Saturday, February 18, 2012

我的結他雜記:reuse 5 major scale fingerings for harmonic minor

The 5 shapes taught by Jimmy Bruno have been very valuable to my playing of not just major scale but also arppegios (major 7, minor 7, dom 7, min7b5 ) Even for minor (aeolian) scale,  it's just the matter of finding the relative major. However, playing mixolydian b9 b13 scale (or 5th mode of harmonic minor ), it requires more thinking. For example, to play the scale over G7b9b13, consider we are raising the 7th (Bb to B) of the C minor scale, which has Eb major as its relative.  So,  with G as the root,  it's basically playing the major scale 2 whole step down but start with G and raise the b3 to 3rd (i.e. Bb to B)

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Tuesday, February 07, 2012

我的結他雜記:swinging 8th notes in jazz

When I started the Berklee jazz class, the first forum post by our instructor was about how to swing 8th notes. Actually, the first thing he mentioned was how NOT to swing 8th notes. The common way of treating them like tripplets with the middle missing usually ended up with choppy sounding dotted 8th plus 16th note, which is OK for other styles but not jazz. For jazz, the 8th note should be played evenly (same duration) Here's another good explanation I found on the web. His suggestion is the same as our instructor: it's better to play even 8th note slightly behind the beat (i.e., the 1 & 2 & 3 & 4 &) even if it is not the ideal or "perfect" swing. It works out great for me because of my inability to stay ON the beat. I mean, I'm usually behind anyway. Our instructor thought I did that intentionally and liked it!

Also check out what renowned jazz saxophonist David Liebman said about the same topic.

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Saturday, February 04, 2012

我的結他雜記: Berklee Jazz 101

在Berklee今個學期終於上期待已久的主修課堂:爵士結他101。短短一個月(即四堂)所教的內容可謂十分緊湊,目標就是在chord progression伴奏下,彈單音solo lines。第一堂練chord tones( root, 3rd, 7th),要彈不是最低那個八度,主要練第五把DGBE 弦上的音。接著三堂分別是練maj 7, min 7, dom 7的arpeggios, approach 。其實和Jimmy Bruno 教的差不多,只不過用較多的樂理名詞概念來解釋,亦提供大量練習曲,包括比較『抽象』純為練熟chord tones/ approach notes 的,也有一些jazzy licks可『即抄即用』的;這些都是Bruno 所無的。當然,Bruno的宗旨是no nonsense, 所以樂理名詞可免則免了。至於範例,Bruno 的網站包括學生上載彈奏及他回應的短片(我只用過他的舊教學網,不知新的是否如此),跟片學彈是學習過程一部份,只是沒有譜可跟而已,其實也是練聽力的好機會。

目前最大的難題倒是和跟Bruno 學時一樣,就是未能把這些chord tones/ approach notes 組成jazzy 樂句。問過Berklee 的老師,他說是沒有公式可跟的,他能教的只是『工具』,必須練熟這些工具,熟到即可應用,再加上多聽多抄(transcribe),累積咁上下經驗,才能即興solo。以前Bruno 也只是叫我多點跟片學彈 。總括他們所言就是:前路漫漫,連Berklee 也無必『掂』秘技可授,實在有點沮喪,恐怕彈爵士此夢難圓。

無論如何,今日我在Berklee勉強能跟得上進度,當年跟Bruno學的5 shapes 居功至偉。5 shapes 其實就是由CAGED 五個open chord 衍生出的五個major scale fingering patterns 。從中可以『抽出』I ii V chord ( maj 7, min 7, dom 7 )的arpeggio fingerings,在結他頸上任何一處都可彈以上任何一種arppegio,並即知對應的major scale,再由此可彈major scale 的modes 。(雖然Bruno 不主張從scale/mode 的角度思考,他教的是考慮ii-V-I整個progression的pitch collection,正正就是shape之中每一粒音)

