40-Day SWAT Camp Course Blog

**Rgalvez** · 10-29-2009, 06:28 AM

Ok. This is a pre-report cause I haven't played anything yet but I wanted to comment it before I do. As Chris states this is the stuff!!! This is the reason why I started to buy jazz courses even though I know for sure I won't probably jam with other jazz cats, but I realized this:

Knowing this stuff will open doors for better composing, better arranging and start to learn jazz itself!
I'm happy to find this hidden lesson cause this is the core lesson of the first part in Mimi Fox's Jazz Anatomy (just in case if anyone didn't noticed it) . Sir Hackalock is right this is not something you will instantly learn from a4 page article. You will need to learn and re learn it, to live it and if it's possible try to have more cool resources at hand like TF courses,books or dvds:
( by the way here's where Ted Greene 'Chord Chemistry' comes as a rescue. This book has a complete section of Jazz Blues and substitutions which is essential in order to advance in this topic. Don Mock has an excellent DVD about this stuff (Rhythm Jazz Chops) and I love Joe Pass's Solo Guitar and Jazz Blues DVD's where he explains this principles in a friendly way).

I'll check this out in detail and comment my progress.see you later.

**Rgalvez** · 10-29-2009, 06:33 AM

By the way let me add that we reached the 1000 posts in this blog!! Congrats and Sarge thanks a lot for the enlightment and the groove!

**Leedelta** · 10-29-2009, 07:34 AM

Great lesson Sarge

Especially the 2 and a half steps concept.

There are errors at 2.23 and 2.50 where you call a 5th a root. You are mentioning 6ths,5# and 5b.

**garylee** · 10-29-2009, 08:20 AM

Day 29 Hip Grips, thought I was back in the ear exam for a minute.! neat chords, can play one at a time, however when I try to switch around on the fly, I hit wrong notes.
Gary

**rjbasque** · 10-29-2009, 08:25 AM

Have to report that Day 28 was reviewed, but not attempted. The same will probably happen with Day 29 & 30. Having some computer/network issues at home.

**ChrisBuono** · 10-29-2009, 10:04 AM

Originally Posted by arjr77

My favorite lesson so far

I want to learn more guitar music in this style.

Are there any courses on Truefire that focus

on this style?

Angelo

Consult the catalogger:

http://truefire.com/course_gallery/i...ml?top_picks=1

**ChrisBuono** · 10-29-2009, 10:22 AM

Originally Posted by Wolfboy1

Went ahead and did 29.

This is stuff I want to know. Sounds pretty jazzy.
So Chris....take me from a 12 bar blues G7 C7 D7 to a 12 bar blues substituting some of the key chords in this lesson with some nice walkdowns/transitions etc.

**ChrisBuono** · 10-29-2009, 10:27 AM

Originally Posted by Sir Hackalot

So, if you were as confused as I was on this one, my advice is to at least understand what’s happening starting at 10:35 or so. This alone is worth the price of admission! What a great way to find a new chord voicing that you might not already be aware of.

Private Hackalot

Good eye again!

**ChrisBuono** · 10-29-2009, 10:29 AM

Originally Posted by Rgalvez

Ted Greene 'Chord Chemistry' comes as a rescue. This book has a complete section of Jazz Blues and substitutions which is essential in order to advance in this topic. .

Oh yeah--that is a must in your library if you're really diggin this stuff. As is the first two Joe Pass "Virtuoso" CDs.

**ChrisBuono** · 10-29-2009, 10:37 AM

Originally Posted by Rgalvez

By the way let me add that we reached the 1000 posts in this blog!! Congrats and Sarge thanks a lot for the enlightment and the groove!

It's been my pleasure.

Hey another recommendation for deep substitutions:

A Chromatic Approach to Jazz Melody and Harmony by Dave Liebman

... it was my bible for years. As was/is George Russell's Lydian Chromatic Concept and Yusef Lateef's Repository of Scales and Melodic Patterns. And, don't forget the Slonimsky book or the Hindemith books. Lastly, Anthony Braxton's Triaxium series.

Now you're stepping into my world, boys. Tread with caution.

**ChrisBuono** · 10-29-2009, 10:41 AM

Originally Posted by Leedelta

There are errors at 2.23 and 2.50 where you call a 5th a root. You are mentioning 6ths,5# and 5b.

