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The Kurt Rosenwinkel Forum » Tag: two - Recent Posts http://www.kurtrosenwinkel.com/forum/ The Kurt Rosenwinkel Forum » Tag: two - Recent Posts en Wed, 27 Jul 2016 15:21:33 +0000 Sandemose on "A II-V-I excercise I like" http://www.kurtrosenwinkel.com/forum/topic/a-ii-v-i-excercise-i-like#post-12072
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Mon, 20 Jan 2014 01:54:20 +0000
Sandemose 12072@http://www.kurtrosenwinkel.com/forum/ <p>That triad pair thing is really great. I just tried it out, and I think that is a better method to get into the sound. Thanks for sharing,</p> <p>Best, Sandemose </p>
Gesture on "A II-V-I excercise I like" http://www.kurtrosenwinkel.com/forum/topic/a-ii-v-i-excercise-i-like#post-12068
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Sun, 19 Jan 2014 13:52:39 +0000
Gesture 12068@http://www.kurtrosenwinkel.com/forum/ <p>Since I need to work on my diminished lines in 251's I came up with an exercise based on yours.<br /> It's basically the same but instead of playing chords I practice playing triad pairs that I then use in 4 different 251's like above.</p> <p>So for example over a Dm7-G7-Cmaj7 I use 2 triads from the G H/W dim. scale, let's say an E triad(13, b9, 3) and Bb triad(#9, 5, 7). Then I will use the same ones over the other 3 251's where they will sound differently. </p> <p>An interesting thing I found out is that combining triad pairs creates hexatonic scale patterns so you can sort of see them as scales instead of triads. </p>
Sandemose on "A II-V-I excercise I like" http://www.kurtrosenwinkel.com/forum/topic/a-ii-v-i-excercise-i-like#post-12067
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Sun, 19 Jan 2014 05:07:14 +0000
Sandemose 12067@http://www.kurtrosenwinkel.com/forum/ <p>I like the excersice because I actually learn from it. I like the fact that it is sound based (but of course also structure/pattern based), because I get more familiar with different tensions and resolving them into different tonics. Doing one diminished scale for 20 min, and all keys in one hour is more than enaugh for me... </p>
Gesture on "A II-V-I excercise I like" http://www.kurtrosenwinkel.com/forum/topic/a-ii-v-i-excercise-i-like#post-12066
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Sat, 18 Jan 2014 16:29:59 +0000
Gesture 12066@http://www.kurtrosenwinkel.com/forum/ <p>I think I get it now. It's a lot of fun messing around with this exercise. Thanks! </p>
Sandemose on "A II-V-I excercise I like" http://www.kurtrosenwinkel.com/forum/topic/a-ii-v-i-excercise-i-like#post-12058
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Fri, 17 Jan 2014 06:26:32 +0000
Sandemose 12058@http://www.kurtrosenwinkel.com/forum/ <p>Man, multi-voicing chords, what I beautiful word. Yeha, you can figure out any shapes, I just happen to like those two alot, and two is enaugh to start with. </p>
jazznan on "A II-V-I excercise I like" http://www.kurtrosenwinkel.com/forum/topic/a-ii-v-i-excercise-i-like#post-12057
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Fri, 17 Jan 2014 02:37:51 +0000
jazznan 12057@http://www.kurtrosenwinkel.com/forum/ <p>Yep, this was clear from the beginning, there are a lot of diminished shapes you can use as multi-voicing chords...thanks for sharing (I'm not claiming to know all of them) </p>
Sandemose on "A II-V-I excercise I like" http://www.kurtrosenwinkel.com/forum/topic/a-ii-v-i-excercise-i-like#post-12056
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Fri, 17 Jan 2014 01:43:35 +0000
