The Jazz Guitar Chord Dictionary
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  1. #226

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    Thanks rp, will take a look at this when I get a chance.

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    The Jazz Guitar Chord Dictionary
     
  3. #227

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    No a teacher can’t teach jazz - at least not on their own.... well anyway read my essay elsewhere on my forum for my thoughts on that.

    you know what taught jazz? NYC in the 50s. That community and that environment. Read Paul Berliner.

    What can we do? Encourage community. Encourage self directed learning behaviours, curiosity, appetite for struggle and learning and creativity. And the nurturing of mutual aid and communal learning. Like the guys did back in the day.

    the idea of the lone genius is one of the most dangerous in education. It’s bullshit. Did you know Trane went to Detroit to check out what Barry was doing? He was hungry for info. He’d already studied with Sandole and he was talking about ragas and Webern in the 1940s (!)

    People were checking out what other people had learned.

    Ask any jazz player. Any real one. Community.

  4. #228
    "Can you really turn a finger wiggler into a guy who can do what Jimmy Bruno did on that video where he sounds great playing only the notes of a C major scale? "

    There are tons of hopeless cases or slackers, imo. They don't or can't train like a professional, life get's in the way too. I don't think I implied anyone can be taught jazz. I did say that in order to succeed a student must be a self starter, a dedicated hard worker, and of course have a normal degree of coordination and aural recognition ability. They need to train like a professional. IMO, most students simply don't meet those qualifications.


    "If you can, I'd say you're doing better than any teacher I've studied with -- and I've studied with some fine players with a lot of teaching experience and three with published method books. Of course, that's no guarantee they can teach. OTOH, if even pro musicians/teachers at their level can't do it, even though somebody more elite can, what does that say about the "teachability" of jazz? "

    I have studied with famous players who are very poor teachers, write books and are experienced. They usually teach harmony, that's the easy part. They usually do not have a concept of how to teach melodic skills. Teaching melodic creation and embellishment is not well understood. It's also neglected in the teaching of classical composition too. The "teachability" of jazz improvisation is so bad in the teaching field because melodic teaching is so poorly understood and executed thorughout music education, imo.

    I have studied with a few teachers who are not famous or brilliant players but did a good job of teaching melodic resolution tendencies for every degree of the scale and melodic embellishment of every degree of the scale. Great players usually have no patience or time for that sort of detail.
    Last edited by rintincop; 03-28-2020 at 07:58 PM.

  5. #229
    He does routinely play chromatic approach notes that slide into his major scale notes, so it's not just the major scale notes he's sounding.
    Last edited by rintincop; 03-28-2020 at 08:22 PM.

  6. #230

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    Quote Originally Posted by rintincop
    "Can you really turn a finger wiggler into a guy who can do what Jimmy Bruno did on that video where he sounds great playing only the notes of a C major scale? "

    There are tons of hopeless cases or slackers, imo. They don't or can't train like a professional, life get's in the way too. I don't think I implied anyone can be taught jazz. I did say that in order to succeed a student must be a self starter, a dedicated hard worker, and of course have a normal degree of coordination and aural recognition ability. They need to train like a professional. IMO, most students simply don't meet those qualifications.


    "If you can, I'd say you're doing better than any teacher I've studied with -- and I've studied with some fine players with a lot of teaching experience and three with published method books. Of course, that's no guarantee they can teach. OTOH, if even pro musicians/teachers at their level can't do it, even though somebody more elite can, what does that say about the "teachability" of jazz? "

    I have studied with famous players who are very poor teachers, write books and are experienced. They usually teach harmony, that's the easy part. They usually do not have a concept of how to teach melodic skills. Teaching melodic creation and embellishment is not well understood. It's also neglected in the teaching of classical composition too. The "teachability" of jazz improvisation is so bad in the teaching field because melodic teaching is so poorly understood and executed thorughout music education, imo.

    I have studied with a few teachers who are not famous or brilliant players but did a good job of teaching melodic resolution tendencies for every degree of the scale and melodic embellishment of every degree of the scale. Great players usually have no patience or time for that sort of detail.
    Can you share some kind of outline of how you approach teaching melodic skills?

  7. #231

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    Quote Originally Posted by christianm77
    No a teacher can’t teach jazz - at least not on their own.... well anyway read my essay elsewhere on my forum for my thoughts on that.

    you know what taught jazz? NYC in the 50s. That community and that environment. Read Paul Berliner.

