JakeEstner

Got curious about Horace's "7 over 4 over 3" thing so I wanted to notate it. So the middle voice (D and G strings) has 7 equally spaced repetitions per measure, the top voice (B string) is 4, and the bottom voice is 3. Easiest way to notate it seemed to be to call it 7/4, the middle voice being quarter notes, the top voice being a repeated strike that essentially lasts the duration of seven 16th notes, and the bottom voice being a strike that lasts the duration of seven 8th note-triplets. So the middle voice strikes on all the downbeats. The top voice on beat 1, then the "uh" of 2, then "and" of 4, the "e" of 6. The bottom voice on beat 1, then the second partial of 8th note triplets for beat 3, then the third partial of triplets for beat 5. I think the trickiest part of playing this is really just distinguishing between the 16th note subdivisions and the 8th note triplet subdivisions as it's easy for those things to bleed together. Also, Horace has a soundslice course on polyrhythms! More…

"Bitonality" quick instagram post from harmony master Rick Beato. More…

Playing with some lines for superimposed harmony over ii V I. Started with looking for some nice (and less tired) sounds for V13b9 More…

If you try playing this, great to pay close attention to which notes ring out. More…

Well, this one's simple, it's just uh...dorian, I think... More…

Actually transcribed this in my pre-soundslice days, but just realized I had it on guitar pro and was curious to upload and try to sync it up. Really weird rhythms, might later go through and see if there were any details I missed when I did it last year, but seems to line up! This 'slice' is synced up both to me playing it (in an old IG story) as well as the YT clip with the original recording. I just did the 5 bar intro, but later those 5 bars repeat over a fairly straight drum beat, so with the YT clip you can scroll through the score and hear that as well. More…

Andy Wood, lettin' it ring! More…

Great arrangement and reharmonization from Griggly Bear here. I covered this and my video is also uploaded to the score - you can toggle back and forth under the 'recording' button. Also I put the lyrics in (starting on bar 10) just so the choices of arrangement/reharmonization were clearer. More…

Tried to transcribe this and figure out as many of the little nuances as I could: grace notes, slurs, vibrato, exact timing ,etc, and then also arrange it in a playable way on the guitar. On instagram I posted a video of me trying to perform it. All grace notes are all starting *on* the beat. More…

Voicing/Etude Experiment form a few months ago. Caption on the original post was: "Getting away from parallel motion - coming back to some of Mick Goodrick's voice leading and cycles concepts and trying to do something musical with one of the sequences. This is drop 2 forms of "4 part 4ths" in "cycle 4" from E minor, with some pedal open strings added and a time signature change from 5/8 to 6/8. Cycling/voice leading with quartal structures isn't that bad once you're really comfortable doing the cycles with normal seventh chords. Getting everything clean and keeping the open string/strings ringing out was really tough." What's funny looking back on this 5 months later (and seeing it written down) is that although I thought of it at the time as not being parallel motion, it really is just the same TWO voicing sequence moved down in parallel. Bummer, hah! More…

Was playing around with a rhythmic idea, maybe later might flesh into more of an etude or piece: the melody is a group of five notes repeating, but it alternates every two measures between being played in 16th notes and then 8th note triplets, while the thumb keeps a steady quarter note on a bass note. The bass note changes every two measures as well, so it's Bb during the 16ths and Db during the 8th note triplets. Kind of interesting to me how it's 'entering' into the 16ths or triplets at a different spot in the phrase every time, creates an odd effect. Also, since two out of the five notes are hammer-ons I find the hardest part of this is actually keeping time on those hammers when they coincide with the thumb's quarter note downbeat. That’s where I’m sloppiest here. Also, this is the full cycle of the concept - it takes this length to fully repeat. More…

Transcription I did last year of the Great Griggles. Lot of whacky stuff. Maybe some day I'll get back in there and A. finish it, and B. notate which notes are hit with the pick and which with finger. More…

Actually just did a bit of this for a demo video I was making for Youtube to show the process of making a slice. Here's the link of me putting together a first draft: https://youtu.be/rzuZOmdw7HI More…

Hard... More…

two finga tappin More…

This was on my to-do list for a while: Finally transcribed this really cool arrangement by "guitarianna" (Arianna Powell) of "All I Want For Christmas is You" When Arianna posted this it was at that time of year when we hear TONS of solo guitar arrangements of Christmas songs, and while every year I hear a lot of awesome arrangements/performances, this one stuck out to me. The rhythmic approach, spacing of the phrases, and fast single note fills give it a really loose and expressive feel, but she utilizes some very solid and structured reharmonizations as well as interesting voicing choices. Great mix of approaches from different genres, just super exciting guitar playing overall. Oh yeah, and the tuning thing. More…

One of the Messiaen modes essentially repeats itself every major third (like the diminished scale, which repeats itself every minor third.) You can get some pretty interesting sequences going where you take structures and repeat them in major thirds, then get creative with modifications. The person who first got me into this concept was Thomas Griggs, who has created some pretty mind-bendy etudes and line structures based on this general idea. Cotter Champlin made a post recently on instagram where he played some sequences that explore how the open strings interact with the major tonalities of of C, E, and Ab, which are all a major third apart. I made a variation on his ideas here and turned it into a bit of a groove. Could be tightened up for sure, but was a fun and interesting thing to mess around with. More…

- Simple straightforward chord melody for first two A sections. Great arrangement if you are new to chord melody or 'jazz' voicings. (If any of the chords are too tricky to grab, try taking out either a middle voice or the bass note!) - Good to embellish the rhythm, add fills, etc - Chord names reflecting function more so than description of notes in the voicing More…

Interesting diminished sequence with some tricky turnarounds. I believe every note is picked, no hybrid or slurs, but could be wrong! More…

Messing with a 'hybrid picking roll' concept. Tuning is down a m3 except the low E only down a whole step. Think of the chords as Am to F. More…

Low chords are in a '12123' rhythm - eighth then dotted eighth, and repeat every three groups so I'm calling it a 15/16 time signature. High voice is a quarter note. Have fun? Standard tuning but everything down 3 half steps. More…

Top voice repeats every 7 16th notes (eighth, eighth, dotted eighth, essentially) bottom voice is quarter notes. Watch out for getting the right sustain with the left hand, it's tricky! Both voices ascend, but the top voice is essentially every 7 16th notes while the bottom voice ascends every half note (8 16th notes...) So its...7 over 8? I don't know - you tell me. More…

A fun idea I came across last year - F#m and E spread triads, ascending voice leading, but with a melody of the same two pitches alternating in the same register even as the voicings ascend. So what happens is the melody's relationship to the voicings changes quite a lot as the notes of the chords eventually become higher than the melody itself. Cool thing to play with for different pairs of triads and different melody notes. More…