• 最佳实践(面向弹奏)
• 每日练琴计划(技术方向) 20240529
• 每日练琴计划(理论方向) 20240529
• jazz 理论
  • sound like bebop
  • melody exercises
  • Harmonic Exercises
  • POINTS TO REMEMBER – contíd
  • PRACTICE PROCEDURES FOR MEMORIZING SCALES AND CHORDS TO ANY SONG
  • Beginning Songs
  • Intermediate Songs troublesome spots = [ ] Four, Eb (7, 65, 67) [F#- B7]
  • Advanced Songs

最佳实践(面向弹奏)

• 拔弦手
  • 持琴
    • 小臂 小鱼际
      • 必须有支点
      • 放着的时候 要 感受到紧贴 特别是小臂
      • 让小臂和手 要 感受不到受力
  • 拔片握法
    • 露出最小长度的拔片
  • 拨弦
    • 拨片与琴弦的角度 尽量趋近90度
    • 振幅最小化
    • 拨弦时 一定是放松的
• 按弦手
  • 古典手型
    • 尽量常驻
    • 检测是否为合格的古典手型
      • 弹奏时只有手指发力 移动时 是手腕发力移动
  • 摇滚手型
    • 只有在高强度的 推弦 与 揉弦时使用
  • 按弦时 一定是放松的
• 练习建议
  • 有难度的地方 一定要拆解 逐个攻破
  • 如何定义 “未掌握的内容”
    • 弹的不清晰 节奏不准确 速度不够的
  • 不要自己骗自己
• 至高境界
  • 人琴合一
  • 无我
  • 超光速
• 把位
  • 如何移动
    • 弹奏音阶时 需要跨多个品位时 可以用每弦二音或四音 – Rick Graham
      • 两个音时 下行时 手指是向指板的上低把位的 反之亦然
• 速度
  • LAZY FIRST FINGER SYNDROME
    • 说的是在legato的时候 第一手指 在弹完后 第二个手指在弹的时候 第一个手指要抬起来
      • 好处是 后面在三四手指弹完之后 弹下一根弦的时候 是第一个手指先移动 如果一直放在弦上不抬起来 会影响移动速度 cool!

每日练琴计划(技术方向) 20240529

• 建议
  • 每段时间都有一个 达成的技术方向
  • 每个练习附随目标
    • 耐力(持续时间)
    • 速度
    • 力量
      • 主要体现在按弦手的 揉弦 推弦
    • 精准度
      • 主要体现在 跨弦 点弦 节奏
  • 练习的变种
    • 单个练习
      • 进行随机的组合 或 自己创意的组合 增加趣味性
    • 多个练习
      • 可以把多个练习 进行组合 比如 交替拔的模进后 进行 琶音
• 技术点
  • 揉弦
    • 节奏
      • N连音
    • 音程
      • 小二大二小三
  • 击勾
    • 普通击勾
    • 无头击勾
    • 音符为自然大调
  • 点弦
    • 击勾+点弦
    • 每弦三音的五声音阶
    • 音符为自然大调
  • 交替拔
    • 按弦
      • 一根弦上 两根弦上 以此类推
      • 按音符个数
    • 按音符个数
      • 三 四 五 连音
    • 模进
      • 按音符个数
  • 经济拔
    • 两根弦
      • 一弦两音 一弦三音 四音 以此类推
    • 三根弦
      • 同上
    • 琶音
      • 按所覆盖弦的根数划分
  • 混拔
    • 要找一些练习
  • SWYBRYD(经济混拔)
    • 要找一些练习
  • 类扫拔(不一定是纯扫拔)
    • 以和弦维度
      • 度数
        • 三 五 七 九 十一 十三
      • 属性
        • 大 小 属 add sus alt

每日练琴计划(理论方向) 20240529

• 乐句
• 琶音
• 乐曲

jazz 理论

sound like bebop

• c7
  • chromatic passing note
  • chromaticism and major blues
  • pivot arpeggios
    • 1 3 5 7 -> (octave higher)1 3 5 7
  • 2-note approach
    • 两个半音到 目标音
  • chomatic enclosure
    • 在音阶里， 目标音是5 那可以弹645
  • the import notes are the arpeggio of the chord !!!!
• cmaj7
  • charlie parker use lots of maj triad
  • triplet not to three
  • 三连音
  • counterpoint 对位法？
  • arpeggios 前加 前导音
  • 非和弦音 落在非重拍上 offbeat
  • C7 弹大三度的 Em7 / 我理解就是 从arpeggios 的三音起 弹四个三度 其实就是多上了九音
  • Dm->Fmaj7
  • G7 -> B半减
  • Cmaj -> Em
  • direct lick
  • one direction and add some note
• all
  • chromatic + arppeggio
  • chromatic enclosure + arppeggio
  • arppeggios + x == killer lines