其實Berklee和Bruno教的很多殊途同歸,例如:
1) Berklee教maj 7或min 7 chord tone可從scale中下一個(較高)音去approach。Bruno教solo時可以由低至高彈arpeggio,然後由高至低彈scale;其實這樣彈的話正包含這些scale approach tone。
2)Berklee教dom 7 arpeggio的b7音,可從root去approach;Bruno也教dom 7 arpeggio可從whole step之上去approach,b7上一個whole step正是root!(不過Berklee有教dom 7 arpeggio的3,不宜用scale tone去approach)
3)Berklee教min 7 chord伴奏時,可彈低whole step之maj 7 arpeggio來solo,就是dorian sound。這個maj 7 arpeggio正是該min 7 chord的b7, 9, 11, 13音。Bruno一直教I ii V任何一個arpeggio都和整個progression夾,無需刻意I arpeggio配對I chord,也是這個道理。

上過這些課,想起十二年前買Herb Ellis《All the shapes you are 》一書,教的其實也是這些道理:練熟ii-V-I progression的arpeggios及scale tones,聽熟他示範配合數十個chords的licks。書中介紹了多個fingerings,他稱之為major scales, minor scales及dominant scales,其實和Bruno教的fingerings同出一轍。不過名字就有少少誤導:他的minor scale fingerings其實是dorian mode而非minor scale一般指的aeolian mode(他用minor一詞是指配合ii min 7 chord吧);而dominant scales當然就是mixolydian mode。Ellis的建議是認熟每一個fingering對應的chord形(他也叫這做shape,但此shape不同Bruno教的5 shapes),solo時多用chord tones及approach notes。和Berklee及Bruno教的都是同一回事。唉,如果十二年前有人解釋給我聽就好了!不過其實我在08年分別請教過一位結他老師(爵士非其專長)及網上論壇,結果還是靠自己搞清楚。現在我用這本書的CD來練transcription,畢竟特地為教學示範而彈的lines比較易聽易明。

Thursday, November 10, 2011

我的結他雜記: 要買好結他

欲望真的停不了,不過想法有點改變。那是因為一張舊照片,當中有一支是向(有錢)同學借來的結他,起碼廿年歷史,上拍賣網找找,估計值US$1000有多,相信除通脹後這支結他多少也升了值。對我的啟發是,還是多儲點錢買支好少少的結他,至低限度也保值,說不定還會升值!

目前目標是老字號中檔貨色like a Gibson ES-137:
http://www2.gibson.com/Products/Electric-Guitars/ES/Gibson-Custom/ES-137-Classic.aspx

$2000 for a big brand name. It's 1 pound lighter than a Les Paul too. It's comfortable to hold (I mean the body is not huge) and the neck is comfortable to press. I also like the jazzy sound from the neck pickup. And it's not heavy. Very practical. Just wish it's more "pretty" You know, those big hollow-body archtop with tail piece look classier.

The Fender Japan Telecaster Thinline is another of my target:
http://www.fenderjapan.co.jp/tn72g-ftmh.html
Gold pickguard on white body with f-hole. Not cheesy but classy!

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Wednesday, November 09, 2011

我的結他雜記: 購買結他欲望停不了

I found out my Steinberger Spirit got some buzz when I played barre chord for the Berklee assignments. I'm not sure if I'm pressing the fretboard with the right pressure. I think it has more to do with the low E and A strings. In fact, even if I play single notes on these 2 strings, I need to be careful. Cannot press too hard and pick too hard or it will buzz. Fortunately, the buzz is not that noticeable when I record my playing for homeworks using the Korg Pandora. I like the Pandora a lot BTW. 
Anyway, seems like I have an excuse to buy a new guitar. Looked at these 2:

The former is about $350 after tax while the latter is about $1000. Basically, they model after Gibson ES-335 and ES-125.

ES-335 is played by both jazz, blues or even rock guitarist. According to that review, it's good with distortion. Feedback is not a problem.

ES-125 looks more like a jazz guitar. 

好想買支正宗jazz archtop,但人生好似又點都要買支ES335 style既結他,果支Peavey係cheap野,可以慳d錢。

About buying guitar, I think if I ever visit Japan, I'll check out those vintage (70s) Japanese copy of American guitar. Ibanez and Tokai copied quite a bit of Gibson, including ES335 and ES175 back then and they were of high quality. 聽講東京御茶之水有好多二手樂器店:
http://blog.sina.com.cn/s/blog_645e03fb0100gxxw.html
To fly the guitar back home, this might be useful:
 

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Thursday, November 03, 2011

我的結他雜記: Dorian and Mixolydian

These are 2 very common scales (actually modes) mentioned in jazz tutorials.

