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Wait I don't understand are you saying my previous jazz guitar teacher is chatgpt or are you saying should I look for chatgpt as my new jazz guitar teacher (maybe as a joke thing lol).
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07-31-2025 04:05 PM
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The advice you got was so bad I thought it might have come from ChatGPT.
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"I forgot" certainly deserves more practice time than scales and arpeggios. And scales and arpeggios should be combined, i.e., you should be able to find the arpeggios within the scales (and vice versa), and create melodic lines from the scales/arpeggios.
Originally Posted by jazznylon
I imagine that ChatGPT would have told Wes that his technique hampered his playing - I doubt the GPT stands for "Guitar Playing Technique."
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Well I'm all ears. What/who should I look into then? I have a feeling I won't get a satisfactory answer (like always)
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Spend 5-10 minutes on scale exercises. Then learn tunes or solos by ear. It’s not astrophysics
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You want to practice stuff with the goal of integrating it and being able to play something musical with it. And you want to have a range of things that you practice that will build the vision of musicianship that you want.
So there aren't really strict rules about a program you should do. But it should be regimented enough that it disciplines you to play accurately, but holistic enough that it suits your vision and allows you to play musically.
Yes, technique exercises, but not only base theory. Apply it and turn it into patterns or put 2 or 3 things together for a musical part.
Work out all the rhythms that you need to use. How tf are you going to play fluently if you can't even realize rhythms accurately?
Work on vocab. Just work 1 lick at a time until you can integrate it. 1 or 2 full solos are good tho for getting the feel and vibe of your favorite players.
The end goal needs to be to play tunes proficiently to impactfully. Arrange a tune for yourself and work out exercises for each part that you want to feature. Example is a template for Milt is solo blues break with spicy rhythms -> lyrical bluesey call and response type opening statement -> into happenin 16th note bop lines -> further meat of the solo with whatever rhythms.
Can I do that template? If I can't, how tf will I ever play like Milt?Last edited by Strat-itis; 08-01-2025 at 04:39 AM.
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You'd expect me to come to the bot's rescue, but I wouldn't follow a suggested practice routine from it either. Although it does understand what you're saying about music, and it comes up with some good suggestions if you discourse with it or it can help you process things. Originally Posted by AllanAllen
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Thanks. Looks like I won't need a jazz guitar teacher anymore woo! Originally Posted by AllanAllen
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But then you ask Originally Posted by AllanAllen
“What does it mean to learn tunes and what do you do with the solos?”
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Depends on if you need help. Like I say all the time, describing how to learn and play jazz is simple. Doing it takes years of effort. Originally Posted by jazznylon
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First, you have to define your goal, recognizing that whatever it is, is probably going to change the next time you hear something great.
If the goal is to be the so-called "well rounded jazz guitarist", recognize that that's a lofty goal that not everybody can reach, including some successful players. For example, if it includes reading, there go Wes and Tal.
I'm tempted to say it's the ability to imagine a good line and immediately play it. But, that also omits reading -- and comping and knowing tunes and getting a great sound and contributing to a band and whatever I'm forgetting to add to this list.
And then, there's what you enjoy doing. It's hard to imagine practicing long and hard enough to be a great player if you don't really enjoy the practice.
Short answer: I can only get a very vague idea on what somebody else should practice.
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If you choose to practice a rhythm - make sure that you're feeling it completely and you become the number one boy to play it to everyone.
If you choose to practice a tune - make sure youre get the full treatment of it - what it is, what were the lyrics, the story, the era, the everything.
Using a tune just to "make music" is as superficial as practicing a scale to make music.
If you choose to practice soloing - make sure you're making sense with it.
The only easy part with "practice" is, is that you are allowed to fail all the time, no problem.
or:
"what should i practice" - do scales. up and down. works too. always works
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Advice like this always reminds me of this Q&A. Originally Posted by emanresu
?? It's just music to me - YouTube
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Hm. I think he was trivializing music, not history, with the answer.
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Same type of story, but not as cringe
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Yeah. So, there is that. But also the curious cases of Heath Ledger and Daniel Day-Lewis.
Of course you can play well without knowing anything about what is being played at all. Of course, but then you play everything the same way.
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They still come in the door… Originally Posted by emanresu
Same type of story, but not as cringe :
Yeah. So, there is that. But also the curious cases of Heath Ledger and Daniel Day-Lewis.
Of course you can play well without knowing anything about what is being played at all. Of course, but then you play everything the same way.
