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The Kurt Rosenwinkel Forum » Tag: Chords - Recent Posts http://www.kurtrosenwinkel.com/forum/ The Kurt Rosenwinkel Forum » Tag: Chords - Recent Posts en Tue, 26 Jul 2016 16:02:12 +0000 fakejake on "Basic voicings" http://www.kurtrosenwinkel.com/forum/topic/basic-voicings#post-14470
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Wed, 01 Jun 2016 15:17:45 +0000
fakejake 14470@http://www.kurtrosenwinkel.com/forum/ <p>Hi all,<br /> Since my comping skills are very very basic, I decided to set some time aside and work exclusively on comping, both on rhythms and on voicings.<br /> Being an amateur player I don't have a lot of time for practicing, so I want to work on the most basic and most useful and applicable things to become a well rounded player.</p> <p>What would you say are the most useful voicings to work on?<br /> I have the drop 2 voicings on the high and middle strings pretty much down, and this is what I mostly use for comping in band situations. Drop 3s I only know with the bass on the low E string. For comping in duo situations I mix Drop 3s with drop 2s on the middle strings.</p> <p>Do you think it makes sense to learn drop 2s on the low strings as well, and drop 3s with the bass on the A string? Do you guys use that in your everyday playing? Some of the voicings (e.g. with the 7th in the bass) don't sound that pretty</p> <p>Also, where do I go from there? Is there any other type of chord construction (i.e. drop) that is common to use for most standard tunes?</p> <p>I'd be very interested in your suggestions and experiences!<br /> Cheers! </p>
patfarlow on "All the Way to Rajasthan - chords" http://www.kurtrosenwinkel.com/forum/topic/all-the-way-to-rajasthan-chords#post-14299
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Wed, 27 Jan 2016 02:50:11 +0000
patfarlow 14299@http://www.kurtrosenwinkel.com/forum/ <p>thats because this place is</p> <p>d<br /> e<br /> a<br /> d </p>
bsacco on "All the Way to Rajasthan - chords" http://www.kurtrosenwinkel.com/forum/topic/all-the-way-to-rajasthan-chords#post-14298
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Tue, 26 Jan 2016 21:06:50 +0000
bsacco 14298@http://www.kurtrosenwinkel.com/forum/ <p>It's been a year and no one has responded to my post...wow, i feel lonely...;( </p>
turbomen24 on "Modern jazz chords and comping" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-chords-and-comping#post-14204
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Thu, 03 Sep 2015 04:01:05 +0000
turbomen24 14204@http://www.kurtrosenwinkel.com/forum/ <p>Sank you, guys! :) </p>
mrzzajjazz on "Modern jazz chords and comping" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-chords-and-comping#post-14199
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Sat, 29 Aug 2015 10:19:14 +0000
mrzzajjazz 14199@http://www.kurtrosenwinkel.com/forum/ <p>Or you could listen to Kurt.."that´s some stuff there.."</p> <p><a href="https://www.youtube.com/watch?v=2nJZcu_V7D4" rel="nofollow">https://www.youtube.com/watch?v=2nJZcu_V7D4</a> </p>
guitarmageddon on "Modern jazz chords and comping" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-chords-and-comping#post-14198
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Sat, 29 Aug 2015 07:29:53 +0000
guitarmageddon 14198@http://www.kurtrosenwinkel.com/forum/ <p>There are very many interesting chordal books around these days.<br /> I'd strongly recommend "The Advancing Guitarist" by Mick Goodrick as a starting place. </p>
Alvin on "Modern jazz chords and comping" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-chords-and-comping#post-14196
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Sat, 29 Aug 2015 06:13:20 +0000
Alvin 14196@http://www.kurtrosenwinkel.com/forum/ <p>Hey!</p> <p>There are tons&amp;tons of books and videos out there, but the classic suggestions for that include:</p> <p>Ted Greene's books:<br /> <a href="http://www.amazon.com/Modern-Chord-Progressions-Classical-Voicings/dp/0898986982/ref=sr_1_3?s=books&amp;ie=UTF8&amp;qid=1440842937&amp;sr=1-3&amp;keywords=ted+greene" rel="nofollow">http://www.amazon.com/Modern-Chord-Progressions-Classical-Voicings/dp/0898986982/ref=sr_1_3?s=books&amp;ie=UTF8&amp;qid=1440842937&amp;sr=1-3&amp;keywords=ted+greene</a></p> <p><a href="http://www.amazon.com/Chord-Chemistry-Greene-Ted-1981/dp/B00CAYNF2E/ref=sr_1_5?s=books&amp;ie=UTF8&amp;qid=1440842989&amp;sr=1-5&amp;keywords=ted+greene+chord+chemistry" rel="nofollow">http://www.amazon.com/Chord-Chemistry-Greene-Ted-1981/dp/B00CAYNF2E/ref=sr_1_5?s=books&amp;ie=UTF8&amp;qid=1440842989&amp;sr=1-5&amp;keywords=ted+greene+chord+chemistry</a></p> <p>Also