ii V7 I A basic structure to begin mastering Jazz progressions

 

 

The II-V-I progression is considered one of the most important and fundamental chord progressions in jazz music. It refers to a series of chords played in sequence: a minor 7th chord (II), followed by a dominant 7th chord (V), and resolving to a major 7th chord (I). For example, in the key of C major, the II-V-I progression would be Dm7-G7-Cmaj7.

 

Here are some reasons why the II-V-I progression is crucial in jazz learning:

 

Harmonic Foundation: The II-V-I progression serves as a foundation for understanding and navigating the harmonic language of jazz. It appears in countless jazz standards and compositions, so learning to recognize and navigate this progression is essential for jazz musicians.

 

Tonal Center and Resolution: The II-V-I progression creates a sense of tension and resolution. The dominant 7th chord (V) creates tension that wants to resolve to the major 7th chord (I). Understanding and internalizing this resolution is vital for improvising and creating melodic lines in jazz.

 

Chord Substitutions: The II-V-I progression provides a framework for chord substitutions and reharmonizations. Jazz musicians often substitute or alter the chords within the progression to add harmonic interest and create different colors and tensions. Mastering the II-V-I progression allows you to experiment with substitutions and expand your harmonic vocabulary.

 

Improvisational Vocabulary: The II-V-I progression is a common backdrop for improvisation in jazz. Practicing improvisation over this progression helps develop melodic ideas, phrasing, and the ability to navigate chord changes effectively. By studying the II-V-I progression in different keys and contexts, you'll enhance your improvisational skills and develop a deeper understanding of jazz harmony.

 

Transcription and Analysis: Many jazz musicians learn and transcribe solos by renowned players. The II-V-I progression appears extensively in these solos, making it a valuable tool for transcription and analysis. By studying how jazz greats navigate this progression, you can gain insights into their melodic choices, rhythmic phrasing, and overall improvisational approach.

 

In summary, the II-V-I progression is of utmost importance in jazz learning due to its foundational role in jazz harmony, its use in countless jazz standards, its function as a basis for chord substitutions and reharmonizations, its significance in improvisation, and its relevance for transcription and analysis. By dedicating time to understanding and internalizing the II-V-I progression, aspiring jazz musicians can greatly enhance their musical abilities and develop a deeper connection with the language of jazz.

What was my biggest Breakthrough in guitar playing?

The first breakthrough occurred when I started a band called Orquesta de Animales. Prior to that, I had been focused on playing virtuosic music, attempting to master complicated and fast pieces. However, I became frustrated with the limited scope of this approach and sought a different path. I began playing more improvised jams in a nearly unrestricted style, relying heavily on pentatonic scales. Our jams were inspired by the psychedelic and kraut rock bands of the early days, employing a simple language that fostered profound dialogue within the band. I found that I could communicate effectively with my fellow bandmates as well as with myself.

 

The second breakthrough came when I grew bored with my limitations and felt the need for more musical tools. I made the decision to re-enroll in formal studies. Initially, the goal was to obtain diplomas, but it quickly evolved into a desire to acquire a broader range of musical tools for creating more interesting music. This shift led to the systematic use of musical language in my daily routine. I began incorporating sight-reading, theory, and non-instrumental abilities such as ear training as essential elements in a never-ending self-improvement discipline.

I don´t like the CAGED system

 

I´ve never been interested in CAGED, and after seeing that diagram, my only interest 

is to explain why I don´t like it. First of all, what is called there A is not really A. 

If it was placed in the 2nd fret, it would be a 2nd inversion of A, because it would be rooted in the 

note E. So I would not recommend calling A something that isn´t (In the diagram the chord highlited as A is in fact a 2nd inversion of C!)

If you are a beginner, this would be 

confuse. I´d say to you, you can learn patterns, which is useful in guitar, but better to name 

them like "Pentatonic first shape" or "Tonic shape" rather than using unrelated names that use 

incorrectly the music lexicon.

I suggest learning patterns, but use the correct names of the notes that you are playing. You´ll

develop a stronger basis. It ´ll be further better to learn the notes, learn the relationship between the notes 

played, and then recognize the visual and mecanic pattern. 

The sooner you start reading notes the better. Start with simple melodies, you´ll progress and every time it´ll get easier

(no matter your age!)

