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  1. #201

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    Quote Originally Posted by mrblues View Post
    Its the same with calssical music teaching/teachers here in Hungary. They are (respect to the exceptions) all "classical nazis". Nothing is music except classical they say... Neverthless I have to say that we who try to play the guitar in the jazz scene, we also must know how to read the classical sheet properly. Thats why I practise this nowadays. The other side of the coin is that pop/blues/jazz players think that classical musicians are only workmans, skilled labourers who read the sight music but dont know anything about music at all (and the pop/rock etc guys "ofcz" cant read even 1 note from sheet, and dont know the freatboard etc etc...). Every side has its rights, but neither of these sides try to getting closer to each, to evolve a musical teaching method where these two sides are merged together. Every side has to learn the methods of the others side (not like in star wars lol), to be a really good player.
    I agree with all you said. Personally, I love Classical guitar, I love playing it and I even teach it. I just think you got to approach it smart. I take what I like from it, some technical stuff, reading, and leave out the rest. But there is a lot of benefit for all kinds music if you study it.


    The Jazz Guitar Chord Dictionary
  3. #202

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    This kid got it right!

  4. #203

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    I went down to the cross roads, fell down on my knees
    I went down to the cross roads, fell down on my knees
    Brought my class-e-kaall gee-tar, Se-go-vee-aaah don't bother meeeeee

    I never saw that movie... really gotta find it.

    I learned a couple of tings from the classical guitar world

    1. Segovia fingerings (classical guitarists don't even use 'em anymore)--I found them very useful for learning how to shift musically across the fretboard. All of my scale studies incorporate different shifting principles. I don't like positional playing all the time--but that's just me. Oh, check out Abel Carlevaro, if you really want to practice your shifts.

    2. Carcassi studies, yes they are great for technique.

    3. Bach Violin Partitas and Sonatas--gotta go back to them--fun fact, Howard Alden told me this is one way that he worked up his technique.

    4. Tone production and connecting every note UNLESS you want to play staccato--the guitar is a very staccato instrument, but it doesn't have to be chained to that as a dictum. I'm talking about playing legato with a plectrum, not legato playing ala Holdsworth (though his playing is pretty wild and beautiful). This is the one take-away I got from studying with James Chirillo. We didn't directly study rhythm guitar, but he was ALL about connecting the notes--even with the Van Eps studies we did--thank you James, but why couldn't you teach me a little Freddie Green--just a little?

    5. Dynamic control--listen to Bream, Segovia, and yes, John Williams (let's stop hating on John--classical guitar world)

    6. Thematic development--listen to Beethoven and Moe-zarht. I grew up listening to Mozart, Beethoven, Bach, Dylan, Beatles, and John Coltrane with my dad--odd mix, huh? He would always walk around the apartment humming Beethoven or Mozart--so I think I got some of it in my ear.

  5. #204

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    Only the amateur, wannabe classical guitar world hates on John Williams. the REAL players have the utmost respect for him.

  6. #205

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    Quote Originally Posted by ronjazz View Post
    Only the amateur, wannabe classical guitar world hates on John Williams. the REAL players have the utmost respect for him.
    Sure thing. Same thing in jazz. Only wannabees hate guys like Martino, Gambale, Bireli and Grasso. You know guys with unreal chops. They invariably come up with the "no emotion" and "no soul" cliches. I wonder what psychological device is behind that.


  7. #206

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    It's funny how some people think it's OK to play out of time in jazz.