Ben Monder videos are quite cool for that:<br /> <a href="http://www.mymusicmasterclass.com/artist-profiles/ben-monder/" rel="nofollow">http://www.mymusicmasterclass.com/artist-profiles/ben-monder/</a></p> <p>And the Tim Miller - Mick Goodrick book:<br /> <a href="http://www.amazon.com/Creative-Chordal-Harmony-Guitar-Compression/dp/0876391285/ref=sr_1_3?s=books&amp;ie=UTF8&amp;qid=1440843107&amp;sr=1-3&amp;keywords=mick+goodrick" rel="nofollow">http://www.amazon.com/Creative-Chordal-Harmony-Guitar-Compression/dp/0876391285/ref=sr_1_3?s=books&amp;ie=UTF8&amp;qid=1440843107&amp;sr=1-3&amp;keywords=mick+goodrick</a></p> <p>Good luck! </p>
turbomen24 on "Modern jazz chords and comping" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-chords-and-comping#post-14192
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Fri, 28 Aug 2015 04:40:53 +0000
turbomen24 14192@http://www.kurtrosenwinkel.com/forum/ <p>Hellow, guys!<br /> I apologize for my english, I am from another country.<br /> When I in first time heard Kurt, I became study modern jazz improvisation and conping and I do not know in what books look for chords like this:<br /> A7:<br /> 1str------1----------2----------<br /> 2str------1----------2----------<br /> 3str------6----------4----------<br /> 4str------5----------5----------<br /> 5str------X----------X----------<br /> 6str------X----------5----------</p> <p>Сmaj#11:<br /> 1str------3----------7----------<br /> 2str------7----------7----------<br /> 3str------4----------9----------<br /> 4str------5----------10---------<br /> 5str------X----------X----------<br /> 6str------X----------8----------<br /> And so on...</p> <p>Transcribe this chords is very hard. Please, prompt me a books or videolessons, something on the theme of modern jazz chords and comping... Thank you, friends! </p>
Gesture on "New chords" http://www.kurtrosenwinkel.com/forum/topic/new-chords#post-14018
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Thu, 26 Mar 2015 08:16:31 +0000
Gesture 14018@http://www.kurtrosenwinkel.com/forum/ <p>I realize this thread has been dead for 3 years but just found 2 new uses for sandemose's awesome voicing:</p> <p>6-9-7-7-5-0(5) then 7-12-10-10-8-8 (A7#9/b13) then 13-16-14-14-12-12 (DmMaj7/6/9) </p>
Paul Wegmann on "Chord Voicing" http://www.kurtrosenwinkel.com/forum/topic/chord-voicing#post-13936
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Tue, 27 Jan 2015 22:09:47 +0000
Paul Wegmann 13936@http://www.kurtrosenwinkel.com/forum/ <p>Hi guys! Is incredible how you are capable of seeing just 1 thing from many points of view! I'm new in this forum and in 20 minutes I learned a lot! thank you!</p> <p>Now my 20 cents:</p> <p>I think is interesting to see that chord as someone told us up there, like a set of intervals. You can see this structure like generic intervals that will change their quality (major, minor) depending on the point of the scale are built (3rd-4th-2nd). If we think in the C major scale and build it from F (the next up) we have: F-A-D-E (no subliminal content hehe) and from G we have G-B-E-F, and so on. As you can see, we have minor and major thirds, we will have augmented and perfect fourths, and major or minor seconds, depending of the root. You can use it through any scale, melodic minor, harmonic minor, diminished scale, augmented scale etc etc. </p>
fakejake on "What's wrong with my Muscle Memory?" http://www.kurtrosenwinkel.com/forum/topic/whats-wrong-with-my-muscle-memory#post-13745
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Sat, 15 Nov 2014 13:18:41 +0000
fakejake 13745@http://www.kurtrosenwinkel.com/forum/ <p>Three instruments at the same time might be a bit too much.<br /> Imagine learning French, German and Chinese all in parallel. Memory interference is going to happen.<br /> Maybe, try concentrating on two instruments for some time, I'm quite certain this would help. </p> <p>If you are committed in continuing with all three at once, try to schedule a nap in between practicing each instrument.<br /> Sleep is extremely important for motor memory and will also give your brain some interference-free time to chew on things.<br /> There are quite a few scientific studies showing that naps significantly improve motor memory consolidation.<br /> Good luck! </p>
Jason Sioco on "What's wrong with my Muscle Memory?" http://www.kurtrosenwinkel.com/forum/topic/whats-wrong-with-my-muscle-memory#post-13744