Yup, that's a 5th alright. Sorry!!

**ChrisBuono** · 10-29-2009, 10:49 AM

OK Troops ...

This lesson from Andy Ellis hones in on a hammond organ-based rhythm guitar riff. OK, so like, you goooooooooooooooootta know this, yo. Period. Like the Hendrix-y comping style, you'll use this one over and over and over and over again. And, it will always work. ALWAYS. Don't be thrown by the hollow body, either. Play these ideas on any axe, anytime, anywhere.

BTW, the leslie sim. sound is a Hughes & Kettner Rotosphere--the first version. I've played them all and nothing touches that unit. Nuttin'. They're pricey, but worth every penny.

NOW GET TO WORK.

**Rgalvez** · 10-29-2009, 12:35 PM

Originally Posted by Chris Buono

Hey another recommendation for deep substitutions:

A Chromatic Approach to Jazz Melody and Harmony by Dave Liebman

... it was my bible for years. As was/is George Russell's Lydian Chromatic Concept and Yusef Lateef's Repository of Scales and Melodic Patterns. And, don't forget the Slonimsky book or the Hindemith books. Lastly, Anthony Braxton's Triaxium series.

Now you're stepping into my world, boys. Tread with caution.

Wow Sarge. You have been studying with really deep stuff. I also check out the Jazz Guitar forum and some people comment the Liebman book is really heavy, along with Slonimsky. I've been told about George Russell and his revolutionary concept of lydian as the key scale.
By the way I remember in an old thread you also recommended Mick Goodrick's Calendar of Voice leading.

**ChrisBuono** · 10-29-2009, 01:22 PM

Originally Posted by Rgalvez

Wow Sarge. You have been studying with really deep stuff. I also check out the Jazz Guitar forum and some people comment the Liebman book is really heavy, along with Slonimsky. I've been told about George Russell and his revolutionary concept of lydian as the key scale.
By the way I remember in an old thread you also recommended Mick Goodrick's Calendar of Voice leading.

Ah! The Alamanacs!

http://www.mrgoodchord.com/newSite/catalog.html

**abbettjc** · 10-29-2009, 02:09 PM

Wow, that was fun. My fingers hurt a little with all those bends. I thought they were pretty tough, but an hour and a half of bending was pretty rough. Not complaining though, I ended up getting it done. Ready for more!

-John

**1TBAV** · 10-29-2009, 03:27 PM

Wow! Threw us a change up.

Nice lesson. I can't believe I have never used that thumb over 7th chord grip. Perfect companion for the basic 9th grip.

Speaking of 1000 posts. almost 12,000 views!

I guess we are rounding the final turn....

**arjr77** · 10-29-2009, 05:22 PM

These are always the lessons that get me.

Technically it was fine but i just get lost on
the theory

Chris, you have such a command
of music theory I really respect that.

Is there a course Truefire offers for music theory?

Angelo

**ChrisBuono** · 10-29-2009, 05:51 PM

Originally Posted by arjr77

Technically it was fine but i just get lost on
the theory

Chris, you have such a command
of music theory I really respect that.

Is there a course Truefire offers for music theory?

Angelo

Not sure. I'm confident one of the senior SWAT members here can rattle a few off the top of their heads though. And, as I've said before, there's a major theory based in the pipeline.

I do love that stuff

**arjr77** · 10-29-2009, 06:04 PM

Originally Posted by MidnightExpress

David Hamburgers Finger-picking series, Slide guitar and Blues courses are a good place to start.

Thank you Midnight Express I'll check them out

Angelo

**arjr77** · 10-29-2009, 06:06 PM

Originally Posted by Chris Buono

Consult the catalogger:

http://truefire.com/course_gallery/i...ml?top_picks=1

Thank you Chris, I'll check them out

Angelo

**tev77** · 10-29-2009, 07:35 PM

A lot of theory here which was a bit beyond me. The chord shapes were mostly ones that I had seen before so didn't have to much trouble playing the examples.

**wvgman** · 10-29-2009, 07:41 PM

This is a definite "practice, rinse, and repeat" lesson. I love the jazz chords, but it is gonna take some time in the shed to master the new forms in this one if, like myself, you don't get to use them much. I am going to try to find more places to use them even if it is just plinking around the house.

BTW Sarge,
Each time I open these lessons, I keep thinking, "That tune sounds familiar" and it does so because it lesson 17 with the sweet downward bend on the G string.

