开云体育

I think this can be a non-polical helpful thread. The question is "How have your teachers/mentors and playing peers helped or hindered your growth". From the begining
to the advanced my favorite and most productive "lesson" has been when my instructor
and I jam and then he gives me feedback. Also, when I play gigs I will ask my bandmembers
How I did or what I could do better,etc....As far as my major hinderence it is when players
don't listen to each other during solos...

Gregg

Today's lesson showed me kind of where we're headed and especially how
things build on the past lessons.

We worked on 2 single note runs played over a blues progression or vamp
in F. One of these, we had run over briefly a couple weeks ago. The
other was based on the Bebop scale*. These are introduced to give my
improvisation a little more flavor. These is the same approach the
teacher teaches in a college improv course to all jazz students
whatever the instrument.

Next, I have to work on the Eighth-note study and the Arp study on p.
61 in Leavitt I. I am to use alternate picking only.

Last, new song, 'Nardis' by Miles Davis, Real Book, 6th ed. p. 296.
It's in G, so I have to go to Leavitt p. 80 for the position. Teacher
says it may have been written by Bill Evans who was in Miles' group at
the time. I am to research it.

*For guys that are following along: Go to www.freeguitarvideos.com and
check out Track 11 - Lesson 2 - Bebop Licks, for an example of the
Bebop scale (in E or Bm) and a few licks similar to what I did today.

Again feel free to contact me directly for any comments, questions or
other communication.

Maintain

Marshall

Hello all. I am interested in purchasing an acoustic for jazz comping
and soling, but not an archtop acoustic. Does anyone know what
qualities I should be looking for, i.e Rosewood or Mahogony sides,
spruce or Cedar top, etc etc. I like the idea of not having to rely on
electricity and there's nothing like a good acoustic.

thanks,
Jon

Yeah, flipping off the American people...

JV

Juan Vega

Nah most likely he was in an alternate tuning.

In a message dated 9/26/2005 11:58:04 PM Eastern Daylight Time,
morebebop@... writes:

I'm not
quite sure how larger archtops will react to light guage strings


They tend to sound very thin because of the scale and lighter strings
generating less sound. I don't think you can go below 12's and still get a good
tone on a 25.5 scale archtop instrument.

Just my opinion.

--- George Hoffmann <ghoffmann@...> wrote:

I learned to hold the pick with my thumb and index
finger. I can then
use my middle finger, ring finger, and pinky for
fingerpicking (along
with the pick between the thumb and index finger).
It took awhile to
get separation of movement between the ring finger
and pinky. I hold
the pick very close to it's tip to get more of a
muted sound when
fingerpicking. So, I don't have to switch between
the two methods.

George...

I learned the same way .. and do the same thing ...
could it be that we both came out of
folk--->rock--->to jazz (with a smudgin' of some
semi-serious classical studies along the way, say from
the 80s to the 90s...) ... landing flatly on the flat
pick in jazzdom

John Amato
Music blows the dust off your soul...
Isa.55:11



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Not sure what price range you're in, but I'd certainly recommend you check
out Eastman guitars. Do a Google on them... I have an 805-CE (electric
archtop), and really like it; check out the forum on their web page, a lot of
acoustic players speak highly of these guitars.

Cheers,
JV

Juan Vega

We would like to remind you of this upcoming event.

The Jazz Spot/Monday Night Jam Sessions

Date: Monday, October 3, 2005
Time: 8:00PM - 12:00AM EDT (GMT-04:00)

The Jazz Spot
375 Kosciusko Street
(entrance on Marcus Garvey Blvd)
Brooklyn, New York
718-453-7825
web site: thejazz.8m.com

Monday Night Jam Sessions
8pm to 12am $5
"Jazz Guitar"

Friday & Saturday-
Live Jazz $10


Travel Directions:

J train to kosciuszko Street
then walk 4 long blocks to Marcus Garvey Blvd.

The Epi Sheraton II is a terrific guitar, & should fill the bill for you.
In fact, save a few bucks, & buy an Epi 'dot'. People on this forum speak
highly of the 'dot', and I believe it (I have a Sheraton II and really dig it).

Archtops are different animals, and putting different strings on 'em won't
necessarily give you the results you might be seeking, particularly if you're
going to be playing at those (self-indulgent) fusion volume levels...

Seriously, a semi-hollow guitar with a center block is a great tool, and
extremely versatile.

Good luck!
JV

Juan Vega

--- pecpec <p_crist@...> wrote:

My teacher got this from Van Eps. Use your thumb to
slide the pick
between you first and middle finger, so that the
pads below your
knuckles are holding it. Flick it back out into
position when you need
it. It takes some practice.

pecpec... this has to be a magic trick or something
...

...hide the pick or sometig ...I tried this and the
pick falls on the floor ... I don't understand how you
do this ... how do you have free range of you picking
fingers if youu are hiding/holding a pick innside your
palm?...

...are there pictures anywhere ?

