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#1
06-03-2010, 09:43 PM
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 Greetings from The Great White North Hi folks, I'm a retired US citizen relocated to the Ottawa area. Lots of time to lurk post and uh....er practice as well. I'm currently enrolled with Jimmy Bruno and thinking of also joining Andreas Oberg's site as well. Wes is my #1 jazz guy ever, followed by Johnny Smith, Howard Roberts Joe Pass and Pat Metheny. Then of course there's Kenny, Grant, Jim Hall, Sco, Abercrombie, Chicago guys like Henry Johnson, Bobby Broom, John McLean, Neal Alger and on and on. Heck I like them all! Glad to be here.     |
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#2
06-04-2010, 08:19 AM
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| Welcome to the group, Brian. I'm a member of JB's site, as well. I don't know where you are in terms of accomplishment on jazz guitar, but I'm not convinced that Jimmy Bruno's and Andreas Oberg's methods are all that compatible...you might want to reconsider that until you've gotten a real good handle on Jimmy's method. Looking forward to talking with you! |
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#4
06-04-2010, 12:49 PM
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Back when I was playing the Bruno "theme" for him (Blue Bossa), I slid between notes playing the melody, just because it was the way it felt to me...he jumped all over it. So we'll see. I attended a Howard Roberts seminar years ago where he said "I don't care if you play the note with your nose as long as the idea comes out". Andreas doesn't much care about fingering either. Time will tell. |
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#5
06-07-2010, 06:30 AM
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| The reason for the fingerings are so that your fingers and ear make a connection, otherwise it will take forever to make that connection. (watch the intro theory lessons). By limiting the fingerings , the repetition of making lines gets under your fingers and ears. There are too many fingerings out there for anyone to make the connection. Once you get an ear (finger-ear coordination) you got the hard part of the guitar. At that point, the fingering doesn't matter, but until that happens you will be floundering forever.!!!!!! JB |
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#6
06-10-2010, 02:30 PM
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#7
06-10-2010, 02:44 PM
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| One important thing about learning the fingerings, be it Jimmy B's fingerings or Harry Leaheys or whoever , is that they help show you where the harmony notes lie. Foer example, in the major scale that starts on the 6th string with your 3rd finger all the notes look like this ||---|---|---|---|---|-2-|-3-|---|---|---|---| ||---|---|---|---|1--|---|3--|---|-4-|---|---| ||---|---|---|-1-|---|-2-|---|-4-|---|---|---| ||---|---|---|-1-|---|-2-|---|-4-|---|---|---| ||---|---|---|-1-|---|-2-|3--|---|---|---|---| ||---|---|---|---|---|---|3--|---|---|---|---| YOu can see this Bbma7 voicing ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|-1-|---|---|---|---|---|---|---|---| ||---|---|---|---|---|---|-4-|---|---|---|---| ||---|---|---|---|-2-|---|---|---|---|---|---| ||---|---|---|---|---|-3-|---|---|---|---|---| If you didn't know the scale in this fingering you would never see this voicing or any of the other possibilities that present themselves (like this one also) Bbma9 ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|-1-|---|---|---|---|---|---|---|---| ||---|---|---|---|-2-|---|---|---|---|---|---| ||---|---|---|---|---|---|-4-|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|---|-3-|---|---|---|---|---| |
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