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Sat, 15 Nov 2014 11:12:20 +0000
Jason Sioco 13744@http://www.kurtrosenwinkel.com/forum/ <p>This topic is about playing large and difficult chords and changing chords on the guitar and piano.</p> <p>I have a Beginning Jazz Guitar Book by Jody Fisher and I am going to quote him right now.</p> <p>"...Some Classical Guitar instructors teach that these movements should be learned like a "choreography" for the fingers, or like a "play" for a football team."</p> <p>"...Sometimes chords will get gradually easier, but I find most of the time the chord will suddenly "snap" into place. This will also take time so the key word here is patience."</p> <p>They sound like promising words, but up to this point my muscle memory is still the same. It's slow.</p> <p>For two months, I have been taking a Jazz Piano course at York University and I have difficulty playing some lush Bill Evans chords. I am so slow.<br /> I am auditioning for Jazz Guitar next year and I am preparing two contrasting pieces for two months so far and I am also slow.<br /> I am also auditioning for Jazz Woodwinds and I play much better on the Alto Saxophone.</p> <p>Is this problem of mine just a muscle memory issue? Or I don't have potential at all on the piano and guitar.</p> <p>I need to know some feedback so I can concentrate on the Saxophone. I am not quitting on the piano and guitar, it's just that I need to take more time with what I'm good at. </p>
callum on "How to transcribe chord voicings for piano and guitar?" http://www.kurtrosenwinkel.com/forum/topic/how-to-transcribe-chord-voicings-for-piano-and-guitar#post-13655
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Mon, 13 Oct 2014 15:54:25 +0000
callum 13655@http://www.kurtrosenwinkel.com/forum/ <p>I reckon just knowing lots of chord shapes in general probably helps. That and knowing lots of tunes, that way you can recognise longer chains of harmony, rather than just individual chords.</p> <p>Those two things definitely help me in any case. </p>
jorgemg1984 on "How to transcribe chord voicings for piano and guitar?" http://www.kurtrosenwinkel.com/forum/topic/how-to-transcribe-chord-voicings-for-piano-and-guitar#post-13654
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Mon, 13 Oct 2014 06:04:15 +0000
jorgemg1984 13654@http://www.kurtrosenwinkel.com/forum/ <p>I do an exercise on the piano that helps... Play an x number of random notes in block (3 minimum). Try to sing them by order and then check by playing them one by one. This has helped me hearing inner voices beitter... bass and top notes are easy to hear, the middle ones are tricky :) </p>
Pauli Poulsen on "How to transcribe chord voicings for piano and guitar?" http://www.kurtrosenwinkel.com/forum/topic/how-to-transcribe-chord-voicings-for-piano-and-guitar#post-13653
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Mon, 13 Oct 2014 02:27:39 +0000
Pauli Poulsen 13653@http://www.kurtrosenwinkel.com/forum/ <p>Basically what Poparad said. Listen a bunch of times. Pick out individual notes the stick out (usually the bottom and top notes will be the most obvious). Then play some educated guesses until you have something that sounds like a match. </p>
Poparad on "How to transcribe chord voicings for piano and guitar?" http://www.kurtrosenwinkel.com/forum/topic/how-to-transcribe-chord-voicings-for-piano-and-guitar#post-13652
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Sun, 12 Oct 2014 22:04:46 +0000
Poparad 13652@http://www.kurtrosenwinkel.com/forum/ <p>Step 1: Bang head against wall repeatedly<br /> Step 2: ?<br /> Step 3: Chords!</p> <p>Just like transcribing solos, there's not much secret to it other than just doing it. A lot. Your first attempts will be awful and mostly wrong, and it will slowly get better from there.</p> <p>I try to hear the bass note first (even if the piano or guitar isn't actually playing it, just to get my bearing for what type of chord it might be), then the top melody voice of the chord. From there I try to match the quality I'm hearing, but not the specific voicing (like maj7 vs dom7 vs m7, etc). From there, I'll try and get closer still. If I hear any particular notes jump out, I'll write them down. I'll try out different voicings and extensions until I find something that sounds like a match. </p>
Jason Sioco on "How to transcribe chord voicings for piano and guitar?" http://www.kurtrosenwinkel.com/forum/topic/how-to-transcribe-chord-voicings-for-piano-and-guitar#post-13651
