^^^In the morning, with a cup of strong coffee.
At night, preferably with a single malt scotch on the rocks.
That's a good living if you can still put beans on the table.Jaco told me Diorio would sit under a palm tree all day and play standards. Which I guess brings up a good point: the sooner you stop practicing and just play them the better.
Exactly. I guess the steady work at GIT was too hard to resist. That Florida Spitball era Diorio is some of the pioneering inside/outside jazz guitar playing. Fearless!That's a good living if you can still put beans on the table.
Which diorio book would you suggest to start with?Diorio's books are awesome.
They could work for the OP if he's heeding the advice posted already. If not, then maybe another reader could benefit.
Fusion Guitar and Jazz Blues StylesWhich diorio book would you suggest to start with?
Yes i actually have been running that a bit over autumn leaves, and trying to change up the pattern. But i still get lost when trying to improvise more over it.. I know the fretboard well but i still guess i get lost when unconsciously noodling over the changes and such.. I work it well by ear but i still feel like im half assing it and could be doing so much moreZappafreak, did you read my post? Does it make sense to you, is it something you can work on?
Here is a suggestion: record the melody of Autumn Leaves with a metronome and loop it. While the melody is playing, answer the melody with a sort of counterpoint--just short one bar phrases which outline the changes. use all eighth notes so you don't get to cute with the phrasing and don't play any blues licks. Build the melodies in a scalar fashion and avoid any guitaristic type licks. This is a lesson I heard Joe Pass teach (not the counterpoint idea, though) and it is super-effective. You've got to hear these things first, that is crucial.Yes i actually have been running that a bit over autumn leaves, and trying to change up the pattern. But i still get lost when trying to improvise more over it.. I know the fretboard well but i still guess i get lost when unconsciously noodling over the changes and such.. I work it well by ear but i still feel like im half assing it and could be doing so much more
- Lee KonitzSo I think that first and foremost you have to adhere to the song for a much, much longer period of time. You have to find out the meaning of embellishment before going on to try to create new melodies. I believe that the security of the song itself can relieve much of the anxiety of jumping into the unknown.
I suggest the kinds of compositional devices that are available: a trill, a passing tone, an appoggiatura that can bridge one melody note to another The point is, you're still playing the melody, but you're doing something to it now. And there are many levels of this process before you get anywhere near creating new melody material.
- David Kastin (Konitz interviewer)Lee Konitz has developed an approach to improvisation based on a 10-level system. The first, and most important, level is the song itself . It then progresses incrementally through more sophisticated stages of embellishment, gradually displacing the original theme with new ones. The process culminates in the creation of an entirely new melodic structure. Konitz calls this final level "an act of pure inspiration."
- Lee Konitz
- David Kastin (Konitz interviewer)
Nice.Here is a suggestion: record the melody of Autumn Leaves with a metronome and loop it. While the melody is playing, answer the melody with a sort of counterpoint--just short one bar phrases which outline the changes. use all eighth notes so you don't get to cute with the phrasing and don't play any blues licks. Build the melodies in a scalar fashion and avoid any guitaristic type licks. This is a lesson I heard Joe Pass teach (not the counterpoint idea, though) and it is super-effective. You've got to hear these things first, that is crucial.
Thank you for solving a 30 year old mystery!-Someone to light up my life (Se Todos Fossem Iguais A Você)
Several spots in the Diorio solo, the quarter note triplets, allude to the Jobim melody.Thank you for solving a 30 year old mystery!
Listen to the PBS Piano Jazz interview with Evans for a different take on this.Bill Evans would play them in all twelve keys.