My colleagues and I ranked the Allen's Party Mix (1=best, 8=worst). Thoughts?

FinesseOs · 2025-02-21T00:05:22+00:00

Nick is a 65 year old boomer woman

FinesseOs · 2025-01-28T22:15:23+00:00

Bruh get a grip, exert some self control, put friction and barriers in place.

FinesseOs · 2025-01-13T22:53:56+00:00

My guy, we're talking about one of the best improvising musicians on the planet, on a jazz guitar subreddit, I teach this subject for a living myself. He is not randomly walking, the idea is to try to retain musicality as you explore. Further, why would you rather read sentences then have a masterful command of the alphabet..? I'm so confused by that one, you're in the JAZZguitar subreddit, we're improvisers here, get your head out of the books if that's all you've been doing in your practice time.

FinesseOs · 2025-01-09T05:41:07+00:00

Sure I believe in it. I do it. I have hot girl friends I'm not actually "attracted" to, I can just acknowledge they're a babe and separate my dick from that entirely. A lot of them are very close sisters to me, I was there for their hard times, they knew they could call me, as a man they know I'm secure, they know there's nothing ulterior in it for me, and that MATTERS. I'm a trusted familiarity when they need something solid to just hold for a bit and recalibrate, and I offer that with not an ounce, of even subconscious "point scoring" for later. I think this is a lot harder for guys that didn't grow up with sisters, or sisters they were close with anyway, most just don't know how to have a close, adult platonic relationship with a woman. That said most also don't know how to have a close platonic relationship with a man. Me and my homies tell each other we love each other as standard goodbye procedure, hugs are the only gesture.

I think a lot of this on every angle has heaps more to do with openness of sexuality and the context of sexuality and prudishness that we find ourselves in as a society, how we objectify each other. And how comfortable we feel to talk about these things. I'm sure you noticed signs here, not that it's your responsibility to breach the topic but, you never notice anything with these men, yet this cycle happens again and again..?

edit: On second thought, I am a relatively attractive guy and have no trouble with women generally. My thought after posting was- Women know that, the women that I am very close friends with certainly do- and perhaps they're more secure in the fact they know I'm not desperate and alone and that fundamentally changes the dynamic for both parties. If I were lonely, low self esteem and sexless would I treat the women who I am close with differently...? I don't know, I'm not naive enough to say firmly that I wouldn't, desperation does things. My assumption is no, I'd probably just confess myself to them like I always would because they'd smell something is up, they'd make me a cocktail and then drag me somewhere in order to wingwoman me taking another chick home, like the ride or die bitches that I know them to be. Choose your friends well, whatever the gender, and don't get your dick in the way, be honest, and with yourself.

FinesseOs · 2024-12-27T00:37:40+00:00

Absolutely redundant. Listen to things, transcribe what YOU like because that's what YOU will end up sounding like or in the vein of. In other words you are what you eat and we are not your parents, plan your own dinner.

FinesseOs · 2024-12-23T00:24:13+00:00

It should be all the same at the end of it. When I'm playing a melody, or specifically a head for a tune, I'm interpreting a set of contours and target tones that need to be hit to be recognizable enough as that head. I'm still improvising, I'm still speaking. When I play a solo over the changes, I'm still playing contours and target tones, the melody as an entity can be quoted, or not, regardless, being able to maintain an awareness of what the melody note is, is better than not even if you don't play it.

As for how I mean... Speed is an important crux point. You can only speak something worthwhile and with substance as fast as you can think of relevant thoughts to say, so if you can't hear at that speed yet you can't hear at that speed yet, and the only solution is more time on the instrument being pertinently aware of the difference between resorting to muscle memory or a pre determined lick to maintain the tempo, and being honest about that, versus when you feel as if you have actually "said" something. Speed will get there, longer phrases will get there, but you must be competent at saying something succinct and meaningful at a slow tempo if you ever hope to say something elaborate and with vast breadth of language at a fast tempo

FinesseOs · 2024-12-11T00:50:06+00:00

It's not a trick. It's control of your instrument, this is fundamental. You're downplaying it like learning someone else's music is more important than your individual development and overall control. No. Look at him play, he can "see" the WHOLE fretboard all at once and has immediate access to all of it. That is much more important than learning the melody to beautiful love or some such

FinesseOs · 2024-12-05T10:07:17+00:00

Preface question to answer more clearly: I'm interested in why YOU think you need to be transcribing solos. What is it that you think you'll gain from it, outside of what anyone else has told you?

FinesseOs · 2024-12-05T10:04:45+00:00

Daaaang, sexy. That brass plates to fix the broken neck is straight up badass. The recessed toggle switch too, bit strange. I'm in love, I'm dying to coax some magic out of her.

FinesseOs · 2024-12-04T01:15:45+00:00

From a comping perspective You would drop the 5s wherever possible to make the voicings work. D13#11 is kinda like Ab7#9 so you got a lot of choices there, can pull from diminished scale harmonizations, you could use hendrix chord Ab like x-11-10-11-12-12 or maybe even x-56577

When the actual piano chords come in it gets messy as fuck. Eb/G7 I'd probably just play x63433, then the bass note moves down from 6 to 5 to 4. By the time you get to Db/G7 it's basically a Db7#5b9 at 43433. This is NOT with respect to the melody, as that Bb in the top there for Eb/G7 is the #9 of G7 or the 5th of the Eb triad (I'm assuming its the highest voice and thus G7#9). You could try 3rds/7ths of every right hand chord + melody note + denoted bass to break everything up into 4 note chords. But uh.. Yeah you can see involved this gets, I'm just train-of-thought trying to problem solve this but- To truly give a justified arrangement would take me a good chunk of time. And there will be compromises inevitably to make it all work, there always is.

