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The Kurt Rosenwinkel Forum » Tag: monder - Recent Posts http://www.kurtrosenwinkel.com/forum/ The Kurt Rosenwinkel Forum » Tag: monder - Recent Posts en Mon, 27 Jun 2016 09:24:55 +0000 Floatingbridge on "Basic chord voicings until rebirth and beyond..." http://www.kurtrosenwinkel.com/forum/topic/basic-chord-viocings-until-rebirth-and-beyond#post-11051
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Wed, 13 Mar 2013 23:33:15 +0000
Floatingbridge 11051@http://www.kurtrosenwinkel.com/forum/ <p>Just when we thought we couldn't express the same ideas again in different ( or similar ) ways, I found the thread within this forum where this issue was discussed previously.<br /> There is some additional tips or areas to work with ( arpeggi, chord qualities , etc) that get overlooked on this current pass.<br /> Others had posed great questions and ideas.<br /> Once again, poparad does a great job laying out the thinking behind stuff ( and in a slightly different way than how it's been discussed in this thread- which may provide more clarity through another lens or way of saying it ) and elucidates some of the confusing elements of the previous post(s) arpeggi fingering things.<br /> At the risk of beating a dead horse with this , the post serves more than the function of viewing 7th chords alone.</p> <p><a href="http://www.kurtrosenwinkel.com/forum/topic/abstract-from-another-forum" rel="nofollow">http://www.kurtrosenwinkel.com/forum/topic/abstract-from-another-forum</a> </p>
Floatingbridge on "Basic chord voicings until rebirth and beyond..." http://www.kurtrosenwinkel.com/forum/topic/basic-chord-viocings-until-rebirth-and-beyond#post-11049
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Wed, 13 Mar 2013 13:35:03 +0000
Floatingbridge 11049@http://www.kurtrosenwinkel.com/forum/ <p>Amazing, wilmore!! That must have been ( and still feel ) great. Jealous ! </p>
wilmore on "Basic chord voicings until rebirth and beyond..." http://www.kurtrosenwinkel.com/forum/topic/basic-chord-viocings-until-rebirth-and-beyond#post-11043
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Tue, 12 Mar 2013 18:16:29 +0000
wilmore 11043@http://www.kurtrosenwinkel.com/forum/ <p>Ha! That was me. Didn't log in for a long time and guess I got wiped. I had a lesson with monder a couple months ago. It was a great/strange experience. He is so logical and practical(and dry). He talked about everything in those clips and when I would have a question he would look at me like, you know what the theory is just work on it for a long time and get it under your fingers...simple. I left kinda feeling like not much happened but when I listen to the lesson recording every minute is golden. Also having one of your music heros tell you that you sound great then invite you to a jam session is priceless and very motivating. Super nice guy. </p>
Poparad on "Basic chord voicings until rebirth and beyond..." http://www.kurtrosenwinkel.com/forum/topic/basic-chord-viocings-until-rebirth-and-beyond#post-11038
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Tue, 12 Mar 2013 00:40:25 +0000
Poparad 11038@http://www.kurtrosenwinkel.com/forum/ <p>I'm not sure where "Ben" came from in my post, but I certainly didn't think the Anonymous poster was Ben Monder. I think when I originally replied to that, there must've been a user name there instead of "Anonymous" and it might've been "Ben" or something like that, but somehow the name was wiped. I don't know, that was over three years ago now! </p>
Floatingbridge on "Basic chord voicings until rebirth and beyond..." http://www.kurtrosenwinkel.com/forum/topic/basic-chord-viocings-until-rebirth-and-beyond#post-11036
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Mon, 11 Mar 2013 03:39:26 +0000
Floatingbridge 11036@http://www.kurtrosenwinkel.com/forum/ <p>i just watched the monder clips from the link posted by socalguitar. i love how he plays!!!!!!! his mellow and humble delivery are soo fucking cute and charming when considering the PROFOUND AND THOROUGH COMMAND he has of it all.<br /> lol from this vid ( that is actually quite succinctly put ):<br /> " ... voiceleading will either work ...or it won't". </p>