Sandemose 12056@http://www.kurtrosenwinkel.com/forum/ <p>Hey guys, I´ll try to explain...</p> <p>The basic idea is that I use two voicings, first the 7#9 as four different dominant chords depending on what root you have, and depending on what minor chord you put infront of it:</p> <p>First G13b9, Bb13b5, Db7 (with alot of tension) and E#9</p> <p>E--3----(1)-----(13)-----(b5)------(#9)<br /> B--3----(5)-----(3rd)----(b9)------(7)<br /> G--1---(b9)----(7)-------(5)-------(3rd)<br /> D--2---(13)----(b5)-----(#9)------(1)</p> <p>and then same thing with this 13b9 voicing...</p> <p>E----4----<br /> B----5----<br /> G----4------<br /> D----3----</p> <p>After that I try to find nice IIminor7 voicings (Fm, Abm, Bm, Dm) close to these two diminished chords, and then resolve them into Imaj7. Then I move up the diminished chords minor thirds to find the closest IIm7 and Imaj7 chords. In each position I start to improvise lines around the chords until it feels familiar, also trying to sing the roots.</p> <p>The whole idea is to use the same amount of information (the diminished voicing) as much as possible (as a G, Bb, Db, E dominant chord) and when I improvise with the half/whole dim scale I feel that I get more comfortable resolving it into four different tonics (C, Eb, Gb, A).</p> <p>Hope this was any clearer?</p> <p>Sandemose </p>
jazznan on "A II-V-I excercise I like" http://www.kurtrosenwinkel.com/forum/topic/a-ii-v-i-excercise-i-like#post-12054
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Thu, 16 Jan 2014 20:14:17 +0000
jazznan 12054@http://www.kurtrosenwinkel.com/forum/ <p>Yeah, I asked you the same question twice...just wanted to know how you practiced it. Singing the roots I think works best.</p> <p>I liked these ii V I in C (F9 for Dm, G13b9, C69)</p> <p>E--3---3---3------3-----4----3--------<br /> B--1---3---3------3-----5----3--------<br /> G--2---1---2------5-----4----5--------<br /> D--3---2---2-------------3-------------<br /> A-------------------5-----------7-------<br /> E---------------------------------------- etc </p>
Gesture on "A II-V-I excercise I like" http://www.kurtrosenwinkel.com/forum/topic/a-ii-v-i-excercise-i-like#post-12053
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Thu, 16 Jan 2014 12:48:03 +0000
Gesture 12053@http://www.kurtrosenwinkel.com/forum/ <p>I need to work on my II-V-I's as well and this sounds like a great exercise although i don't fully understand it.. What do you mean exactly by "Chord structures"?<br /> And let's say you're working on 1 diminished scale (G H/W for example) in 1 position for 20 minutes. Do you just practice over the 4 possible II-V-I's in that position successively..? I'm confused. ;) </p>
Sandemose on "A II-V-I excercise I like" http://www.kurtrosenwinkel.com/forum/topic/a-ii-v-i-excercise-i-like#post-12048
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Wed, 15 Jan 2014 17:16:37 +0000
Sandemose 12048@http://www.kurtrosenwinkel.com/forum/ <p>Yeah, I sing the roots, or just try to reach them with the chords, or starting a improvised line on it, etc. Its really important to get the roots solid. </p> <p>Hmm, about the context question I might misunderstand you, but I use this excercise to get familiar with different keys, geting the basics down better, incorporating chords (new) into my playing and organizing my practice routine so certain information (diminished scale) is used in so many ways as possible.</p> <p>Glad you liked the sounds! </p>
jazznan on "A II-V-I excercise I like" http://www.kurtrosenwinkel.com/forum/topic/a-ii-v-i-excercise-i-like#post-12047
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Wed, 15 Jan 2014 16:45:00 +0000
jazznan 12047@http://www.kurtrosenwinkel.com/forum/ <p>Do you sing the roots? How do you play it or rather hear it in context? I just tried it with singing the roots and it sounds great. </p>
Sandemose on "A II-V-I excercise I like" http://www.kurtrosenwinkel.com/forum/topic/a-ii-v-i-excercise-i-like#post-12046
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Wed, 15 Jan 2014 13:41:00 +0000
