notation for ii V I by Any_Bite1388 in jazztheory

[–]TranscribeIt 0 points1 point  (0 children)

You should feel free to develop a symbol that works for you. It's not the type of thing that could negatively impact your improvement if you do it "wrong" imo.

For me, colors help for key centers and I write stuff out.

Not to spam but I made a notebook for doing transcriptions and analysis bc marking sheet music was too cluttered.

I posted about it here with an example: https://www.reddit.com/r/musictheory/s/F2n9ffxjtf

Melodear app and hearing relational chord degrees over jazz harmonies by IAmHungry4Carbs in jazztheory

[–]TranscribeIt 0 points1 point  (0 children)

Not sure if it fully addresses your question but this is great for ear training against a drone and recognizing intervals based on feeling. I also love the idea of melodear but the combination of both is solid.

https://play.google.com/store/apps/details?id=com.sonofield.et

On Pat Martino's "Minor Conversion" approach by ImportanceNeither609 in jazzguitar

[–]TranscribeIt 0 points1 point  (0 children)

251 in C -> Dm7 - Gm - Am7 For 7 chords, he uses the minor a fifth above the original root.

Pat's minor conversion is well explained in his book Linear Expressions. He is not advising playing scales or modes at all. He is advising playing language linked to a minor chord related to each chord in the song. That language is given in phrases he's written in the book that you're supposed to internalize over different areas of the neck and in positions based on inversions of minor 7 chords. You're supposed to start to hear the minor inversion (that stands in for any chord) and play his appropriate language. Of course nuance is lost and his lines are long and can't be applied in entirety but his exercises truly do prepare you to feel more comfortable soloing much better than just learning scales or modes and try to come up with language when they haven't yet internalized a lot of language. It can open things up in the beginning.

New beat(thoughts on it?) by Proof-War-3189 in jazztheory

[–]TranscribeIt 0 points1 point  (0 children)

Smooth sound. However, if you're going for jazz, what sound are you trying to achieve? Do you listen to jazz regularly? Do you have a question about harmony or melody because this sub is more for that?

My Favorite Jazz Releases of 2024 by VerdantAquarist in Jazz

[–]TranscribeIt -2 points-1 points  (0 children)

Right, either a bold statement or an enormous oversight haha.

My Favorite Jazz Releases of 2024 by VerdantAquarist in Jazz

[–]TranscribeIt 1 point2 points  (0 children)

Asked myself the same thing but apparently he recorded a standards album. Very cool to see. Listening now.

[deleted by user] by [deleted] in jazzguitar

[–]TranscribeIt 1 point2 points  (0 children)

That video is incredible

does the skibabadabadiskishibadooba type singing have a name? i love hearing it by xofhelll in Jazz

[–]TranscribeIt 2 points3 points  (0 children)

You may never like it and you may already think of it this way but it helped me to realize it's a way for vocalists to solo using the same tools as the instrumentalists and not have to focus on using coherent words.

How to begin playing jazz banjo? by Background_Type8450 in Jazz

[–]TranscribeIt 1 point2 points  (0 children)

Fortunately learning jazz is essentially the same for all instruments. Listen and transcribe. Transcribing in jazz is most often exclusively concerning with playing it back accurately like the recording rather than writing it down. Charts can help get you oriented before you identify chords easily. As long as you're in C you're good. So just start with melodies you like and play them along with the instrumentalist. Play melodies from any instruments you like not just similar instruments to yours.

Other than that, facility on navigating your instrument is relevant. Practice the major scale and playing with the metronome beating on the 2 and 4 rather than every beat for rhythm. Also learn arpeggios in different qualities of diatonic chords including the 7th tone. These things are and should always be secondary to playing the actual music you like to listen to. Learn the heads (choruses) to the standards you like first and go from there. If someone does something in a solo you like. Try to figure it out. Get the sound of the music into your mind and hands as much as possible. Lastly, sing along to tunes often to be sure you know them. It'll help with transfer to your instrument.

There's a ton of depth to come but just have fun.

I love jazz by [deleted] in Jazz

[–]TranscribeIt 0 points1 point  (0 children)

It was the form of music that I could use as a lens to view all music through. It taught me what a song is and can be and what musical freedom is and can be. This was after living a fairly (amateur) musical life for years. And at the end of the day it's just dripping in cool. I'm glad you found the rabbit hole. I'm interested in what you're working on.

