@@GuyWestNorth thanks Guy

@@gmitter-sl3qq yes - a little bit beyond the scope of this vid but absolutely

@@jimbonacum8917 I have another video on the invisible bar line rule ‘how to read jazz rhythms.’ More of the same but a longer example.

@@gmitter-sl3qq I’ll give that a go…

@@gmitter-sl3qq good questions! 1) We can relate all the dominant chords to the important minor, which can be m6-dim, melodic or harmonic minor built on the fifth of the chord. So yes, and more. There’s also the whole tone and 7b5-dim scale once those options are mastered.

@@gmitter-sl3qq 2) yes that would work great although you may want to add in the b7. So for Bbmaj7 Bo7, you include the Ab if it is relevant. OTOH for scale practice either major or dominant down to the root of the diminished chord works well. There’s more leniency in these things than you might think. If it sounds good it is good

@@gmitter-sl3qq 3) Barry took us through All The things you Are once (after this vid) and I’m surprised that he built a separate scale on each chord. So these would be the equivalents of the diatonic modes (VI aeolian, II Dorian etc) although he didn’t call them that.

@@JazzGuitarScrapbookrelating to 1) : Thanks! I am aware of these options, but then the "thinking" again goes away from dominant scales over to various minor scales based on the 5 of the dominant, correct? Thus losing the nice half-step rules options for dominant scales and the dominant language vocabulary again (which makes the "backdoor" thinking so incredibly nice). Or am I misinterpreting something?

@@JazzGuitarScrapbook Relating to 3): So also over the II (Bbmin7) before the V (Eb7) he chose dorian instead of using two bars of Eb mixo up and down? And over the VI (Fmin7) he would go up F aeolian? This would be quite chord-scale-theorish

@@frankvaleron I’m fond of the Kim chi and cheese toastie myself

The pignantiello edition of the fenaroli partimenti is in treble clef btw

The accidental would be written out again

Pace Mick Goodrick, but I don’t understand why that’s an issue with reading in particular and not simply an issue/feature with the instrument that we face equally if we are playing by ear. In fact the only time it isn’t an issue is when we are being told where to put our fingers, as for instance in tab.. For most situations where instant eye/ear to hand we can use well honed positions. That’s why I started with position IV - it’s the middle of the range of an acoustic guitar and a lot of BB single note stuff is written there, with the top and bottom notes being available as extensions. It’s not great for everything, but it’s a good start. Anyway because of this octave confusion it’s a good idea to practice stuff in different octaves, reading and jazz repertoire. Actually for playing a bop head in unison with a tenor sax as opposed to an alto, you need to transpose. A bit of a pain in the behind… almost enough to make me consider tuning in fourths. Almost. Apparently when Julian Bream commissioned Benjamin Britten to write the Nocturnal the first thing he did was write a low E and G together. After he finished it, I believe Britten said he’d never write for guitar again… it’s not easy for them and guitar is kind of off the mainstream esp for classical and jazz ensembles. I guess for guitarists, our job sometimes becomes to translate the composers intentions into something more idiomatic and playable. It can be a two way street. There’s some absolute travesties of parts out there for sure.

I understand what you are saying but at the same time Mr. Goodrick has a point. Where on the instrument to play a line is not just a matter of reading the notes correctly (though that can affect things). There's also the matter of how it sounds and feels. In my early years of playing (the 80s) guitar magazines didn't always include tabs. You had to read the transcriptions. I was learning a Charlie Christian solo that way when I decided to not be a snob and have a go at the tab that was included underneath. I was reading the solo in IV position but the tab had it in the VII position. It not only sounded more like the record, it felt better. So the tab helped. It's not always self evident. Also, if someone has written something with a lot of inflections (legato, glissando, etc.) where you play on the neck becomes extremely important. Not to mention tone and blending with other instruments.