Which is the best microphone for Voiceovers, Audiobooks and Podcasts?

These are the three most common types of microphones

Condenser Microphones:

Condenser microphones, also known as capacitor microphones, are widely used in professional audio recording applications. They consist of a thin diaphragm placed close to a solid backplate, forming a capacitor. Condenser microphones require an external power source, usually provided by batteries or phantom power from an audio interface or mixer. They are known for their high sensitivity, extended frequency response, and excellent transient response. Condenser mics are commonly used for capturing vocals, acoustic instruments, and studio recordings.

Dynamic Microphones:

Dynamic microphones are rugged and versatile microphones commonly used in live sound reinforcement and broadcasting applications. They work on the principle of electromagnetic induction. Inside a dynamic microphone, there is a diaphragm that is attached to a coil of wire, which moves within a magnetic field when sound waves hit the diaphragm. This movement generates an electrical signal. Dynamic microphones are known for their durability, ability to handle high sound pressure levels, and resistance to moisture and rough handling. They are often used for live performances, stage vocals, instrument amplification, and recording loud sound sources.

Ribbon Microphones:

Ribbon microphones are a type of dynamic microphone that uses a thin strip of metal, typically aluminum, as its diaphragm. The ribbon is suspended in a magnetic field, and when sound waves hit the ribbon, it vibrates within the field, generating an electrical signal. Ribbon microphones are prized for their warm and natural sound reproduction, smooth frequency response, and ability to capture fine details. They are commonly used in studio recording for vocals, acoustic instruments, drum overheads, and guitar amplifiers. Ribbon microphones are delicate and sensitive to wind blasts or strong plosives, requiring careful handling.

I have used Dynamic Microphones, specially the classic SM57, SM58 and the Beta 52 from Shure. These are battle horses for any kind of use. I recorded drums, acoustic instruments, guitar amps, ambience and I have even recorded voices with the SM57.

But for a delicate instrument like the voice I highly recommend using a condenser Mic. 

The condenser mic will record with more detail than the dynamic mic. But it will also record any other noise and sound produce within your environment: You´ll need a treated and proofed space for your recordings!

There are hundreds of options out there, for all kind of budgets. If you are starting, invest in a good but economic mic like a Blue Yeti or an Audio Technica AT2020. There are USB versions, but I recommend investing in a regular XLR mic along with an audio interface.

There are many reviews in youtube to help you understand and know the differences between the models and brands.

You can look for:

"Best microphones for voiceovers" (or podcasting or audiobooks)

How to obtain a dry recording? (No reverb)

  

Find a quiet room: Look for a room that is as quiet as possible. Avoid areas with outside noise, like traffic or construction, and minimize internal noise from appliances or fans.

 Choose a small or medium-sized room: Larger rooms tend to have more echo and reverb, so opt for a smaller or medium-sized space. Avoid rooms with hard, reflective surfaces like glass or tile, as they can bounce sound waves and create reverb.

 Use soft furnishings: Add soft furnishings to the room, such as carpets, rugs, curtains, or furniture with fabric upholstery. These materials help absorb sound and reduce reverb.

 Eliminate or control reflective surfaces: If there are any reflective surfaces in the room, try to cover them or place sound-absorbing materials in front of them. This includes mirrors, windows, or bare walls. Hanging blankets or acoustic panels can help minimize reflections.

 Set up a makeshift recording booth: If possible, create a makeshift recording booth within the room using blankets, mattresses, or acoustic dividers. This can help create a more controlled environment and reduce reverb even further.

 Use a directional microphone: Invest in a good-quality directional microphone that focuses on capturing sound from the desired source (your voice) while minimizing background noise. A cardioid or shotgun microphone is often a good choice for voice recordings.

 Position the microphone properly: Place the microphone close to your mouth and experiment with the positioning to find the optimal distance and angle for capturing your voice clearly without picking up excessive room reverb.

 Use headphones for monitoring: Wear headphones while recording to monitor your voice in real-time. This allows you to adjust your distance from the microphone and make any necessary changes to your technique to ensure a clean recording.

 Remember, achieving a completely reverb-free recording may be challenging, especially in untreated spaces. However, by following these casual guidelines and experimenting with different setups, you can significantly reduce the reverb and capture a cleaner voice recording