Floatingbridge on "Basic chord voicings until rebirth and beyond..." http://www.kurtrosenwinkel.com/forum/topic/basic-chord-viocings-until-rebirth-and-beyond#post-11035
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Mon, 11 Mar 2013 03:19:20 +0000
Floatingbridge 11035@http://www.kurtrosenwinkel.com/forum/ <p>Ha!<br /> i love this thread!oooh, I had not seen the monder vids in one of these recent posts. Can't wait to see it ( not on my phone )! i haven't looked at this thread in a while. i lol'd when reading poparad's 2nd post in the thread where (perhaps inadvertently) he outs 'anonymous' as 'ben'... for some reason that kills me! i'm book marking this to return to it to be clear for once and for all ...( again, damn it).<br /> ahh, There's almost nothing that inter/ultra/infra/infra-inter/infra-ultra/infra-inter-ultrapolates my fingers and lobes in so many ( 479,001,600 )ways quite like this stuff.<br /> Thanks for your break downs.<br /> Namely, Poparad who patienty answered this line of questions more than once (... i believe later on from me in another thread ). </p>
thoeller on "Basic chord voicings until rebirth and beyond..." http://www.kurtrosenwinkel.com/forum/topic/basic-chord-viocings-until-rebirth-and-beyond#post-11033
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Sun, 10 Mar 2013 21:13:37 +0000
thoeller 11033@http://www.kurtrosenwinkel.com/forum/ <p>interesting that it is 120 possibilities. Sounds like it could correlate to the 12 notes somehow. </p>
socalguitar on "Basic chord voicings until rebirth and beyond..." http://www.kurtrosenwinkel.com/forum/topic/basic-chord-viocings-until-rebirth-and-beyond#post-10992
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Fri, 08 Mar 2013 11:14:28 +0000
socalguitar 10992@http://www.kurtrosenwinkel.com/forum/ <p>In case any of you had not seen yet, there are now a couple of videos available with Ben going over some of the previously mentioned concepts, <a href="http://www.mymusicmasterclass.com/artist-profiles/ben-monder/">http://www.mymusicmasterclass.com/artist-profiles/ben-monder/</a><br /> The company, My Music Masterclass,claims to give the majority of the revenue to the artists. </p> <p>Outside of learning some of Ben's tunes, has anyone learned or picked up any right hand / finger-style exercises from Ben? </p>
egav on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9780
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Sun, 28 Oct 2012 23:33:24 +0000
egav 9780@http://www.kurtrosenwinkel.com/forum/ <p>The lippincott series are more than just lessons. They would answer exactly what you want to know.<br /> As far as the style goes, its more complex. Back in the 60s they didnt have all the material we have today. Jazz wasnt widely recognized as an academic subject by most places and it was limited where you could study it, i believe, and even then it wasnt that thorough. There was a good set of theory behind it but not as thoroughly analyzed as we have it today. This makes the vocabulary completely different.<br /> Vocabulary was meant to be clear cut, to make the changes. If you're familiar with literature, think of it as Charles Dickens, having a clear sense of the language and making everything clear. Think of what these guys are doing as something more like James Joyce. The language is very vague, but the construction and assembly of it is a masterpiece.<br /> In more specific terminology, a lot of what these guys are doing is heavy harmonically. They use a lot of modal techniques in things that normally wouldn't. A good example of this is shown in Vic Juris' book modern voicings, where he gives tons of examples of intervallic chords constructed with modes. Ben Monder uses that technique a lot. Guys like Kurt and Gilad Hekselman use a sort of "linear" approach to playing, as i've heard people say. I wish I could explain a little better, but you can tell from how they play, its not something like bird or coltrane. Its sort of more vague, again, using a more modal approach. They seem to look for the least amount of notes to change when changing chords, but at the same time, rely on a lot of alterations to do this.</p> <p>Get the lippincott videos, anyhow, it'll really give you what youre looking for. </p>