    What can we do? Encourage community. Encourage self directed learning behaviours, curiosity, appetite for struggle and learning and creativity. And the nurturing of mutual aid and communal learning. Like the guys did back in the day.

    the idea of the lone genius is one of the most dangerous in education. It’s bullshit. Did you know Trane went to Detroit to check out what Barry was doing? He was hungry for info. He’d already studied with Sandole and he was talking about ragas and Webern in the 1940s (!)

    People were checking out what other people had learned.

    Ask any jazz player. Any real one. Community.
    I am largely in agreement with this view.

    But, I'll add something about community and how it has changed.

    I wasn't a player in NYC in the 50s, but I was there and a player in the last four years of the 60s.

    It was about community. To quote Springsteen, "the land of peace, love, justice and no mercy".

    Everybody got a chance to be part of the working jazz community. Multiple chances over time. But, if you didn't have the ability (which I think requires a healthy dose of talent, in addition to great effort), you didn't get to be a part of that community. And, gigs may have been more plentiful then, so the community might have been bigger.

    Nowadays, a high school grad with limited skills, but enough money, can study guitar at a large number of colleges. The weeding-out process has changed.

    This is, btw, a mixed blessing IMO. On the positive side, it gives people an opportunity to engage with a subject they love. They have a chance to progress. On the negative side, I'm pretty sure there's false hope involved for some students.

    One last point. The community still exists at the top. And those with sufficient ability are welcomed.

  8. #232

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    Oh yeah the entry point was heavily policed.

    goes back to the self directed thing though. No one was handing out info. You had to beg, borrow or steal it.

    Look no one does this stupid art form unless they are super motivated. Talent is .... I don’t know? Like everyone I know in my professional circle is super talented by the standards of regular humans. But I think mostly they work fucking hard and have done so since their teens.

    I had a pint with a top UK jazz educator who said the most important thing is cohort. He’s had Jacob Collier in his classes. So he’s seen prodigious talent close up.

    He said if you are surrounded by mediocrity you will be mediocre and he characterised that by a lack of drive and self direction.

    If you are surrounded by excellence you have a better chance of being excellent. Hard work. People in the shed ten hours a day.

    Many musicians have said this. You know this, I think. It’s just hard to fathom how much work goes into being what you characterise as genius, and most of us, it’s true, won’t get there.

    but still we can enjoy the climb. You don’t just climb for the view. obviously to others you and I might seem inexplicably talented, believe or not, so it’s all relative.

    We might not be able to surround ourselves with super self motivated and hard working players IRL ( esp atm), but we can still kick each other up the arse on the internet

    (Hopefully you can sense the good humour in it. If you told me to fuck off I would not hold it against you haha)
    Last edited by christianm77; 03-29-2020 at 07:12 AM.

  9. #233

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    Ok so that solo is another solo on the tune that I worked out a couple of licks on. It’s not the same solo... album version?

    i tend to do youtube cos a lot of tracks on iTunes you can’t slow down now.

    Also it’s convenient from the perspective of this forum.

    however I rarely bother to write things down so probably a good exercise to do it (I did find a couple of transcriptions that I did write straight to score as an exercise a while back that I might post)

    I’ll start by picking apart a single lick.

  10. #234

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    Ok I’m not sure if that solo is from the album track.

    so what I’ll do is I’ll carry on with my transcription of the you tube version - no point wasting good work. This tune has quite straightforward changes.

    or.... I could do Arabesque?

    tell you what, I do one you do the other. One phrase at a time. I’ll trade you.

  11. #235

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  12. #236

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    So now that we're getting into compositional aspect of playing.... sounds like rintincop... you obviously didn't study with the right teachers. What composers have you studied with, really. Generally players are for teaching mechanical technique. And I would agree with you... most teachers don't do that great at teaching guitar technique, now that most teachers believe CST is a performance theory application or you work old school and pound melodies and ancient melodic tendencies into players trying to sound like jazz players. What do you expect...

    Somewhat modern, ( last 60+ years ), there are very... common practice... melodic usage... practices. And ton's of very mechanical melodic relationships with steps of development, all with relationship to Tonal and modal references.
    And basic compositional usage of ...
    Rhythm, Dynamics, Melody, Harmony, Tone, Texture, Form etc... all the very basics of creating melody.

