The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by jimmy
    look within yourself
    oooommmm

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by royswan
    2) Pat Metheny says he never pays attention to scales, etc. He "hears" a note or a sound in his head -- then he figures out how to play it on the guitar. Many great players have said this. It's all about hearing a vamp, then playing it.
    I've read from the man himself, that it isn't the way to work improvising in his opinion. It's on his website.

  4. #28

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    Quote Originally Posted by derek
    Mace,

    In addition to the exercise you get from practicing tunes, transcribing solos, etc., I have Jody Fisher's book 30 Day Guitar Workout. Wonderful book full of all kinds of exercises to build strength, flexibility, and dexterity. Here is a link;

    Amazon.com: 30-Day Guitar Workout: Jody Fisher: Books

    This one is a book with cd examples. He also sells a dvd so you can see him doing the exercises. I have been doing many of these for the past 5 years or so, and they have really changed my hands. Good luck
    anybody else bought this book? is it good, i don't want to buy on impulse.

  5. #29

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    Quote Originally Posted by royswan
    no one will remember Larry Coryell (as much as I may admire his technique) in another few years.
    Did you suffer some type of head injury?

  6. #30

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    Quote Originally Posted by cosmic gumbo
    ...
    Were you not the one who blamed some for putting up old dead topics, and answering members who have long been absent? Unless your intentions in doing so are of a different order... If you don't understand, I can tell you in Slovak

  7. #31

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    Cosmic Gumbos motivations are ineffable

  8. #32

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    Those few years have passed, as has Larry Coryell. He is still remembered.

  9. #33

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    Quote Originally Posted by Litterick
    Those few years have passed, as has Larry Coryell. He is still remembered.
    while royswan is forgotten...

  10. #34

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    Quote Originally Posted by grahambop
    while royswan is forgotten...
    Who?

  11. #35

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    Since this old thread has been dug up and is now walking around, I'll provide the answer no one seems to have offered.

    The development of technique has a front end of musical judgement (selection of what to play and how to play it), and a back end of quality control (confirmation that what you selected and how you played it came out as intended)... and both these front and back ends of technique require listening, audiating, and experiencing the way music feels phenomonologically.

    Lessons, method plans, exercises, etc. will be powerless if you aren't focused on actively listening to every sound you make on the instrument because in music you can't control nor improve what you don't hear...

  12. #36

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    Quote Originally Posted by pauln
    ...
    very correct remark. One should have a musical purpose with exercises and routines, even scales, always try to make them sound like a song. If exercises are considered an apprenticeship, it is also a training to make music, work the sound, etc. as you say

  13. #37

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    Technique comes from playing (practicing), and the course of that development connects pretty tightly to what you play (practice). Sometimes the path forward is boosted by occasionally taking something other than what would appear to be the direct path.

    An example is something as simple as playing (practicing) with the reverb turned all the way up to maximum. This does a lot of interesting things...

    - first of all it slows you way down (like to Ray Charles speed... very ssslllooowww)

    - the nature of full reverb refocuses on deliberate notes (wrong notes have long hang times)

    - full reverb's effect on harmonies of chords and lines changes your choices (you can't just play, you have to anticipate which kinds of chords, which internal voice shifts, and which melodic forms will blend and sound nice vs others that tend to smudge dissonant)

    - it is an interesting way of examining a tune (any point in a tune has an envelope that harmonically "looks around", full reverb widens that aperture by explicitly mimicking your own internal process of harmonically "looking around")

    - after an hour or so of full reverb, your hands will have adjusted to minimize noises and artifacts of fingering, picking, and strumming imprecision

    - it's a bit like playing another instrument, getting a shifted perspective, hopefully picking up some things you would never have found playing (practicing) normally

  14. #38

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    It's been years since I've posted about this exercise/experiment. Take a pencil and tape it to your left index finger until finger is totally immobilized. Next, proceed to play your guitar without the benefit of having use of that digit.

    Observe how after a bit of playing that your brain begins to rewire itself and shifts your motor skills to compensate for losing use of the index finger. Continue playing, and it becomes more natural for your pinky to have more dexterity as it operates as a sub for the ring finger. Same with middle and ring fingers. You might find yourself attempting bars with the middle finger and other odd things as you've tricked your brain into managing w/o the index finger.

    Now, untape your index finger and play with all four fingers. It's like your left hand technique has expanded to another level. The brain wants to compensate for physical limitations. I used to do it regularly to help improve, but, it's worth trying just to experience it.

  15. #39

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    12341234123412341234ZZzzzzzzzzz........

  16. #40

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    How to improve?

    Answer: Buy More Gear.