docbop on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9765
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Sun, 28 Oct 2012 13:19:09 +0000
docbop 9765@http://www.kurtrosenwinkel.com/forum/ <p>Might be of interest to some Mike's Master Classes's Tom Lippincott has a series of classes on Modern Jazz Guitarists. There are video previews to get an idea what each class is about. </p> <p><a href="http://www.mikesmasterclasses.com/index.php?option=com_content&amp;task=view&amp;id=160&amp;Itemid=32" rel="nofollow">http://www.mikesmasterclasses.com/index.php?option=com_content&amp;task=view&amp;id=160&amp;Itemid=32</a></p> <p>I haven't checked out Tom's series of classes, but have quite a few of the Sheryl Bailey and Steve Herberman classes which are great. </p>
silverwater on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9758
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Sun, 28 Oct 2012 12:26:21 +0000
silverwater 9758@http://www.kurtrosenwinkel.com/forum/ <p>I'm going to say growing up in a time after the influence of guys like Chuck Berry, Hendrix, Page, Beck, David Gilmour, and Eddie Van Halen reinvented how the instrument could and would sound has had as much of an impact as anything. </p> <p>Combined that with the influence guys like Bill Evans, Joe Henderson, Herbie, Wayne, Woody have had on everybody. </p> <p>Also, I'd add: Accents and lines starting and ending on less "typical sounding" places, a less swung 1/8th note, and odd groupings of notes (like playing 5 over 4, etc.).</p> <p>As an accompanying instrument it has advanced a lot as well (though will still forever be behind the piano ) </p>
bingefeller on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9724
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Sat, 27 Oct 2012 11:22:37 +0000
bingefeller 9724@http://www.kurtrosenwinkel.com/forum/ <p>Great thread guys, lots of good observations. </p> <p>Can someone please explain what interval sets are? </p>
jazzacast55 on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9717
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Sat, 27 Oct 2012 00:18:04 +0000
jazzacast55 9717@http://www.kurtrosenwinkel.com/forum/ <p>I would have to say sound has a lot to do with it, for me 12 gauge strings with a wound 3rd in to some reverb and delay then maybe a solid state amp (not all the time though) creates a modern sound.<br /> There is a modern vocab that everyone seems to be pulling from stuff like lines with 5ths, chords with minor 2nds in there some where, pretty vauge answer but something around those lines. </p>
Poparad on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9716
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Sat, 27 Oct 2012 00:01:32 +0000
Poparad 9716@http://www.kurtrosenwinkel.com/forum/ <p>Warning: hypothesis and opinion to follow:</p> <p>The phrasing of their melodic lines is much different, and this is true not just of modern guitar players but simply modern jazz players in general. Older players came out of the bebop tradition that involves a lot of long, snaking 8th note lines with chromaticism and enclosures, and while that's still evident in modern player's vocabulary to some degree, there's a far greater emphasis on thematic development. A player will take a small melodic figure, perhaps an interval or a rhythm, and develop it with variations over the course of a few bars or more. This seems to be a driving force in many (though not all) modern approaches. In other words, from measure to measure, phrase to phrase, each improvised part has more continuity, just like a composed melody for a song does. </p>
smoke on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9710
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Fri, 26 Oct 2012 18:44:30 +0000
smoke 9710@http://www.kurtrosenwinkel.com/forum/ <p>Didn't imply all players but it certainly is common.</p> <p>Another one is a more straight time feel. </p>
jorgemg1984 on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9709
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Fri, 26 Oct 2012 17:49:13 +0000
jorgemg1984 9709@http://www.kurtrosenwinkel.com/forum/ <p>"More legato, horn-like phrasing" I just disagree with this one... Lund, Monder or Kreisberg use much more staccato. All the rest is well pointed out| </p>
