Gary Willis method of memorizing?

[sideburnbass]

Has anyone here adapted Gary Willis method of memorizing songs that's in his book "Fingerboard Harmony"? It seems interesting, and I'd like to get a solid understanding of it so I can memorize more jazz standards.

I'm curious how you would apply it to a standard like Autumn Leaves that's in a minor key.

So if the changes are

Cm7 F7 Bbmaj7 Ebmaj7
Am7b5 D7 Gm (x2)
Am7b5 D7 Gm
Cm7 F7 Bbmaj7 Ebmaj7
Am7b5 D7 Gm7 Gb7 Fm7 E7
Am7b5 D7 Gm

1. Do you think of the start as being in major, so it's written like
2 5 1 4
7 3 6
or
2 5 1 4 (TT)
2 5 1

or do you think of it in minor, so it becomes
4 7 3 6
2 5 1

2. How do you write out minor II V I's with as little unnecessary information as possible so you don't confuse it with a major II V I?

3. How do you write out the tritone substitutions?

 

[SteveCS]

...

2. How do you write out minor II V I's with as little unnecessary information as possible so you don't confuse it with a major II V I?
...

Write minor chord numbers in lower case, i.e. ii V i or ii v i for minor, ii V I for major.

 

[Malcolm35]

So if the changes are:

Cm7 F7 Bbmaj7 Ebmaj7
Am7b5 D7 Gm (x2)
Am7b5 D7 Gm
Cm7 F7 Bbmaj7 Ebmaj7
Am7b5 D7 Gm7 Gb7 Fm7 E7
Am7b5 D7 Gm

Dirt simple way is to follow the chords. The Cm7 chord has these chord tones; R-b3-5-b7 This (R) root is C, find a C. The b3 is up a string and back a fret, the 5 from the root C is up a string and over two frets, or down a string same fret. The b7 - from the C is up another string and one fret toward the bridge. The next chord is F7 so find the F and it's spelling is R-3-5-b7.

I'm going to send you to a link where all the R-3-5-7 stuff is explained.

2. How do you write out minor II V I's with as little unnecessary information as possible so you don't confuse it with a major II V I?

Major chords are written in upper case and minor chord are written in lower case, i.e. ii-V-I. Or I-ii-iii-IV-V-vi-vii. Chord names in Roman numbers and scale notes in Arabic numbers, 1-2-3.

3. How do you write out the tritone substitutions?

They would be written using the above. Once you substitute it has a new chord name. Not real sure that answered your question.

Here is the link I mentioned. How to get started?

Good luck.

 

[sideburnbass]

Dirt simple way is to follow the chords. The Cm7 chord has these chord tones; R-b3-5-b7 This (R) root is C, find a C. The b3 is up a string and back a fret, the 5 from the root C is up a string and over two frets, or down a string same fret. The b7 - from the C is up another string and one fret toward the bridge. The next chord is F7 so find the F and it's spelling is R-3-5-b7.

I'm going to send you to a link where all the R-3-5-7 stuff is explained.


Major chords are written in upper case and minor chord are written in lower case, i.e. ii-V-I. Or I-ii-iii-IV-V-vi-vii. Chord names in Roman numbers and scale notes in Arabic numbers, 1-2-3.


They would be written using the above. Not real sure what you mean by tritone substitutions.

Here is the link I mentioned. How to get started?

Good luck.

Thank you for your reply, I'm aware of how chords are constructed . Gary Willis memorizing method is using regular arabic numbers instead of traditional chord analysing using roman numbers, so you can more directly relate it to the geometrical patterns of the bass with as little information as possible.

For example if you have Em7 A7 Dmaj7 Dm7 G7 Cmaj7 you write

2 5 1 becomes
2 5 1

It's just not that many examples in the book. I haven't got a clear picture of how to really use it logically for everything.

 

[Malcolm35]

Looks like he is using Nashville numbers. I use Nashville numbers for all of my Praise music as the chords come quickly and pounding roots seems to be the best method for Praise.