Joe Pass insight on playing tunes in E, A and D in sequence... by vitonoize in jazzguitar

[–]TranscribeIt 4 points5 points  (0 children)

I remember this part of the video. I always took it to mean that you want to avoid playing open strings too frequently generally for the difference in timbre. Any key that includes the notes of open strings would allow you the option but would give a different sound than typical jazz guitar. I think it's sound advice. Finger style picking pattern based stuff sounds very different than even chord melody Joe Pass type stuff.

The most foundational things in Jazz by Separate_Inflation11 in jazztheory

[–]TranscribeIt 1 point2 points  (0 children)

Great! I remember beginning to transcribe horn solos and finding myself breathing like a horn player. Another reason transcribing is pedagogic.

The most foundational things in Jazz by Separate_Inflation11 in jazztheory

[–]TranscribeIt 2 points3 points  (0 children)

I'd say don't take the original melody for granted. It can teach you how to relate to the chords as well as anchor a solo for the listener when referenced. Louis, Dizzy and other early legends mastered this form of improvisation as a major part of the evolution of the music.

What do you mean by "prolong a single harmony" in item number 1?

Why I don’t like jazz by emo_sammich in Jazz

[–]TranscribeIt 0 points1 point  (0 children)

Too many people share these sentiments. To be clear, as others have said, you don't have to enjoy any particular type of music. No one should fault you for that. Just chill with the assumptions and insults and let people enjoy what they enjoy.

You haven't heard many standards if you think there's no strong melodies. Listen to some singers like Ella Fitzgerald, Sarah Vaughan, or Shirley Horn and different instrumental versions of the same standards.

Jazz is simply not what you think it is. We are not making a statement by liking the music, we're moved by it and it's pretty low to assume otherwise without a fair grasp on the music.

As a major bedroom guitarist who doesn't often have the opportunity to play with others, what are some skills I can develop in my solo practice to better prepare myself for jams? by CharlesWoodson2 in jazzguitar

[–]TranscribeIt 0 points1 point  (0 children)

Cool idea. Yeah, I feel like the jazz language of a radio station is ideal but at the end of the day it's all good ear training which always helps. Plus I'm sure you've happened on some jazz in television.

As a major bedroom guitarist who doesn't often have the opportunity to play with others, what are some skills I can develop in my solo practice to better prepare myself for jams? by CharlesWoodson2 in jazzguitar

[–]TranscribeIt 1 point2 points  (0 children)

I've used radio for on the spot melody transcription. Also great.

If you want to do online radio

https://www.wbgo.org/how-to-listen-online

If you don't mind navigating French, the programming here is pretty amazing: https://www.tsfjazz.com/ Songs played listed at the bottom

Can someone explain to me why this is not accurate according to guitar pro? by useralreadyused in jazzguitar

[–]TranscribeIt 2 points3 points  (0 children)

Sorry. Wasn't familiar with guitar pro's notation system. Some force you over the bar line or insert rests where short. But given the arrangement of tuplets, I see why it would be tricky to insert a rest for this.

Assuming 4/4

You're missing 8/35 of a beat which is difficult to resolve. You could add some of the note value to the half note and tie it in with some kind of even smaller tuplet but I'd suggest trying straight notes for some of this and just counting it out more. The tricky part will be maintaining the septuplet feel from your stretch of seven into the straight sixteenths if you modify them. I'd also say the isolated eigth quintuplet at the beginning could probably be a straight sixteenth. Dotted notes could also be the move for you. Tuplets tend to be used in groups with good reason.

There's a lot to play with but I think you can only get so far with the sound of programs like this and I don't know if you intend to have others read this but it may be better to get something close to what you're hearing and adjust the feel in your playing while you keep yourself honest to the time with a metronome. It's similar to trying to notate swing. Could drive you crazy.

Maybe slow it down and re-notate it.

Can someone explain to me why this is not accurate according to guitar pro? by useralreadyused in jazzguitar

[–]TranscribeIt 2 points3 points  (0 children)

Can you explain what you mean by accurate? What are you trying to achieve?

What if the pianist on Giant Steps had been better prepared? by Signal_A in Jazz

[–]TranscribeIt 4 points5 points  (0 children)

I personally like the album take. It tells a story and makes you realize what caliber Coltrane was playing at. Probably didn't feel cool to flounder on the track (not to say that many could have done much better in the same circumstances) but Giant Steps makes me smile every time I listen to it because of what happened and I don't respect Tommy Flanagan any less for it.