim-i, Ta-ka-Jun-a’. Here as you clap, say ‘ta’,then in five equal spaces before the next beat say ‘ka-dim-i’, plus a further ‘ta-ka’, start the next cycle of six accenting ‘Jun-a’ adding a further ‘Ta-ka-dim-i’, carrying on noting the six counts against the 8’s of the Ta-k-dim-i Ta-k-Jun-a’ cycle. You have 3 takadimi takajuna’s in one 4/4 bar. i.e:

Ta- ka -dim -i Ta -ka
Jun-a Ta -ka -dim -i
Ta -ka -Jun -a Ta -ka
dim -i ta -ka jun-a

To achieve Thirty-second notes (sub-dividing the quarter note count into eighths or 32nds of one bar) say ‘Ta-ka-dim-i Ta-ka-Jun-a’. Here as you clap, say ‘ta’,then in seven equal spaces before the next beat say ‘ki-dim-i Ta-ka-Jun-a’. You have 4 takadimi takajuna’s in one 4/4 bar. i.e:

Ta-ka-dim-i Ta-ka-Jun-a
Ta-ka-dim-i Ta-ka-Jun-a
Ta-ka-dim-i Ta-ka-Jun-a
Ta-ka-dim-i Ta-ka-Jun-a

Count as you play and you can hear the rhythms go off in your head.

for more see: The Gateway of Rhythm Ex 2 Ch 02 Angle 1 – YouTube
Konokol method: Rhythm, Counting & Syncopation

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Joe Pass – Caged 3 boxes

In Chords, Methods, Practices on May 7, 2013 at 9:29 am

To be worked every days, in the dark :), extract from Joe Pass method: On Guitar

JPass Caged

the Bebop bible (LesWise)

In Methods on June 28, 2012 at 6:20 pm

 

David Baker, all about Bebop.

In Lessons, Methods, Scales, Theorie on April 10, 2012 at 9:57 am

The bebop scales are frequently used in jazz improvisation and are derived from the modes of the major scale, the melodic minor scale, and the harmonic minor scale.

David Baker, one of the world’s finest jazz educators, named these scales the “bebop scales” because they were used so often by jazz artists from the Bebop Era. These artists include Charlie Christian, Charlie Parker, Lester Young, and Dizzy Gillespie, to name a few.

There are four types of frequently used bebop scales: the bebop dominant scale, the bebop Dorian scale, the bebop major scale, and the bebop melodic minor scale. Each of these scales has an extrachromatic passing tone. In general, bebop scales consist of traditional scales with an added passing tone placed such that when the scale is begun on a chord tone and on the downbeat, all other chord tones will also fall on downbeats, with the remaining tones in the scale occurring on the upbeat (given that the scale is played ascending or descending; i.e., no intervallic skips are played). As such, many heptatonic scales may be modified by the addition of an eighth passing tone to accomplish this same effect; however, the modifier “bebop” is reserved to indicate those scales most frequently used—and popularized—during the bebop era (and/or by modern practitioners of the bebop genre).

David Baker, bebop scales, Vol.I

David Baker,  Vol 2 – Learning the Bebop Language

David Baker Vol 3 – Techniques for Learning and Utilizing Bebop Tunes

Armonia – David Baker – Arranging and Composing

Have you ever imagine how your brain controls your Guitar playing

In Practices, Theorie on December 19, 2010 at 1:33 am

Here’s a Quick 1 Minute Video that Explains How the Nervous System Controls your Guitar Playing. or How to sale trainings and lessons….

 

Joe Pass plays Satin Doll

In Biography, Methods on December 9, 2010 at 5:33 pm

Biography of Joe Pass here: The genius of Joe Pass

see also here

Joe Pass plays “Satin Doll.” From the Vestapol DVD “The Genius of Joe Pass.” More info at  http://guitarvideos.com/dvd/13073dvd.htm

Hal Leonard’s catalog of methods

In Methods on December 8, 2010 at 11:47 pm

I already posted few articles about Aebersold, but obvioulsy Hal Leonard is also a key source for the guitarists, here, a recap on Jazz’s methods. Several books have a unique value.

Jazz’s methods

The iv-V-i Chords Progression Em(Maj7)

In Methods, Scales, Theorie on February 18, 2010 at 3:50 pm

En Em(Maj7), utilisez la gamme et l’arpège de C Diminué (Do dim) pendant l’accord V7. (= Gamme de D# diminuée qui conduit à Em(Maj7)

En règle générale, utilisez la gamme diminuée se situant 1/2 ton en dessous l’accord Maj de résolution, ceci pendant l’accord de V7 amenant à cet accord Majeur.


Passez au iv-V-i une tierce mineure au dessus et recommencez. Faire toutes les tonalités.

Printed copy here:  the The ivviEm progression

Les 2 Gammes Diminuées

In Methods, Scales, Theorie on February 18, 2010 at 3:42 pm

GammesDiminuees

Gamme diminuée “ordinaire”

Ton, ½ Ton, Ton, 1/2Ton….

2, 3b, 4, 5b, 5+, 6, 7M

  • Le pattern 1 utilise en alternance les éléments de doigté “fermé à droite” et “fermé à gauche”, mais oblige à rester dans la même position pour conserver l’équilibre du nombre d’attaques par corde à la main droite.
  • Le pattern 2 comprend 4 attaques par cordes (aller-retour), toutes les cordes sont attaquées vers le bas, il couvre 3 octaves, mais la première note de chaque corde n’est pas la tonique

La gamme diminuée “ordinaire” s’utilise surtout sur les accords de Septième diminué, (C°7) dont les intervalles sont 3 dim, 5 dim, 7 dim.

Gamme diminuée “inverse”

½ Ton, Ton, 1/2Ton, Ton…

C’est le 2eme mode, (il n’y a que 2 gammes diminuées), la première note devenant la tonique:  2b, 2+, 4, 4+, 5, 6, 7min.

Ainsi chaque note de la gamme peut devenir la Tonique.

Elle sert à l’improvisation sur les accords dominants dans lesquels la neuvième est altérée, mais pas la quinte: 7b9, 7#9, 7b9#9.

C’est également la gamme altérée qui convient le mieux lorsque la quinte et la neuvième sont toutes deux altérées.

Exemple Gamme de Do Diminuée


For Print here: Les 2 Gammes diminuees

Minor Harmonique 3 Shapes (G min H scale)

In Methods, Scales on February 16, 2010 at 3:25 pm

The 3 Shapes (or Modes) for the minor Harmonique scale (1  2  3b  4  5  6b  7M)

Example in G Minor harmonique

G Minor Harmonique Shapes

For print: Minor Harmonique 3 Shapes