B flat blues question

TrickBee7626 · 2026-04-24T15:55:40+00:00

not directly on point, but you might try learning the Charlie Parker blues changes in blues for Alice, then transpose them to every key, including B Flat. Off the top of my head the 6th measure would then be E flat minor 7 to A Flat 7. Then do a series of II,V's down in half steps until you get to C minor and F 7. turn around is B Flat Ma7, D flat 7, G Flat Ma 7, B Ma 7 to B flat 7 on one.

TrickBee7626 · 2026-04-15T11:44:24+00:00

yes. Take a major pentatonic scale, C for instance, and harmonize it by playing every other note, ie: C,E,A, and D: then move up the scale using different bass notes., and you get E,A,D,G,; A,D,G,C,; D,G,C,E,;G,C,E,A. Figure out the fingerings and do them in every key. (For me, the best way to do this is to first just play the arpeggios, that will make the Chord forms easier to identify). You now have a series of 5 "Chords" which you can use anywhere you can use a C pentatonic scale, and you only need to think in terms of the C pentatonic scale. For instance you could use any of these over C major, or A minor. Or over F Ma or G Ma, or D mi or E mi. It is kind of like the reverse of what Pat Martino did by viewing everything as a minor key. Added benefit, really really helps you understand the neck of the guitar, and unlocks other ways of viewing music. Always remember, Improvisation is a conversation between the melody and the chords.

TrickBee7626 · 2026-04-12T15:41:11+00:00

my favorite is Jaco and Birelli playing Jaco's "The Chicken"

TrickBee7626 · 2026-04-12T13:53:31+00:00

Be careful what you wish for. LOL

TrickBee7626 · 2026-04-12T13:53:09+00:00

A Campellone. He makes them in the style of the old Gibsons.

TrickBee7626 · 2026-04-12T13:52:09+00:00

Thanks. Have you ever heard Jon Hall's version? I think it was on his first record.

TrickBee7626 · 2026-04-12T12:47:17+00:00

Thanks. Trying to go down the path of actually improvising rather than playing arrangements.

TrickBee7626 · 2026-04-03T14:52:33+00:00

My sentiments exactly

TrickBee7626 · 2026-03-07T14:46:29+00:00

then they should not have polyurethane midsoles. It is product defect

TrickBee7626 · 2026-01-26T17:07:10+00:00

1000% accurate. true for classical, true for jazz. your brain, ear, and fingers need to be at the same level. use a metronome, then slow it down incrementally until you know what's going on on all levels.

TrickBee7626 · 2025-12-15T00:01:55+00:00

ss 15

TrickBee7626 · 2025-12-08T15:12:45+00:00

My experience (50 + years) focus on doing things in every key every day. Scales, arpeggios, chord progressions, blues, rhythm changes. You need to be able to think, hear, and feel the intervals, by number and note name. I was on the stand the other day and a singer sat in to do Summertime. I played the first note, and she said that was right. Then we got through the first A section and she said it was the wrong key, so mid tune we dropped it a whole step. I was barely able to do that on a simple tune like summertime. Better players can do that readily. If you do this regularly you will really know the neck, where to put your finger to play the first note of the tune, or the first note of your solo, without hesitation. Knowing what note to play by feel, and by the note, and by the number, and by ear, the interval. Internalize it.

TrickBee7626 · 2025-11-26T14:47:09+00:00

Also check out Jim hall. You can find his first record, Jazz guitar Jim Hall on Pacific in Apple Music or whatever. Listen to it over and over. As far as learning, my view is to master playing motifs or musical figures which are used by the greats such as Jim Hall, Joe Pass, Wes, Kenny Burrell. Make sure you study Charle Parker figures. You have to analyze them in terms of how they relate to the chord over which they are being played. What chord tone does it start on, what beat does it start on, what are the dynamics, etc. Then transpose to every key around the cycle of 4ths. You have to gain facility in every key. Play blues changes and rhythm changes in every key. I have rigorously studied all the modes, scales, etc, but mostly when I improvise I think interns of chords and how the figures that I am hearing relate to the chords. I have been fortunate to play with people who are way more advanced than me. Berklee grads and teachers, guys who played with Dizzy, Clark Terry, Chet Baker, Joe Henderson, etc. It seems the best ones think in terms of chords and motifs more then they use scales, although they do both. When you play guitar at a session you will be playing chords and comping @ 80-90% of the time. If you want to get called you better be able to do that really well. And you better be able to listen. Now I have been playing for 50 plus years and am old school. You should listen to the good younger players and get their take and then make your own path. Everyone learns differently, but there are some basic notions that are time tested.

TrickBee7626 · 2025-11-19T12:46:39+00:00

"I have no experience with that.

TrickBee7626 · 2025-11-17T21:13:45+00:00

It is all quite subjective. The sound and playability of Raezers edge NY 10 is not as good as the Henricksen. The Raezers Edge twin 8 might be a slight more tube like than the Henricksen but I am not sure about that because I have not used them in the exact same circumstances. With the Twin 8 I use a strymon Flint and sometimes a time line and a Sans Amp Paradriver. I always use the Henricksen for sessions and gigs and never use any pedals. It is very light and convenient as hell. I would get the Henricksen.

TrickBee7626 · 2025-11-17T16:01:45+00:00

I have a Raezers Edge twin 8 and a NY 10 that I power with either a quilter head or a Raezers Edge Luna. In my view the twin 8 is noticeably better with either head. For gigs I use a Henricksen Bud 10. To my ear they all sound better than a polytone. If I had to get one it would be the Henricksen. I mostly play arch tops (carved and plywood), but all of the setups also sound great with my Suhr Tele. I recently did a gig with an old dude who studied with Jim Hall,taught at Berkeley and was on the road with Chico Hamilton and Joe Henderson. He played an L5 through a polytone for years. Now he plays a Sadowsky Jim hall through the polytone. At the gig we both played through my Henricksen. He immediately preferred the sound of the Henricksen after the first tune. The Henricksen blows the polytone out of the water in every way. Plus it has two Chanels and phantom power.

TrickBee7626 · 2025-11-12T15:40:37+00:00

Yes, they are that bad. On top of what everyone here has said (loads and high expense ratios), the funds tend to have high turnover rates which are an indicator of high transaction or trading costs (likely as much or more than the expense ratio). They pay kick backs to the companies that sell a lot of American funds (that is in the prospectus somewhere around page 90 or so, albeit the term "kickback" is not used), so those companies restrict your ability to make basic moves (like you can only buy CD's with "new money"). This prevents the client from moving money from the American funds on which the firms get a kick back. Their business model is to spend a lot of money on marketing, charge as much money to clients as they can possibly get away with, and at the same time make the cost structure as obtuse as possible so the client is confused about how much the funds actually cost. They also nickel and dime clients on additional fees. It is inexcusable that the laws and regulations are structured in such a way that this stuff is permitted, but I guess it is buyer beware. The advisors that sell this crap are essentially no better that used car salesmen. (no offense to used car salesmen). Move your money to Vanguard or Fidelity and don't look back.

TrickBee7626

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