~ video index ~

'... every picture tells a story don't it ... '

In a nutshell. Thinking that the melody of a song can clearly define the emotional character of the story being told, we look here to examine ideas and create ways to to play melodies by ear. That by doing so we can build up and strengthen our own artistic abilities to interpret melodies and project our take or interpretation of a song's story line.

Overview. From the old as the hills artistic technique often termed 'a theme and its variations', an artistic concept and philosophy which also applies to many of our art disciplines; musics, sculpt, painting, writing etc., this theme and variations is the basis of so much of what American improv is about, where the music being performed is played by ear. That traditionally our musics are not being read as they are being performed.

theme and variations

In a nutshell. The American jazz artists generally plays through the changes. Each new chord in the progression a new opportunity for coolness. And it just so happens that hearing the changes can also be the basis of the evolution through both the historical thus theoretical ascension through the tones. Their numerical representations the easy part.

. Bored with your own playing? Cool, you've come to the right place. For now the inner urge is in place to energize the searching that lives in all of the master crafts must do.

. . It's one aspect of the challenge that the music and art can provide. It's supernatural for the artist to have to evolve their way through the .

You need a thing in life to be passionate about.

.

inner urge

Oh Susanna. And while we rarely hear this type of chromatically constructed melody in the American song book, the basic theory of the above line, to chromatically enhance a mostly diatonic melody is something we can often hear in the music.

chromatic enhancement video

Blues in A. And while we rarely hear this type of chromatically constructed melody in the American song book, the basic theory of the above line, to chromatically enhance a mostly diatonic melody is something we can often hear in the music.

chromatic enhancement video

1st video ~ AmerEuro folk style of guitar can be centered right in the middle of our guit-fiddles. Inthing open F moved up to the 5th fret.

. By downbeat we mean the first beat of each measure. In this next melodic sequence of quarter notes, the downbeat is 'accented', meaning it is played a bit stronger and so sounds a bit louder. Example 1.

2nd video ~ AmerEuro style of guitar can be centered right in the middle of our guit-fiddles. Inthing open F moved up to the 5th fret.

. By downbeat we mean the first beat of each measure. In this next melodic sequence of quarter notes, the downbeat is 'accented', meaning it is played a bit stronger and so sounds a bit louder. Example 1.

3rd video ~ presets of different tones by style..

. By downbeat we mean the first beat of each measure. In this next melodic sequence of quarter notes, the downbeat is 'accented', meaning it is played a bit stronger and so sounds a bit louder. Example 1.

Sweep picking. And while we rarely hear this type of chromatically constructed melody in the American song book, the basic theory of the above line, to chromatically enhance a mostly diatonic melody is something we can often hear in the music.

chromatic enhancement video

Blues testimony. And while we rarely hear this type of chromatically constructed melody in the American song book, the basic theory of the above line, to chromatically enhance a mostly diatonic melody is something we can often hear in the music.

chromatic enhancement video

Blues tricks. And while we rarely hear this type of chromatically constructed melody in the American song book, the basic theory of the above line, to chromatically enhance a mostly diatonic melody is something we can often hear in the music.

chromatic enhancement video

Acees and a bend. And while we rarely hear this type of chromatically constructed melody in the American song book, the basic theory of the above line, to chromatically enhance a mostly diatonic melody is something we can often hear in the music.

chromatic enhancement video

Chromatic enhancement. And while we rarely hear this type of chromatically constructed melody in the American song book, the basic theory of the above line, to chromatically enhance a mostly diatonic melody is something we can often hear in the music.

chromatic enhancement video

Half step lead in. And while we rarely hear this type of chromatically constructed melody in the American song book, the basic theory of the above line, to chromatically enhance a mostly diatonic melody is something we can often hear in the music.

chromatic enhancement video

Fingerpicking. And while we rarely hear this type of chromatically constructed melody in the American song book, the basic theory of the above line, to chromatically enhance a mostly diatonic melody is something we can often hear in the music.

chromatic enhancement video
inner urge
inner urge
inner urge
licks
vamps

Chromatic is the first evolution / used as a cell into jazz. By downbeat we mean the first beat of each measure. In this next melodic sequence of quarter notes, the downbeat is 'accented', meaning it is played a bit stronger and so sounds a bit louder. Example 1.

 

With this technique Duane built climaxed solo's that can almost make your hair stand up. It's oftentimes in this repetition of a few notes or musical phrase where we can most clearly hear the rhythmic pull of the melody pitches against the 2 and 4 of the drumming that creates Duane's unique sense of a very hard driving swing. One of many Allman Brothers tunes to spin to hear his sense of time and swing is ?????.

Review. Here at Essentials, at the core of our American rhythms lives an accented pulse on the 2nd and 4th beats of a measure of 4 / 4 time. We can find this pulse somewhere in every conceivable musical style and their myriad of sub genres. By accenting the 2 and 4, we create a sense of 'pull' away from and towards the downbeat pulse of each measure. It is believed here that in this pulling or stretching of musical time is where the magic of the American swing thing happens.

We can learn to rhythmically swing by singing our melody lines and getting them to capture the essence of our own unique sense of time. We then only have to transfer these ideas to our guitars. Quarter and eighth notes are the swing note values. Even 8th's are perhaps Latin derived and also swing just fine in other styles, although in a bit more of a modern sense perhaps than the traditional 8th note / triplet feel so common of the early Jazzer's of the first half of the last century. And perhaps it's best to simply remember that ...

Silent Architecture
The organic and historical origins of our pitches.
Loops of Pitches
Examining the unbreakable loop of our pitches.
Groups of Pitches / Evolution of Scales
Examining the Yin / Yang our our musical system.
Major / Minor tonality Our groups become our musical scales.
Evolving Scales into Arpeggios
How our scales become arpeggios.
Evolving Arpeggios into Chords
How our arpeggios become chords.
Evolution of Tuning Tuning of pure pitch into modern musical tones.

I'm always thinking about creating. My future starts when I wake up every morning ... Every day I find something creative to do with my life.

Miles Davis
Footnotes:

(1) Isacoff, Stuart. Temperament ... The Idea That Solved Music's Greatest Riddle, p. 40-42. USA Alfred A. Knopf, New York. 2001

(2)Aebersold, Jamey and Slone, Ken. The Charlie Parker Omnibook. New York: Atlantic Music Corp., 1978.

'It don't mean a thing if it ain't got that swing ...'

Duke Ellington