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'All of me'
Just what I did several years ago.
I had to start with arpeggios playing bass to treble, but soon fitted little phrases in. I love these changes and practised it just the other day. Great standard for the jazz jam.
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03-25-2020 05:29 PM
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What happened to the original poster, the lukather dude, did he even respond to this thread?
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Originally Posted by lukatherknopfler
Jazz Science Guitar Institute
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Originally Posted by greveost
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Originally Posted by cosmic gumbo
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Originally Posted by cosmic gumbo
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Originally Posted by greveost
I can surmise he is marooned on an asteroid that passes by Earth every six years.
I expect his next post in Dec 2025.
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Originally Posted by Drumbler
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Originally Posted by Drumbler
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You did hear that one about all the young people who thought social distancing meant they couldn't text their friends or do social media...
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Originally Posted by lukatherknopfler
That's a good question, I can answer because I know where the problem is.
The biggest problem is the relation you have with your first friends when you start to learn the guitar, they are friends but become enemies when you want to play jazz.
Those friends are called shapes, you can play a lot of things without knowing what you play, they work like tabs.
I had had this problem for years, for decades until I forgot those shapes.
You have to learn your neck, where the notes are.
When you play a solo, a melody, chords... don't think with shapes, there were just there to teach you the academic fingering, nothing else.
When you play a note, name it, don' t play the guitar like if you were playing battleship or minesweeper game, you know where you are.
Secondly, don't travel a lot on the neck, I know it belongs to the show when you play rock but for jazz it's not very useful, jazz is like McDonald's, I mean "come as you are", you're bald, you're fat, you're ugly, you're beautiful... sorry I'm lost... people come to listen to you not to see if your guitar has the right colour or if you hair is long enough to play.
Thirdly (is it correct ?) but it belongs to secondly, when you want to play something, try to limit the room, I mean between fifth and eighth frets. Try to play all the chords in that room and the melody too and think about the notes you are playing, then choose another room and when you are ready, connect the rooms each other without thinking about shapes but notes, it's very important.
Fourthly ? Yes ! I wrote it right ! Try to play only on one or two strings (but not only on A B E strings) the melody you played in one of the room and name the notes, it will help you to travel on the neck.
Fifthly... that should be firstly... when you play the chords in a small room, look at your fingers (the fretting hand) and see how they move as if you were a pianist, and name the notes.
I hope you're fine.
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There is an element of the original question that is a bit confusing...namely, it doesn't say whether the aim is to play jazz sounding lines, or just any adequate sounding line over jazz changes. I'm not trying to split hairs here, but this distinction could lead to quite a bit of difference in answers/advice.
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Originally Posted by GastonD
The first is the only one worth thinking about.
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Originally Posted by Lionelsax
Yep, getting a handle on one "area" (not position) of the fret board is a common approach for guitar improv study these days, and it really helps.
Only thing is, don't stay in one area too long - learn them all!
Playing through a nice Wes Montgomery solo transcription will dispel any notions about staying in one place for very long. Of course he didn't use his pinky very much for single note lines. Wes and Django both slid up and down the fretboard like crazy, and for common reasons - (1) using fewer than four left hand fingers, and (2) playing exuberant sounding lines that traversed range, rapidly and frequently.
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Originally Posted by GTRMan
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Yes I did but I probably don't see as much value in that as you do.
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Originally Posted by GTRMan
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Originally Posted by Lionelsax
Is the Bud 6 Really That Good?
Today, 02:33 PM in Guitar, Amps & Gizmos