Peter Bernstein often talks about getting out the mechanical "pressing buttons" habit that guitarists, horn players, bassists, drummers, pianists... you get the point. I think the key is to really connect your ear to what you play as much as possible. Pete B refers to this as "developing relationships with the sounds of notes". The way I learned it was "developing a relationships with how notes sound in a key center"--yes, even for jazz--especially for jazz! You can start this by using a loop pedal or looking up drones on UA-cam. Let's say you are practicing C major, you set your drone to C and play up all the notes in C major on each string (one at a time) SLOWLY. Get the sounds in your head. Of course, you can transcribe to strengthen the ear hand connection--and you can ear train away from the guitar (my favorite). Once you get the sounds strong enough in your head, your fingers start to find the sounds on the fretboard--and that's where the fun begins! Mikko, stay safe and healthy in these times. Stay inside and practice developing relationships with the notes on your guitar while you social distance with the relationships you have with other human beings. But seriously, be safe everyone :)
I just learned about the book, thanks Mikko for showing how one can approach it, and thanks for the humanity in a sence, as a student It is important for me to see that a guitar techer can also struggle (sometimes) to apply things that are out of his comfort zone.
love your videos. At the 11:00 mark, it's okay to just say "shift". "Slide" brings a totally different articulation to mind. By the way, learning to "shift" opening up my playing A LOT. I started working on that technique with Segovia scales, Van Ep's Triads, and Johnny Smith fingerings. Basically, a lot of old school technique. Then Berklee happened and all of a sudden there's a ton of players who are scared to learn shifting (which isn't necessarily 3nps or whatever).
Yes you are right, shift is better. I used to study with Dan Gilbert and he used to say slide. I guess the difference would be if you shift position like a classical player os opposed to just sliding a finger a fret or two ( without making a slide effect? 🤓
@@Mikkokosmos Did you ever come across Abel Carlevaro's Serie Dictactica Para Guitara Cuaderno No 1? You can find it on Google. Abel has all these shifting exercises in that volume that I go back to when I want to fine tune my shifts. However, I find that I stay in position when I double time or play up tempos. Did you see my question about floating your picking hand? Not many people do that now a-days. It's funny, George Van Ep's really emphasized a floating right hand. Besides some Gypsy players and Tim Lerch, I haven't seen anyone else use that technique.
Hey man! Love the way you teach, very clear and understandable. I know the best way to learn is to "use your ears", but I'd suggest using a guitar with fret inlays for lessons. It would make figuring out the positions and stuff like that much muuuch easier Subbing right away!
I always have a problem with that book and it comes from its "mathematical perespective/approach" which leads to multiply the possibilities that may overwhelme you or inspire you, depending on each musician's sensibility. I bought it twenty years ago and never got into it. But each time someone talks about it, i grab it again and try to get something out of it, but it never works with me. I was never able to turn the "mathematical" aspect in a musical expression.
Love your channel. Thanks for the video. I've had this book, the "Commentaries" section is really great. I always tend to pick up this book for a day and then just leave it for months. But I've never really been a huge book guy. One book I do keep coming back to is 3-Note Voicings and Beyond by Randy Vincent. But for the most part, I can never focus on books for very long. But maybe that's the point? You take a small concept from a book, and work on it for a while, then come back? Figured I'd ask you what you think about learning from books since you seem to use them a lot. Thanks!
Thanks I'll check out that voicing book. I think that's a good way to use books. I love method books. To quote my old teacher Dan Gilbert: "whenever I'm depressed I get a new book" 😃
Peter Bernstein often talks about getting out the mechanical "pressing buttons" habit that guitarists, horn players, bassists, drummers, pianists... you get the point. I think the key is to really connect your ear to what you play as much as possible. Pete B refers to this as "developing relationships with the sounds of notes". The way I learned it was "developing a relationships with how notes sound in a key center"--yes, even for jazz--especially for jazz! You can start this by using a loop pedal or looking up drones on UA-cam. Let's say you are practicing C major, you set your drone to C and play up all the notes in C major on each string (one at a time) SLOWLY. Get the sounds in your head. Of course, you can transcribe to strengthen the ear hand connection--and you can ear train away from the guitar (my favorite). Once you get the sounds strong enough in your head, your fingers start to find the sounds on the fretboard--and that's where the fun begins! Mikko, stay safe and healthy in these times. Stay inside and practice developing relationships with the notes on your guitar while you social distance with the relationships you have with other human beings. But seriously, be safe everyone :)
I just learned about the book, thanks Mikko for showing how one can approach it, and thanks for the humanity in a sence, as a student It is important for me to see that a guitar techer can also struggle (sometimes) to apply things that are out of his comfort zone.