    What's interesting is all these basic aspect of music... can and are expanded with jazz characteristics.

    Anyway... most of these were taught to me as a kid. I went through the 12 steps of melodic development as a kid... it was pretty vanilla, and still is to me personally.

    While I dig Jimmy's BS. he's still boring. He has some chops.... what really good musician doesn't. You can't play jazz without chops. Chops come from good technique.... you still need to have something to say... (musical definition of something to say), being able to describe "what you have to say", using terminology from above compositional terminology... (not using bathroom terminology).

    Hell just being aware and understanding compositional terminology... will make you a better melodic player... If that's what your after.

    I could post Basic musical composition elements with related musical terms from main categories etc... and get into applications.... yea no one really cares.

  13. #237
    Quote Originally Posted by Reg
    So now that we're getting into compositional aspect of playing.... sounds like rintincop... you obviously didn't study with the right teachers. What composers have you studied with, really. Generally players are for teaching mechanical technique. And I would agree with you... most teachers don't do that great at teaching guitar technique, now that most teachers believe CST is a performance theory application or you work old school and pound melodies and ancient melodic tendencies into players trying to sound like jazz players. What do you expect...

    Somewhat modern, ( last 60+ years ), there are very... common practice... melodic usage... practices. And ton's of very mechanical melodic relationships with steps of development, all with relationship to Tonal and modal references.
    And basic compositional usage of ...
    Rhythm, Dynamics, Melody, Harmony, Tone, Texture, Form etc... all the very basics of creating melody.

    What's interesting is all these basic aspect of music... can and are expanded with jazz characteristics.

    Anyway... most of these were taught to me as a kid. I went through the 12 steps of melodic development as a kid... it was pretty vanilla, and still is to me personally.

    While I dig Jimmy's BS. he's still boring. He has some chops.... what really good musician doesn't. You can't play jazz without chops. Chops come from good technique.... you still need to have something to say... (musical definition of something to say), being able to describe "what you have to say", using terminology from above compositional terminology... (not using bathroom terminology).

    Hell just being aware and understanding compositional terminology... will make you a better melodic player... If that's what your after.

    I could post Basic musical composition elements with related musical terms from main categories etc... and get into applications.... yea no one really cares.
    I agree with these opinions. Except I don't think Jimmy is boring. That's getting into a matter of taste, and has nothing to do with teaching melodic improvisation, imo. I think Jimmy is very swinging, melodic and hip. I enjoy his playing. However I don't care for his aggressive personality.

  14. #238

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    Quote Originally Posted by christianm77
    Oh yeah the entry point was heavily policed.

    goes back to the self directed thing though. No one was handing out info. You had to beg, borrow or steal it.

    Look no one does this stupid art form unless they are super motivated. Talent is .... I don’t know? Like everyone I know in my professional circle is super talented by the standards of regular humans. But I think mostly they work fucking hard and have done so since their teens.

    I had a pint with a top UK jazz educator who said the most important thing is cohort. He’s had Jacob Collier in his classes. So he’s seen prodigious talent close up.

    He said if you are surrounded by mediocrity you will be mediocre and he characterised that by a lack of drive and self direction.

    If you are surrounded by excellence you have a better chance of being excellent. Hard work. People in the shed ten hours a day.

    Many musicians have said this. You know this, I think. It’s just hard to fathom how much work goes into being what you characterise as genius, and most of us, it’s true, won’t get there.

    but still we can enjoy the climb. You don’t just climb for the view. obviously to others you and I might seem inexplicably talented, believe or not, so it’s all relative.

    We might not be able to surround ourselves with super self motivated and hard working players IRL ( esp atm), but we can still kick each other up the arse on the internet

    (Hopefully you can sense the good humour in it. If you told me to fuck off I would not hold it against you haha)
    Collier is a good example. How many hours could he have spent in the shed at the time one of his uploads caught Quncy Jones' attention? Collier was 19 years old at the time. I don't think it was so much the practice time as the early exposure by growing up in an extremely musical family.

    Christian, I think you'll disagree with this, but here's why I think this way. I have been very fortunate to have spent many hours jamming with players I'd consider musical geniuses. I certainly didn't belong there on pure merit, but circumstances permitted it (mine was often, in effect, the student chair in the group).

