Constructive criticism please

alwaysharp · #1 11-09-2011, 08:49 PM

Hi everybody,

I thought I would post a video of me playing over an aebersold of Nica's Dream looking for some constructive criticism. I figured it would benefit everybody else as much as myself. So, let me start by saying that I've recently been working on two main ideas: expanding the range of my solos - I recently listened to some playbacks and realized I hung out in the midrange alot and didn't explore the lower or higher ranges of the guitar, and I've also been trying to work on my phrasing. And by that I mean, not letting the form dictate what I play. i.e. V chord time to play a bunch of stuff and I chord resolve to one note and sit there. I want to start and stop phrases whenever and wherever. Whenever I listen to guys I like I notice them doing this sort of thing. Seems easy enough but my natural tendency some times is to let the form dictate my playing. And of course I'm always trying to learn the fretboard better. Anyway, any insights, thoughts or ideas are welcome. Take care guys.

Kanaal van RyanBrayGuitar - YouTube

AlsoRan · #2 11-09-2011, 09:49 PM

I am not one of the guys on the forum with years of jazz playing experience so take what I say for what it is worth, but I listened to a lot of Jazz, both live and on CD (I probably have 60 CDs). Anyway, count me among those that enjoyed the solo.

I am going to have to pull out one of my CDs that has "Nica's Dream" on it and check out some other interpretations of it - thanks to you.

mr. beaumont · #3 11-09-2011, 10:25 PM

I liked it a lot.

There were a few places where you lost the changes...a couple of times where the idea didn't quite happen...but I like that kind of "on the edge of control" thing sometimes.

There were lots of good lines. You did explore the upper and lower registers...you seemed to use them the same way throughout...that's a tough thing...it's so easy to make high notes a climax to a line...I have to remind myself that's not the only way to use 'em.

Th ere was a lick just before 2:00 that was seriously smokin'. I said "hell yeah" out loud.

whatswisdom · #4 11-09-2011, 11:27 PM

Nice job. I liked your relaxed confident vibe. Some lines in the high register sounded cool, more so than when you were going down low. Using chords more, some comping here and there would be a plus. Use of space...

I'm giving a thumbs up!

alwaysharp · #5 11-09-2011, 11:35 PM

Thanks guys. Obviously I have a long way to go. @mr.beaumont - Yeah, that's been a problem of mine; only moving up into the higher range for some sort of climax. I don't recall being lost in the form but there were definitely some...we'll say suspect notes. Lol And there were probably some ideas that didn't quite happen. In those cases I've been trying to take a second, sometimes even take my hand off the neck entirely, before moving on. Trying to force that urge to make up for a bad note or missed idea with tons of notes. Sometimes easier said than done. Thanks again guys. I think getting some outside perspective's on one's playing is always valuable.

alwaysharp · #6 11-09-2011, 11:38 PM

@whatswisdom - Thanks man. I actually said basically the same thing to myself when I watched it back. "Some chords from time to time and a little room to breathe would be nice."

smokinguit · #7 11-10-2011, 06:46 AM

I like your playing. I'm no jazz expert, but it sound good to my ears. You were not rambling nor were you fumbling for ideas. Good job.

mr. beaumont · #8 11-10-2011, 07:07 AM

I'm sorry that was bad wording on my part...it didn't seem like you lost your place, I was suggesting there were some areas in which I wasn't hearing the chord changes in your line.

Mind you, that's not always necessary.

Astronomer · #9 11-10-2011, 11:16 AM

I loved it. It was great to hear the evolution of your solo as you slowly moved away from the melody and started exploring other ideas. Those licks at 4:36-4:45 were pretty awesome too. Maybe it's just me, but I heard one or two places where the end of a phrase seemed abrupt or out of place; everything else was spot on. Since I'm new to jazz guitar playing and improvisation, can you share some insight into your thought process during this video? I'm having trouble connecting the melody and scales/arpeggios I know into forming a solo like that.

AlsoRan · #10 11-10-2011, 12:59 PM

Yes, it would be nice to know what you were thinking. Was the solo composed in advance? Were you actually improvising? If it was improvising, were you drawing from some licks you have in your bag of tricks? Finally, do you form your solos by ear or do you purposefully apply arpeggios, scales, and maybe some substitutions in an effort to follow Jazz "rules" and theory?

Not trying to put you on the spot, my friend. I would just love to hear your approach. It is obviously a good one!

