Can you hear any chord changes from this solo?

[Tomo]

SRV Strat '67 Pro Reverb Eminence the Swamp Thang OD solo over G7 G7 C7 G7 (http://editweb.iglou.com/eminence/eminence/media/soundclips/SwampThangODsoloStrat.mp3)

SRV Strat & Pro Reverb,
Eminence 's the Rajin Cajun.

OD pedal.


New update:

Crossing from Funk Face CD (http://tomofujita.com/jpn/mp3/Put%20On%20Your%20Funk%20Face/crossing.mp3)

E7 C7 E7 C7.....

E7 C#7 F#7 B7Bb7 A7... C7..D7..

All 7th chords in this song

Tomo

[PacoCasanovas]

sweet tone! Very nice!!! :D

yes, i can hear the changes to C7;)

all the best
Paco

[t0neg0d]

I heard it!

Very cool stuff Tomo!!

[PacoCasanovas]

@Tomo: i have a special suprise for ya, my friend! Kind a reversed game with backing-tracks and overdubs...now proudly presents:

The mini-swamp-blooz with PacoCasanovas one-man-band featuring Tomo on guitar!

Watch out! :D :D :D

http://www.pacocasanovas.ch/Tomo-Swamp.mp3


hihihi.....


greeetz
Paco

[Tomo]

Originally posted by PacoCasanovas
sweet tone! Very nice!!! :D

yes, i can hear the changes to C7;)

all the best
Paco


Thank you so much!

I practice with a metronome all the time, so I can
play colors around each chord. You can play solo
first without any restriction then you can comp
your rhythm.

Thanks,

Tomo

[Tomo]

Originally posted by t0neg0d
I heard it!

Very cool stuff Tomo!!


Thank you for listening.

G7 G7 C7 G7 then G7 G7 C7 G7 again.
Small version of blues....

When you hear C7, I often hear G7 (b9 or b13)
You can play G D F Ab, sounds like diminish
but 3rd 5th b7 b9 for G7.

I also play Db7(9 or b5). This case I play G aug sound.
G Db B....


Thanks,

Tomo

[Woodyworld]

Great !

Some killer lines in there as always Tomo. Really love the way you approach the changes.

Paco - real neat.

[Tomo]

Originally posted by PacoCasanovas
@Tomo: i have a special suprise for ya, my friend! Kind a reversed game with backing-tracks and overdubs...now proudly presents:

The mini-swamp-blooz with PacoCasanovas one-man-band featuring Tomo on guitar!

Watch out! :D :D :D

http://www.pacocasanovas.ch/Tomo-Swamp.mp3


hihihi.....


greeetz
Paco

Hi Paco,

This is a great game! I play solo and you create other parts
after..... it works. Later could you email me this please.

About chord changes, G7 G7 C7 then G7... your changes
had G7 G7 C7 C7 then G7 G7 G7 G7... you know
what I mean?

Do you have mt AYGP dvd?
This is veey similar to one of my demos.

That demo, I did exactly like you did.

1) Played my solo first.

2) Then I play my rhythm guitar part.

This way I have more freedom for my solo,
I can hear many possible harmony. If you play
with backing track, you can't play your changes
(what you really want to hear).

PS, You have excellent taste and technique to
make sound like that! I wish I can do like
you do.

Tomo

[Tomo]

Here are some with Texas Heat.

Texas Heat G7 G7 C7 G7 solo with ES 335 version (http://editweb.iglou.com/eminence/eminence/media/soundclips/TexasHeatODsolo335.mp3)

Texas Heat SRV Strat solo over G7 G7 C7 G7 (http://editweb.iglou.com/eminence/eminence/media/soundclips/TexasHeatODsoloStrat.mp3)

[rh]

Originally posted by Tomo

1) Played my solo first.

2) Then I play my rhythm guitar part.


This is also an exercise Wayne Krantz gave when I took lessons from him (I had to be one of the downer students in his teaching career).

He offered it as an exercise to force you to play with the changes in mind, rather than be guided by the ear from the accompaniment, and a way to hear what it's like for others to play with you.

[Tomo]

Originally posted by rh
This is also an exercise Wayne Krantz gave when I took lessons from him (I had to be one of the downer students in his teaching career).

He offered it as an exercise to force you to play with the changes in mind, rather than be guided by the ear from the accompaniment, and a way to hear what it's like for others to play with you.