Nothing wrong with Nashville numbers. Gotta know the key so you know where the 1 is. It's great when the fat lady comes on stage and asks for the song to be in Bb - find the Bb and that's the new number 1. If I had a question on capoed or non standard stuff the guitar guys were using I'd ask the keyboard what key she was going to use and I did the same.

For my non praise music I use the chord name for the root note and found it in the first 5 frets -- then reverted to where I can find the rest of the chord I want to use, i.e. 3-5-b7... That explains all that R-3-5-7 I used in my first answer to your question.

Just be aware it looks like he is teaching you Nashville numbers, which is not the same as most instructions books will be using.

Happy trails.

 

[mambo4]

Gary has a page about this in his 101 Bass Tips. It is similar but less formalized then nashville numbers (which rarely change keys). His argument is that , for example, "2" is better than "ii min7" because the ii chord is known/implied to be a minor 7 chord. so "ii min 7" contains unnecessary extra stuff to memorize.

A fine assumption which falls apart when the chords get non-diatonic, altered / extended, or move to a minor or modal key. I think roman numeral notation is the best shorthand, because explicit is better than implicit.​

 

[Ed Fuqua]

I would, once again, offer the advice that it's not memorizing, it's hearing.

 

[Malcolm35]

His short hand method would work if you know that a 2 is probably going to be a minor 7th chord aka, R-b3-5-b7.

And yes most of the time we end up using just a root or root five and that gets the job done. So his short hand method works fine with people that already understand what notes are in a specific chord and can add them if the song needs them.

You've got the book, keep going, there will be value within. Just understand it is a short hand version of reading sheet music.

for example; Key of C = C-D-E-F-G-A-B
or -------------------------1-2-3-4-5-6-7.

Major scale box showing scale degree numbers
and the root note on the 4th string.
G~~|---2---|-------|---3---|---4---| 1st string
D~~|---6---|-------|---7---|---8---|
A~~|---3---|---4---|-------|---5---|
E~~|-------|---R---|-------|---2---|4th string
​

Take your fake chord and using a black marks-a lot mark through the Dm7 with a 2. This way you still have the lyrics to help you with the chord changes.

Happy trails.

​

 

[SteveCS]

...
Gary Willis memorizing method is using regular arabic numbers instead of traditional chord analysing using roman numbers, so you can more directly relate it to the geometrical patterns of the bass with as little information as possible.

For example if you have Em7 A7 Dmaj7 Dm7 G7 Cmaj7 you write

2 5 1 becomes
2 5 1

It's just not that many examples in the book. I haven't got a clear picture of how to really use it logically for everything.

If the shorthand doesn't capture or communicate sufficient information then it isn't effective shorthand, IMHO. The example quoted above is meaningless as far to much information is lost in translation.

 

[Koshchei]

Gary has a page about this in his 101 Bass Tips. It is similar but less formalized then nashville numbers (which rarely change keys). His argument is that , for example, "2" is better than "ii min7" because the ii chord is known/implied to be a minor 7 chord. so "ii min 7" contains unnecessary extra stuff to memorize.

A fine assumption which falls apart when the chords get non-diatonic, altered / extended, or move to a minor or modal key. I think roman numeral notation is the best shorthand, because explicit is better than implicit.​

Totally agreed. It's fine for the modes of the major and natural minor, but as a jazz musician, you also need to be able to function inside melodic and harmonic minor, and harmonic and double harmonic major scales. These scales can have some pretty exotic modes and chords, which this shorthand can't account for.

 

[cnltb]

What exactly is the Gary Willis method?

 

[mambo4]

What exactly is the Gary Willis method?

Its a shorthand for remembering Jazz chord progressions.
It is a "tip" from Gary , presented in some of his books.