jazz guitar practice guide 笔记
- 几个方面
1. Melody
2. Harmony
3. Rhythm
4. Vocabulary 
5. Repertoire 
6. EarTraining 
7. Technique 

melody exercises

• Scales
  • Scales Over Tunes
  • Pick a tune you want to learn.
  • Learn one position for each scale needed to solo over the tune.
  • Practice one or two scale patterns for each scale from memory.
  • Solo over that tune using those scale shapes and patterns.
• Arpeggios Over Common Progressions
  • Pick a common jazz chord progression, such as I-VI-ii-V.
  • Learn one two octave and one, one-octave shape for each chord.
  • Solo over a I-VI-ii-V backing track with those arpeggio shapes.
  • Move on to a second arpeggio position and repeat.
• Ascending 3rds （三度模进）
  • Choose a scale to focus on in your studies.
  • Practice ascending 3rds over that scale with a metronome.
  • Start in one key, and then move to others from there.
  • Increase the tempo when you feel ready to move on.
• ii V I Licks
  • Learn a ii V I lick by ear or from a book.
  • Practice that lick in 12 keys with a metronome. Ø Solo with the lick over a backing track.
  • Write out two to three similar licks.
  • Apply those similar licks to your soloing practice.

Harmonic Exercises

• Chords Over Tunes
  • Pick a tune.
  • Choose a chord type to focus on, Drop 2 for example.
  • Pick a string set, such as the top-4 strings.
  • Play those chords, Drop 2 top-4 strings, through the tune.
  • Challenge yourself further by using inversions.
  • Start with a metronome and move to a backing track when ready.
  • Choose a tune, it can be the same from the previous exercise. Ø Learn the 357 triads for each chord in the tune.
  • Comp those triads over the tune with a metronome.
  • Move on to a backing track when comfortable.
• Comping Over ii V I Minor
  • Choose a chord type to work with, Drop 3 for example.
  • Pick a string set to focus on, such as 6432.
  • Play the root shape for the iim7b5 chord.
  • Move to the closest V7alt and Im7 chords from that starting point. Ø From there, move to the first inversion iim7b5 chord.
  • Repeat the process from that new chord shape. Ø Use a metronome or backing track to keep time.
• Bass lines Over Tunes
  • Pick a tune.
  • Play the root note on the first beat of each new chord.
  • Play a chromatic approach note on the beat before each root. Ø Play two chromatic notes approaching each root note.
  • Add a diatonic note on the remaining beat.
  • In 4/4 time the formula is root-diatonic-chromatic-chromatic. Ø If comfortable, add chords on top of the bass notes

POINTS TO REMEMBER – contíd

• A good musician has a large repertoire in his head - he doesn’t rely heavily on books. • Music doesn’t care who plays it.
• “Play what is there, we don’t need to hear you lying” - Art Blakey
• When you finally play what is in your head, you will meet yourself for the first time.
• “It takes a long time to play like yourself’ - Miles
• You can answer all your questions about jazz by listening: LISTEN! LISTEN! LISTEN!
• When you solo, use repetition and sequence, don’t ramble. This allows the listener to anticipate what you -re doing. This is known as thematic improvisation. Sonny Rollins’ solos are a great example of this.
• The interval from B flat to E contains three tones (Bflat =>C=>D==>E ) hence the name tritone.
• Very few adults take the time required to learn to play jazz (or even simply to listen to it!)
• If you want to keep the harmony outlined, play chord tones on beats one and three.
• The root third, fifth and seventh outline the harmony.
• A characteristic of Bebop solos is that they outline harmony very explicitly.
• Do you have a dozen tunes memorized? Know the melody and the form, be able to write out the chord -rogressions (Jamey has 1000 tunes memorized!)
• Learn some tunes, and listen to music throughout the day to keep them in your head.
• Put your tune repertoire in a notebook so you can review it.
• As an exercise in getting your solos to sound like what you hear in your head, put a play-a-long CD on and -lay four bars, then sing four bars, then play four bars … then sing, etc.
• To execute your objective: Think it - Say it - Do it!
• The average person has to learn to play in time - it does not come naturally. You can use a metronome.
• Start to improvise early in your musical education.
• I’m interested in seeing people play music throughout their entire life.
• If you don’t improvise every day what is the point of practicing scales and chords?
• Music is supposed to be fun - have fun when you practice.
• When I asked some musicians how much of the day they spend thinking music they responded 24 hours -er day!
• When you solo, look for common tones between changes, anticipate, think ahead. Think about the subse- -uent chord scale while you are improvising on the current one. It is not that hard, do it soon to prove this -o yourself. This is called “playing across the bar lines.”
• The melody to a song is called the head.
• Obstacles are opportunities. Turn stumbling blocks into stepping stones.
• Don’t approach your practice as if you have to learn a great deal of information and acquire a great deal of -kill so you then can play - instead start playing NOW! ! !
• If you play straight 8th notes you can play the bebop scale for a measure and end on the degree of the -cale that you started on (most of our scales have seven notes and don’t work out this way.) The Bebop -cale gives you 8 notes per measure instead of seven when played in 8th notes.
• The effective use of the Bebop scale often separates those who can play from those who are trying to play. • Don’t forget that a chord symbol implies a scale (horizontal) and a chord (vertical).
• You can’t listen to records enough - it is so very important!
• If you don’t have a good sound who is going to care about what you have to say - even if you have great -deas.
• To find a lowered 7th just go down a whole step from the root.
• To find a sharp 9 go up a minor third from the root.
• The 3rd and 7th are the most important notes in outlining chord quality. The root is always assumed.
• Tape yourself and listen back objectively. Don’t be afraid to hear yourself as others hear you.
• In 4/4 time, if you want to give harmonic stability, play chord tones (1,3,5, and 7) on beats one and three.
• DaveBrubeck’s“TakeFive”(in5/4)isreallybarsof3/4followedbybarsof2/4.12312,12312,12312 • Lydian is a favorite substitute for major (especially in tune endings).
• Chuck Sher’s New Real Books are accurate.
• The tunes that jazz players like and that are challenging often have pretty chord tones in the original -elody. Pretty notes can be the major 7th, 9th or #4 in MAJOR; b7, 9 and 4 in MINOR.
• Strive to solo on a tune, without playing the melody and without a rhythm section, in such a way that a -istener could name the tune (this means you are doing a good job of outlining the harmony).
• The music is between your ears…

