sxedio wrote: ↑
Wed Oct 11, 2017 9:12 pm
randalljazz wrote: ↑
Wed Oct 11, 2017 9:46 am
what i discovered early on, besides the issues of playing in time and keeping my place in the form (the FIRST rule!) was the need to share the sonic space with the others ("randy, we love you, man, but..."--an invitation to figure it out or forget it.) as a solo guitarist, my instincts were to play six note chords if possible, and on all eight eighth note spaces in a measure of four four. whew!
I think that would go for any ensemble playing, arranging things for chamber ensemble with guitar etc. Especially if it includes other harmony instruments, harps, keyboards, etc. (easier to occupy all six strings etc. if just accompanying a singer or single melody instrument)
well, sure. but improvising in the jazz context is arranging on the fly. as the measures go whizzing by, you grab whatever chord your instincts (read: background knowledge) you can, in as best time you can muster, hopefully staying somewhere near the groove...striving to make harmonic sense, listening to the others, anticipating the next phrase...and then it's your turn to improvise a solo...
so yeah, if you have a ready vocabulary of two, three, four note chord voicings for major, minor, and the various dominant types, and can bring them to bear in real time tastefully...in Eb or Ab or Bb minor or whatever, then no problem. you don't need this book.
but if your knowledge is about what mine was--cowboy chords, barre chords of the basic CAGED shapes--somewhat practiced in C and the first few sharp keys, JGFCC volume one will help you acquire the knowledge and skills to function...
"Beauty is nothing but the beginning of terror, which we still are just able to endure, and we are are so awed because it serenely disdains to annihilate us." -- Ranier Maria Rilke