Sandemose 12046@http://www.kurtrosenwinkel.com/forum/ <p>It is based on the fact that the half/whole diminished scale can function as four dominant chords, starting on G, Bb, Db, and E. That gives four tonic chords (Cmaj, Ebmaj, Gbmaj, A maj) and four two-minor chords (Dminor7, Fminor7, Abminor7 and Bminor7). I work with two chord structures for the dimished scale (you can use how many as you like, I at least started with two) based on this pattern:</p> <p>E---3----4-----6-----7------<br /> B---3----5-----6-----8------<br /> G---1----4-----3-----7-----<br /> D---2----3-----5-----6----- etc</p> <p>Next thing I do is that I go through different IIminor chord voicings, starting with Dminor sounds, then resolving into Imaj (Cmaj):</p> <p>Cmajor</p> <p>E--3---3---3------3-----4----3--------<br /> B--1---3---3------3-----5----3--------<br /> G--2---1---2------5-----4----5--------<br /> D--3---2---2-------------3-------------<br /> A-------------------5-----------7-------<br /> E---------------------------------------- etc</p> <p>Ebmajor</p> <p>E----3-------3---(3)-----3----------<br /> B----4-------3---(3)-----3-------<br /> G----1-------1---(1)-----0--------<br /> D-------------2---(0)-----0-------<br /> A----3------------(2)-----1------- etc</p> <p>I go through all four tonic chords (C, Eb, Gb, A) staying in one position, trying to find nice voiceleading moves, and at last trying to connect lines with these sounds. I stay with one diminsihed scale for 20 min. Then I practice the other two with their four tonic chords 20 min each. After that I have practiced/played II-V-I in all keys within an hour.</p> <p>I posted this excercise on the old forum. Hope anyone likes it. Ask questions if Im unclear in any way. </p> <p>Best regards, </p> <p>Sandemos </p>
Sandemose on "Party..?" http://www.kurtrosenwinkel.com/forum/topic/party#post-2441
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Tue, 24 Aug 2010 16:18:39 +0000
Sandemose 2441@http://www.kurtrosenwinkel.com/forum/ <p>For us/those who cant join the IRL-party, lets just keep in touch and see what we can do to celibrate the release of Kurts new record. By the way, Anders? Please film from the IRL-party and upload to the site, Id love to see footage from it!</p> <p>Best, Sandemose </p>
wommusic on "Party..?" http://www.kurtrosenwinkel.com/forum/topic/party#post-2431
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Tue, 24 Aug 2010 01:14:17 +0000
wommusic 2431@http://www.kurtrosenwinkel.com/forum/ <p>Hey Sandemose - would have loved to, but it&#39;s the day that OJM arrives into NYC, the official release date and we are going to be slammed on all levels I am afraid! But thank u very much for the invite! :-) </p>
Colonel Trane on "Party..?" http://www.kurtrosenwinkel.com/forum/topic/party#post-2423
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Mon, 23 Aug 2010 15:38:42 +0000
Colonel Trane 2423@http://www.kurtrosenwinkel.com/forum/ <p>I&#39;ll do my best to be there. </p>
Sandemose on "Party..?" http://www.kurtrosenwinkel.com/forum/topic/party#post-2422
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Mon, 23 Aug 2010 15:22:13 +0000
Sandemose 2422@http://www.kurtrosenwinkel.com/forum/ <p>WOMmusic = Anders.</p> <p>Nuno, too bad :( Anyone else?</p> <p>Best, Sandemose </p>
Nuno on "Party..?" http://www.kurtrosenwinkel.com/forum/topic/party#post-2420
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Mon, 23 Aug 2010 14:20:41 +0000
Nuno 2420@http://www.kurtrosenwinkel.com/forum/ <p>Sandemose, that is an excellent idea!; but on that day i will be on route to New York and it will hard for me to catch up!</p> <p>best </p>
mds90 on "Party..?" http://www.kurtrosenwinkel.com/forum/topic/party#post-2419
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Mon, 23 Aug 2010 13:58:53 +0000
