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Originally Posted by Reg
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01-03-2015 01:10 PM
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Originally Posted by Jonzo
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Hey Jonzo... I believe if you put in 1 hour seven times and then your twin puts in one seven hour session , your twin will improve much faster. A example is most guitarist try and put some time into sight reading.... generally even after years... they can't really sight read, where as anyone who has put in long sessions for months... becomes a good sight reader.
I'm not saying steady short sessions don't work, it's just you generally don't reach high levels of performance during those short session. I am... saying the longer sessions work better. Ideally one or two long sessions with steady short session would probably work best. The longer sessions to reach higher levels of technical skill and the short session to stay there.
I can show up at any gig or session and read lines with horn sections, lock into any pocket with any rhythm section and sometimes actually pull off a decent solo... all subjective of course. But I don't need to rehearse for the gig or session. I guess it's just a different approach to playing... I apologize for sounding arrogant... I'm no one and am at best a middle of the road pro...
I don't practice, but I do play 4 hour gigs, sometimes twice a day, and 8 to 12 hour studio sessions sometimes, That would be my practice. I wish I had the time to practice. Generally when I have extra time I'm composing or arranging... and live.
And like I said... I have my technique together, have for as long as I remember, 40 years or so. I generally don't have to work on my fretboard skills. When I run into something new... I usually just need to understand what is is or where it's from.
I'm not saying my technique is perfect or the best approach... but it's what I've used for ever, It repeats, and adjusts and I trust it. It works for me. I didn't develop it from the slow approach over years. Not right, wrong, good or bad, but an organized system and approach that works for me.
Peter... cool playing on your sight. thanksLast edited by Reg; 01-03-2015 at 02:25 PM.
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In my meager experience the "breakthrough" stuff seems to come from longer sessions. Some things just need reps under fingers and maybe short practice over time is good, but the long ones inform the "what you need to work on" in the short moments later on.
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Originally Posted by Reg
Youre too kind
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Reg - are you comparing playing a complete phrase - say 24 notes - that you have worked through and practiced beforehand; to ad-libbing a solo around chord tones / approach notes / and the like, which you are working out on the fly? If so, I can see where you are coming from and agree. One way is being entertaining and running through a lot of stuff we have played many times - the ad libbing bit can be like composing in the moment, which is far more challenging if the fundamentals aren't there in the fingers.
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Yes, improv, composing in the moment...for this thread, we're talking about arpeggios, so using arpeggios as approach for creating relationships and developing... as compared to, as I said memorized performance.
Sorry if I didn't make myself clear...I seem to be good at that, the not making myself clear skill thing.
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Originally Posted by Reg
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I found that limitation in practice is a great tool to advancing your fretboard knowledge. I do the position practice and also single string limitation as well. Try to arpeggiate chord changes on a single string connecting to the closest note of the next chord, in quarter notes, at a slow tempo at first. Do that on all strings and you will see the improvement of knowing all your chord tones and being able to use them in any area of the guitar.
Looking for a "jazz box"
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