**emeryr** · 10-29-2009, 07:56 PM

Todays lesson is going to take me some time, the chord forms are not too bad, but remember them and get them up to speed for the changes is another thing. The Theory is a little much for me right now, but with the way you explain it if I keep watching the video and put some study time in I hope to get it.

**mel999** · 10-29-2009, 07:59 PM

the theory is a bit hard for me to get it by quickly looking the video. this one is a lesson to go back to (every day?) to get some routine. very good sounding chords, some progressions are really simply to finger, others take a little more effort.

private mel

**1TBAV** · 10-29-2009, 08:49 PM

30 Days in the hole......

Nice one. I can't play that one form to quickly though. The third beat chord. So i made up my own rhythm that gave a little more time on each chord. Then I could play it.

I get a little confused when you start mentioning the X -over- Y. I can see the X but the -over- part escapes me.

I thought one time you said Bb over G. I see the Bb but not the over part. Maybe I mis-heard as you were going back and forth between G7 - Bb thing.

Edit: Oh well maybe that's not my rhythm. I think it might be Mercy, Mercy, Mercy. Still sounds cool with those grips.

**Rgalvez** · 10-29-2009, 11:13 PM

Cool lesson! Yes, as many mentioned here there are lots of theory . I feel the pain of the people that are a bit lost. Yes I had to buy lots of material in order to understand these kind of articles..and I'm still on the way!
Here we learn about voices (the components of the chord) and the importance of their movement, tension and resolution, chromaticism, backcycling, tritone substitution, b5,13, ii-V-I.
Yes!! it could be overwheelming, but as Andy Ellis mentiones it pays to study the principles behind the harmony. It's long way but it's really fruitful.
Some chords are simple (and other don't).
I'm still trying to get this voice leading stuff (the motion of the 'voices'). The problem with these texts is that there is not a single book/course that tells you all the info you need nice and easy...you will always have to look for three or four different resources to get it...and practice...and ask experienced people. (I advise the interested in these kind of material to enter the Jazz Guitar site and its forum (www.jazzguitar.be) ..nice place!)

Cool lesson..the one to revisit !

**davek** · 10-29-2009, 11:33 PM

Day 29:

This is the first one that I really really GOT IT!!

I found it just challenging enough, but caught on pretty quickly

**jimiclaptoncarl** · 10-30-2009, 12:05 AM

I didn't really get the theory, so I just tried to copy Chris...

I was somewhat familiar with the chord shapes, so I was able to "strum" along...

Still wanna get the theory through my brain though, so I'm coming back to this one.

**Piztolpeet** · 10-30-2009, 02:20 AM

Interesting lesson with the theory behind it building the different chord shapes.I knew there was lots of chords out there but never really understood how they were connected never having formal training.Good observation by emeryr and Sarge that Swat Camp will toughen us up for those new never seen before progressions and "licks of doom" that we will run into!!

**Sir Hackalot** · 10-30-2009, 05:14 AM

Funky, indeed. Fingering that third chord form was giving me some trouble, so rather than take my normal approach of fingering it in “free time”, I did what the Sergeant said and set the metronome at a slow enough speed where I could pull it off in “actual time”. Though I regularly use my metronome, this course has taught me to be even more diligent at it than I was before.

After working on the exercise as demoed, I then broke it down into three and two note chord forms. Amazing how much progress you can make when you spend the time to focus on just a few measures of music!

Private Hackalot

**Leedelta** · 10-30-2009, 05:36 AM

3 note pattern, no worries.

4 note pattern is not familiar yet!!!

I prefer to finger/hybrid pick it.

**MidnightExpress** · 10-30-2009, 06:20 AM

My elementary theory can't quite grok what your putting down in this lesson but kinda get the drift. Mostly familiar chords in the examples that lends itself to some interesting progressions.

**garylee** · 10-30-2009, 08:23 AM

Day 30 Funky, Chris, I like the way you call out the notes in the chord, don't need tab to follow your example. lot of fun to play!
Gary

**abbettjc** · 10-30-2009, 09:36 AM

Ok, so playing the examples isn't that tough, but the theory is way beyond my level. I can figure out what the note names are pretty quickly, but I don't have them pop into my head automatically. I understand the I IV V are from the scale, but I don't visualize the scale, I have to play the scale to get them.