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Sun, 12 Oct 2014 18:08:53 +0000
Jason Sioco 13651@http://www.kurtrosenwinkel.com/forum/ <p>I am taking Jazz Piano lessons at York University and my teacher and I are also doing ear training in my music lesson. My assignment is to transcribe “My Romance” by Ella Fitzgerald and “Barbados” by Charlie Parker. He expects me not to just transcribe the melody, but to know the chord voicings by ear. I am not getting marked on it, but it’s something I would love to do for the rest of my life. I have no experience transcribing chord voicings. It’s something I have never done before. Is there a step-by-step procedure to transcribe it systematically? </p>
Poparad on "Making Chord Melodies Legato" http://www.kurtrosenwinkel.com/forum/topic/making-chord-melodies-legato#post-13489
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Wed, 09 Jul 2014 22:03:14 +0000
Poparad 13489@http://www.kurtrosenwinkel.com/forum/ <p>I think the key is 1) playing fewer chords and 2) finding the right voicing that's easy to get into for a particular melody note, considering the notes you have to play leading directly into it. </p>
jazzbum on "Making Chord Melodies Legato" http://www.kurtrosenwinkel.com/forum/topic/making-chord-melodies-legato#post-13485
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Wed, 09 Jul 2014 11:42:07 +0000
jazzbum 13485@http://www.kurtrosenwinkel.com/forum/ <p>Hey all. I've been coming back the guitar recently, after a somewhat difficult year for me and music, and have found a strong renewed interest in chords, Kurt of course being a primary inspiration.</p> <p>I've realized that while I have spent quite a bit of time working on legato single lines, my chordal playing is somewhat choppy in comparison.</p> <p>I know Van Eps is the answer, but I am having a hard time distilling all of his vast knowledge, and some of those fingerings (barring with 2 especially) are killing me. </p> <p>Any recommendations on applying his ideas to tunes, or any other resources that are a bit less dense for working specifically with the phrasing of jazz chords on guitar? I've got the grips, but not the flow.... </p>
soundhead on "Rootless voicings" http://www.kurtrosenwinkel.com/forum/topic/rootless-voicings#post-13376
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Mon, 02 Jun 2014 09:30:53 +0000
soundhead 13376@http://www.kurtrosenwinkel.com/forum/ <p>There's been some great stuff posted in this thread, thanks guys! </p>
Nathan078 on "Rootless voicings" http://www.kurtrosenwinkel.com/forum/topic/rootless-voicings#post-13051
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Mon, 12 May 2014 00:37:46 +0000
Nathan078 13051@http://www.kurtrosenwinkel.com/forum/ <p>Also, dont think of these groups as a chord, which they could be. Think of it as a cluster of notes. </p>
Nathan078 on "Rootless voicings" http://www.kurtrosenwinkel.com/forum/topic/rootless-voicings#post-13050
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Mon, 12 May 2014 00:34:38 +0000
Nathan078 13050@http://www.kurtrosenwinkel.com/forum/ <p>Sorry to chime in late here, but with the approach I stated, it depends on what the bass player plays. I just said it was the V chord, it could be any chord in C. Or you could put a non-diatonic note under it. Kurt does this alot. Like for the GEAC I stated earlier, if you put Eb under it and though of it as an altered dominate G=#9 E=b9 A=b5 C=13 you could move it up the E melodic minor scale and find new voicings that way, though I would change the C to a B so it would be a #5 rather than a 13; it could fit in the melodic minor scale better as well. Hope this helps anyone. </p>
jazznan on "Rootless voicings" http://www.kurtrosenwinkel.com/forum/topic/rootless-voicings#post-13049
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Mon, 12 May 2014 00:04:39 +0000
jazznan 13049@http://www.kurtrosenwinkel.com/forum/ <p>chords are just individual melodies on different strings, keys... </p>
patfarlow on "Rootless voicings" http://www.kurtrosenwinkel.com/forum/topic/rootless-voicings#post-13046
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Sun, 11 May 2014 17:38:07 +0000
patfarlow 13046@http://www.kurtrosenwinkel.com/forum/ <p>ok firstly saying DGC is a substitution is a semantics concept that i dont really want to get into.</p> <p>secondly, i think your question is about using a the different shapes on all the things you are.<br /> my answer is try some other shapes like the<strong> C F# B</strong> &amp; <strong>C E A</strong> shapes as well. you can play limitless new voicings with those 3 shapes only. </p>