love your videos. At the 11:00 mark, it's okay to just say "shift". "Slide" brings a totally different articulation to mind. By the way, learning to "shift" opening up my playing A LOT. I started working on that technique with Segovia scales, Van Ep's Triads, and Johnny Smith fingerings. Basically, a lot of old school technique. Then Berklee happened and all of a sudden there's a ton of players who are scared to learn shifting (which isn't necessarily 3nps or whatever).
Yes you are right, shift is better. I used to study with Dan Gilbert and he used to say slide. I guess the difference would be if you shift position like a classical player os opposed to just sliding a finger a fret or two ( without making a slide effect? 🤓
@@Mikkokosmos Did you ever come across Abel Carlevaro's Serie Dictactica Para Guitara Cuaderno No 1? You can find it on Google. Abel has all these shifting exercises in that volume that I go back to when I want to fine tune my shifts. However, I find that I stay in position when I double time or play up tempos. Did you see my question about floating your picking hand? Not many people do that now a-days. It's funny, George Van Ep's really emphasized a floating right hand. Besides some Gypsy players and Tim Lerch, I haven't seen anyone else use that technique.
@@pickinstone Yes I have seen that book. Should go back to it. NOt sure what floating picking hand means? Not arching the fingers on the guitar?
this was great - love the way you break down books and make the contents useful ! A+ job ~
Great video, thank you for sharing! You could use that book for a lifetime of study
This is great, thanks Mikko
Thanks - looking forward to the next video!
A lesson I needed. Thanks for the reference to the book. I'll order it.
Love the book, great way to break it down.
The creative chordal harmony book is a cool and useful concept. It could however be explained in a pamphlet with a couple examples.
Thank you so much
Hey man! Love the way you teach, very clear and understandable.
I know the best way to learn is to "use your ears", but I'd suggest using a guitar with fret inlays for lessons. It would make figuring out the positions and stuff like that much muuuch easier
Subbing right away!
the Godin nylon string guitars have fret markers on the neck binding that serve the same purpose
Interesting as always
Thanks!
tack Mikko...........subscribed dig it
I always have a problem with that book and it comes from its "mathematical perespective/approach" which leads to multiply the possibilities that may overwhelme you or inspire you, depending on each musician's sensibility. I bought it twenty years ago and never got into it. But each time someone talks about it, i grab it again and try to get something out of it, but it never works with me. I was never able to turn the "mathematical" aspect in a musical expression.
That´s the Jazz Guitar Bible for a long time
Let's talk about Post Bop ,his weird harmony and melodies :)
Im looking for materials with exercises
with pure and essentional Post Bop knowledge :)
Pat Methany also recommended this
You have guitar sounding good what amp are you using.
Tanglewood 😎
Love your channel. Thanks for the video. I've had this book, the "Commentaries" section is really great. I always tend to pick up this book for a day and then just leave it for months. But I've never really been a huge book guy. One book I do keep coming back to is 3-Note Voicings and Beyond by Randy Vincent. But for the most part, I can never focus on books for very long. But maybe that's the point? You take a small concept from a book, and work on it for a while, then come back? Figured I'd ask you what you think about learning from books since you seem to use them a lot. Thanks!
Thanks I'll check out that voicing book. I think that's a good way to use books. I love method books. To quote my old teacher Dan Gilbert: "whenever I'm depressed I get a new book" 😃
Reach a chord and PLAY around the chord tones then progress thru a second chord voice leading. Its about the chords not the scale
?
Merging the CAGED shapes until the neck is united.