The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by srlank
    I think there’s been some really good thoughts on this thread, and on a topic that few wish to discuss.....mostly chalking it up to either you got it or you don’t. Thx for taking the time on the topic. And though it’s good to experiment, it’s good to know that the general consensus is to utilize what works best for you.

    Mr. Miller is booked until God knows when, buuuuut he had an opening in mid January (this year) at 4 in the morning.

    Just get your mechanics corrected and you will be fine.

    Your ' road ahead ' is more uniform support for picking hand which you are starting to do already - but the ' evil you ' lol is resisting.

    Getting a good 'authority ' like Miller to correct it will over ride that conflict.

    AND he will be able to see your hand and you see his for the solution.

    If you see/ hear someone Play ( who's extremely proficient) that's much better than" Internet Hearsay" anyway.
    Last edited by Robertkoa; 01-05-2019 at 02:10 PM.

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    The Jazz Guitar Chord Dictionary
     
  3. #27
    A couple of observations:

    I caught a recent clip of Martin Miller that was done with Troy Grady, and he actually uses some thumb. I have to check more carefully when I have time; but his use of this motion might be for crossing strings.

    I’ve been experimenting with pushing harder on the strokes. I notice that there is some different muscles coming into play, including the elbow.

    I work in an unusual environment....a forensic/psychiatric hospital. I was working away at an etude yesterday on the guitar in the middle of the Dayhall, while some patients were working on some artwork that I had given them. A patient had come behind me and tapped me with a slight push on my arm to get my attention. It caught me completely off-guard, as I wasn’t paying close enough attention to the environment like I should have. Not only that, when I looked around I saw that the staff had all left to take patients out for a patio break. The patient tapping me just wanted to ask/comment about the guitar, but being surprised like that set my heart to racing. And I was majorly pissed off that the Shift-Lead had not left at least one staff inside with me. So I found the Shift-Lead, and gave him a bit of an earful. But when I sat down to play again, I noticed that the integrity of my technique had increased significantly. For example, all the string crossings felt really natural, and the time grooved much better. The speed I was at on the GarageBand looper had been a bit challenging prior to being tapped, but was of no issue afterwards. Maybe this is another reason for push-ups. Lol

  4. #28
    Just checking out Guthrie Govan’s clip where he tremolos. It looks like his third finger and pinky are raised and stiff, but it’s obviously not slowing him down.

  5. #29

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    To be honest those kind of alternate picking exercises do not really translate to jazz idiom.

    Very rarely do we play 3-note per string scales or 4 note per string semi-chromatic scales unless doing modal. For bop best thing is to get the arpeggios down cold and adding chromatics.

    Million dollar advice. Play Parker Omnibook. As slow as you can and make it clean. The speed will come later. Plus you get to read.

  6. #30
    The OP is focused on the basic movement of alternate picking and increasing speed without tension. It will transfer to any style. And yes, the Omnibook is a great book for a variety of reasons, but my speed is limited in all of it because of the basic right-hand stroke..

    in particular, right now my main focus is building a tremolo.

  7. #31

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    Don't know if it even relates here but I found that the majority of my right hand tension starts with my shoulder. Started to notice how it tenses when I "tried to do anything more challenging for me" Started just noticing my shoulder and relaxing it and it's made quite a difference in the overall tension in my right hand and arm. FWIW

  8. #32

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    Yea playing a solid body with low non responsive action etc.. with non articulation tone... generally is not the best way to get jazz chops.

    The general reason for tension is from having to many stiff connections between hand, wrist, arm etc... There are many possible picking styles that can get up to speed.

    Anyone can rehearse patterns and eventually get them up to speed. The next step is to be able to play at jazz tempos what you haven't practiced.... which is different problem. When you understand what your playing... your don't have mental blocks or short circuits.... How fast can you play chord solos... which generally is just playing a Lead Line with harmony voiced below. I'm bring this up to help you understand what jazz improv is.

    If your going to use the tremolo, at least use the technique playing arpeggios and patterns that require leaps... which requires organization of Pick direction.

    Maybe an analogy... why does sight reading become easy..... short answer... your recognize the notation and already have the possible performing techniques together. (fingerings and picking).

  9. #33

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    Julian Lage has spoken of using the Alexander Technique. He is very relaxed-looking when he plays and pick speed is certainly not a problem for him. This might be a way to reduce that "uncontrolled tension."

    Alexander Technique - Wikipedia

  10. #34

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    Quote Originally Posted by srlank
    Hey all, Thx for taking the time to reply. It’s much appreciated.

    Robertkoa, I’m going to have to take some time to read over what you are saying. I got you I think on the first part on a leagato-like stroke and picking real shallow.

    I also followed what you said about finding a position where the up and down strokes are both articulated. All some great advice.

    As far as pick stroke, I’ve started to use a Kenny Burrell style oscillating move from the thumb, as I seem to be having less problems with tension and going too deep in the string. I think the main obstacle with it so far is getting a good upstroke. When I try and just do upstrokes to get better at them, I seem to lose control. Likely this part will get better with more practice.

    Another thing that have started is to to do speed bursts. It seems that I can play at a quicker tempo for a few notes before it falls apart. In the past I would try to work for a tremolo over a longer period of time, never gaining any speed at all in the right hand.
    No you really are not getting it you are taking isolated parts of what I am saying so they don't make sense.

    Which is probably what you are doing with your technique .

    Tremolo - slow and fast soft and hard and always even spaced to a metronome .

    Start with medium firm strokes -after a few weeks you can play with dynamics.

    When baking in a technique you want definite even spaced rather powerful or medium power NOT TIMID strokes.



    You need to go to a teacher and get a supported position near wrist , or on lower forearm - these corrections can NOT be done via texts without pics & videos.

  11. #35
    Thx for taking the time to reply. Can you recommend a teacher that knows how to address this, either off-lime or online? I’m from So Cal/Orange Coumty
    Quote Originally Posted by Robertkoa
    No you really are not getting it you are taking isolated parts of what I am saying so they don't make sense.

    Which is probably what you are doing with your technique .

    Tremolo - slow and fast soft and hard and always even spaced to a metronome .

    Start with medium firm strokes -after a few weeks you can play with dynamics.

    When baking in a technique you want definite even spaced rather powerful or medium power NOT TIMID strokes.



    You need to go to a teacher and get a supported position near wrist , or on lower forearm - these corrections can NOT be done via texts without pics & videos.

  12. #36

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    Quote Originally Posted by vashondan
    Don't know if it even relates here but I found that the majority of my right hand tension starts with my shoulder. Started to notice how it tenses when I "tried to do anything more challenging for me" Started just noticing my shoulder and relaxing it and it's made quite a difference in the overall tension in my right hand and arm. FWIW
    I concur.

  13. #37

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    I float, but I use my palm and my knuckles to very lightly rest on the strings when I play double time and up tempos. I still find it to be the best technique for the sound and versatility that I want in my playing.

    On to tensing up. Correct me if I'm wrong, but hardly anyone mentioned the psychological aspect of playing fast.

    IE, when you play fast--count slow.

    Instead of counting quarter notes or even half notes, try counting the down beat of every measure (whole notes) or the down beat of every two measures, or every four measures.

    I noticed that when the rhythm section is really busy on up tempos--I can't play fluidly. But if the rhythm section is sparse, it's easier to feel the larger pulse of the tune.

    Feeling larger sections of time (marco time) helps your phrasing. I remember talking to Reg about this 5 years ago.