The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by edgrissom
    I am a HS jazz teacher. I encourage my students to learn one new tune every week, in the Real Book key and maybe a third above and below.
    I also have them come up with one lick each day and learn it in all 12 keys.
    If they will do this for one year they will be able to play around 50 tunes in various keys and will have an improvising vocabulary of more than 350 licks in all keys. If they can do this, they should be able to hang on most gigs.
    And how many actually achieve this? I mean honestly?

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  3. #27

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    it depends of the time I will take to hear the melody (if I like it a lot it will be easier), If I hear and feel rythmically the melody, I know that it won't be too long to understand melody and chord changes for me.
    And then, a long story can start between the tune and me, but that's another story.



  4. #28

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    Until I feel I want to spend time on a different tune or a something different.
    Then I'll come back to it later.

    If you teach a total beginner, you don't teach them Three Blind Mice and then refuse to teach them Mary Had a Little Lamb until they've completely mastered Three Blind Mice.

    It makes more sense to just have have them spend reasonable amount of time on each song, and all their songs are going to sound pretty bad anyway.
    You still give them new songs so that they can enjoy the journey more easily and they will progress regardless of which songs they work on.

    Yes, you can argue that for total beginners that songs are used as a tool to get acquainted with the instrument and music in general, while "we" spend time on a tune because we want to know the tune. But I still think that the time spent on each tune should be somehow within reason.

  5. #29

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    If it's a keeper . . . a lifetime. I first learned "Body and Soul" in 1964 from a fake book and still play it, occasionally, today. However, it is not the same arrangement since the music changes as you change and reflects who you are as a person at any given stage of your development. And, how I played it on saxophone is, also, very different from how I play it on guitar. When I hear someone say they learned "My Funny Valentine" in a week, I find that humorous since they could have only scratched the surface of the song, at best. When I do a new arrangement today, it takes about 3 months to get it into working shape and, then, a succession of ideas/nuances that follow, seemingly, forever. Our Music reflects our level of musicianship and who we are as people. It is fluid, not static. Such is Life.
    Marinero

  6. #30

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    Quote Originally Posted by Christian Miller
    How long is a piece of string?
    This long. The other one is that long.

  7. #31
    Quote Originally Posted by edgrissom
    I am a HS jazz teacher. I encourage my students to learn one new tune every week, in the Real Book key and maybe a third above and below.
    I also have them come up with one lick each day and learn it in all 12 keys.
    If they will do this for one year they will be able to play around 50 tunes in various keys and will have an improvising vocabulary of more than 350 licks in all keys. If they can do this, they should be able to hang on most gigs.
    This sounds like a programme for people who don't actually have any desire to play the guitar, well they won't anyway after following that programme.

    "Ok, my solo is coming up what shall I do?"
    "I know, licks 145, 258 and 346, that'll do it!"

  8. #32

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    Jimmy bruno said burn the Real book and avoid scales and theory...Buddy said `i walked through Berklee once`

  9. #33

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    Quote Originally Posted by voxo
    Jimmy bruno said burn the Real book
    Well I think doing that would deny you an important source of sight reading practice and toilet paper.

  10. #34

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    I bought my first "Fake Book" in 1964. I still have it today. The power of the "Fake Book" is that it gives you the skeletal structure of a song. It is a valuable tool for any serious jobbing musician.
    Marinero

  11. #35

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    Even when soloing I most often leave space for others to play fills like the bassist and the drummer (they will play them anyway). Leave some space, play with the band not over it.

    Some inspirations: I hadn't listened to Dexter Gordon in some time, and had not heard Kenny Burrell's recording before this morning. Thanks for cuing me to look!





    And then I found:



    Wow.

  12. #36
    You nearly always come back to tunes, many times. You know when it's time to move on because you'll either not be playing anything new, or you'll get bored with it. How long it takes to get to grips with a tune, interpret it, and be able to improvise comfortably for 2 or more choruses probably varies from person to person. Personally, I can spend weeks on a tune. If you're going to record it or go out and play it in public, you usually need to spend more time than might think.