    Seeing genius up close changed the way I think about ability. Around here, they're called "one of those guys". We know who they are. Sure, they put in the work, but in their backgrounds you can see a record of musical success, like Collier's, in their mid teens -- before they were alive long enough to put in the time that older but lesser players have. I'm convinced that it's extraordinary talent and not just anybody, in fact hardly anybody at all, can do it.

    There's a point in a disagreement where the participants drill down through the evidence to what I think of as the religion. The unshakable belief that can't be proved or disproved. Feels like we're at that point in this discussion. Thanks for participating. I think it's a good use of the forum.

  15. #239

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    Quote Originally Posted by christianm77
    Ok I’m not sure if that solo is from the album track.

    so what I’ll do is I’ll carry on with my transcription of the you tube version - no point wasting good work. This tune has quite straightforward changes.

    or.... I could do Arabesque?

    tell you what, I do one you do the other. One phrase at a time. I’ll trade you.
    I thought I posted this, but maybe I didn't. That Tempestade solo is on Nova, the album Chico did with Anthony Wilson. It's on youtube. I think it's the second tune on the album.

  16. #240

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    Ok cool

  17. #241

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    Quote Originally Posted by rpjazzguitar
    Collier is a good example. How many hours could he have spent in the shed at the time one of his uploads caught Quncy Jones' attention? Collier was 19 years old at the time. I don't think it was so much the practice time as the early exposure by growing up in an extremely musical family.

    Christian, I think you'll disagree with this, but here's why I think this way. I have been very fortunate to have spent many hours jamming with players I'd consider musical geniuses. I certainly didn't belong there on pure merit, but circumstances permitted it (mine was often, in effect, the student chair in the group).

    Seeing genius up close changed the way I think about ability. Around here, they're called "one of those guys". We know who they are. Sure, they put in the work, but in their backgrounds you can see a record of musical success, like Collier's, in their mid teens -- before they were alive long enough to put in the time that older but lesser players have. I'm convinced that it's extraordinary talent and not just anybody, in fact hardly anybody at all, can do it.

    There's a point in a disagreement where the participants drill down through the evidence to what I think of as the religion. The unshakable belief that can't be proved or disproved. Feels like we're at that point in this discussion. Thanks for participating. I think it's a good use of the forum.
    I don’t dispute this.

    This disagreement is that you don’t seem to think there is much to learn from those who exhibit traits of greatness; while I think there is a lot you can learn.

    Or that those who have that god given talent and have actually made something of it haven’t also worked very systematically and in great detail on aspects of their art. Because - as far as I can tell - they ALL have.

    maybe you don’t think that and I’m got the wrong end of the stick. But I’m enjoying digging into Chico’s playing.
    Last edited by christianm77; 03-30-2020 at 03:43 PM.

  18. #242

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    Quote Originally Posted by christianm77
    I don’t dispute this.

    This disagreement is that you don’t seem to think there is much to learn from those who exhibit traits of greatness; while I think there is a lot you can learn.

    Or that those who have that god given talent and have actually made something of it haven’t also worked very systematically and in great detail on aspects of their art. Because - as far as I can tell - they ALL have.

    maybe you don’t think that and I’m got the wrong end of the stick. But I’m enjoying digging into Chico’s playing.
    That isn't what I think. I have made an effort for years to get lessons from "those guys", and have profited from it. I'll come back to this point.

    As far as how the greats worked -- I'm confident that they all worked hard. I'm not so sure about the meaning of "systematically". Andres Varady is somebody I think about when this subject comes up. He made the cover of GP at 14 or so, and sounded great. In the interview he said he didn't know anything whatsoever about scales or any other theory. An ear player. Did he work "systematically"? Maybe in some way.

    Here's something about how those lessons with the greats made an impact.

    Occasionally, there would be a specific lesson that allowed me to move a step up the ladder. Learning about tonal centers. Learning how to move 4th voicings through major and melodic minor scales was one. Learning that 4th voicings could transcend the usual major or dominant being separate things, helped. Playing in the key of the 5th was another that comes to mind. Some of this didn't require a genius, I guess, but I got those things from players at that level.