How do I go for barely knowing my way around, to being able to build cool shapes? Moving a 3rd here and removing the root and replacing it sounds easy, until you realize that I don't see where the other roots are automatically.

Any suggestions on how to go from here to there?

-john

**emeryr** · 10-30-2009, 09:39 AM

Like the way you broke it down note for note, the 2 & 3 finger patterns help me to get the feel. I'm still having trouble on the higher frets, the 4 note and changing from the 2nd chord to the 3rd and back. It's a short lesson, so I can spend some time on it.

**ChrisBuono** · 10-30-2009, 11:04 AM

Wow--lotta commotion over that one. Think we touched a nerve here

Maybe this is a course brewing all on its own? Let's pool together what it is that you guys are not connecting with and I'll put it all together and take it from there. It's important to know this stuff and it can help in so many ways. I've taught this part of the game to many people in my years and I know you guys can get whatever it is you're confused on.

**ChrisBuono** · 10-30-2009, 11:11 AM

OK Troops ...

First off: Happy Halloween!

MAN! You guys get lucky w/ the more a-GRESS-ive lessons falling on a weekend

So here we go again and go we do with Jesse's take on getting us all down with Rockabilly. I LOVE this stuff. Picking up where you left off with Swamp Music by Keith Wyatt, you're gonna check even more intense two-part playing. While it comes with a price on your constitution, the work that lies ahead here is well worth it. It just sounds so good with or without the prerequisite slap back delay or the 6120.

Big reminder: remember to learn these passages vertically. Meaning, learn the bass and melody parts together, not separately. In regards to the latter, that's REALLY hard and no one does that!

NOW GET TO WORK.

**abbettjc** · 10-30-2009, 11:13 AM

Chris,

I'm a three year player. I have lots of shapes memorized, and can play quite a few things. I can keep up with most of the course here although not up to tempo in the one day format..

I have a lot of theory in my head, I understand scales and chord theory. I took Piano years ago and learned basic theory there. Got more from the internet and books.

My issue is taking what I know of theory and putting it to practical use. If you told me to find an Eminor chord on a particular fret. I could do it. It would take a scrap paper, and some time. I would have to figure out what the notes where and where the scale fits on the neck, and I would have to figure out what the chord values were for minor and make it all fit. We're talking 5 minute here.

How do I take music theory, and apply it to the guitar.

If you show me a shape I can do it, but I just memorize where to put my fingers. I never understand what it is I'm playing, or why.

That's where I'm at.

-John

**ChrisBuono** · 10-30-2009, 11:13 AM

I coach my kids soccer team and I'm making my way over to the other side of the field to meet the coaches and discuss some things when out of the corner of my eye is a fellow NJ-based Truefire artist/40 Day SWAT lesson writer whom I've never met. Anyone wanna guess who?

**rjbasque** · 10-30-2009, 11:27 AM

Isn't Mr. Dalton from Jurzee?

Well got computer issues straightened out last night. I had time to listen to the original audio lesson, and watch your video supplement.
I can see where some heads are spinning. It's like Chris was channeling Brad Carlton! I think I can spend about a month just digging into the goodies in this lesson.
I'm going to fool around with the 12bar sequence you outlined. Definitely stepping away from wankerdom there.

Not to always be shilling for TrueFire, but Mattieu Brandt's Chord Cookbook covers tons of chord construction theory'

**ChrisBuono** · 10-30-2009, 11:32 AM

Originally Posted by rjbasque

Isn't Mr. Dalton from Jurzee?

Yup. We've known of each other for years. Even talked on the phone, some emails--but never met. We both laughed at the scenario.

My kid's team crushed his BTW

**ChrisBuono** · 10-30-2009, 11:35 AM

Originally Posted by abbettjc

Chris,

I'm a three year player. I have lots of shapes memorized, and can play quite a few things. I can keep up with most of the course here although not up to tempo in the one day format..

I have a lot of theory in my head, I understand scales and chord theory. I took Piano years ago and learned basic theory there. Got more from the internet and books.

My issue is taking what I know of theory and putting it to practical use. If you told me to find an Eminor chord on a particular fret. I could do it. It would take a scrap paper, and some time. I would have to figure out what the notes where and where the scale fits on the neck, and I would have to figure out what the chord values were for minor and make it all fit. We're talking 5 minute here.

