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Originally Posted by KingKong
A lot of popular classical books use traditional fingerings, some even from the composer himself--Sor, Giuliani, etc.
The goal of most classical fingering is make transitions faster and more efficient. Since classical is more appegio-based, i.e., more horizontal, and jazz is more chord and run-based, i.e., vertical, that leads to different fingerings than jazz guitarist would usually use.
When I play classical (not too much these days) I don't really think of chord structures very much at all.
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12-06-2022 06:25 PM
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You've got to hook up your fingers to your ear. It takes a long time. You've got to put yourself in the situation a lot. Last night I had two solos on a big band gig. The first one I was sight reading, and I had no idea where it was going, and it was a fast tempo, so I had no time to think, which is just as well.
The second was a Thad and Mel chart that I had played a note perfect solo on just a few weeks ago, because it was taken at a slower tempo, but last night it was way faster, so I just had to let my ear run my fingers again.
I got applause from the audience, so some people liked it, and a few of the musicians complimented me after the tune was over.
I'll tell you what you shouldn't do-work out fingering patterns on Giant Steps exclusively for a month at 320bpm. That was the most detrimental thing I ever did. It obliterated the connection between my fingers and my ears. I couldn't even play a blues. I got over it, but it scared the hell out of me.
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Thanks for the warning. Mind --finger connection. I will remember. I will experiment using backing track tonight so I can hear the contrast.
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That Sor étude should be in 12/8 or notated in triplets.
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Originally Posted by ragman1
You put 12/8 you have to add a dot on every bass.
In 4/4 you have to put four 3 in every mesure or maybe the first, that's ink too.
The editor hoped nobody would see the mistake.
He saved ink !
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In my lessons with Mick Goodrick (RIP) and Charlie Banacos (also RIP) both teachers stressed the importance of playing up and down the neck rather than locking into positions. This was implemented by doing scales, licks, etc, up and down individual strings or pairs of strings. Playing in a position is great for ripping into a “sheets of sound” run, but up and down the neck is more articulate and also forces you to play by ear.
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Originally Posted by Rsilver
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Which of these is the description for vertical playing on the guitar?
1] Playing pitches fretting up the neck towards the bridge and calling that vertical, so "higher" coheres in the musical pitch domain?
2] Playing pitches fretting on strings closer to the floor while maintaining position and calling that vertical, so "higher" coheres inversely with both pitch and gravitational potential?
If you chose 2] as vertical and call 1] horizontal, do you think of positions closer to the bridge as higher?
When looking at music notation, vertical satisfies both pitch and gravitational coherency.
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Originally Posted by pauln
That said I can see how others might reverse it.
Peter Sprague & Leonard Patton "Can't Find My Way...
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