    Then, there was the benefit of simply being able to jam with players who are (IMO) at a stratospheric level. It feels different. Occasionally, you can pick up a tidbit about why. Better listening, crisper rhythm, better ears, the ability to keep the underlying pulse in mind while spending minutes in rhythmic outer space. I recall hitting the last note of a tune -- and my note was kind of a clam. The keyboardist, a world class player, instantly played a chord that made my note sound brilliant. How do you teach that? Playing with musicians like that may have its biggest benefit in increasing one's awareness of what is possible and how it feels to be part of it.

    Another experience -- with some world class players (names some of you would know) I called a tune I knew well. I even had the chart in front of me, although I didn't need it. The tune was Samba Novo, which is fast, but has pretty simple changes.

    They took the tune into the further reaches of outer space. I couldn't tell where the time was, I got lost in a tune I knew well, and eventually, they all landed precisely together. The bassist told me later (although he might have been being generous) that he wasn't sure where they were either. His advice for coming back in together "keep your ears open".

    To sum up: of course you can learn from them and of course they worked. But there are levels that you can't reach just from hard work. There is such a thing as a gift.

  19. #243

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    There is such a thing. I kind of chilled about all of that. It’s great some people are so badass. If I spent my time thinking about the vastly superior musical abilities of my colleagues id never have the confidence to play any gigs.

    I’m not saying it ain’t awesome to experience up close and a wonderful thing. Human potential is amazing.

    but perhaps I’m reading between the lines to much, or even projecting something, but ... it seems intimidating to you in some way?

    What interests me as a player as what I can do today with the situation I’m in rather than comparing myself to someone else and despairing at ever reaching that level. (Everyone does that form time to time btw lol)

    It’s just not good to do that... charting personal growth and development is so much more healthy, and revelling in the excellence of those you might get to make music with.

    And focussing outwards on music is always rewarding. Anyone I know who is any good at jazz has done that. Doesn’t matter how talented they are.

    ———

    Some of it you can’t teach or systematise it’s true. Some shit you have to systematise and you can teach. (God grant me the wisdom to know the difference.)

    and why do you keep asking ‘how do you teach’? Wrong question.

    ‘How do you learn?’ Is better question.

    also a lot of great players and great humans are not great at teaching. Teaching is HARD. You have to shed and study it even if you have it in your blood. Like music. And you have to know your limits. A lot of it is knowing when and what not to teach. Holding back on knowledge, clarifying, organising a path.

    Impossible to do here.

    However, in general the music has a way of teaching you what you need if you are open to it.

    tbf I’ve only had about five or six jazz guitar lessons in my life so I’m used to being a self starter. Might have been easier if I’d had a regular teacher, but I’m rarely pushed for things to work on lol.
    Last edited by christianm77; 03-30-2020 at 07:17 PM.

  20. #244
    Words of wisdom, christianm77.

  21. #245

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    Quote Originally Posted by christianm77
    There is such a thing. I kind of chilled about all of that. It’s great some people are so badass. If I spent my time thinking about the vastly superior musical abilities of my colleagues id never have the confidence to play any gigs.

    I’m not saying it ain’t awesome to experience up close and a wonderful thing. Human potential is amazing.

    but perhaps I’m reading between the lines to much, or even projecting something, but ... it seems intimidating to you in some way?

    What interests me as a player as what I can do today with the situation I’m in rather than comparing myself to someone else and despairing at ever reaching that level. (Everyone does that form time to time btw lol)

    It’s just not good to do that... charting personal growth and development is so much more healthy, and revelling in the excellence of those you might get to make music with.

    And focussing outwards on music is always rewarding. Anyone I know who is any good at jazz has done that. Doesn’t matter how talented they are.

    ———

    Some of it you can’t teach or systematise it’s true. Some shit you have to systematise and you can teach. (God grant me the wisdom to know the difference.)

    and why do you keep asking ‘how do you teach’? Wrong question.

    ‘How do you learn?’ Is better question.

    also a lot of great players and great humans are not great at teaching. Teaching is HARD. You have to shed and study it even if you have it in your blood. Like music. And you have to know your limits. A lot of it is knowing when and what not to teach. Holding back on knowledge, clarifying, organising a path.

    Impossible to do here.

    However, in general the music has a way of teaching you what you need if you are open to it.

    tbf I’ve only had about five or six jazz guitar lessons in my life so I’m used to being a self starter. Might have been easier if I’d had a regular teacher, but I’m rarely pushed for things to work on lol.
    Some of it is just turning ideas over. Within that, is the search for the best way to improve.