Hi Richard,

Thanks for your input.

Wayne is now teaching at Berklee. I saw many his clinic. He does great at
improvise with just a metronome. One section, he taught how to improve over A-7 (b5).
Is was very rhythmic and showed all A dim triads on top strings.

I think we all have very similar approach from Charlie Banacas lessons... crazy ear training
stuff. Practice solo over imaginary changes then work on comping... I like this approach.

You can be sound really good without any accompaniment or band. Then you can be sound
really good with band, more reaction with others. It add more fun.

Thanks,


Tomo

[Tomo]

I always play like this. Play with a metronome first.
Then I add rhythm guitar. Just a demo to check my solo.

Red White & Blues, Pro Reverb, od pedal.

Recorded solo first then played rhythm guitar (http://editweb.iglou.com/eminence/eminence/media/soundclips/RWBluessolo.mp3)

Red Ryder, Avatar cab.
Fuchs 50 ODS, no pedal.

Red Ryder solo (http://unixfp.iglou.com/eminence/eminence/media/soundclips/RedRyderFuchs50ODBSRVST3.mp3)

[rh]

Originally posted by Tomo
Hi Richard,

Thanks for your input.

Wayne is now teaching at Berklee. I saw many his clinic. He does great at
improvise with just a metronome. One section, he taught how to improve over A-7 (b5).
Is was very rhythmic and showed all A dim triads on top strings.

I think we all have very similar approach from Charlie Banacas lessons... crazy ear training
stuff. Practice solo over imaginary changes then work on comping... I like this approach.

You can be sound really good without any accompaniment or band. Then you can be sound
really good with band, more reaction with others. It add more fun.

Thanks,

Tomo

Yeah, diminished triads are one component of what WK was teaching. I wasn't a good enough student to get all of it, but we went over it for a couple of months towards the end of my three or so years with him.

Trying to get through that pile of material he gave me, plus everything else there is to do, at the rate of 20 mins a day is very slow going, I can tell you.

Berklee grad Joey Goldstein also posted a lot of stuff from his Banacas lessons on the rec.music.makers.guitar.jazz newsgroup a few years back.

The hexatonic exercises Joey posted are one of the things I practice a lot, even considering how little time I have to practice, since I like them so much as an interesting way to approach both inside and outside playing.

I still practice chord-tone, too, but I'm not much interested in pursuing chord-scale any further. I use it too much as is.

I had more time and was a much better player before my wife and I started our family 4+ years ago. That's a tradeoff I'm more than happy to have made, though. :)

[Tomo]

Originally posted by rh
Yeah, diminished triads are one component of what WK was teaching. I wasn't a good enough student to get all of it, but we went over it for a couple of months towards the end of my three or so years with him.

Trying to get through that pile of material he gave me, plus everything else there is to do, at the rate of 20 mins a day is very slow going, I can tell you.

Berklee grad Joey Goldstein also posted a lot of stuff from his Banacas lessons on the rec.music.makers.guitar.jazz newsgroup a few years back.

The hexatonic exercises Joey posted are one of the things I practice a lot, even considering how little time I have to practice, since I like them so much as an interesting way to approach both inside and outside playing.

I still practice chord-tone, too, but I'm not much interested in pursuing chord-scale any further. I use it too much as is.

I had more time and was a much better player before my wife and I started our family 4+ years ago. That's a tradeoff I'm more than happy to have made, though. :)


First of all, you are doing right thing. Running your family now and I know you have a lot of
responsibilities. But more rewarding too.
Thank you for sharing your feeling. I hear you loud and clear.

I have 3 kids, 12 boy, 9 girl and 4 boy. I am very very busy guy. I love my family.
For me family is first. I don't mind if I don't touch my guitar a few days. but when
I touch my guitar, i do things very productive way.

Having a family definitely gives happiness and makes you play better with
your better feeling. Of course there is some down times...

I have learned Banacas stuff indirectly from somebody. That was great.
If you seriously practice his stuff, your wife is gonna divorce you! (just a kidding)
so simplify them to my own way. I am doing my correspondence lessons
like him. This way I can stay home and I can run my family better. Good thing!

Back to music. Wayne likes Dim. triads.
Mick Goodrick likes his Aug. dim play over standards.
I like Maj & min Triads. A lot of possibilities.

