LES WISE BEBOP LICKS PDF

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Kent Armstrong is the best one to call for your pup swap. Describe to Kent what you posted here. Kent will Gibson made a lot of them. I learned the first 16 bars tonight, and it's not just a Melodic approach, but it's also rhythmic. His solo really swings. I know he's talked numerous times about paying attention to that, but it's FYI, on Friday June 5th, bandcamp.

I have a couple of jazz guitar things picked out: Steve Cardenas, both on his own and with Chris Sorry guys, but I don't post things without thinking them through first. I own several mainline US made instruments, and have gigged with all of them.

I also have owned, and gigged with, several offshore brands of good quality. I love 'em all. I do think it is relevant to Not long ago, I purchased a wonderful '89 with mahogany back and sides all original. It was listed on Reverb for a few hundred dollars more, Sounds pretty sweet to me! I think you have a keeper there!

Just looked that up and listened to "Youd be so nice to come home to". One other? Since I'm using both a Humbucker and a Single Coil what ohm pots should be used? I've seen diagrams with both k a d K as well as a mix. Not sure which to go with? Thanks John D. Plain steel high E's and B's are all pretty much the same regardless of manufacturer. I'm just adding a sound clip as I was going through my phones files. This is NOT me playing, but a professional friend. But figured I would post since I found the clip and never posted at the time Never done it online, but I have used a sign-making place to make templates from CAD files.

Most have a CNC machine suitable for your purposes. IE not a huge quarter million dollar machine. I like good gear. It's possible to be a gear-head and have no brand loyalty or own a ton of gear. I own the best 3 guitars that I can scrape up the cash for. I play guitar and don't have the income Search Titles Only. Les Wise. Thread Tools. Les Wise has a new utube website and has made some really good jazz guitar videos for your jazz guitar learning experience!

For those of you who don't know about Les, let me just say he is the BEST jazz guitar teacher I have ever had since I started playing over 50 years ago. Take a few minutes to look at his new website YouTube - Kanaal van innerjazz and view some of his video instruction. Les has written several really great jazz guitar books and taught jazz guitar classes at M. The Jazz Guitar Chord Dictionary. Thanks Wiz, I remember looking at some of Les' stuff many years ago.

I thought it was in the late 70's but, looking at him on the videos, it couldn't have been. He looks so young. Thanks for the link. I really like his concept for memorizing changes. Must watch the rest. Cheers, Ron. Thank you so much for this update. I was wonderinbg what happened to this monster instructor!!!

Nice thanks. Thanks for the heads up Wiz. I have a couple of Les' books, and really like the way he does things. I got some really cool ideas from his ii7b5-V7b9 video: YouTube - Kanaal van innerjazz. Les was real good teacher and nice guy. Seeing the AxeSack on his guitar in the video brings back memories. They were popular around GIT back then. I have his Jazz Lines book which is full of great ideas. Join Date Nov Posts In his Jazz lines book he has lots of lines to go over the 2 m7 -5 7 -1 maj7.

Very nice to have set pieces of jazz riff to string together occassionally. However, what does one do when you see a 2 m7 -5 7 -1 6 or a 2 m7 -5 7 -1 m , for example? Should I have a few of his lines under my fingers, use those for the part and then just arpeggiate on the 1 6 or the 1 m. The answer may be just "do what sounds good". But I am hoping for some greater insight than just that.

Originally Posted by richb2. The major 2 5 resolves to a major chord and the minor 2 5 resolves to a dominant? Join Date Apr Location anchorage, alaska Posts 1, Thanks randalljazz, I wondered how long it would take for someone to post I've spent some time looking over those three links above. I cannot find in iimiV7alt what the 5 means. I get the iimi7 and I think I get the V7alt. So this "could" be Dm7 -?

I think that your Roman Numeral Notation nomenclature is great, but shouldn't that be in another thread? I think that your Roman Numberal Notiation nomenclature is great, but shouldn't that be in another thread? OK Good now that we cleared up the Roman Notation thing, what page s in Wise' Bebop Licks are you talking about having minor licks?

Are you talking about the IIm7-V7 ideas one bar phrase chapter starting on page 90? To me, those look just like the major 's without the major at the end? Join Date Mar Posts I don't have the book for reference but understand that the second chord of a minor progression is the half diminished chord iib7b5 not the iib7 or IIm7 as you've written it In addition the dominant chord V is an altered chord not just a V7.

This is all because the tonic I scale is different between these 2 progressions one being major the other being minor and these progressions are based on the tonic scale. So if you're playing over the changes of a minor iib7b5 - Valt - i but actually playing iib7- V7- i, you are expressing the major scale and not the minor scale of the tonic.

So in your book look for iib7b5 - Valt progressions. Hope this helps. Originally Posted by keith. No the V chord is dominant not half diminished so the V chord is the G7 but in minor harmony using the jazz minor scale the V chord also has a 5 and b9.

These are alterations to the dominant V chord and in shorthand Valt. You should get a reference on diatonic harmony such as Levine's " Jazz Theory" that is advertised on this site to review and you'll understand this concept. Major and minor scale harmony are different, sound different because they are based on different scales for the tonic but have similar characteristics such as the V chord derived from the tonic scale whether it be major or minor has a strong push back to the I.

The V chord in each of them is a dominant 7 with alterations in the minor harmony so you can see how a songwriter could resolve it either to a major or minor tonic chord and that is the little trick or device they use to fool the ear and make it interesting.

This explains your findings in your book. You really need to learn about diatonic harmony starting with the major scale to understand these progressions. It may look difficult and appear like a waste of time but it will be well worth the effort. It will open up your instrument to you with so many possibilities once you understand how these chords are functioning.

It will make learning and remembering these seemingly unrelated tunes so much easier. It will conceptualize the sounds you're already hearing which will help in many situations for example if you get lost during a jam. Instead of just learning licks from a book you'll know what the licks are doing and you'll have a much greater selection of sounds to use to create your own licks and express yourself which is, I think, what most of us ultimately want to do.

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