It’s not that you don’t know anything about what’s being played. For the clip I posted it’s the raw truth of what can be done if you can read the music on the sheet and listen to the band. You can get a lot of context from the upper left corner of a lead sheet, but of course, you need to know what calypso, or swing ballad means.
It’s not about knowing every song intimately, it’s about knowing so many songs, having so much experience, you can play new ones with familiarity.
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Hmm. I’m not sold on this bit. Originally Posted by AllanAllen
I think I get your meaning, but you do have to know a tune really well to start being able to extrapolate all that useful information from it.
I think I learn more from teaching blues and rhythm changes to every student repeatedly than I do from collecting a new song. But there’s also something to be said for checking out an old B side musical tune and going “turnaround cadence to IV minor cadence cadence back home boom done” and cranking through some stuff.
I think maybe it’s just different things that can be said for each.
I feel like when you set out to learn a new tune you can either set out to really make it a thing you learn from or you can set out to kind of collect it and process the patterns and collate it with all the other tunes you know. You can’t learn everything intimately, but you learn different stuff from quality learning than you do from quantity learning.
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Okay, but if you get hired to work on an album, can you play something worthwhile after getting a new sheet placed in front of you?
If you do a gig and get a request the sax player knows but you don’t, can you look at sheet and make the person happy?
These are also real life parts of being a working musician. These are the parts where I think you put all the work you’ve done to use.
I’m not saying don’t learn songs, I’m saying, don’t limit yourself to only playing songs you’ve spent a month dissecting.
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Dunno. I played two pieces from Chopin on piano when in school. Both from the same collection, preludes.
First one I enjoyed so much and took care of it so well, when played to myself before class, my teacher entered after done, and said that she listened behind the door.
Without knowing anything about who the guy was. So the gem of a music is it's own thing and voila - it just works.
Then saw a neat movie about Chopin and Liszt, the next piece was "kicking in" before played a note from the paper and hadn't heard it ever.
I did like the feeling of knowing that it's gonna be awesome before even knowing the piece itself. It added weight.
I liked it more because it wasn't a gamble, a random find.
The point is, when you know the guy or gal in some way, you gain confidence before even starting.
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Im playing a high dollar wedding this weekend that’s all jazz versions of anime music so we’ll find out. Originally Posted by AllanAllen
Sure. All I’m saying is that they’re two different skills. And that I think maybe you’d be surprised by how much you learn about other tunes from of a deep dive relative to the tunes you skim.If you do a gig and get a request the sax player knows but you don’t, can you look at sheet and make the person happy?
These are also real life parts of being a working musician. These are the parts where I think you put all the work you’ve done to use.
I’m not saying don’t learn songs, I’m saying, don’t limit yourself to only playing songs you’ve spent a month dissecting.
And some tunes just lend themselves to skimming.
Bye Bye Blackbird kind of just is what it is.
Stella will give you something different every time you come back to it — little similarities with other tunes you didn’t notice before, common progressions disguised until you decipher them etc.
(These are imperfect terms btw … I know you’re not saying “don’t spend time on cool tunes” — you’re trying to express that churning through some simple tunes and learning the patterns and seeing similarities is super helpful and makes learning tunes easier in the future. Agree with you there. Just saying that deep dives really help with that too, in ways that are maybe less predictable and not so clear cut. Maybe more helpful in my personal experience?
Ideally I find myself doing what I did with classical guitar — at any given time, a couple concert pieces that I might be working on for six months and a couple etudes I might be working on for two weeks. Sort of crank through the latter while really diving into the former. Jazz tunes I find myself doing something similar — a chunky tune for a while and some simple GASB tunes that I might crank thick in the meantime or keep revisiting and refreshing or whatever)
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I'm afraid I have no idea what "anime music" is. Can you enlighten me/us?
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music from anime shows Originally Posted by ewall
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I have the impression that not everybody can be good at everything.
So, some people just aren't going to read well. Others aren't going to learn tunes efficiently. Some won't be able to solo well outside of the vanilla. etc etc.
So, there's a point to figuring out what you're capable of and trying to develop it. I'm not saying not to work on the broader spectrum of skills. Rather, I'm just saying there's some value in playing to your strengths.
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Music has about 7 lottery numbers. Those have to be above average in a person to go and woo. If below - skip reading, skip soloing, skip composing forever. Got to skip a lot.
Fortunately there are things to do with less numbers in music lottery. Sadly, jazz needs a lot
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what? Originally Posted by emanresu
Music has about 7 lottery numbers. Those have to be above average in a person to go and woo. If below - skip reading, skip soloing, skip composing forever. Got to skip a lot.
Fortunately there are things to do with less numbers in music lottery. Sadly, jazz needs a lot
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