Thanks in advance

alwaysharp · #11 11-11-2011, 01:58 AM

Thanks again for all the responses everybody. I definitely appreciate it. Well it wasn't composed in advance, that much is for sure. I absolutely use my chords and related scales and sometimes subs but I try to let my ear be the final judge. I don't think I do it enough but lately I've been trying to not abandon ideas so quickly. I'll often play a little motif for what feels like forever and then when I listen back it was only really a few seconds. So I've been trying to make a conscious effort to keep some sort of idea going a little longer. To be honest, I don't have a lot of licks per se. I think I have a lot of little pieces maybe, but not a lot of licks really. I met Scott Henderson once and he told me something that seemed to make a lot of sense; he said, "Learning licks is like learning to say 'I left my coat at the bank on Tuesday' in another language. That's great, but only if you ever leave your coat at the bank on tuesday." At which point he began talking about learning little half a bar or one bar phrases versus four or eight bars. And then kinda piece-mealing everything together I guess. He was also a HUGE proponent for transcribing too. But by and large, I think I was improvising. Lol. But yeah, people say that it's all a combination of things you know and have played at some point in some way and I'm inclined to agree. Does any of that make sense? Thanks again guys.

AlsoRan · #12 11-11-2011, 06:16 AM

Thanks for sharing. After repeated reading here on the Jazz Forum, and other places, I have an understanding of what goes on in different Jazz Guitarist minds as they improvise. If all things remain the same, I should get there, but like you, I write out my improvs depending on what I hear in my head. I then use Jazz Theory to play with some of the sections, which takes me off in different directions. For now, I am content with regurgitating other peoples solos, but I am keeping an eye on my ultimate goal of improvising on the spot.

Thanks for sharing, alwaysharp!

Reg · #13 11-11-2011, 08:42 AM

hey alwaysharp... very cool, great tune and very nice playing. You probable know all he great things you do... there are a lot of them...so I''ll get straight to helpfull criticism.
Looking at you fretboard will create neck problems...
Sorry... try and gradually train yourself to start hearing what your playing as compared to seeing what your playing. What you play will change. Not that what happens when you watch the fretboard is bad, just not all the time.
Your left hand position looks great, nice spacing and loose, you tend to let your 1st and 3rd fingers somewhat control your playing, most of your licks are rhythmically effected... just be aware...
Your picking.... your a great example of modern picking, the picking controls your articulations, how you accent and phrase, that's great if that's what your hearing, not what your picking has trained you to hear.
Sounds clean looks cool, what happens when you play faster, can you double time the feel, does your technique break down or can you hang. I heard you try some triplets at around 4:35... sort of fell apart, so I'm guessing that's your wall... the technique somewhat breaks down. Not a bad thing... looks to me to be from picking as compared to left hand or simply not able to hear... That type of breakdown is typical from indirect picking... at least for quite a while, lots of practice. If you have a teacher you should get that figured out if your going to improve. That being said you sound great... really... I checked out a couple of your other tunes... Your playing some very difficult tunes, there's a lot going on. Do you have understandings of shapes as well as different approaches which help give your improve a balance... Part of improve is being aware of what your playing implies and where it can go...
You sound like a good player, looking forward to more posts. You should post a sample of your playing of Bluesette on the Practical Standards Group in the Jazz lesson section, it's a pretty cool way to hear other players and compare ideas etc... on common tunes...Reg

Kman · #14 11-11-2011, 09:23 AM

I heard some your tunes and I think you sound very good also. You have a nice feel on the instrument, for sure. If you learn some more jazz vocabulary you will sound even better. I enjoyed listening. Thanks for posting.

whatswisdom · #15 11-11-2011, 09:28 AM

Quote:

Originally Posted by alwaysharp

I...use my chords and related scales and sometimes subs but I try to let my ear be the final judge. I don't think I do it enough but lately I've been trying to not abandon ideas so quickly. I'll often play a little motif for what feels like forever and then when I listen back it was only really a few seconds.