smoke on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9708
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Fri, 26 Oct 2012 17:43:24 +0000
smoke 9708@http://www.kurtrosenwinkel.com/forum/ <p>Several things come to mind but I am sure the list is far from complete.</p> <p>More complicated harmonic structures and harmonies, less reliance on ii-V's and cycle progressions<br /> Odd time signatures<br /> More legato, horn-like phrasing<br /> More complicated rhythmic phrasing, odd note groupings, etc<br /> More chromaticism<br /> More superimposed triads, interval sets, pentatonics, etc<br /> More overdriven tone with lots of reverb and delay<br /> Wider field of influences from all types of music<br /> More tolerance for dissonance and tension </p>
docbop on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9707
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Fri, 26 Oct 2012 16:09:49 +0000
docbop 9707@http://www.kurtrosenwinkel.com/forum/ <p>Modern recording techniques, players combining influences differently. As they say you want to learn about player, listen to who they listened to. </p>
jorgemg1984 on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9706
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Fri, 26 Oct 2012 15:28:16 +0000
jorgemg1984 9706@http://www.kurtrosenwinkel.com/forum/ <p>Triads and pentatonics with delay and reverb :) </p>
bingefeller on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9705
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Fri, 26 Oct 2012 15:12:29 +0000
bingefeller 9705@http://www.kurtrosenwinkel.com/forum/ <p>I'm not looking for lessons as I'm already a member on the Tim Miller site. I'm asking for the opinions of people here as to what _they_ think makes modern jazz players, such as those I've mentioned, sound so fresh. </p>
Benny on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9704
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Fri, 26 Oct 2012 14:34:02 +0000
Benny 9704@http://www.kurtrosenwinkel.com/forum/ <p>Buy and work your way through Tim Lippincott's 5 part lesson series 'Modern Jazz Guitar': <a href="http://www.mikesmasterclasses.com/index.php?option=com_content&amp;task=view&amp;id=160&amp;Itemid=32" rel="nofollow">http://www.mikesmasterclasses.com/index.php?option=com_content&amp;task=view&amp;id=160&amp;Itemid=32</a> </p>
bingefeller on "Modern Jazz Players" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-players#post-9703
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Fri, 26 Oct 2012 12:37:37 +0000
bingefeller 9703@http://www.kurtrosenwinkel.com/forum/ <p>Hi folks, </p> <p>I'm wondering, and maybe some of the more knowledgable players can tell me, what is typical of modern jazz players? What makes Kurt Rosenwinkel, Tim Miller, Jonathan Kreisberg and Ben Monder sound so modern? I can't put my finger on it... </p>
Vilibald on "Finger picking" http://www.kurtrosenwinkel.com/forum/topic/finger-picking#post-1230
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Mon, 25 Jan 2010 17:38:57 +0000
Vilibald 1230@http://www.kurtrosenwinkel.com/forum/ <p>And Martin Taylor... </p>
Anonymous on "Finger picking" http://www.kurtrosenwinkel.com/forum/topic/finger-picking#post-1229
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Mon, 25 Jan 2010 17:34:59 +0000
Anonymous 1229@http://www.kurtrosenwinkel.com/forum/ <p>Got to put in Joe Pass and Ted Greene </p>
Sandemose on "Finger picking" http://www.kurtrosenwinkel.com/forum/topic/finger-picking#post-1223
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Sun, 24 Jan 2010 20:22:46 +0000
Sandemose 1223@http://www.kurtrosenwinkel.com/forum/ <p>Benny: yeah, thats the one! Ive heard alot about it, gonna check out the link right now. Perhaps hyrbrid picking can be applyed to that as well?</p> <p>Best, Sandemose </p>
Benny on "Finger picking" http://www.kurtrosenwinkel.com/forum/topic/finger-picking#post-1222
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Sun, 24 Jan 2010 19:47:47 +0000