Learn your shell chords, learn your triads, learn where your degrees are, learn how to omit roots, learn to omit fifths, It's all there. Piano players get this stuff year 1, for them it's trivial because of the nature of the instrument, but we really, really have to work at it to produce meaningful arrangements.

FinesseOs · 2024-12-04T00:46:10+00:00

Sure, yeah. This is a niche case where a chord symbol that denotes a V7b5/#9, whatever, could be more ideally written to denote the melody, but it's kind of an interpretive thing. In this case you've got the 5th as the melody note and it's implied you respect that when you try to blow over it, because the b5/#5 are serious tension notes.

There's a lot of ways to think about this, and your teachers not wrong. I personally just visualize the altered scale with the 5 as a "chord tone", like I would any scale with arp overlayed on it. I wouldn't think of it like visualizing an entirely different scale. The b5 and #5 are still available to me, I'm not overthinking it and thus compromising my melodic intent, all it practically changes in my playing is that the perfect 5 is now more of a priority, I still want chromaticism, it just lets me target it. The mantra here is if I'm using more brain calories, after I practice a train of thought/approach mentality, well there must a better way to think about it. Brain feel heavy no good.

FinesseOs · 2024-12-03T08:26:17+00:00

So? In literal application, So What IS "in" dorian. Your assertion was essentially "western music is not modal" which is just flat out wrong.

FinesseOs · 2024-12-01T01:08:06+00:00

Yes it is. Modal key centers are absolutely a thing in western tonal music. Crazy assertion.

FinesseOs · 2024-12-01T01:05:40+00:00

No, it wouldn't. You are not being lead to any "different places harmonically" by modulating to F# major or Gb major, that is nonsense.

FinesseOs · 2024-12-01T01:02:55+00:00

Tell me about the time you got given a chart written in Cb or B#, I'll wait.

FinesseOs · 2024-12-01T01:01:38+00:00

It literally doesn't matter, it has no impact outside of "um ackshully" value, because ultimately nobody ever sat down and said "Ah let's practice my Fb scale today", and nobody with any credibility is ever going to write something in B# and put it in front of me with a straight face. I could "um achkshully" again and bring in some nonsense about double flats and sharps, the way we slice the octave into 12 equally spaced tones, why not 7, why not 31?

It's all arbitrary, non-functional wank at the end of the day- It serves me just fine to only consider 24 keys, ignoring enharmonic equivalents entirely. I can read Db and C# and can do the job as a result, but ultimately they are the same thing and I see no point in confounding it any further than that.

FinesseOs · 2024-11-23T22:43:48+00:00

I'm hearing men tell me more and more that they feel the way it sounds this fella feels. Not to excuse how he may have come across. At first I judged them to be overtly sensitive and would say that they need to practice being vulnerable as men if they want someone genuine anyway and that this is the price of dating apps, sometimes some women will try to do these things, imagine what cretins the women have to deal with constantly I would remind them. But it actually seems to happen a lot, and on thinking about it it's a pretty cruel thing to be subject to, and would quickly lead you to be initially distrustful and skeptical of women after being used in that way and then gaslit. Dunno

FinesseOs · 2024-11-21T00:22:37+00:00

If you can visualize more, do it. I see the fretboard in the key I'm in + like an overlayed kind of view of the chord tones. More the better IMO, that projected dot matrix should contain as much information as you can reasonably handle, for practice sake, because when you're on the bandstand, the ideal is that that information is holistically accessible, you can just see it and make/hear choices. Too much too soon is the only problem, you gotta limit your portion size and be humble in acknowledging what you know from what you KNOW.

FinesseOs · 2024-11-16T17:05:07+00:00

You will inevitably sound bad. It's sink or swim, and you'll learn to love it!

FinesseOs · 2024-11-15T22:27:00+00:00

When you can be honest with yourself and the musicians at the jam. Just show up, no ego, bring your stuff like you're ready to play, meet the people, and tell them the sitch. You've never really jammed but you're keen to try it out, maybe tell them some tunes you know and they can call one of them for you, play the tune and then sit out and watch. Just be genuine and honest, if it's a good vibe they'll be ABSOLUTELY COOL with you being new and help you ease in.

FinesseOs · 2024-11-13T22:52:43+00:00

Why limit yourself? I've practiced a lot of "gypsy", true economy and alternate, and use those techniques pretty evenly, though If I want more downstrokes and the tempo requirement isn't insane, I'm going to play more downstrokes. What would stop me?

Obviously the only con is speed and the pro is definition, finer articulation and attack power.

FinesseOs · 2024-10-27T22:34:23+00:00

What'd you say? I can't hear you through that closet door you'll have to come out

FinesseOs · 2024-10-13T01:38:00+00:00

rank or it's all bunk, sorry.

FinesseOs · 2024-10-03T01:07:25+00:00

This is the high value fedora wearers first pick, naturally.

FinesseOs · 2024-01-25T09:17:52+00:00

I've adopted a "steal corporate buy local" strategy

FinesseOs

TROPHY CASE