John Amato
Music blows the dust off your soul...
Isa.55:11

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--- theunknownguitarplayer
<unknownguitarplayer@...> wrote:

The one thing that remains constant, then as now, is
that the
process of internalization takes place over time,
and requires a lot
of practice, thought and repitition. A LOT of
practice (for many of
us, a lifetime).

For the player who recognizes where the web ends and
practice starts,
I'd guess that this is a great time to be studying
the guitar.

..excellent points .. and so true .. when the party
is over and everyone has gone home, I put on a Johnny
Smith record (opps) CD ...

John Amato
Music blows the dust off your soul...
Isa.55:11

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--- kuboken1 <kuboken1@...> wrote:

You can go very far with very little.

I bet that if someone learned to play even just a
few of the bird
solos in the omnibook (can be at half-speed. No need
to play it
fast.

Ken,

Tthat is absolutely the ticket -- exactly what I am
talking about -- when I started getting into jazz, it
was self-motivation, there was very little sources
around .. I think I learned the Micky Baker Jazz Chord
book #1 & 2 about 3 times -- because we were so
limited with materials ... (and I taught from the same
books...)

...I remember I flipped out when I found a book by
Chuck Wayne in the 70s on arpeggios in the back bins
of a music publishing company. It had a moveable
transparency template that you would place on top of
chord types ...


...so, I transcribed Benson, Dexter Gordon, Sonny
Rollins, James Moody, and Charile Christian before
they came out with his transcribed solos ... I went
out and bought Benny Goodman records checking the back
side of the albums to see if Charlie Christian was on
the recordings ... I remember spending hours upon
hours on Django's "Nuages' ...

...tha's how we cut ouur teeth back then ... today it
is operation overload ... and a lot of the kids are
getting frustrated because of little direction and no
foucus ... they really should have teachers to guide
them...

...another truth is this: this art of jazz guitar
comes slow ... you can't rush it ... it is so much
about life experiences ... the tone I get now was not
the tone I got in 1976 or 1984 or 1993 ... tone is a
maturing thing ... and I feel my tone changing every
day ...

...this art of jazz guitar is about maturing ....
can't be rushed ... life can't be rush ... it comes
with experience ... when I listen to jazz guitarists
the first thing that graps you is his/her lines .. but
immeidately that falls away and you are left with
"Tone" ... ffor my money I gravitate to the guys with
super luscious tone ...and IMO the guys below have
most gorgeous tone ...

1. Johnny Smith
2. George Van Eps
3. Wes Montgomery
4. Jimmy Raney
5. Pat Martino

... I know I'm leaving a lot out ... but this is a
short list ...

...like I said, when I hear a guitarist, the first
thing that hits me are his lines, then ideas, then
finally his tone -- and that is where I settle into
because that is really what keeps me lsitening --
evenwhen I listen to Joe Pass' "Catch Me" album, when
he does "Joy Spring" at lightening speed ... alot of
players can play that fast ... but nnot that clean and
with that tone ... Tal Farlow has a tone that if he
were a bell he'd be in a cathedral, Barney Kessel:
killer tone, Herb Ellis too, Jimmy Bruno also has a
lightening speed with super tone .. there are no young
players with that kind of nimble virtuosity and that
tone .. why? becuaser tone comes with years ... time
spent with fretborad under fingers -- lots of days and
nighst of friction making music ...





John Amato
Music blows the dust off your soul...
Isa.55:11



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Yahoo! Mail - PC Magazine Editors' Choice 2005

Yes, Yes, would you please send them to me? This is exactly what I
need right now.


John Dean

I've discussed this with several musician friends. It is, apparently,
quite common for people to be scattered in their practice habits.

I think it's because there's so much good stuff out there. Every day
you hear something new you want to try. And can't resist.

My suggestion is to try to figure out the aspect of your playing that
sucks the worst. Then, figure out some way to work on it and do it
daily.

Two examples from my own experience:

I recognized that I was better in some keys than others, so I started
playing all my old favorites in my "bad" keys using BIAB.

I recognized that my ear completely sucks, so I got an ear training
program and started working with it daily.

Rick





- In jazz_guitar@..., "stottunit"
<andrew_mcconnell_stott@h...> wrote:

Quote: "The fact remains that information
overload may cause a tendency to see all the available
material with no focus or attention to direction,
goals and objectives, purposes and intentions. All the
material mounted up in plies jst waiting to get
practiced is not a focused direction. It's like being
in a gigantic candy store with so much candy we are
bound to get a belly ache."

Unfortunately, this is happening to me. I would sincerely like to
chuck all my mounds of accumulated material and just practice
argeggios and chord inversions over and over in all keys. I know
that's what I need to do to truly progress, but instead I get bored
and frustrated, go through the fakebooks, play a few heads, get

stuck,

go online, read up on stuff, look at guitars, click on an online
store, buy another repetitive instructional item, learn the first

few

bars of something new, stumble at the first hard bit, decide it's

time

to look at more guitars. Stupid thing is -- not a single step in the
process is unconconcious, I know I'm doing it and also why.

