Ron Eschete – Jazz Guitar Music Master

ron eschete Ron Eschete   Jazz Guitar Music MasterJazz guitarist Ron Eschete was born in 1948 in Houma, Louisiana and not surprisingly his early influences were jazz guitar masters Jim Hall, Howard Roberts, and Wes Montgomery. After receiving his first guitar at the age of 14, Eschete joined a quartet and was working clubs in Louisiana before he had even graduated from high school playing jazz guitar music. He attended Loyola University where he majored in classical guitar and minored in flute. While there he studied with classical guitarist Paul Guma. Shortly after Eschete left Loyola he was tapped to tour with Buddy Greco. While on tour with Greco, Eschete set his sites on the Los Angeles music scene. In 1970 Eschete relocated to California working and recording with vibraphonist Dave Pike. Then in 1975 he joined forces with pianist Gene Harris and quickly establish his reputation as a premier jazz guitar accompanist.

Over the decades Ron Eschete has worked with the greatest artists in jazz including Ella Fitzgerald, Sarah Vaughan, Diana Krall, Dizzy Gillespie, Milt Jackson, Ray Brown, and many more! Eschete has appreared on The Tonight Show with Diana Krall, The Merv Griffin Show with The Mort Lindsey Orchestra, and The Mike Douglas Show with Buddy Greco. He has played nearly every notable jazz venue in the southern California area including The Catalina Bar and Grill, The Jazz Bakery, Steamers, Donte’s, Carmelo’s, The Parisian Room, and The Lighthouse to name but a few. He has toured extensively and has played major venues from New York to San Francisco.

Eschete cites a 1988 gig in San Diego as a critical turning point in his career. There he began to shed his reputation as the quintessential sideman – he stepped to the center of the stage and began exploring original material. Long considered to be one of the finest guitarists in mainstream jazz by musicians and listeners alike, he has now taken over the reins and “innovative leader” might be a better name says preeminent jazz critic Zan Stewart. In 1994 he released his first solo recording for Concord Jazz Records called “A Closer Look”, showcasing his masterful fingerstyle jazz guitar sound and his seven-string Benedetto archtop guitar. In addition to this solo recording Eschete has recorded three CDs with his trio: “Softwinds”, “Rain or Shine”, and “Mo’ Strings Attached”.

While Ron Eschete’s career has been primarily focused on performance, this master jazz guitarist and musician has dedicated nearly twenty five years of his life to teaching music at many colleges and universities including North Texas State University, Utah State University, Loyola University, Louisiana State University at New Orleans, California State Universities at Long Beach and Fullerton, and Musician’s Institute in Hollywood. Ron has been described as a masterful musical chameleon. Switching melodic lines and ideas with cool efficiency and beauty, he transforms from accompanist to soloist and from musical master to musical mentor. Fortunately for aspiring guitarists, Ron has released several instructional jazz guitar tab books which teach his harmonic concepts and chord melody soloing ideas.

Peabody Conservatory trained guitarist Steven Herron helps people succeed at becoming better guitar players. His company ChordMelody.com features an enormous, unique selection of jazz guitar tab as well as guitar books and instructional DVDs by Ron Eschete himself.

 

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Musical Motif – Are You Repeating Yourself?

ist2 222357 composition1 Musical Motif – Are You Repeating Yourself?

A musical motif or motive is a recurring set of notes or a series of intervals played in succession. I’m sure you’ve heard repetition in a melody in fact, almost all compositions are made up of repeating motifs.

If you can repeat yourself musically, this will allow one to capture the essence of an improvised solo and rivet a listener to your ideas. Everyone no matter how sophisticated they are at listening to music will be able to follow your ideas if you repeat them. Continue reading

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Developing Melodic Material for Improvisation

Here is a cool way to break away from regular patterns your fingers are used to. I’ll call this the digital method. The pattern is developed by using any sequence of notes from any scale or mode. Let’s start by assigning numbers to the notes in a scale one octave long. See example below:

C Major Scale

C D E F G A B C (alphabet names of C Maj. Scale)

1 2 3 4 5 6 7 8 (numerical assignment)

C Dorian Scale

C D Eb F G A Bb C  (alphabet names of C minor Scale)

1 2  3  4 5 6  7  8 (numerical assignment)

C Mixolydian Scale

C D E F G A Bb C (alphabet names of C mixolydian Scale)

1 2 3 4 5 6  7  8 (numerical assignment)

The numeric values are just that, numbers assigned to each step of a scale so, don’t confuse them with the interval names as they don’t take into account raised or lowered intervals.

The most common digital patterns to begin with are 1-2-3-5 for Major chords and 1-3-4-5 for minor chords. See example below:

C Major Numerical assignment

C D E G

1 2 3 5

C minor Numerical assignment

C Eb F G

1  3 4 5

The patterns 1-2-3-5 (Major chords) and 1-3-4-5 (minor chords) can be mutated or mixed up to create a many other patterns. Below is a table showing different digital patterns or permutations.

Major Chord Digital Patterns

1235 | 2135 | 3125 | 5125 |

1253 | 2153 | 3152 | 5132 |

1325 | 2315 | 3215 | 5213 |

1352 | 2351 | 3251 | 5231 |

1523 | 2513 | 3512 | 5312 |

1532 | 2531 | 3521 | 5321 |

Minor Chord Digital Patterns

1345 | 3145 | 4135 | 5134 |

1354 | 3154 | 4153 | 5143 |

1435 | 3415 | 4315 | 5314 |

1453 | 3451 | 4351 | 5341 |

1534 | 3541 | 4513 | 5413 |

1543 | 3541 | 4513 | 5413 |

1543 | 3541 | 4531 | 5431 |

These types of patterns can be used when soloing over rapidly changing chord progressions. One example I could think of is the tune “Giant Steps” by John Coltrane or “Cherokee” by Ray Noble. You can find the chords and chart to that in any jazz fake book.

Remember to practice these patterns in all 12 keys and mix up the patterns and you will have some very interesting solos. Go slowly at first if you can’t play it slow you certainly won’t be playing it fast. The idea is to practice the patterns over and over in one key, then move the idea around the circle of fourths then you will hit all the keys.


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Better flowing improvisations

Here is an idea to help make you solos flow better. Play endless eighth notes through every measure of a chord progression. Continously moving those eighth notes up and down the scales. After a while you’ll get tired of scale step note salad the idea now is to break up the scales with your own patterns or intervals and also try a different scale over a particular chord. Always keeping the relentless eighth notes moving. I did this a long time ago and it helped me connect my lines through any given chord progression.



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