@ tab is a valid and useful pedagogical tool for learning guitar (provided the tab is correct of course - I’d always advise a pinch of salt with tab. Don’t believe it just because it’s in black and white. The person transcribing the tab might be guessing wrong as to the fingerings even if the pitches are accurate.) Obviously to do anything that isn’t simply reading the tabs - improving, playing a sax solo by ear, reading - you have to be able to translate musical ideas to the guitar in a way which isn’t simply ‘Charlie christian put his fingers here’. Artistic choices need to be made Copying another guitarist is one thing. If you are imitating and Allan Holdsworth solo for instance those choices might be tightly constrained with often only (at best) one playable solution (I’ve done an Allan solo - it’s like being a detective when it comes to fingerings lol). With a sax solo say, there might not be single right answer. For some stuff there might be no right answer hahah! And that’s true if you are working by ear or from a notated transcription. But unless you are purely sight reading, you have time to experiment and internalise the music. That’s part of the creative process, and that’d be the same by ear or by eye unless you are really trying to copy exactly another guitarist’s part perhaps as a dep (which much of the time is not the case.) For me notation gets a lot more intuitive when you start to read at the ‘word’ level rather than note by note. So if you see a blues scale lick, play it in the position you’d normally use, for example. Same for things like enclosures, arpeggios and scalar lines, even common II V I figures. If you read through the omnibook you’ll see the same stuff come up again and again. It takes time (it’s very patchy for me!) and specific to the music you are wanting to learn about. Reading Bach may not teach you about reading funk guitar parts, obviously.

@@angelobranford1029I think if one doesn't want to read they shouldn't. The point about multiple places to play the same note and different fingerings. Ok it's not such a big deal in practicality. Reading up to around grade 5 level classical guitar this has seldom been an issue. And even where it is that just means you can't sight read that bar perfectly. It doesnt mean you can't/shouldnt read. As guitarists we are world champions in excuses of why "we shouldn't/ don't have to." At the end of the day plenty of guitarist DO read with exactly the same set of challenges as every other guitarist. Most composer don't play the guitar. (Andres Segovia pointed this out decades ago) Ok but how is that practically relevant? 1. Standards (these will be played by ALL instrumentalists so the point of them not being written for guitar is moot) 2. Classical repertoire - much of this WAS composed for guitar by guitar masters. Other pieces had to be transcribed FOR the guitar by guitar masters like Segovia and Tarrega. 3. Modern guitar compositions - obviously this isn't an issue as these pieces ARE composed by guitar players. So i REALLy don't see these things as being an issue. We have 200 years of guitar repertoire composed by some of the greatest guitarists ever. We have 500 years of repertoire that has been transcribed for guitar by some fo the greatest guitarists ever. We have modern music composed for guitar by guitarists. And overwhelming amount of repertoire that fits the bill. Why focus on the problems? Furthermore there is nothing to stop any seasoned guitarist from making their own transcriptions of pieces that dont take the guitar's challenges into consideration.

Cheers Michael! Loved your last one, I’ve been trying to get the fugal thing together on guitar….

@@dr7246 honestly I kind of feel if guitarists spent as much time as they spent making for excuses for why reading on the guitar is hard and why they shouldn’t do it on actually practicing reading we’d have plenty of great readers. I mean it’s not untrue, guitar is less obvious than piano, charts often present diverse information compared to a violin part and so on. But I think the biggest issue is probably a lack of reading culture within the guitar community. With horns they are always in sections and reading bands.

@ and the time spent on tablature: a notation that gives me a headache to look at, and on sight, gives me virtually no sense of what the music might sound like. Sight SINGING tablature. Now that would be a party trick!

@ argghhhhh

The problems I have had revolve around notation that is difficult to read for anyone. For instance, writing oit a guitar solo that goes to 5 or 6 ledger lines above the treble clef, instead of using a 8va notation.

@@takeawaybenji Isnt that the very top of a standard tuned electric guitar? Reading in that register is NOT difficult for everyone. Many musicians read up there regularly with no problem. A bassoonist will probably struggle 😉, but piano, violin, flute...., nah. No problem. Using 8va for notes up there may or may not be the best option when reading.If a part is starting in that register, perhaps 8va is useful. However, if that register is being approached from below, then, because most musicians will sight read intervals and line contour, and not individual notes, writing 8va can actually hinder a good sight read in many cases

It maps much more straightforwardly to piano, no question.

I have often thought that standard notation as we have it developed as it did with piano in mind. To use an imperfect analogy, the piano keyboard is a number line; the guitar fretboard is a matrix (and an “offset” one at that, unlike violin, mandolin, or tenor banjo with their parallel perfect fifths tuning).