How do I take music theory, and apply it to the guitar.

If you show me a shape I can do it, but I just memorize where to put my fingers. I never understand what it is I'm playing, or why.

That's where I'm at.

-John

Sounds like you've never realized the system in all its numerical glory. The entire western music theory system is based on numbers and it is with that you can adapt to anything in any key. This is even easier on an instrument as visual as a fretted one is. the pains you're feeling are just not fair

We gotta fix that.

Let's see what thew others say and we'll continue this ...

**Rgalvez** · 10-30-2009, 11:37 AM

Originally Posted by Chris Buono

Wow--lotta commotion over that one. Think we touched a nerve here

Maybe this is a course brewing all on its own? Let's pool together what it is that you guys are not connecting with and I'll put it all together and take it from there. It's important to know this stuff and it can help in so many ways. I've taught this part of the game to many people in my years and I know you guys can get whatever it is you're confused on.

Chris:
Since I'm developing in Jazz and I'm investigating it with my Jazz Anatomy blog I think there should be some explanation 'for beginners' in the following, so everyone can follow the article:
Cadences.
Tension and resolution.
Voice leading (movement of the voices).
Basic Substitution: Why we use Diminished or tritone to substitue chords.

**ChrisBuono** · 10-30-2009, 11:47 AM

Originally Posted by Rgalvez

Chris:
Since I'm developing in Jazz and I'm investigating it with my Jazz Anatomy blog I think there should be some explanation 'for beginners' in the following, so everyone can follow the article:
Cadences.
Tension and resolution.
Voice leading (movement of the voices).
Basic Substitution: Why we use Diminished or tritone to substitue chords.

Cool, thanks. That's probably some good stuff to clear up the surface queries arising, but I suspect there's a deeper black hole here and I have a very thorough method I rely on that has worked wonders over the years for all kinds of players.

**Rgalvez** · 10-30-2009, 12:44 PM

Originally Posted by Chris Buono

Cool, thanks. That's probably some good stuff to clear up the surface queries arising, but I suspect there's a deeper black hole here and I have a very thorough method I rely on that has worked wonders over the years for all kinds of players.

wow!! that would be really ezcellent to share!!!

**abbettjc** · 10-30-2009, 01:10 PM

"Sounds like you've never realized the system in all its numerical glory. The entire western music theory system is based on numbers and it is with that you can adapt to anything in any key. This is even easier on an instrument as visual as a fretted one is. the pains you're feeling are just not fair

We gotta fix that."

--------------------------

Where do I tune it, and where do I send the check. I'm all over it.

Yes please on Practical theory lessons.

-John

**MidnightExpress** · 10-30-2009, 02:42 PM

Originally Posted by Chris Buono

Maybe this is a course brewing all on its own? Let's pool together what it is that you guys are not connecting with and I'll put it all together and take it from there. It's important to know this stuff and it can help in so many ways. I've taught this part of the game to many people in my years and I know you guys can get whatever it is you're confused on.

Playing guitar for about 6 years now and though I know my way around the guitar to some extent, (Thank God for tablature and a good ear) Im still lacking in all areas of fundamental concepts such as Pitch, Rhythm, Scales, Intervals, Chords, and Harmony and how they all interrelate to each other.

Never had any formal music theory training and it's something I need to get into if I want to get serious about the guitar. There's got to be a Non Music Degree way to unlock the mystery of the fretboard without getting too bogged down in useless information that doesn't necessarily translate into having fun with the guitar. Sadly, I just haven't found it yet.

So I think a Beginner/Intermediate/Advanced series on guitar theory alone would be a sure hit and I would be first in line if that were to happen. If music is the language of the Gods, I need an interpreter

**tev77** · 10-30-2009, 03:34 PM

Nice funky groove, quite a lot of movement for the left hand in this lesson, I was surprised that it didn't take me very long to be able to play this. Breaking it down to two and three strings was good as it helped me to see shapes and patterns that I am more familiar with.

**wvgman** · 10-30-2009, 05:14 PM

Ah, something I can do! This lesson was a welcome relief. Just like in the other army I joined; sometimes up the hill, sometimes down the hill, sometimes through the hill, but you just gotta get to the other side.

**arjr77** · 10-30-2009, 06:07 PM

Cool lesson, I can use this one for sure

when I jam with other guitarist!!

Angelo

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