I can relate to that. I always want to fill up space with lots of notes whenever I run out of ideas--and anxiety level rises. Reg's comments are interesting as always. I was looking forward to his post. BTW dude, what's your set up? Nice sound.

alwaysharp · #16 11-11-2011, 12:38 PM

Reg - Thanks man. Lot's of stuff to think about. I definitely don't think of myself as a chops guy i.e. my technique is not the best obviously. Like a lot of people I come from a rock background so that's probably big part of the 1st and 3rd finger issue. Plus my old teacher leans heavy on his 1st and 3rd finger, not soley but heavily. And I agree that I need to not look at the fretboard so much. It's definitely a crutch. And kinda boring if you're sitting in the audience I think. Are you in the Los Angeles area?

AlsoRan - Thanks again. I'm not sure what you mean by write out my improvs. I don't write anything out. As mr.beaumont pointed out, the 'on the edge feeling' can attest to that. Lol

Whatswisdom - It's just an artcore with flatwound 12's into a Cube 60. If I'm jamming or gigging (unless it's a duo or something) I have a Twin Reverb I lug around.

Thanks again everybody. I've got a lot of stuff to think about and work on.

whatswisdom · #17 11-11-2011, 02:55 PM

Quote:

Originally Posted by alwaysharp

...I come from a rock background so that's probably big part of the 1st and 3rd finger issue. Plus my old teacher leans heavy on his 1st and 3rd finger...

I suggest you grap hold of the octaves and play the heck out of them. One super exercise that has really helped my left hand: 1st postion. Key: Gb. Play the major scale in octaves within the full range of the position. Lowest note: F. Highest note: Ab. You've got everything there without any open strings to consider. Man, after a few months of this all 4 fingers are so much better! I zeroed in on this after reading The Advancing Guitarist and combining it with Goodrick's "play the chromatic scale in octaves" suggestion. Gb is the best one to dwell on, imo, because of the stretch and the no-open-string involvement. Do it stepwise, then in sequence, thirds, etc. Check it out & let me know whatcha think...

AlsoRan · #18 11-11-2011, 09:02 PM

Hello Alwaysharp.

I am going to bother you one more time, I started to do it in a PM in case you didn't have time to answer right, but there is really no need for you to respond.

About my query about "writing out" an improvisation, I am sorry that I was confusing. By that phrase I meant working out the notes in advance and basically playing them from memory, rather than pulling them fresh from your mind while you are playing.

I come from a Rock/Blues background and I play the same solo pretty much the same way every time. As you know, in Jazz, these guys have the ability to improvise new things on the fly.

To sum it up, if you keep playing progressions beyond my prepared solo, I am in trouble, while a true Jazz improviser will just keep on going. If they are really good, they can probably just go on and on and on until you get sick of them.

That's all I meant. I aspire to eventually be able to "talk" through the guitar, and have a large vocabulary to pull from.

alwaysharp · #19 11-12-2011, 02:29 PM

Thanks again for the response. Unfortunately I'm still a bit unclear. There's nothing pre-composed about my improvisations. Anymore than anyone else anyway. In the sense that when I see a D-7 G7 Cmaj7 I think of the same arps, chord scales etc as everyone else. But in that sense, everyone is playing pre-composed solos. Ya dig? I sometimes have a hard time conveying my ideas clearly and thoroughly via text. What I should have said is simply that I've practiced my chords, arpeggios, chord/scales, licks, transcribed some solos etc. And then whenever I improvise on any given set of changes, those tools are part of the pool I can draw from so to speak. Even Chick Corea said something along the lines of (I don't remember the quote exactly) "The majority of things you play are gonna be things you've played before in some way shape or form. Especially when playing faster runs." One can always liken it to learning a language; you build up vocabulary, learn your tenses, grammar etc and then put it all together. So you're saying something new every time but you're using the same tools you learned prior to that particular conversation. I personally think there's a sort of misconception to some sort of "mystique" to improvising when in fact all of these guys are playing things they know...to some extent mind you. I hope that was a little more clear where I'm coming from and I'm curious to hear what you and others think about that perspective. Take care man.

AlsoRan · #20 11-12-2011, 03:08 PM

I understand now. You are really improvising as you go, responding to the chord changes with the Jazz language you have learned! That's where a lot of us newbies hope to be one day.

A lot of hard work to get there, though. Keep on Jazzin'!

alwaysharp · #21 11-12-2011, 03:36 PM

Yeah, yeah totally. I'm definitely no master but I'm responding to the changes like everyone else. Nothing is anymore preconceived than when I see a D-7 I think D F A C etc. And of course I have little patterns and ideas and cliches that I definitely fall back on or go to from time to time. But everybody does. If they say they don't, they're lying. Lol