PS, chord scales, I know them. But I don't use them
a lot.(thinking)
I like simple way. Life is too short. i like to have more
fun in my life.


Tom

[rh]

Originally posted by Tomo
If you seriously practice [Banacas] stuff, your wife is gonna divorce you! (just a kidding)


Actually, my wife is great about stuff like this. I gotta brag about her for a second.

I'd set up my bass rig and looped the 'Brickhouse' bass line.

Then I got my guitar and started with a hexatonic that was way O-U-T.

After a couple minutes, my wife looked over and commented on how really interesting it sounded.

She's got really great ears, and would play piano seriously if she had more time available.

[Tomo]

Originally posted by rh
Actually, my wife is great about stuff like this. I gotta brag about her for a second.

I'd set up my bass rig and looped the 'Brickhouse' bass line.

Then I got my guitar and started with a hexatonic that was way O-U-T.

After a couple minutes, my wife looked over and commented on how really interesting it sounded.

She's got really great ears, and would play piano seriously if she had more time available.


That's very cool to hear that. My wife is very supportive too.
She is a singer. My daughter is a dancer... I wish my wife
has more time for herself. She is super busy with kids.


Tomo

[Tomo]

Hi guys,

I just add this.

Crossing from Funk Face CD (http://tomofujita.com/jpn/mp3/Put%20On%20Your%20Funk%20Face/crossing.mp3)


Tomo

[John Bell]

37 sec to 40 sec you do a lick that just kills.I must learn it.

I respect a man who lets his guitar do the talkin' We're lucky to have you here......really!

[Tomo]

Originally posted by John Bell
37 sec to 40 sec you do a lick that just kills.I must learn it.

I respect a man who lets his guitar do the talkin' We're lucky to have you here......really!


Thank you John!

I don't know which one? Maybe G aug or M3 5 b7 b9 goes
into C7? I like to play the sound of chord.

I just post "All of me" kind of same thing. Just played over
changes. Hope you like it.

Thank you so much!


Tomo

[joegold]

Originally posted by rh
Yeah, diminished triads are one component of what WK was teaching. I wasn't a good enough student to get all of it, but we went over it for a couple of months towards the end of my three or so years with him.

Trying to get through that pile of material he gave me, plus everything else there is to do, at the rate of 20 mins a day is very slow going, I can tell you.

Berklee grad Joey Goldstein also posted a lot of stuff from his Banacas lessons on the rec.music.makers.guitar.jazz newsgroup a few years back.

Just to clarify...I never graduated from Berklee. I dropped out after 7 semesters of an 8 semester diploma program.
And Charlie's last name is Banacos.


The hexatonic exercises Joey posted are one of the things I practice a lot, even considering how little time I have to practice, since I like them so much as an interesting way to approach both inside and outside playing.

I still practice chord-tone, too, but I'm not much interested in pursuing chord-scale any further. I use it too much as is.

I had more time and was a much better player before my wife and I started our family 4+ years ago. That's a tradeoff I'm more than happy to have made, though. :)

[joegold]

Originally posted by Tomo


Can you hear any chord changes from this solo?

SRV Strat '67 Pro Reverb Eminence the Swamp Thang OD solo over G7 G7 C7 G7 (http://editweb.iglou.com/eminence/eminence/media/soundclips/SwampThangODsoloStrat.mp3)

SRV Strat & Pro Reverb,
Eminence 's the Rajin Cajun.

OD pedal.



I hear some changes but it doesn't sound real explicit, like a familiar or recognisable chord progression.

On the other hand, if I comp the changes to a jazz blues in G everything you're playing fits in real strong, except for the B nat you're emphasizing on bar 5 and 6 of the 2nd chorus, on C7.

Were you indeed playing a blues in G?

Here's my take on some of the other points brought up later in this thread.

1. Someone learning to play over changes needs first to develop the skill to be able to clearly and unambiguously outline the chords, in time, in his lines.
A line like this will stand on it's own without any accompaniment. The form, the groove, the time, and the changes will be clear and unambiguous at all times. And it needs to be worked on until it sounds like music rather than an exercise.

2. Once the skill to do #1 has been achieved then a player can turn his attention towards outlining other chords that happen to sound nice when superimposed over the actual chords, and/or just playing more loosely "over" the changes rather than "on" them.
A line like this may well include harmonic ambiguities (rhythmic ones too perhaps) if played without accompaniment.