Benny 1222@http://www.kurtrosenwinkel.com/forum/ <p>&#39;Pumping Nylon&#39; is a fingerstyle (classical technique) book that&#39;s been recommended to me a few times. You can look at a big extract here: <a href="http://books.google.co.uk/books?id=1Gsrt7Koqu8C&amp;printsec=frontcover&amp;dq=pumping+nylon&amp;source=bl&amp;ots=FS3r12tG80&amp;sig=wwRI82_Clzkvcv-5sT-pfg2fRbY&amp;hl=en&amp;ei=etpcS-CoCqD80wSM0LmCBQ&amp;sa=X&amp;oi=book_result&amp;ct=result&amp;resnum=10&amp;ved=0CDAQ6AEwCQ" rel="nofollow">http://books.google.co.uk/books?id=1Gsrt7Koqu8C&amp;printsec=frontcover&amp;dq=pumping+nylon&amp;source=bl&amp;ots=FS3r12tG80&amp;sig=wwRI82_Clzkvcv-5sT-pfg2fRbY&amp;hl=en&amp;ei=etpcS-CoCqD80wSM0LmCBQ&amp;sa=X&amp;oi=book_result&amp;ct=result&amp;resnum=10&amp;ved=0CDAQ6AEwCQ</a> </p>
Sandemose on "Finger picking" http://www.kurtrosenwinkel.com/forum/topic/finger-picking#post-1221
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Sun, 24 Jan 2010 12:33:39 +0000
Sandemose 1221@http://www.kurtrosenwinkel.com/forum/ <p>kylesmithguitar: Good tips dude. Thanks for sharing.</p> <p>Best,</p> <p>Sandemose </p>
kylesmithguitar on "Finger picking" http://www.kurtrosenwinkel.com/forum/topic/finger-picking#post-1220
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Sun, 24 Jan 2010 12:30:02 +0000
kylesmithguitar 1220@http://www.kurtrosenwinkel.com/forum/ <p>I&#39;ve been working on hybrid picking for a while, I&#39;ve got a couple of ideas on strengthening the 4th finger. For a while, I would force myself to play arpeggios through chord changes, almost in a classical style, but with hybrid picking. (pick, m, a, 4th) if that makes sense. You also might try playing through some of the giuliani arpeggio studies this way. It should help get the 4th finger up to speed. They should be pretty easy to find for cheap/free. </p>
Sandemose on "Finger picking" http://www.kurtrosenwinkel.com/forum/topic/finger-picking#post-1219
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Sun, 24 Jan 2010 07:40:39 +0000
Sandemose 1219@http://www.kurtrosenwinkel.com/forum/ <p>Neither: I think Kurt plays hybrid (or I have seen him do it), and also with the pick stuck between 1th and 2nd finger like Scofield among others. I dont think Kurt plays with nails.<br /> The difference of sound between pick and the rest of the fingers will go away. Ive been just playing around with it for a while now and the sounds kinda close in on eachother, notes played with pick and with fingers that is. I play with a 2mm pick Dunlop Gator, so heavy picks might be a sollution as well, or one of many solutions. But as you said, the problem is the 4th finger. It really stands out tone wise, that together with that it almost is in the treble register (E, B strings). I play through keys on the E,B,G,D strings, most triads in all inversions, doubleing one voice depending on the inversion up and down the neck, trying to be concious about getting a well ballanced chord. The 4th finger is so weak, so its hard to find a good angle with it, the right hand gets more into a &quot;fist&quot; position which is akward for me. But I cant find any better way than to just work with it. </p> <p>Best, Sandemose </p>
Neither on "Finger picking" http://www.kurtrosenwinkel.com/forum/topic/finger-picking#post-1218
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Sun, 24 Jan 2010 06:55:23 +0000
Neither 1218@http://www.kurtrosenwinkel.com/forum/ <p>Hi there,<br /> An example of finger picking by Mike Moreno :<br /> <a href="http://www.talkmarket.com/Mike-Moreno-Still-Here/619/" rel="nofollow">http://www.talkmarket.com/Mike-Moreno-Still-Here/619/</a><br /> Some of you talked about Mick Goodrick, In Pas(s)ing with John Surman, Eddie Gomez and Jack DeJohnette, is for me his best album.<br /> Sandemose asked interesting questions : &quot;Nails, or flesh? I will never be able to save my nails for this kinda stuff, and also like the sound of the fingers. How do you guys do and think about this?&quot; So do you play with nails or flesh ? And what do Kurt play ?<br /> I&#39;m working now with hybrid and one of my problem is to deal with the difference of sound between the sound of the of the pick and the flesh of my fingers. It works for me with the thumb + the 2nd and 3rd right hand fingers (3 notes voicings) but it&#39;s difficult for me when I add 4th finger (4 notes voicings). Any advices on that subject ? </p>