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Fw: Do you actually loop with the instrument you are most proficient on? (Re: What would loopers do without power?)

That's a fun approach, Warren.  It certainly lends to great economy of
 motion. I agree that it really forces you to expact your chord vocabulary,
 and in many cases, create your own voicings, which was what I used to like
 to do before I when to the approach I have now.  Theoretically, you should
 be able to play any chord (at least with the primary intervals represented
 with some implied intervals) in a 4 fret span.  Good singer/song writers,
 with a jazz background and  who uses capolls know this. They can stay down
 in that root position without using bar chords for a long time!

 A while back I got obsessed with using only voicings where I didn't play 
 root or fifth. The first time I used that approach was at a club at a jazz
 jam night, and the keyboard player (friend of mine), looked up from his
 piano, and had a big smile on his face, like "Hey, you're playing my
 voicings dude!"  He could just top playing and kick back. Ever since 
 became of the believe that in a combo setting where you have a bass 
 the only reason to use traditional chord voiciings with the root and fifth
 (or just the root), was my own ignorance of knowing the really hip
 substitutions.  That mindset led me to this:
 These were some of the chords I used that would nearly 100% of the time 
 a jazz keyboard plyaer look up and me and smile.  :)  Great moments in 
 as a axe slinger competing with 10 fingers on keys.


> ----- Original Message ----- 
>> Interesting discussion. In the realm of jazz guitar, I've been
>> breaking away from cliches by - well, I don't know whether you'd call
>> it "adopting" or "abandoning" position playing. I have a to move all
>> over the neck when playing jazz tunes - if the root is D, I'll want to
>> play at the 5th fret (where the D bass is on string 5) or the 10th (D
>> bass on string 6), more or less.
>> Now I'm trying to play through tunes without changing position - start
>> at the 8th fret and play scales and arpeggios that suit the underlying
>> chords, but without moving from that fret as the tune cycles through
>> all its changes and keys. Then, on the next chorus, do the same thing
>> at the 2nd fret, or in open position. That has certainly been
>> effective for expanding my vocabulary (and, I feel it's made it more
>> authentic-sounding). As I go through these changes, preferring
>> accuracy and coherent phrasing to speed, I find  the  connection
>> between what I hear in my head and what comes out to be improving as
>> well.