I'm going to start these posts in sections... they will all tie together. You need to understand where I start from, my basic references.
Even though I'm going to begin with technical BS, fingerings, chords, scales, arpeggios... You need to understand the concepts, both actual playing as well as approaches behind that playing.
So there are levels of playing as well as levels of harmony/theory approaches... your level of physical skills and your level of understanding what your playing.
1) I'll start with fingerings... methods of organizing your fingers with all aspects of playing... I have a base fingering system or my default starting point.
2) Through that fingering system, I'll get into scales, arpeggios etc...
3) Chords, how I comp...
4) I use the same methods or systems of organization... "reference, relationships and development" for almost all aspects of my playing.
5) I'll have to get into forms, rhythmic concepts and what reading and playing jazz charts is... not simply what's notated.
There are more skills and we can get into them as they come up...
My harmonic/theory approaches are simple, use of Modal interchange, use of Blue notes harmonically, Modal concept approaches and use of Melodic minor non-functionally. There's actually more... but it's very standard.
An example... I'm soloing over Gmaj7 to Cmaj7...
My starting point is diatonic... Ima7 to IVma7...
Next relationship could be... Function relationships or function subs;
Gmaj7... access to VI-7, then III-7
Cmaj7... access to II-7, then VI-7
Now I have choice of developing those subs, through modal interchange, blue notes, MM etc... lots of choices.
Or I can introduce more subs through different methods... tri-tone, approach, sub of subs, Related IIs or Vs... implied or deceptive relationships for sources of subs. Other reharms etc... and then start developing through my basic jazz tools for developing relationships...
Every note I play represents a complete harmonic structure... On that Gmaj7... if I play 8th note line... starting on 2nd string 7th fret... F#, G, 1st String, 7th fret... B. 2nd string... 8th fret...G, F#
F# G B G F#. Harmony or what each note implies harmonically could be, F#ma9, Gmaj9, B-7, F9, E-9 all for that original Gmaj7 chord... with those notes as lead line...
X 10 7 7 7 X
X 11 8 8 8 X
7 X 7 7 7 7
X 8 7 8 8 X
X 7 5 7 7 X
Anyway this aspect of my playing, how I approach, will if nothing else help you understand how you play... everyone will get something out of it. But I do need to start at basics.. with out a solid mechanical method of fingering and understandings of what your playing...you'll hit walls when tempos get up.
1) Fingerings... I'm a position player, I base all my fingerings or how I see and hear and get out what I hear from positions. (1st finger determines position).
I use different fingerings to help imply different styles. Same notes played in one position have a jazz feel, while when played with a different fingering will sound like rock, blues etc...
I base all my fingerings off 6th string roots and use 2nd finger for those roots...which creates all 1st finger stretches. This is my starting point of reference... My mechanical method of feeling and not having to look at the neck to hear or see where I am. It works well for me.
My reasoning was... my 2nd finger is the strongest, and my 1st finger has the most mobility... which lead to 2nd finger as base and 1st finger for stretches.
There are other fingering... 1st finger, and 4th finger based and some 3rd, 4th finger stretches or combinations of 1st and 4th, hybrids and special purpose etc... I do use many of those. But they are all used in reference to my 2nd finger base starting point.
Everything I do and play in music has a beginning, a starting point, a reference. From there I have methods of using, creating and developing relationships. This doesn't mean I always go through the process of relating to the beginning... I've trained myself... and my instincts, I trust them. My reactions even when spontaneous are really somewhat organized.
So I'll go through and make examples and charts of fingerings and make short video of hand positions etc... maybe wait on the vid for better material.
I somewhat use the same mechanical system for comping...
I use root 6 or 6th string root chords along with Root 5 and root 4. I also see and can use root 3 chords but not much. Those are my starting points... references for voicings and harmonic development.
I usually just voice my lead line, the top note, or have line going on in bass notes. All with reference to my position and what approach I'm using, same with soloing... I don't simple hear a line and play it. I hear the line in context with a harmonic approach. Just as you hear a melodic line or chord progression. What harmonic approach(es) I'm also hearing have influence on the melodic line or chords I'm referencing and developing.
This fingering and mechanical references may be a little boring at first, at least I hope so, but my approaches for actually comping and soloing won't be boring. They will help you understand different systems of playing the same collection notes with different implications.
Best Reg