    I like reading this forum and it's interesting to hear how some fine players think about the process of developing greater ability.

    What can challenging is being able to identify those ideas which might be helpful in my particular journey.

    As far as comparing to others -- it is awe inspiring to be near genius. But, I tend to think of it in terms of my calligrapher metaphor. I am not going to be able to make elaborate oil paintings. But, calligraphy, with its single color, is also art. So, I try to focus on using the tools I have as well as I can. As far as developing new tools -- I desire it, but I also see a risk of getting too scattered because of the multitude of options.

    As far as the question of "how do you teach?" ... if you're getting paid for it and, as some have done, touted it, I think it's fair question.

  22. #246

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    Quote Originally Posted by rpjazzguitar
    Some of it is just turning ideas over. Within that, is the search for the best way to improve.

    I like reading this forum and it's interesting to hear how some fine players think about the process of developing greater ability.

    What can challenging is being able to identify those ideas which might be helpful in my particular journey.

    As far as comparing to others -- it is awe inspiring to be near genius. But, I tend to think of it in terms of my calligrapher metaphor. I am not going to be able to make elaborate oil paintings. But, calligraphy, with its single color, is also art. So, I try to focus on using the tools I have as well as I can. As far as developing new tools -- I desire it, but I also see a risk of getting too scattered because of the multitude of options.

    As far as the question of "how do you teach?" ... if you're getting paid for it and, as some have done, touted it, I think it's fair question.
    one of the worst traps you can call into as a teacher is try and give value for money haha. Esp with someone as verbose as yours truly.

    in all seriousness adult learners always think they need information. That if they find the right info they’ll get better.

    What they often need is be told how to work on shit, what to focus on and how to apply what they know. My job is rarely to give information. If the internet has shown anything it’s that teaching isn’t mere transmission of ideas and concepts.

    Furthermore a teacher has to encourage self directed learning. Transmission model teaching inhibits this by creating a dependency. Often it’s all I can do in a lesson to get a student to actually try something on their instrument rather than talking about it lol.

    So there are various models that educators use to get out of this, such as critical pedagogy where lessons are focussed on problem solving and the dynamic is much more two way. I like this approach. students are not merely empty vessels to filled up with info. Another is experiential learning and so on.

    it seems to me a lot jazzers (teachers but also crucially, students) are very unsophisticated when it comes to pedagogy. Students quite often have their expectations of how a lesson will go and what it will look like.

    Musicians usually teach in the way that they were taught. Sometimes that’s a good thing, but not always... but that’s fair enough as they are mostly concerned with being bad ass players, so even where they are excellent communicators it can be a bit old school and one way.
    I was myself before I started to seriously study it. It can be just a massive info dump. Not that info is a bad thing itself. But I can critique just about every lesson or workshop I’ve had with a world class player in terms of teaching technique, while at the same time valuing these experiences very greatly. (Obviously these interactions shouldn’t always be judged by the standards of formal education.)

    As I say, their main job is to be badass at music. People want the badassery to be explained in words of one syllable. Sometimes one can gain insights that way, but how can someone explain 20 years or more of their life - whatever it took them to get to their level?

    (of course one of the main reasons to go to a famous player for a lesson is simply to get a chance to play with them. Experiential learning....)
    Last edited by christianm77; 03-31-2020 at 04:55 AM.

  23. #247

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    F major over the whole mess, and add a C# when you’re on A7 (which renders it an F major bebop scale)


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  24. #248

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    over Em7b5. A7
    i tried that BH thing last night
    playing C7 scale from Bb down to C#

    like Bb A G F E D C#
    if that’s correct ?

    to me that’s the G7 gypsy scale (or 5th mode of D harmonic minor)

    is that correct ?

  25. #249
    Yes, broadly speaking. But it’s in an ideal inversion and has a secret Bb in it.

    Going up it’s
    CDEFGABb then back down to C#
    Last edited by rintincop; 03-31-2020 at 11:53 AM.

  26. #250
    Ahh man! Stop worrying about scales! That’s all theory. Just look at the arps play them
    In all directions and you are good! Then use embellishments on the 3rds and 7ths-
    If you transcribe a bit you will see that’s what the masters do. No one plays scales man.
    Another thing mAke sure you play the arp and that will give you the flat 9. That’s all the jazz theory you need to know. Now come up with 4 years worth exercises.


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