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Just to make sure I understand you right - playing 9 notes per beat at 30bpm is a rushed version of playing 8th notes at 120bpm? I get everything up to the division of 9 division of 7 talk. I'm a little lost there - is all of that rushed/behind the beat in reference to the 120bpm? If so, I think I'm clear on it.
Originally Posted by bako
Thanks for the tip tho. I tried doing 8th notes at 40 bpm, but struggled to move into triplets at that speed without losing my place. But I've only tried doing it today, so I'll get it with a little regular effort.
So far, I've learned I tend to rush when playing upstrokes, when stretching my fingers a fret down (mainly that first finger stretch), or when distracted by something. But that's just with a metronome. Without a metronome, I'm finding my timing is shoddy. But I'm also thinking that's partly playing super slow (I'm rubbish at playing super slow right now, never really practiced that...), and partly when I'm doing something like running a scale. My timing is more solid on riffs and tunes I know (at least, I think it is!). But something like the guitar line in Interplay is hard for me, because it's so much like running a scale that I can't help rushing it.
My tutor has me only using alternate strokes for now, to get the rushing on upstrokes thing dealt with. I'm already noticing some improvement there. And I'm conscious of having to work with a metronome but also not rely on it (your practice idea is great for that). But I've yet to find a way to deal with changes in my time from finger stretches or position shifts.
Weird thing is, I feel since he picked up on it (I was vaguely aware of it myself previously) I've been rushing the beat more than previously - like the awareness of it has magnified it. But, I'm also noticing it a lot more in other players, too. Consistently rushing the beat, or dragging it. And not in an expressive controlled way (tho some players do that, too). Ideally, I want to be able to play dead on, rush it, and drag it, but be able to mix them up and use them as needed.Last edited by Scrybe; 04-08-2010 at 02:04 PM. Reason: I forgot how to type
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04-08-2010 12:57 PM
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Unfortunately I can spend only about 45 minutes every day with playing the guitar. That's ok for me - with a young family (2 kids) and my job. I try to set realistic targets for a month. So I can see that I make advances (but slow).
Every tuesday are the rehearsals with the band for 3 hours. On the weekend I can practice 90 - 120 minutes.
What I practice?
- Warming up: playing some changes and scales - 10 minutes
- Practicing: new tunes or new concepts for my "old" tunes, new scales, etc. - 20 minutes
- Closing: play, improvise, etc.
2 -3 times a week I make ear training mostly with a software (ear master essential).
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Scrybe,
in 4/4 time signature:
16:1 at 30 = sixteenth notes at 120
12:1 at 30 = triplets at 120
8:1 at 30 = eighth notes at 120
4:1 at 30 = quarter notes at 120
2:1 at 30 = half notes at 120
1:1 at 30 = whole notes at 120
This stuff is interesting but my practice suggestion is to work with divisions at metronome 30.
The slow divisions are very tricky. 30 is one click every 2 seconds and in this case 2 seconds is a lifetime. It is easier to start with 8:1 and work in either direction from there.
In any case when the notes are not landing at whatever division determine whether you are too fast or too slow and adjust till it lands. The process of re-finding your place is as important to learning as perfect execution. The nature of this game is to find the place where you stumble,work to solidify it and to keep pushing the envelope.
9:1 is not exactly the rushed version of 8:1. It could be a definable subdivision (9:1,10:1,11:1, etc.) or points in between. Learning all these subdivisions as real pathways expands our perception of playing at different speeds in relation to a common pulse.
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Okay, cool, I get what you're saying. 30 is proving damn near impossible for me tho, so I'm gonna use your exercise at 40 for a bit, and then push it down to 30 once I'm hitting beats at 40 more often (right now, I'm losing the beat way too easily when switching subdivisions). Awesome tip tho, thx!
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It's a step-by-step process of working things/concepts out. Through advice, trial and error, and with the aid of teachers and mentors (yes, I still have them) I've broken it down to the following categories:
Technical-scales, arpeggios, vocings, ect
Repetoire-Tune Learning, analyzation, ect
vocabulary-this is a good way to deal with "scales" when you feel comfortable with them. I use the Jerry Coker book, stuff my teacher gives me and stuff from when I was back in school, or ideas from other players. These things are not licks per say, but exercises, patterns and sounds (the Coker book has COUNTLESS melodic formulae and vocabulary for most scales)
then the most important-application. Apply things and concepts you are working on to a tune you are working on. This also may include comping patterns. I learned this the hard way: application should be practice in the same vein as if you're performing
Also, ear-training software and listening sessions should be a part of your everyday routine. You'll be surprised how many ideas and concepts you become aware of through listening to other's recordings.