mds90 2419@http://www.kurtrosenwinkel.com/forum/ <p>who are anders, nuno?<br /> M </p>
Sandemose on "Party..?" http://www.kurtrosenwinkel.com/forum/topic/party#post-2410
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Sun, 22 Aug 2010 18:51:53 +0000
Sandemose 2410@http://www.kurtrosenwinkel.com/forum/ <p>Hmm, I was thinking. What about getting together on the release day of Kurts new record? With getting together I was thinking about the Kurt chat we meet in when we watch gigs at Smalls. Since there is no way I can attend an offical release party it would be nice to buy the record as a download, listen to it, and discuss it with all you other fans. </p> <p>One thing though: two drinks minimum.</p> <p>Kurt, Anders, Nuno, will you join? :)</p> <p>Best, Sandemose </p>
silverwater on "Symetrical scale problems..?" http://www.kurtrosenwinkel.com/forum/topic/symetrical-scale-problems#post-2292
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Sun, 15 Aug 2010 00:29:34 +0000
silverwater 2292@http://www.kurtrosenwinkel.com/forum/ <p>Dude&#39;s response was a good one I was always thinking to just play the arpeggios back to back...</p> <p>Also, with symmetrical scales you can take advantage of playing sequences very easily. If you&#39;re using a diminished scale, play a little lick, then move it up a minor3rd, and then again...and keep going with something similar even as the chord changes... As guitarists we need to take advantage of how easy it is to use sequences in our playing!</p> <p>One roadblock I seem to run into when playing diminished and whole tone scales is that the note names seem to slip my much easier than 7-note scales. This is how I construct and try to remember the notes in my head, somebody tell me if there&#39;s a better way: </p> <p>For diminished scales, as we know there only 3. I like to think about these 3 groupings: (B,D,F,Ab) (C,Eb,F#,A) (C#,E, G, Bb)<br /> Now, if I&#39;m going to play C Whole/Half, I think of the available notes as being from the first two groups.</p> <p>For whole tone scales, I think of each scale as broken down 2 three note groups. The first scale has C,D,E and Gb, Ab, Bb. The second scale has F,G,A and B, C#, D#.</p> <p>Is there an easier way to remember the names of the notes when you&#39;re playing? </p>
mrzzajjazz on "Symetrical scale problems..?" http://www.kurtrosenwinkel.com/forum/topic/symetrical-scale-problems#post-2273
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Fri, 13 Aug 2010 12:21:59 +0000
mrzzajjazz 2273@http://www.kurtrosenwinkel.com/forum/ <p>wow..that sounds quite funky! I&#39;ll try to make good use of it! (Or maybe I&#39;ll put it on the wall..) :) </p>
Sandemose on "Symetrical scale problems..?" http://www.kurtrosenwinkel.com/forum/topic/symetrical-scale-problems#post-2266
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Thu, 12 Aug 2010 03:22:06 +0000
Sandemose 2266@http://www.kurtrosenwinkel.com/forum/ <p>mrzzajjazz: you have won a Bbm7 chord and with that comes an D minor pentatonic scale. </p> <p>Best, Sandemose </p>
Matt on "Symetrical scale problems..?" http://www.kurtrosenwinkel.com/forum/topic/symetrical-scale-problems#post-2262
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Wed, 11 Aug 2010 16:48:57 +0000
Matt 2262@http://www.kurtrosenwinkel.com/forum/ <p>I knew it! Life of Brain &gt; Life </p>
mrzzajjazz on "Symetrical scale problems..?" http://www.kurtrosenwinkel.com/forum/topic/symetrical-scale-problems#post-2261
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Wed, 11 Aug 2010 16:41:49 +0000
mrzzajjazz 2261@http://www.kurtrosenwinkel.com/forum/ <p>Hey!</p> <p>It&#39;s &quot;Life of Brian&quot;! A brilliant movie :)<br /> Do I get a price..? Free use of the symmetrical diminished scale..? </p>
Sandemose on "Symetrical scale problems..?" http://www.kurtrosenwinkel.com/forum/topic/symetrical-scale-problems#post-2260