To do #2 with any skill requires a lot of skill at #1.

If you were indeed playing a G blues then it sounds like you've got a pretty good handle on #2. If not, then you just got lucky! :)

[joegold]

Originally posted by Tomo

About chord changes, G7 G7 C7 then G7...

Ah. OK. That makes sense.

I'd look at the harmonic rhythm as being like this though:
G7 4 bars |C7 2 bars |G7 2 bars |
Same difference, .... but still.

You *are* doing a good job at outlining those changes. Sounds nice.
You've got a good grasp of how to create tension with altered tensions just before the change to C7 as well as how to create the feeling of harmonic motion over those long expanses of G7.

I guess my ears just want to hear 12 bar blues all the time!

[joegold]

Originally posted by Tomo
Hi Richard,

I think we all have very similar approach from Charlie Banacas lessons... crazy ear training
stuff.


The stuff I did with Charlie certainly involved ear training because you were always being exposed to unfamiliar sounds and combinations of familiar sounds with unfamiliar sounds. And you can't use any of these things successfully as an improviser until you can hear them.

But his thing is really about technique I think. His exercises force you to question everything you think you know about fingering lines on the fretboard. If left to our own devices we all tend to play things that fall nicely under the fingers when improvising. But if you are given this weird line as a homework assignment you just have to find a way to play it which will involve transcending certain preconceptions about what improvising is and what is possible as well as practical on the guitar fretboard. At some point, after lots of practicing, these things become things that lie well on the fretboard too. That's the miracle of practice.

The 2 installments I did with Charlie, via correspondence, both involved the same everyday sounds you learn about in any jazz theory course, but putting them together in unusual ways.

Eg. We all know that the C lydian scale sounds cool on any Cmaj7 chord, Imaj7, IVmaj7, bVIImaj7, bVImaj7, or whatever.
C D E F# G A B is called "chord-sound" (i.e. the sum of all chord tones and available tensions on a given chord type) on Cmaj7 by Hal Crook and others.
Usually we just outline Cmaj7 (C E G B) and tap into D F# and A as color tones now and then. Or, we just freely wank away with the C lydian scale. There are no notes in this scale that really need to be resolved on Cmaj7 so it's basically a tonal free-for-all.

But Charlie's thing involved forming other 7th chords from the chord-sound and explicitly playing off of them while Cmaj7 is sounding.
Eg. Outline (with or without chromatic approaches) D7, D7sus4, Em7, E7sus4, F#m7b5, Gmaj7, Am7, A7sus4, or Bm7, when you're really playing on Cmaj7.

My 1st installment with CB involved taking each possible 7th chord type (maj7, min7, dom7, min7b5, etc.) and seeing what happens when you superimpose lines based on those chords (with and without chromatic approaches) over the actual chord-of-the-moment.

My 2nd installment with Charlie, gererally, involved re-organizing chord-sound in another way. We would form pairs of triads (with no common tones, so there is a 6 note scale involved at all times) from chord-sound and would create lines that have the feeling of swinging back and forth between the two triads. He called them "bi-tonal pendulums" and "double mambos".
Eg. On Cmaj7 play lines based on Am and Bm triads swinging back and forth. It's still just C lydian (without the note G), but then again it's not.

At first we used the regular tertian triads, maj, min, dim and aug but then we got into "non tertian triads", basically any combination of 3 tones.
Eg.
Triad #1 = G Bb C
Triad #2 = F# C# E
Play off of these 2 triads over C7b5b9.
This same hexatonic scale (C C# E F# G Bb) can be seen more simply as C maj + F# maj too. It can be re-organized into all sorts of other non tertian triad pairs too.
Of course it's more fun to say "non tertian bi-tonal pendulums". :)

With the triad pairs usually we stuck with chord-sound, but sometimes we would have dissonant notes relative to the chord-of-the-moment within the triads.
Eg. On Cma7 we would make up lines based on C maj and Db maj triads.
Something about the way the ear hears the bi-tonal pendulum effect lends itself to adding a level of coherence to things as the Db F and Ab notes play out over time.

[dkaplowitz]

Interesting thread. Thanks for everyone's replies. Joey, I enjoyed reading your posts (and I enjoy your book as well). Thanks for adding to the discussion.

Dave