@@JazzGuitarForumsometimes he plays at the Jazz club The Rex in Toronto. Oz Noy and others have played there. Perhaps Call him up? Revently he played with Rob Piltch. His brother is bassist Dave Piltch! Good luck in your career too❤
8:40 is really pure gold. Sometimes people solo always forget the most point is the melody , and Peter well done on this matter. Thank you for sharing it , it's very usefull
Yeah, Peter is great, I always pay attention to what he says. I am getting better with the basic synonym thing, i.e. minor7 relative to major6, and minor6 relative to -7b5. As far as getting mileage out of voicings/grips, where the lines lay, etc. Anyway, I'll be doing what Peter says later on the couch.
Some of this I know, but the rest that I don't: I am totally straight up stealing and will sing Matt Munisteri's praises every time I play one of his purloined progressions
I prefer Jim Hall to most other jazz players be a use of his exquisite taste. He let the notes "breathe" and didn't feel the need to impress anyone with lightning fast runs.
Now this tune finally makes sense! I thought there was another section to it that wasn't getting played. Now with the in two explaination, the tune makes sense. Thank you Peter!
Why are guitarists told to play rootless chords due to conflict with the bassist? Was this lesson intended for solo guitar when there is no bassist, or maybe this is a solo guitar intro before the bassist joins in and then it’s back to rootless chords ?
There's really no right answer to this question. It is absolutely within the Rules of Bach to Double any note except the Third. The third, according to what I've read can "sound" out of tune even when it is perfectly In-tune. That's why so many people comp on the off-beat: Players usually play thirds and 7ths on the beat (so they say), and if you look at a lot of Bass Transcriptions, each one is Unique. They aren't always playing the root on the One. If you can find a Bass Player to work with then you should work out your Voicings with him or her. Comping is the Least Understood part of all the Pedagogy/Theory crap we have been having stuffed down our throats since the late 1800's when everything was Dumbed Down due to the lack of Qualified Teachers, when massed produced Pianos, violins. etc., etc. Began to be produced. If you want to learn basic Guitar comping then listen to Henry Haynes of "Homer and Jethro" on "Playing it Straight" it's a Master Course on Basic Swing Guitar Comping. The Voicings are primarily on the first 4 Strings. I should add that an Excellent Book that covers all this from a Songwriter's point of view is "Tunesmith" by Jimmy Web: "Whichita Lineman" etc.. He covers so many things so well, Like the most thorough examination of Slash-Chords, to how the Overtone Series of different Instruments effects your creativity and choice of Notes, to how to establish a working relationship with your Musical Mind. It's Brilliant! Cheers,