@@rudolphpyatt4833 yeah. I think that’s the way I look at it too. I think the number of strings on guitar and lute encourages a ‘pictorial’ sense. Tab has been in use for hundreds of years with these instruments, although I’d be very interested to know when it became popular in the modern era. My hunch from looking at old guitar books is not very long ago.

I hope these ideas help. If they do let me know.

@@alchemysticgoldmind4164 thanks! No problem.

Correct!

It’s the best way!

Thank you!

Good one!

Enter the Selmer/Maccaferri haha!

@@joesaunders2329 thank you! Merry Christmas

Let’s Cool One

@@petedavid5127 well there kind of are but I think the concept is misunderstood. Maybe another vid…

@@gmitter-sl3qq hi! I don’t know why this isn’t taught more often. The tritone/altered is really important tho, but the backdoor option is more common than you’d think looking at books. Re missing out the 3, usually it’s when the line is descending. Think the classical melodic minor - goes up melodic minor, down natural minor.

@ thank you! ah that‘s interesting, because when going down the „7th down to the 3rd of“ BH thing (e.g. Bb7 dom scale starting from Ab, over G7) I thought the 3 would be the crucial thing to land on here. That in Jazz differences in note choices depending on the direction are done is new to me, very interesting. Do you elaborate on this topic in some video?

@ not really. Just something I’ve noticed…. a bit

@ I mean in standard Barry exercise land we would tend to land on the 3rd and go up the dim chord, but if you aren’t landing on 3, doesn’t matter so much.

Definitely! Thanks Denis. There's an awful lot in common between the F#o7 C/G move and the D#o7 C/E.

@yyoshman there’s been a lot of functional analysis in the comments here and it’s all accurate as far as I can tell. However once you get past the divergent ways of looking at the progression from a functional perspective what remains unarguable is the voice leading.

@@JazzGuitarScrapbook agreed

@@rickjensen2717 thanks! It really does doesn’t it? You can plug into a flat PA and it will sound good. Not the easiest to play though haha.

@JazzGuitarScrapbook I've got one as well - quite a challenge to play but well worth the effort 😊

I’m not sure if understand this comment fully but I like it because it touches on something I think isn’t often discussed which is rhetoric. As you say the resolution to the I has a different feeling.

@@JazzGuitarScrapbook what i'm getting at is Bird is using the dominant of the V to make the I that follows sound like it should be in second inversion. Which isn't a complete resolution. He's using this to say the song isn't finished yet.

​​​@@ediliinamaa6528...I agree..... it's Bird musical way of passing the torch to the next soloist..instead of going back to the head to end the song...thus.the incomplete cadence to keep the song moving forward

Ah well; you know where he gets that from.. :-)

@@JazzGuitarScrapbook BH strikes again. Btw, I really enjoy your teaching style. thanks

@ cheers!

Yes. The VII seems to surface a lot in trad jazz, too. I think it was an uncomplicated move musicians used so that they could very quickly add some spice to the playing.

@ I use it a lot when playing that stuff

You get to this right at the end!

Blimey. I think it may have been a typo.

So not sure what I’m thinking with the F-7 but I think the other choices are based on using a melodic minor on every minor regardless of whether they are m7 or not.

It should probably be D+/E for E half dim

​@@JazzGuitarScrapbook ok thanks. as I am not a guitarist I cannot easily tell whether what you played in the video matches the written chords. Either case they sound great! Would the mel.minor on a II chord be a recommended option then?

@ yes, you don’t always have to match the exact chord quality (esp if you are the chordal instrument.)

I don’t use an amp for these videos (super lazy haha) I use a Logic X standard amp plugin emulating a Fender silver panel type amp which it does perfectly well. For this one I also use a heavy stereo chorus/delay patch with almost no direct signal (which I normally use for pads) and copy the guitar signal onto that channel with a little stereo spread between the two. It’s pretty nice effect for more modern chord stuff. You also get a bit of acoustic sound from my Condenser mic which adds definition. I use the sound a lot for my classical improv channel.

@@Arthur_My_Dear I am! Thanks 😀

@@jpqpmusic yes! Everything used here on the blues Bird used in the same context on other tunes. A lesson that is often overlooked today I think.

@@outinacornfield I think that was normally because I hadn’t had enough sleep

@@QuintonVonesh give it a try

@JazzGuitarScrapbook wrong time be away from the axe! Will give it a try soon