PRACTICE PROCEDURES FOR MEMORIZING SCALES AND CHORDS TO ANY SONG

1. Play root/tonic note of each chord/scale 2. Play first 2 notes of each scale
2. Play first 3 notes of each scale
3. Play the first five notes of each scale
4. Play triad of the scale (1, 3, and 5 of the scale)
5. Play 7th chords (1, 3, 5, and 7th tones of the scale)
6. Play 9th chords (1, 3, 5, 7, and 9th tones of the scale) 8. Play the entire scale up and down
7. Play 6th chords (1, 3, 5, and 6th tones of the scale)
8. Play up the scale to the 9th and back down the chord tones
9. Play up the 9th chord and then come back down the scale
10. Play the scale in broken thirds up and down (1, 3, 2, 4, 3, 5, 4, 6, 5, 7, etc., up & down)

Beginning Songs

Blues in Bb & F (1,2,21,35,42,50,53,54,69,70,73) Footprints, C- (33, 54) Satin Doll, C (12, 54, 66) 民 Doxy, Bb (8, 54) Autumn Leaves, G- (20, 44, 54, 67) Impressions or So What, D- (28, 50, 54) Summertime, D- (25, 54) Song For My Father, F- (17, 54) Maiden Voyage, A- (11, 54, 8 1) Silvers Serenade, E- (17) Cantaloupe Island, F- (11, 54) Sugar, C- (5, 49, 70) (called Groovitis) Watermelon Man, F (11, 54)

Intermediate Songs troublesome spots = [ ] Four, Eb (7, 65, 67) [F#- B7]

Perdido, Bb (12, 65, 67) [bridge] All Blues, G (5 0, 8 1) [D7+9, Eb7+9, D7+9] Groovin High, Eb (43) [A- D7] Yardbird Suite, C (6, 69) [bridge] Softly As In A Morning Sunrise, C- (40) [bridge] On Green Dolphin Street, Eb (34, 59) Misty, Eb (41, 49, 70) [A- D7/ C- F7 in bridge] Just Friends, F (20, 34, 59) [Ao or Ab-] Killer Joe, C (14, 70) [bridge] Sweet Georgia Brown (39, 67, 70, 84) Indiana ( Back Home Again In) (6, 61, 80, 84) Girl From Ipanema, F (31, 70, 90)

Advanced Songs

Stella by Starlight, Bb or G (15, 22, 59, 68) [entire tune] Star Eyes, Eb (34, 59) [bars 4, 5, & 6] Invitation, C- (34, 59) [entire tune] Have You Met Miss Jones?, F (25, 74) [bridge] I Got Rhythm, Bb & F (7, 8, 16, 47, 51) Giant Steps, Eb (28, 68) [entire tune] All The Things You Are, Ab (16, 36, 43, 55) [entire tune] Most ballads Wayne Shorter tunes (33), Horace Silver tunes (17, 18), (14) and thousands of other songs