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TubeAddict

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Posts posted by TubeAddict

  1. Originally posted by 1001gear



    Uh, no .......why? Nice melodic looking picture though!

    BTW are you really the worst guitarist here?

    Can you prove it?




    It was an inane topic that came up on OJ. :D

    Yes. :cry:

    Someone might die in agony. :cry: :cry:

  2. Originally posted by 1001gear

    Good question. BUT

    I still see adequate but crude type-formatted tablature and diagrams.

    I haven't seen so much as a rythm in standard notation; not even in the drum forum.


    ...Anything inane you'd like to discuss? ;-)



    Does this remind you of Stairway to Heaven? :confused:

    IRSHROVR.gif

  3. Mose Allison - Transfiguration of Hiram Brown
    Claude Bolling - Bolling Suite for Flute and Jazz Piano
    Larry Coryell - Bolero & Scheherazade
    Jimmy Giuffre - 3
    Hawkwind - Space Ritual
    Makigami Koichi - Kuchinoha
    Lambert, Hendricks & Ross - Everybody's Boppin'
    Love - Forever Changes
    Bernard Peiffer - La Vie en Rose

  4. Originally posted by GrahamM

    I'm happy to share with viewers this improv of my teacher and friend jazz lightening bolt Larry Meyer.


    This is All The Things You Are. It has every improvisational device. Spend a year with it and your playing will move to the next level.


    FOR SOME REASON, THIS URL NEEDS TO BE TYPED IN RATHER THAN CLICKED ON!


    try this

  5. Originally posted by LeftyTom

    In those times, when discussing this with someone, they would often suggest a different method, which I found more useful.

     

    There are a lot of 3 and 4 note voicings that are often more appropriate than a barre chord. If you understand intervals and inversions, you can figure these out for yourself.

  6. Originally posted by Metal|Boy

    c'mon people! someone has to know that/or have a 198 page one and compare it to this .pdf!



    All of those books were published in 92 and have the same ISBN, so I think they all have 80 pages and the 198 is a typo. Someone probably opened up the book and saw the exercise number 196 in the upper left hand corner of the second to last page (the last page is an ad for the other books in the series and doesn't have a page number) rather than looking at the page number at the bottom of the page. A fairly easy mistake for a minimum wage employee, especially since the lesson numbers are in bold.

  7. Originally posted by Frank Prince


    Actually, pure drop 2 is a little different.


    For that, you take the 2nd highest voice and drop it an octave, so

    C E G B becomes G C E B.


    So

    -----------7----------------

    -----------8----------------

    -----------9----------------

    ----------10---------------

    -----------x----------------

    -----------x----------------


    becomes


    ------------x--------------

    -----------12-------------

    ------------9-------------

    -----------10-------------

    -----------10-------------

    ------------x--------------



    The approach I outlined flips the bottom 2 voices of a drop 2 and then puts them on top of the other 2 with a close interval between the 7 and 1.



    They are pure drop 2 voicings based on inversions of the close voicing. Drop 2 voicings have the property that for 1-3-5-7 chords, the 3-7 and 1-5 come in pairs for all of the inversions.

  8. Originally posted by bardsley

    Come up with a pattern based on the numbers 1 2 3 and 4. Say, 1423. Play that, as a scale pattern. (say, C,F,D,E). Repeat, the next note up, and again until you get to the end of your position, then do it back down. Do that in every position, then pick a new pattern. This is incredibly useful.



    Or repeat the same notes, but with some played played on different strings and in a different position. Start with a pattern that fits on the top 2 or 3 strings in a single position, then move down the strings as you move down the neck, then go back up.

  9. Originally posted by dastardlydrvish



    Question: I notice that people keep mentioning the "five major scale patterns..." Is this a reference to the "CAGED" system from Fretboard Logic? As far as I know, there are seven patterns: one starting on each note of the diatonic scale as you move up the neck in position. Somebody please to explain this difference in terminology.

    -dd



    Two of the seven patterns are the same as those in the five, but have an extra note at the beginning (or end). There are a lot of other scale patterns.

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