Neither on "Rootless voicings" http://www.kurtrosenwinkel.com/forum/topic/rootless-voicings#post-13044
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Sun, 11 May 2014 17:13:42 +0000
Neither 13044@http://www.kurtrosenwinkel.com/forum/ <p>I agree with you. I'm ok with that.<br /> DGC sound on C is just a Csus2. it' not really a substitution. It's like if you play a C or a C6 or a C6/9, it's just a possible expression of a CMaj7. If you play CFA over D, then DbFB over G, then DGC over C, you really hear the tonal function of each chord of this II V I.<br /> In the progression I wrote on the beginning of ATTYA, I don't hear the changes and it was made intentionally. Won't you say its an imposition of a "modal thing" on a tonal music or that it sounds a little bit out ?<br /> Taking a shape and moving it on a static root. I made it for a lot of voicings. But what do you do with the sounds you like ? How do you use them when you've got to work a standard you never heard before, you only have the lead sheet and next week you have to comp in a quartet ?<br /> For an example, I like the sound of your quartal voicing a half step higher on C. That's my taste. I've got a subjective appreciation on a lot of other voicings. But imagine I have to play this standard next week and I'd like to use this discovering so I have to figure where I can play this quartal voicing on all the chords I have to express. So I have to discriminate the voicings I discover, to name them or see what chords they can figure, no ?<br /> Would you play your voicing (DGC over C) transposed on the first chord of ATTYA (GCF over F), on the second (CFBb over Bb) ? </p>
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Sun, 11 May 2014 16:18:58 +0000
Gesture 13043@http://www.kurtrosenwinkel.com/forum/ <p>I agree with patfarlow.</p> <p>When I came up with the chords I wasn't too bothered by which chord degrees go where. I was just experimenting with your chords, moved around some notes and came up with something new that sounded good to me.</p> <p>I liked the chords you suggested too. With too 'out' for comping I meant that the chords seem to imply something harmonically that strays from the actual chords. Although it is 'correct' and it might sound really hip in a solo context.<br /> Just my idea, i'm not a very advanced player and other people probably see it differently. </p>
patfarlow on "Rootless voicings" http://www.kurtrosenwinkel.com/forum/topic/rootless-voicings#post-13042
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Sun, 11 May 2014 15:53:57 +0000
patfarlow 13042@http://www.kurtrosenwinkel.com/forum/ <p>music is subjective. what i like you may not like.</p> <p>you could sub a Em7 for a CMAJ7 or go more out there like lenny breau and play DGC for a C Substitution. Lenny would just take a shape and move it around relative to a single static root note to find chords he liked. thats one guitar centric way to view chords. it worked for him, try it out sometime.</p> <p> thats my point you can only memorize so many "tricks" then you have to just go for it and figure out how this whole music thing functions for you personally. </p>
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Sun, 11 May 2014 15:35:52 +0000
Neither 13041@http://www.kurtrosenwinkel.com/forum/ <p>And for comping on a standard ? </p>
patfarlow on "Rootless voicings" http://www.kurtrosenwinkel.com/forum/topic/rootless-voicings#post-13040
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Sun, 11 May 2014 15:14:05 +0000
patfarlow 13040@http://www.kurtrosenwinkel.com/forum/ <p>im just trying to help by offering a different approach from the technical ones youve been reading.<br /> eventually you start to see that you can do anything you want and then reverse engineer it.</p> <p>for example you can read the mark levine book and learn that playing a II upper structure ( DF#A over C) is a common thing to do.</p> <p>then you can go out and just try playing any triad you like over a static C.</p> <p>that was my intention when saying play any note you want. </p>
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Sun, 11 May 2014 14:51:16 +0000
Neither 13039@http://www.kurtrosenwinkel.com/forum/ <p>PatFarlow,<br /> Have I offended someone ?<br /> I just try to understand how other people play and how they understand what they play.<br /> "Play any note you want" is a little bit confusing when you try to work this kind of things. </p>