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Originally Posted by Christian Miller
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04-25-2023 11:49 AM
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Originally Posted by AllanAllen
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Originally Posted by Jazzjourney4Eva
Anyway I still disagree about the approach. But who cares.... Best of luck. Really I hope the approach works great.
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Originally Posted by Reg
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Originally Posted by Jazzjourney4Eva
You'll not need as much time or practice... and generally your have much better feel and time etc... So when you do copy some other players... it's your choice.
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Originally Posted by Reg
How/where is the above advice faulty or wasteful, in your view?
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Originally Posted by Jazzjourney4Eva
Playing good, the most difficult thing.
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Yea... OK.
1) So Yes Scales... and their modes or starting on each degree. All the standard patterns ,1 2 3 4 , 2 3 4 5, 3 4 5 6... etc. And always 2 octaves. of each up and down.
all the standard scales... Maj. and all modes, Melodic and Harmonic minors, Har. Maj. Symmetric scales... dim. etc
Pentatonics... both Maj and Dom. and Blues and bebop and combining blues with Majors and minors.
Then the arpeggios of all those scales... again two octaves, triads, 7th chords, 9ths and 13th. Again all two octaves up and back down.
I also did spider drills... single strings and across up and down.
All these BS drills need to be done at the tempos of most jazz playing start where ever you can.... the learn how to go faster than you can play and still stay in rhythm need to get up to at least 200- 240.
2) Then chords.... again take the time to notate out all chords derived from all scales. and be able to play Chord Patterns that imply the starting chord. Ex. I VI II V's with reference to different Tonal Targets...
Ex. Maj.... I6/9 VI-7 II-7 V7.... which changes with minors bVI and eventually
Maj can become... I 6/9 VI7alt II-7 V7alt. depending on where your playing the actual chords with reference to the Harmonic Rhythm.
This also can be used with improve.... how harmony can organized melodic... improv as compared to
embellishment.
Typically this take more time... most guitarist have difficult time playing fast single notes let alone fast chord... and with rhythmic patterns
3) This should really be first... but for most is just too boring. Get a few drum books and start playing rhythmic patterns on single notes, chords... whatever you can do.
4) Sight Reading... again start with rhythm... drum books and then bring in the notes and chord. The point is to be able to recognize.... groups of notes, patterns. You don't actually read note by note....your always ahead. You need to get past the momentary thing.
5) tunes, chord solos etc... START... learning what musical Forms are and how they works.... the strong and weak rhythmic and tonal organization....
6) Performance Skills... after you develop some chops.... being able to play something thrown in front of you.
Generally also involves sight reading tunes with out playing. Hearing music notation.
I can help dial this in but it usually works better when you do most of this stuff yourself.
Now you can actually start trying to play LOLLast edited by Reg; 04-28-2023 at 10:03 AM.
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Originally Posted by Jazzjourney4Eva
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Originally Posted by Christian Miller
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That’s odd, from that link I could see the book (I’m using an ipad) and I was able to add it to the cart (although I didn’t go any further).
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Originally Posted by Reg
Perhaps I should have put it more like this:
1. Pretend that you have been hired by a major univerity jazz studies program to head up improvisation studies, and are to devise curriculum for four, leveled, undergrad courses - for all instruments, not guitar. They start at the sophomore level, and require a barrier exam for each level prior to entering the class.
2. Further suppose that the program had a bifurcation choice between straight-ahead jazz and contemporary music, and you were hired for the former.
3. Pretend that Improv 101 for all instruments was required by the Dean of Jazz Studies to focus on bebop and that blues was the first order of business, to be followed up by rhythm changes in Improv 201.
What would the (1) barrier exam and (2) syllabus for Improv 101 include?
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Improv 101 would be blues and rc
Bebop would start in 201 and continue for the rest of the students' lives.
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And thank god you only have to pretend :-)
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Originally Posted by Jazzjourney4Eva
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Yea... again, technique exam. The rest would be means for making $. There are lots of analogies for trying to do something without the skills to be able to do.
Micks approach, his books are still cool... he's just to weird about things. (which I liked, he was at berklee back while I was there.)
Post examples of playing something in Db... it's pretty easy to see and hear where your at. Like "Don't Be That Way" in a blusey bebop style...
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Thanks Jeff.
Ragman - we both do something else for a living, and I already know the answers, I just thought I'd see some other points of view. On this last question in particular it is aimed at qualified professional experts in Jazz Ed. - in other words Reg.
Reg was a skilled player before going to Berklee, earned his degree there, earned his masters, taught in college for a time, and is a full time professional jazz guitarist. He is what we call in the professional world an "expert" in his field, and is qualified to answer the question. That is why it's posed to him. He knows how these top collegiate programs work because he went through them. Despite all of that, this really isn't about formal school so much as a very highly focused course of study on bebop improv, school or no school. I couldn't care less if that floats your boat or not.
As I said days ago, I have what I want from this thread now. I could have simply asked, what do you think of Barry Greene's or Jerry Bergonzi's approaches?
Done.
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Originally Posted by Reg
It's OK, I'm covered. Thanks.
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Originally Posted by grahambop
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Originally Posted by Jazzjourney4Eva
Resonator plus toaster pickup for the perfect...
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