Mikey D

[quote name='rslaing' post='522352' date='Jun 24 2009, 09:37 AM']A great way to practice the modes and get the sound of them in to your head is to (assuming you play a 4 stringer) play the open E string and let it ring. Start on the E (7th fret) on the A string and playing up the scales across the A, D, and G string, play the modes as follows. Don't forget to let the bottom E string ring out while you play these modes. It will reinforce the sound of the mode in your head. And if you can, sing the notes as you play them - good ear training. Ionian: E F# G# A B C# D# E Dorian: E F# G A B C# D E Phrygian: E F G A B C D E Lydian: E F# G# A# B C# D# E Mixolydian: E F# G# A B C# D E Aeolian: E F# G A B C D E Locrian: E F G A Bb C D E[/quote] All great posts so far. Rslaing, I would suggest a slightly different way, adopting your technique of playing the low E, but playing the modes in order of "brightness"-"darkness" (I think this is even shown in the attached document to the first post). This way only one note changes at a time between the modes so you can hear the subtle (or not so subtle changes) it also groups the modes together as major or minor as described by Jake. Major Lydian: E F# G# A# B C# D# E Ionian: E F# G# A B C# D# E Mixolydian: E F# G# A B C# D E Minor Dorian: E F# G A B C# D E Aeolian: E F# G A B C D E Phrygian: E F G A B C D E Locrian: E F G A Bb C D E

I've seen the scofield one, I'll have to check this one out.

[quote name='urb' post='517303' date='Jun 18 2009, 12:22 PM']Having seen Krantz at the 55 Bar in New York - with Keith Karlock and Anthony Jackson (yes it was mind blowing!) Any strategy that gets you away from your stock lick and into new territory is great[/quote] I'm a very jealous man, I'd love to see that trio (or any of his trios actually). That is exactly what I'm trying to do. For years of my playing I have tried to sound like a particular player at different times (Jaco, victor, and more recently the language of coltrane, Ted Greene, Martino, Willis) and I think this is a valuable process for learning the history of your instrument and the genres which have gone before. But for the past year and half I have found this lick learning a bit frustrating as I have an idea of what I want to sound like but never really worked towards it, this approach is helping me (dare I say it) to get my own sound. Although I feel that will be many many years off. I'll give some feedback when I receive the book.

[quote name='Eight' post='517939' date='Jun 18 2009, 10:50 PM']Different end of the spectrum probably but "Everybody Needs Somebody" drives me insane sometimes. I can play it note for note (and backwards if I want to), but can't figure out why Dunn's version sounds so much better than mine.[/quote] It's because of his amazing beard and pipe combo!

Had a listen to the song and I don't hear any triplets. If you mean the repeated A's with mutes it just sounds like you thumb with your right hand and where there are mutes you apply a little less pressure with your left hand to get the mute. I noticed on another thread you are around MK sometimes, I'd me more than happy to go over some slap stuff if I'm free and if you're about.

He is possibly my favourite improviser on any instrument and as such for the past few months have been approaching my soloing/improvisation practice from his point of view. A lesson here basically describes it: [url="http://www.guitarplayer.com/article/get-zone-intriguing/jun-08/36177"]A Wayne Krantz Lesson[/url] I've used the concept of restricting myself in many aspects of my practice, but not to the extend that Wayne describes here and in the zone restriction manner than he has laid out. I've just ordered his Book the Improviser's OS and look forward to seeing what else it contains. I suppose this is quite similar to Gary Willis' fingerboard harmony approach, but not allowing a shift out of the 4 finger range. I believe the guitarist Mike Outram (as well as many others I assume) have used this approach. What do you think?

I completely forgot that I downloaded that a while ago...that's tonights practice sorted! I found it while looking for NHOP (who is my favourite upright player) transcriptions.

Now I have sold my Phil Jones Stack I am waiting to get one of these as it is exactly have I have been looking for. I would ideally like to try it first, but have no worries about getting it from Thomann. But they have said end of July/start of August...I'll be using Ibanez completely then, I wonder if they will consider an endorsement deal* *No, they probably wouldn't

What harmony is this played over?

[quote name='The_D' post='507911' date='Jun 8 2009, 03:17 AM']I seem to remember watching some blue peter twat or the art attack guy making some from a box of quality street. You know the green and red wrappers. Try it yourself![/quote] I remember that.

[quote name='cheddatom' post='493450' date='May 20 2009, 04:51 PM']People have been "hanging out" with each other for years now. Is the only new thing about it in this context that it applies to the ammount of intoxicants consumed? Or is there nothing new about it? Ta for the explaination![/quote] See, I don't mind "hanging out". However I seem to not like the phrases "going for a hang", "it was a great hang man", "Fancy a hang soon?" and other such variants. The "hang" doesn't seem to just be about booze and drugs though. If it was, I would "nail" the first part. But at the end of the day if people like wayne krantz, chris potter and keith carlock wanted a hang, I'd be there.

My pet hate is "I need to shed", "Get some shedding in" or "It was a great hang" and do you "fancy a hang later?". Most likely there are other "Hip" NY jazz player words/phrases that annoy me also. I don't think I would mind if it wasn't some geeky 18 year old English kid who has just started playing jazz and is only using the words as it makes them more "hip".

[quote name='YouMa' post='430219' date='Mar 10 2009, 11:57 AM']Can i where a big 70s bow tie like the guy on the loveboat?[/quote] I think I fit the part! Also, I'm seriously considering this. I have been busting my arse on a contract since august in the hope to be made permanant. This has finally happened, which I should be grateful of in this current economic climate, however I have been offered only a 3p an hour raise. Not quite the additional 7k per year we talked about at the start. Email will be sent to this guy this evening. Questions: How does the tax work? Are you technically self-employed? How many hours a day would you actually be playing for? Was there much playing for fun outside of the required shows etc? Just how much does a large vodka over ice cost on a cruise?

Funnily enough I've been looking at those again recently. I love the bass part to "The Suitcase".

[quote name='maxrossell' post='481854' date='May 7 2009, 12:38 PM']It's a shame that if I played you Soundgarden's [i]Superunknown[/i] you'd pull a face like a six year old with a mouthful of asparagus.[/quote] Which reminds me of one of my favourite 'jazz' bands around at the moment:

I've signed up. Looks like a great idea. Once I give it a go I will give some feedback.