Instead of memorizing chord names like Dm7 - G7 - C ,
you assign each chord a number based on its relationship to the key center (C major in this case)
and Dm7 - G7 - C thus becomes 2-5-1.

when the key center changes, you note the interval by which it does so in parenthesis.
Ebmin7 - Ab7 - Dbmaj7 - G7 - C thus becomes 2-5-1(TT)-5-1. where (TT) = tritone

Its almost exactly the basic Nashville number system,
with and added method to track key center changes.

The assumption is that the musician knows major scale harmony.

 

[nilorius]

There will not be another Gary Willis.

 

[BAG]

Major chords are written in upper case and minor chord are written in lower case, i.e. ii-V-I. Or I-ii-iii-IV-V-vi-vii.

I was using this system for a while but found that at times it could be difficult to read at a glance. I switched to using arabic numerals recently, somewhat like what the OP is referring to but i include a bit more info.

Here's my version of Bruce Springsteen's "Fire"

 

[Cutter8]

Reading this thread has not been good for my self-esteem. I could not have understood much less of what was discussed in those 14 posts even if they had been written in ancient Sanskrit. One of the benefits of TB—it helps keep me humble!

 

[BAG]

Reading this thread has not been good for my self-esteem. I could not have understood much less of what was discussed in those 14 posts even if they had been written in ancient Sanskrit. One of the benefits of TB—it helps keep me humble!

It is well worth taking the time to chart out songs one way or another either using the roman numerals method, Nashville Notation or other methods. I only started doing this around three months ago and it has really helped me hear chord progressions and movements between chords much better plus I can transpose songs in different keys on-the-fly much better than I used to. Some songs I don't bother with but in just about every instance that I have there has been an "ah-ha!" moment where I suddenly realise other songs that have the same progression but in a different key.

 

[IamGroot]

Its a shorthand for remembering Jazz chord progressions.
It is a "tip" from Gary , presented in some of his books.

Instead of memorizing chord names like Dm7 - G7 - C ,
you assign each chord a number based on its relationship to the key center (C major in this case)
and Dm7 - G7 - C thus becomes 2-5-1.

when the key center changes, you note the interval by which it does so in parenthesis.
Ebmin7 - Ab7 - Dbmaj7 - G7 - C thus becomes 2-5-1(TT)-5-1. where (TT) = tritone

Its almost exactly the basic Nashville number system,
with and added method to track key center changes.

The assumption is that the musician knows major scale harmony.

The notation method you are talking about has been around for more than seventy years. It's the standard communication for jazz people. We say 2 5 1 in minor, but would write ii V I ( or maybe iim7b5 V7b9 I Mm). Its no longer Nashville when you move to Roman numerals.

 

[Koshchei]

There will not be another Gary Willis.

Gary is incredibly special as a genius innovator and musician, but he’s not a freak like Allan Holdsworth. Allan existed on a totally different plane than other musicians, whereas Gary is amazing, but we can understand what he’s up to. I think there will be other Gary Willises; just not very often.

 

[mambo4]

The notation method you are talking about has been around for more than seventy years.... Its no longer Nashville when you move to Roman numerals.

Gary's 'tip' is more abbreviated and less explicit than Roman numeral notation. It's also not a notation system, it's a mental memorization shortcut.

I don't use it myself, (I like to memorize songs the hard way) I just happen to have one of Gary's books in which it is explained.

 

[IamGroot]

Gary's 'tip' is more abbreviated and less explicit than Roman numeral notation. It's also not a notation system, it's a mental memorization shortcut.

I don't use it myself, (I like to memorize songs the hard way) I just happen to have one of Gary's books in which it is explained.

I memorize everything with numbers. The important thing is to know all the the common patterns and memorize by exception.

Maybe 15 years ago, I played bass for Horace Grigsby, a jazz vocalist from the old school and a great teacher. He would tell the audience the song he was about to sing with a little story, count it off and in his last breath, would announce the random key for that night.

I got very good at numbers very quick as a result.

Thank you, Horace.