Announcement: Epiderme

Olá amigos e amigos dos amigos,

Se tudo correr dentro do calendário (claro que vai correr...) venham me ver ao braço de prata, a mim e aos colegas de matéria.
Vejam em baixo.
até breve



Epipiderme
Encontros à volta de performance
Na Fábrica Braço de Prata
4ª Feira, 16 de Dezembro de 2009
22:00 - 23.30

Performance:
Bernardo Rodrigues
titulo- A energia é uma onda

Vídeo performance e instalação:
Elcio Rossini

Vídeo performance:
Carlos Llavata


http://www.bracodeprata.com/exposicoes/2009/12/06.shtml
http://www.epipiderme.blogspot.com/

Em duo com um baterista a sério

• Angel Eyes
• Alone Together
• Beautiful Love
• Take 5 head

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Jazz / Blues

I didn't know Bobby Veltre, but he sure rocks here!
(Sorry, I don't mean to input more confusion into this jazz - blues discussion. Just forget about the word rock :)

I think almost every jazz guitarist can play the blues. Maybe not like those blues men we all know, but they (we) can't play also like those greatest jazz players...

Often jazz guitarists don't play more blues because it is not so interesting... after all, it is always variations on the same song...

I have seen versions of standards more distant from the original than any blues that I know is different from another blues!

The traditional blues players have a technique that insists on the feeling rather than imagination, on predefined /personal/ licks rather than harmony exploration.

PS: I love to hear a good blues, once in awhile. And that version o Straight no chaser is great.
----------
a nice feedback :)

Nicely put.

Brian

D 13 b5 b9 or Ab 7+9 ?

Hi all,

It makes much more sense to call it a D 13 b5 b9 than the Ab 7+9.

And agree when he says "tritone substitution" is nothing but a shorthand, a tool, not an harmony concept.

I think we're mixing ease-of-reading or ease-of-writing with harmony. When I see this shape:(frets, from bass to treble)
4 6 4 5 7 7

It surely looks like an altered Ab;

When I see on a score Ab 7+9 /maybe/ I would go faster to that shape than if I saw a D 13 b5 b9.


BUT this is not about music, this is about what I really want to do: if I want to play the songs over and over always in the same manner, easily going to that "correct" chord shape, then I might think of that as a Ab chord. If I want to understand what I'm doing and choose the chord shape that better suits what I am trying to tell, depending on the other musicians (maybe that chord is too busy for formations larger than a trio...)

Also, I think inversions are quite common, so if I saw this G7 chord before a C maj:

B D F
3 5 b7

I would not call it a B dim:
B D F
1 b3 b5

although it would be much easier, for someone reading a chart, to play that shape right on the spot.
Inversions have been used for centuries, and allow wonderful possibilities. But thinking of them as another chord is sterile and obscure.

Hope this post was not too obscure as well....:)

Exercise (Little Jay)

I got this exercise from my teacher:

Try playing the follwing chords: Dm7 - G7alt - Cmaj7(#11) - A7alt (A II-V-I-VI also).

With every chord there is a pentatonic minor scale:

Dm7: A m7 pentatonic
G7: Bb m7 pentatonic
Cmaj7(#11): B m7 pentatonic
A7alt: C m7 pentatonic

from forum

Emily Remler article explanation

I didn't know Emily Remler until I read this thread.
By reading the article, I got to get an idea of her genius and altruism, because she just shares her technical knowledge with such a generosity!

Focusing on the technical part, where she says she just uses the melodic minor and the lydian, it turns out to be what we are used to:

On C tonality:

1. she says she uses Ab melodic minor over G7, when it will resolve to C
-this is the same as G altered scale (see Dirk's lesson on this)

2. She says she uses D melodic minor over G7, if it does NOT resolve to C
-this is the same as G Lydian dominant scale (see Dirk's lesson on this too)

3. She says she uses C lydian over C maj 7
-this is what most of this thread has been about

4. She says for the m7b5 she uses the lydian scale up a flatted fifth
-this is the same as using D locrian for Dm7b5 (makes sense because it is the II of C minor tonality- it has the same notes than C natural minor)

5. She says for minor chords she uses lydian up a flatted third
-over Cm (tonic), this means Eb lydian, which is the same as C dorian mode!

So if you don't get confused by the names, it turns to be very simple :)

PS: Oh, the guide tones part and the chord accompaniment part are very insightful, read the article if you can.

Citações e material altamente da Carolina do Sul

Um site da South Carolina com material parra estudo e umas citações porreiras.

There is no abstract art. You must always start with something. -Pablo Picasso

Every child is an artist. The problem is how to remain an artist once he grows up. -Pablo Picasso

http://www.music.sc.edu/ea/jazz/