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Wed, 11 Aug 2010 14:11:56 +0000
Sandemose 2260@http://www.kurtrosenwinkel.com/forum/ <p>Duuuuuuude...thanks for the tips! Often I find that the answer is that is to much material to work with. Using hexatonic scales probably will feel more &quot;available&quot;, just because to much material/notes make me think to much. </p> <p>Matt: I´ll come back tomorrow on how I practice this more detailed. </p> <p>No one recognize the film qoute? :(</p> <p>Best, Sandemose </p>
Anonymous on "Symetrical scale problems..?" http://www.kurtrosenwinkel.com/forum/topic/symetrical-scale-problems#post-2258
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Wed, 11 Aug 2010 09:30:28 +0000
Anonymous 2258@http://www.kurtrosenwinkel.com/forum/ <p>Hola chicas,<br /> As you already recognized, Sandemose, are there four dominant chords in that Diminished Scale and therefore four major triads, too. So you can make up 6 different triad pairs, whereof the ones which are a tritone apart provide the most &quot;diminished&quot; sound. Scofield does that all the time. A very interesting way to handle them is not only to play one triad after the other (the usual way, I guess), but use them to create hexatonic scales. So for example using F and B triads, you get F F# A B C D#. So in leaving out just two notes, you&#39;ll come up with totally different lines. </p>
Matt on "Symetrical scale problems..?" http://www.kurtrosenwinkel.com/forum/topic/symetrical-scale-problems#post-2257
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Wed, 11 Aug 2010 09:02:18 +0000
Matt 2257@http://www.kurtrosenwinkel.com/forum/ <p>I&#39;ve never thought of the symmetrical diminished scale as very useful, at least to me. I find that the arpeggios you can superimpose over chords just sound bad and then are gone - very little tension and resolve to me.<br /> I prefer using the whole-half diminished scale. you could also try moving the diminished scales up or down step(s) to see how the sound changes.</p> <p>If you could elaborate, too, on how you practice these, I&#39;d really appreciate it. I&#39;m sort of a noob when it comes to key centres and the likes. </p>
Sandemose on "Symetrical scale problems..?" http://www.kurtrosenwinkel.com/forum/topic/symetrical-scale-problems#post-2255
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Wed, 11 Aug 2010 07:31:24 +0000
Sandemose 2255@http://www.kurtrosenwinkel.com/forum/ <p>Hi guys and gals (&quot;are there any woman here today?&quot;, quote from which movie anyone?).</p> <p>Ive been working with II-V-I progressions for a while now and was thinking about something. At the time I work with half/whole step diminshed scale. The way I practice this scale is that I see it as a &quot;diminshed scale family&quot;. So, the F,Gb,Ab,A,B,C,D,Eb is seen as a F7, Ab7, B7 and D7 scale. I think we discussed this in a jazz chord thread some days ago. What I do is that I stay in one position and use the same diminished scale and resolve it into four different Imaj7 chords (Bb, Db, E, and G). I work hard to define/bring out the each key center. So far so good. I think I cover quite some ground practicing each keycenter for about 15 min (1 hour per diminshed scale family). Obviously there are only three families all together dividing them minor thirds appart. Now the problem:</p> <p>Symetrical scales (at least half/wholestep) sounds so predictable...and symetrical. The diminshed scale stand out so strong it kinda blinds me. Its like a splasch of pink colour on a light blue canvas. Its like that loud uninvided person coming to the party already drunk hiting on your girlfriend (but who you kinda like anyway). </p> <p>How to break the &quot;diminished lick&quot; habbit?</p> <p>Best, Sandemose </p>