Also, weak areas and projects-say you're working on transcription this week, or a chord-melody arrangement, or a sight-reading etude ect.
There is obviously no set time for anyone, it's a process of trial and error as to how YOU feel you're most effectively progressing and what best suits you
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I've made big strides in my playing. I'm being strict about using his voicings, learning his progressions, doing it as close to the letter as possible (using .013 strings, he recommends at least .012). The grips have improved my hand strength. The progressions have improved my ability to comp and keep to a complicated set of changes (multiple endings/sections/d.c. al capo, d.c. al fine, etc. etc.). The soloing is helping me get better at making changes. That said, I still need tons of improvement, and very little of what I play over these changes is anything I'd call "music". But I keep on with the hopes of getting slightly better with each week. Originally Posted by Scrybe
The course can be very frustrating and monotonous. It is not for anyone with problems sticking to things. I've almost given up a couple times, but luckily I received some encouragement from people in that thread over on TGP (some of whom are pretty accomplished players themselves) and elsewhere, so I'm still going strong in the middle of week 10. (Half over!) I haven't missed a day yet.
You can get away with an hour if you're a good reader and if you're good with the voicings. For me, I had to spend a couple extra hours a week learning the coming weeks' voicings because many of them were new to me (and also b/c I insist on using his voicing recommendations over my own, he's the teacher, I'm the student, I don't have anything better....at least until I finish the course). That's just how I'm approaching it, a lot of people probably insist on using their own voicings instead. Whatever works for you. Originally Posted by FatJeff
My experience is that this course will quickly show you how much work you need to do to play over changes like these. If you had 6 more hours to work on this stuff, you could use it and still feel weak in a lot of areas. I wish I had that kinda' time (I did once, but not anymore). So my progress (though good) is slower than it could be. That's fine. I'll take a little progress over none.
I wouldn't worry too much about mistakes. You will make many. But if the whole 10 minutes is nothing but clams, you should probably slow down, or do more pre-study to learn how to play scales/arps/ideas/patterns over changes. Originally Posted by Scrybe
The recommendation above to use standards, or any progression similarly is a good one. Remember that most of the progressions in Super Chops are standards themselves (Cherokee/Koko, All The Things You Are, etc.) My plan, now that I have a habit formed, is to continue spending the same time but doing things a lot more freely and in working on repertoire, etc. etc.
Anyway, just some thoughts. Hope the info helps. Good luck with whatever you decide to do!
Dave
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Many thanks for the in depth response Dave, much appreciated. I might be okay with starting it now, but I've also been faffing about getting my recording set up, well, set up again (I wanna use it to record practices regularly), and I def have plenty to keep me going for now. So, I think I'll put it on the back burner for a bit - my tutor is away for a while from next month, so I'll possibly start it then....the tute time, plus travel time (a good few hours in total) could be spread out over the week to give me more time to approach this then. Though I'm sure he'll have plenty of work for me to be getting on with in his absence. Either way, I'll be better prepped for it, but I will get onto doing it soon.
It's one of a few courses I really see myself doing on a regular basis even if, as you suggested, I use more repertoire pieces in future run throughs.
I think if I started it now, the temptation to skip a day, or spend way too much time unproductively faffing would be a little too great. And I do have other things I need to be working on right now.
But thanks again for the feedback, it's further solidified my resolve to crack onto this course soon.
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These are excellent points, and I agree with you completely. Ear training is essential, and application is needed to implement all the stuff you learn. This is what I'm trying to pass on when teaching. Originally Posted by Jazzyteach65
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I think transcribing your favorite tunes done by your favorite players will do a lot for training your ear both for rhythm and playing jazz.
wiz
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Yes, therein lies the rub. Work is, in fact, the scourge of the working class. Originally Posted by dkaplowitz
I think the problem is this "work" thing that keeps getting in the way.
I mean, it's nice to be able to afford nice guitars and all, but at the cost of having time to play them?
I, personally, suffer from the 'Jack-of-all-trades' syndrome. I play every day without fail, but I'm as likely to play mandolin or Irish flute as to pick up a guitar. I go through phases, and have learned to play at some level on many instruments and in many styles. Jazz guitar requires too much to take that kind of approach.
Sometimes I regret that I chose that course. Other times I'm glad. It's definitely a trade-off.
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With focus and concentration it doesn't get much better than this! That's a good effective plan if you ask me! Originally Posted by holgit
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