Playing in 7...or Zucker is EVIL!

Discussion in 'Playing and Technique' started by Ed DeGenaro, Jun 28, 2004.


  1. Ed DeGenaro

    Ed DeGenaro Supporting Member

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  2. Jemlite

    Jemlite Member

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    Nice playing Ed. What is this 7 Licks thing? Is it in the book? .... and where’d you get the backing track?

    Nice fat tone tooo! I don't know how you can handily lay down so many tracks and post them so often. Maybe I'm just lazy or I gotta find an easy way...
     
  3. Ed DeGenaro

    Ed DeGenaro Supporting Member

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    There are actually a few 7 licks in the book. The one on the clip comes in at the 3 minute mark.

    This particular backing comes from a Filipiak instructional book with a few play along tracks with Chambers on drums.

    As for the amount of clips...I turn on the amp, I record. So I pretty much record every day. When I woodshed I do it unpligged on the couch in front of the TV.
     
  4. jzucker

    jzucker Member

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    Nice playing Ed.

    I love odd groupings of notes so I incorporated quite a few odd-note grouping patterns in this book. I play this one (at 3:00) using pick and fingers. Is that how you played it Ed? I can play it very fast that way but I'm trying to learn to play it just as fast with the pick just to get both timbre's happenin'.

    Wait'll you see the arpeggio-scale in Vol II!
     
  5. Ed DeGenaro

    Ed DeGenaro Supporting Member

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    Yup, everything that has a single note on a higher string is where I use the finger for.

    Hurry up with volume2 already!!!!!!!
     
  6. jzucker

    jzucker Member

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    Great minds think alike! :D
    It's still 3-4 weeks away from my first draft. I'm still trying to decide whether to include all modes of each exercise or just a single example of each. Waddya think?
     
  7. Ed DeGenaro

    Ed DeGenaro Supporting Member

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    Use one with all modes to illustrate the concept and then go with a ingle mode, unless there's special circumstances where the pick pattern changes drastically etc...
     
  8. jzucker

    jzucker Member

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    That's what I'm leaning towards but my guess is that 90% of folks will not bother to practice the lines in all modes. I have found that to be human nature.
     
  9. Tag

    Tag Gold Supporting Member

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    Best I have ever heard you play Ed. A little more restraint (like I should talk), get in some bop influenced and dominant lines, and I think your playing will explode. Great feel and taste in there at the earlier parts and some real cool outside stuff near the end. Near the end you are playing out, staying relaxed, and letting your ear resolve things. VERY hard to do and sounds killer. Keep at it man! :AOK
     
  10. Ed DeGenaro

    Ed DeGenaro Supporting Member

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    I am!!!! I'm working on getting hipper lines going fron V to I. And I'm also working on having my rhythm be stronger. The restraint...well, not much hope on that!!!. :)
    Thanks for listeniing.
     
  11. jzucker

    jzucker Member

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    What concepts are you using for V-I transitions?

    Have you tried melodic / harmonic minor 4th triads?
     
  12. Ed DeGenaro

    Ed DeGenaro Supporting Member

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    Right now I'm just trying to get a conscious handle on using lydian b7, and super locrian for melodic minor, and phrygian dominant sounds for harmonic minor.
    I really never used them "on purpose", which is what I'm changing right now. Next, mode 5 of Harmonic major over V13b9.
     
  13. jzucker

    jzucker Member

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    So, now that you have mastered ex. 1.9.1 (Diatonic septuplets), apply them to Super Locrian, Lydian b7 and Mode 5 of Harmonic Major! :)
     
  14. Ed DeGenaro

    Ed DeGenaro Supporting Member

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    Yesssir!:D
     
  15. Tag

    Tag Gold Supporting Member

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    Ed, What the heck are you calling phrygian dominant and super locrean?? Lol! What tensions against the 7 chord?
     
  16. Ed DeGenaro

    Ed DeGenaro Supporting Member

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    Phrygian dominant, as in harmonic minor's fifth mode. A harmonic minor over E dom for example.
    Super locrian...mel. minor's 7th mode... as in F melodic minor over E dom.
    Lydian b7...mel. minors 4th mode... as in B mel. minor over E dom. Makes sense?
     
  17. Tag

    Tag Gold Supporting Member

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    Got it. Have no idea where those names come from though.
    Remember on all of them, to get the "right" sound, you have to spell out the E7 and use the other notes as tensions. If you just use A Harmonic minor over E7 for example, it will just sound like you are playing in the key center...no movement....rock playing.
    For some super cool out stuff, try F Dorian against E7 resolving to A min or major. Kenny Garrett\Pat Martino city. The E note in F melodic minor sounds really diatonic and sounds like an A tonic sound (resolution). The D# creates killer tension and really wants to resolve to the E note on the A chord. Benson specialty as well.

    I have to order Jacks book, things are slowing and I have some playing time! Good\bad news, as I need more work!
     
  18. jzucker

    jzucker Member

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    Don't we all (need more work)?
     
  19. Tag

    Tag Gold Supporting Member

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    I became so busy in such a short time, I had to buy a $32,000 machine to keep up. I am booked for 6 more weeks, but the phone has been dead. You have to plant a LOT of trees to make back the 32 grand. :eek: :mad: Of course if I didnt buy the extra machine, I would be buried with work, and my other two machines would have broken down! No winning I tell you. :(
    Look forward to the book Jack. Need some insight into some of your stuff. I have a file with all your clips I listen to all the time.
    Still get totally blown away by the "How to play every note" clip. KILLER! :AOK
     
  20. jzucker

    jzucker Member

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    What ever happened to that guy who I was arguing with causing me to record that clip? He claimed that an 11th was an invalid note on a maj7 chord because of the implied b9 between it and the maj3?!?

    Anyway, thanks for the kind words. I've been busy too. You wouldn't believe what kind of crap is going on in my personal and professional life...
     

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