Your biggest bang-for-the-buck thing to do in the shed.

[pamosmusic]

Mick what are you trying to say, my dude?

[Mick-7]

Oh, only that I rarely hear his name come up, there isn't even a thread about him in the "players" section of this forum.

[pamosmusic]

Oh, only that I rarely hear his name come up, there isn't even a thread about him in the "players" section of this forum.

Well I’ll be damned. If only Michael Brecker had known.

Anyway. It’s a great book. Oddly enough, with all your slominsky stuff, I think you’d probably rather like it.

[Mick-7]

Well I’ll be damned. If only Michael Brecker had known.

Anyway. It’s a great book. Oddly enough, with all your slominsky stuff, I think you’d probably rather like it.

Is this the only Brecker Brothers album he is on? It's the only one listed in his credits.
Straphangin' - The Brecker Brothers | Album | AllMusic

Oh, here's another one:
Heavy Metal Be-Bop - The Brecker Brothers | Album | AllMusic

[GuyBoden]

It sounds like you have acquired some interesting secret jazz guitar-lore.

No "secret jazz guitar-lore", my experience has been that you'll learn more by playing regularly with more experienced Jazz players than any book.

[James W]

No "secret jazz guitar-lore", my experience has been that you'll learn more by playing regularly with more experienced Jazz players than any book.

Wonderful. What sorts of things have you learnt?

Of course, it's not an either/or sort of thing. Almost all of us have to spend at least some time learning from books, prior to and even after playing with more experienced jazz musicians. There is surely a place for both types of learning.

[GuyBoden]

Wonderful. What sorts of things have you learnt?

Listening.

[pamosmusic]

Not only do I like books, I periodically go to the My Music Masterclass site, watch the little teaser video for everything that looks interesting, and take notes.

[Strat-itis]

^ Are you gonna get the Milt book?

[pamosmusic]

^ Are you gonna get the Milt book?

Didnt know about it honestly. But Jordan K makes a pretty convincing case for vibraphone-guitar exchange

[emanresu]

Assuming your brain works and you can think of the effect it has on you then you can. If your brain doesn't work in the first place then I guess you can't.

Your brain is what it is.

[Strat-itis]

Didnt know about it honestly. But Jordan K makes a pretty convincing case for vibraphone-guitar exchange

I was actually thinking the same thing for guitar-vibraphone exchange.

[Mick-7]

Your brain is what it is.

Except when it isn't.

[Mick-7]

Is this the only Brecker Brothers album he is on?
Straphangin' - The Brecker Brothers | Album | AllMusic

Oh, here's another one:
Heavy Metal Be-Bop - The Brecker Brothers | Album | AllMusic

I see that Mr. Finnerty is on this Mel Martin album:
Where the Warm Winds Blow - Mel Martin | Album | AllMusic

https://www.youtube.com/watch?v=kbTUrAlSAK0&list=OLAK5uy_kbubxLumYon8gAGt3 ZRBqtCKhL487FjFc

[pamosmusic]

I see that Mr. Finnerty is on this Mel Martin album:
Where the Warm Winds Blow - Mel Martin | Album | AllMusic

https://www.youtube.com/watch?v=kbTUrAlSAK0&list=OLAK5uy_kbubxLumYon8gAGt3 ZRBqtCKhL487FjFc

Thank you for this specialized insight, available nowhere else

[BreckerFan]

I do a lot of etudes, and they've been overall very beneficial for developing technique, vocabulary, and feel. I think they'll always form some part of my practice, but I'm getting a little worn out on them. I've probably written 50+, with like 30 that I'd consider good and regularly go back to.

Recently I've been working on fundamentals, specifically triads in all 12 keys. A good exercise I've found is to play two octave triad arpeggios (M, m, dim, and aug) through all 12 keys within a 5 fret area of the neck, either cycle of fourths, chromatically, or even with a random 12 tone sequence, while singing along. It kind of breaks your brain a little, but it's good to build real time connection between your ears and fingers. I wanna try and do something similar with melodic patterns and intervals.

[James W]

I do a lot of etudes, and they've been overall very beneficial for developing technique, vocabulary, and feel. I think they'll always form some part of my practice, but I'm getting a little worn out on them. I've probably written 50+, with like 30 that I'd consider good and regularly go back to.

Recently I've been working on fundamentals, specifically triads in all 12 keys. A good exercise I've found is to play two octave triad arpeggios (M, m, dim, and aug) through all 12 keys within a 5 fret area of the neck, either cycle of fourths, chromatically, or even with a random 12 tone sequence, while singing along. It kind of breaks your brain a little, but it's good to build real time connection between your ears and fingers. I wanna try and do something similar with melodic patterns and intervals.

I don't know if you know the book Building a Jazz Vocabulary by Mike Steinel, but I recommend it - one of the useful things is it contains a page of systematic root movements such as the ones you mention - chromatic and in fourths, but also whole tones (with a pivot of a semitone from B flat to B natural) minor thirds (so in other words descending dim 7 chords) major thirds and tritones; these, along with nine sets of random root movements.

[pamosmusic]

I don't know if you know the book Building a Jazz Vocabulary by Mike Steinel, but I recommend it - one of the useful things is it contains a page of systematic root movements such as the ones you mention - chromatic and in fourths, but also whole tones (with a pivot of a semitone from B flat to B natural) minor thirds (so in other words descending dim 7 chords) major thirds and tritones; these, along with nine sets of random root movements.

You need to stop this.

Im maxing out my monthly book budget.

[Mick-7]

That Danny Gatton exercise I've mentioned about a million times here has given me mucho bang bucks.
And, no, I'm not gonna explain it again. I've already strained my precious typing finger enough hunting and pecking it out.

I have a vague recollection of this exercise, do you recall where you posted it?

[pauln]

And some things aren't so much theory or technique, but more of stagecraft.
In a late set the band's asked to play a tune (that the band played earlier on).
Bad stagecraft: "The band played that earlier but sure we could play it again."
Good stagecraft: "One moment..." Band huddles a few seconds... "1 2 1234..."
The foundation of all music is it's an illusion; enjoyment is sharing that illusion.

[jazznylon]

So far I find I improve the most if I just make up my own chord melody arrangements for a bunch of songs.

[ruger9]

For me, it's always been learning songs. Not just learning them, but then playing them until I have them smooth. Techniques, modes, substitutions, etc... you can learn all kinds of stuff by learning songs.

[pamosmusic]

Imagine me standing up at the bow of a ship like Leonardo DiCaprio in Titanic shouting “TRANSCRIBING” into the roar of the ocean or whatever.

[AllanAllen]

Imagine me standing up at the bow of a ship like Leonardo DiCaprio in Titanic shouting “TRANSCRIBING” into the roar of the ocean or whatever.

I tried it for 4 seconds and that’s too hard. Don’t you have any tab for 1 weird trick to unlock the fretboard?