Guthrie Govan Discussion

[thrashed]

I wanna know how to incorporate jazzy & chromatism into my playing?
I just got mysef a book about Theory and the most imporant things you need to know when playing guitar.. bu i still cant seem to seeminglessly add these chromatic and jazzy passings when going to a different mode or scale..

Does anyone know of any good onlinelessons about this?

Also.
After bout 10 Guitars i understand my Les Spaul standard is here to stay.. just sanded the neck a little and it plays like a dream. Installed a Dimarzio norton in the bridge and an Liquifire in the neck pos. which i i tend to do splitable, also intending bypassing the tine controls so that just one of em drives all tonecontrols and use the other for a killswitch.. if possible

first and foremost I need new tuners, preferrably lecking and a new nut so the strings slide better through.

What tuners and nut woould you recommend. I dont care about the vintage looks but just want as much platability out of the guitar as possible..
here it is before the change to Liquifire, had an Air Norton before




thanx

[frankus]

One solution is to play the notes that are not in the scale you're using.

There's a couple of good dvds on this: Jimmy Bruno's Inside Outside Jazz Guitar.. or Larry Carlton's first DVD (the second half) alternatively sit down and listen to loads of Thelonius Monk, in fact you'd probably not go wrong doing all of the above or just the last

Online you could sign up fo the JBGI but it costs a lot and the content is restricted based on your proven ability - but it's good.

Tuners - sperzel
Nut material I like tusq and I've got an earvana nut fitted on my 335 copy
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[greghowe]

You can mix scales together to create chromatic
for example 4 bars with the chord Gm7
you can play G minor (dah) and you can play G dorian
or you can mix them together which gives you a chromatic (D Eb E F)

[thrashed]

[sumis]

in your case, i wold learn phrases and licks that does what you want to do. as many as you can. break them up into smaller idioms, make them your own and change them around to suit your playing. learn which notes in those phrases sound cool, use that knowledge when creating your own phrases.

it is difficult to communicate these things without a basic, or preferably intermediate, understanding of theory -- which is basically a descriptive vocabulary. so learn the names of what you're playing. learn how chords work, and basic harmony. then it's easy to talk about how different ideas, sounds and harmonies work.

if you can't bother the theory: just copy sounds from henderson, stern, guthrie or whoever, and make it your own.

.

[ZeyerGTR]

I tend to use chromaticism as a way of getting from point A to point B using more notes and with more added tension. It also helps break up the rhythm.

For example, let's say you want to go from the 5th to the root above, you could walk up a scale in 3 notes with a triplet feel. In this case, going from the 5th (D) to land on the root (G) in the next measure you could do:

D E F | G

Or you could do it chromatically in 5 notes (quintuplet) in the same time span:
D D# E F F# | G

They sound and feel totally different because the chromaticism is not only playing with the melody, but the rhythm. You're sort of forced to jam more notes into the same span of time.

If your phrase starts on the "right" note, and ends on the "right" note, it's hard to go wrong. =) You have a lot of room to play with chromaticism in between.

[thrashed]