There are 7 modes from a major scale. Let's say C major:
C Ionian mode (same as C major scale): C D E F G A B
D Dorian mode: D E F G A B C
G Mixolydian mode: G A B C D E F

The most common jazz chord progression is ii-V-I. So, in C major, they are
C maj 7
D min 7
G dom 7

I was often taught to improvise by playing C major (or Ionian) notes over the Cmaj7 chord
D Dorian over Dmin7 and G Mixolydian over G7.

But I was also taught to look at ii-V-I progression and the key it belongs to as a whole. Just play notes from C major over all 3. In fact, D Dorian has the same notes as C major. G Mixolydian too.

Yet another thing I learned is that playing D Dorian doesn't require learning another fingering. Just use C major fingering but start on the 2nd note instead. To play G Mixolydian, starts on the 5th note. 

On the other hand, Berklee DOES teach different fingering for Dorian and Mixolydian. To play a C Dorian, you simply change 1 of the 5 C Major fingering by lowering the 3rd and 7th. And A Mixolydian is almost the same as A Major except you lower the 7th

Back to the topic of playing jazzy, there are a few things:
1) plays 7th chord. So, if you see a I chord, play maj7 instead of maj. Play min7 for a ii chord and dominant 7th for a V chord.
2) solo over the chord tones including the 7th and sometimes plays half step below or above these chord tones.
3) swing the 1/8 notes.
4) Use our old friend the minor pentatonic scale (and blues scale). It could be played over many chord types:

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Friday, October 28, 2011

This is Your Brain on Music

想讀這本書已有一段日子,當初在Ferry Building的書店看到,就覺得人腦如何處理音樂是一個複雜而有趣的題材,不過之後一直沒有去找來看,直至兩個月前到圖書館才借下來。一讀就讀了兩個月,畢竟該書性質上接近普及科學讀物多於消閒小品,不是太容易消化。作者Dan Levitin的背景也值得一提,現時他是在大學從事神經科學研究的教授,以前他卻是一位音樂人兼錄音師!
本書前半部主要介紹音樂理論及其物理性質,後半部才是「戲肉」。首先,學玩音樂究竟先天(遺傳)影響有多大?其實本書也沒有肯定的答案,簡單來說是有;但後天亦當然重要,據研究要成為專家,一萬小時的練習少不了。這個一萬小時法則不只限於音樂,其他範疇如象棋也適用。俗語有云:台上一分鐘,台下十年功;可見中國人一向就有這個看法。
作者又提到,學音樂需要腦神經作出新的連接,在廿歲左右這個過程會大幅轉緩。音樂討論區常常有人發帖問成年人能否由零開始學音樂,很少回覆會大潑冷水,不過發帖人總要有心理準備學得慢及難學得好吧。幸好這幾代受過現代教育的人,多多少少在學校上過幾年音樂科,總不至於由零開始。
最後一章是全書高潮:探討玩音樂的能力在遺傳優勢的關係,即是影響音樂玩得好的基因是否較大機會被遺傳。再換一個角度看,就是音樂玩得好會否幫助吸引異性與之交配,你說這個是不是很重要?記得友人「神醫」曾撰文介紹美女的遺傳學理論,指出男人之所以熱切追求具備某些特徵的女性(即公認的美女),全因為那些特徵(例如對稱的面孔,豐滿的臀部)顯示該女性身體健康,繁殖下一代的能力强,因此是「播種」的理想對象!這本書的作者認為女性喜歡玩音樂的男性也是類似,除了引用達爾文支持的見解,也列出多個原因:自古以來音樂和舞蹈有密切關係,同樣需要節奏感强,而古人的舞步往往反映狩獵等求存技能的動作。至於較為近代的情況,是玩音樂屬有閒(錢及時間)階級的玩意,當然亦是女性「接種」的理想對象。我想補充一點個人見解:古人玩音樂往往自製樂器,亦突顯靈活的頭腦及雙手。該書還引用以下研究:給在排卵期(易受孕)的女性選擇以下兩種男士之一:音樂能力高但由於運氣差而貧窮者,及音樂能力低但由於運氣好而富有者;她們傾向前者,和在排卵期以外明顯不同。這個夠說服力吧!