I managed to quit smoking. How does one quit flakey practice habits?

Cheers,
Andy

I I go back and forth frequently.

I made my own device to solve the problem. I punched a hole in the
upper corner of my Dunlop 207 with a nail. I threaded about 10-12
inches of thin electric wire thru the hole. Then I twisted the wire
into a firm braid which holds the pick firmly. I loop the other end
around the base of my index finger.

With this method, I can easily hold the pick in the conventional way
and I'm barely aware of the wire. To the extent that I'm aware of it, I
find it helpful, since it stabilizes the pick.

When I want to finger pick I push it up out of the way with a quick
motion of my thumb. The stiffness of the wire keeps it out of the way.
To resume picking, a quick thumb motion brings it right back.

There are two potential problems, both manageable.

1. The wire will need to be replaced occasionally. Once it loses
stiffness, it won't stay put where you want it.

2. If you're not careful, the pick will end up somewhere where you
won't be able to retrieve it with a flick of the thumb. Also, it can
become twisted around the wrong way, and you'll have to take a moment
to straighten things out. Mostly, using stiff enough wire keeps this
problem under adequate control.

I know that some guys can palm a pick (I never could). I also know that
some guys play pick-and-three (so can I, but I also play thumb-and-4).
And the sharktooth pick (model #2) looks promising, although I haven't
tried it.

As weird as this device may sound at first, it really works.

Rick



--- In jazz_guitar@..., JVegaTrio@a... wrote:

If I go from playing w/ the pick to using fingers (and back) during a
song, I usually just hold the pick in my right hand, kind of squeezed
bet'n my 1st & 2nd fingers, and that works pretty well. I don't even
know how this happened, but I started doing it unconsciously some

years

ago. I used to put the pick in my mouth, but that was a hassle.

Some

players put the pick on their lap, eg, & I know of @ least one guy

who

rests it on the side of the guitar when he's using fingers, but that
seems a bit tenuous for me...

Cheers,
JV

Juan Vega

I'm considering my options for acquiring an electric guitar (I own
some nice acoustics). In my case, for mainly solo playing (the odd
jamming), practicing, learning, and recording into a digital mini-
studio (ie. plugging the guitar directly into the recorder).

Someone locally is selling a very nice Japanese archtop (Yamaha). I
liked the acoustic and especially the amplified sound it had, very
nice and "jazz-like". But playing the heavy guage flatwound strings
that it has fitted (which give it the best "jazz" sound), I realized
that it could not easily be used for other purposes (fusion-type
jazz or blues, to name that I like to toy with).

So I'm thinking: maybe the archtop is not a versatile enough guitar
for me. I searched through the archives of this great forum and
came across some suggestions for nice versatile guitars: ES-335
types like Epiphone Sheraton II, Ibanez AS-120 etc.

I have a question: can an archtop guitar meant for jazz playing,
instead of being fitted with med-heavy jazz guages, be fitted with
lighter guages that would allow playing other styles (fusion, blues,
etc.) with reasonable success? Or is that defeating the purpose of
the instrument, and is one better off finding a nice compromise
guitar like an ES-335 type?

I suppose I should say that my budget is around $700-800, and I'd
rather get something used/aged than new.

Thanks for your thoughts.

--- John Palmer <rivmuse@...> wrote:

Hey gang.

And, well (embarrassed silence), I don't have a jazz
box!

John,

I tell 'ya what ... if you pay the shipping both ways
...I'll trade you my Epiphone Joe Pass Emperor for
your Ovation cut away ... how's the neck, is it
straight? and the body? lots/few
blemishes/bangs/nicks/etc....

...is it an electic acoustic Ovation?

...how's that ... here's a picture of the box ...



..mine is not blond, it's classic sunburst... I also
changed the pick guard because I didn't like the "Joe
Pass" signature ... I still have it ... if you want it
... but the pick guard I put on is a better one...




John Amato
Music blows the dust off your soul...
Isa.55:11



__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005

George Hoffmann wrote:

I learned to hold the pick with my thumb and index finger. I can then use my middle finger, ring finger, and pinky for fingerpicking (along with the pick between the thumb and index finger). It took awhile to get separation of movement between the ring finger and pinky. I hold the pick very close to it's tip to get more of a muted sound when fingerpicking. So, I don't have to switch between the two methods.

Hybrid picking. Albert Lee uses the same method.

If I go from playing w/ the pick to using fingers (and back) during a song, I usually just hold the pick in my right hand, kind of squeezed bet'n my 1st & 2nd fingers, and that works pretty well. I don't even know how this happened, but I started doing it unconsciously some years ago. I used to put the pick in my mouth, but that was a hassle. Some players put the pick on their lap, eg, & I know of @ least one guy who rests it on the side of the guitar when he's using fingers, but that seems a bit tenuous for me...

Cheers,
JV

Juan Vega

Hi Vladymir,

Thanks for the info on the "SharkToothPicks" link. I was not aware of that option. It's an interesting approach.

Ray