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    Quote Originally Posted by snailspace View Post
    +1 to the comment by WestLAJazz. To that, I'll add a suggestion to keep reviewing previously learned chord groups after you've moved on to other ones. I'm on Chord Group 4 --the minor 7th chord groups -- this week, but Reference 4 revealed to me that I had forgotten some of the chords in the first three groups. I had to take extra time to go back and review the others, and now I make that review part of my daily practice time with the book. Nothing extensive -- just playing each group up and down the neck 2-3 times to keep them in memory.

    Now that I'm review the old while practicing the new, I'm finding I hardly have to look at the book when going over Chord Groups 1-3 . . . just a quick check now and again to make sure I haven't left any out.

    Personally, I didn't spend a great deal of time on Reference 1-3 after I had learned each of the first three chord groups. I practiced them so I could make sure I was putting the correct chord under each melody note, then played the reference until I was "kind of smooth" with it, but didn't worry about making it fluent. I just played it enough to see how the method worked, then moved on to the next chord group. I want to learn all of the chords, so I can start using them on tunes I want to play . . . then I'll worry about being fluent.

    Glad you're enjoying the book!
    Snailspace is right on point! It's amazing how being "fluent" in the chord groups does to your imagination, playing and even listening to other players. I was listening to Joe Pass Virtuoso 2 the other day. He does a solo version of ON GREEN DOLPHIN STREET. Hearing some of the chords and lines took me back to Conti lessons. I could "see" what Joe was doing. Outlining chords and the melody with tools I was familiar with. What a concept and eye opening to boot!

    Before I stumbled in desperation on Conti, I was attracted to the teaching of Vic Juris.
    Let me be the first to say that this man is one BAAD GUITAR PLAYER and very unassuming and self effacing but a monster player.

    Some of his stuff is pure music to my ears but DIFFICULT to play or assimilate. His fingerings have obviously been figured out over a lifetime and here I come trying to cop them overnight. WHEW.
    Well, Conti broke all Juris's stuff down for me without me realizing it. It's an ear and fingering metamorphosis. In the beginning, (even after becoming "fluent" on the fretboard), it was even a challenge to apply some Ticket to Improv stuff to real life situations (freestyle). Trying to swing (rhythm), facility on the fretboard and inject the lessons at will while trying to add your personal twist and modify (on the fly). It's a journey. This intense dissatisfaction and struggle with technique sent me to Conti's PRECISION TECHNIQUE. After a few months with the technique book, I started to 'see' things in better perspective.

    To be honest, even though things became easier, I had to contend with the fact that Conti at his age is still more fleet fingered than I was at a lot of fretboard navigational things. He's been doing this a looong time.

    I started figuring out how to omit certain things (Chunks, chord notes, single notes etc) to fit where I was (technically) at that particular time while simultaneously thinking about how I was grooving and if I liked what I heard myself playing. I have a vision of what I'd like to be playing but it's a transcontinental flight away most nights when I play.

    Loosely translated, even after becoming "fluent" in playing chords, notes what-have-you, took me a long time to play (to my liking) some of the things I learned from Conti. At times it became downright frustrating. Fluency is the first step. Making them fit your groove and essentially owning them in mid flight is a whole other level to strive for. Fun, but challenging (for me at least).

    Keep on Keeping On people and God's speed!!
    Last edited by West LA Jazz; 03-29-2017 at 08:49 PM.
    You can't analyze something you can't play! (Robert Conti)

    Technique is the means to play just like your voice is your means to speak. (Robert Conti)


    The Jazz Guitar Chord Dictionary