*My Routine:* 5 min Chromatic + Arpeggios (similar to the video) 20 min scales and exercises Playing songs with Metronome (as long as I can) and/or check out recordings unless I have to prepare for a gig, then I do that. If you want a more accurate description of my routine then you could check out this video: ruclips.net/video/yR_v0zTYw_g/видео.html&index=3&list=PLWYuNvZPqqcHBi6TAQA8f7gWiLmk7Xv-d
larsen do you play metal rock blues or another kind of music in the outiside or at the stage just wondering ı know you re playing jazz well but ı never heard another music genre that you play jazz
I did this for years then started using learning songs as the basis single note melody > basic chords > arpeggios over chords > expanding comping passing chords/ substituons > expanding melody with arpeggios and so on… it helped me progress and I had repertoire!
I have around 4 hours a day, my daily regime mainly consists of 20 mins - Chromatic warmups using all permutations 30 mins - The never ending scale exercise, using different progressions every day 20 mins - scale practice or arpeggio practice, learning new scales, sequences, diatonics etc 40 mins - technique, 1 day alternate picking, 1 day legato, 1 day sweeping , then repeat 60 mins - chords, play through standards, write down tricky transitions and then perfect them, comping, triads, drop 2 etc 60 mins - Improvising, writing lines, focus on a chord tone and write lines aiming for that tone (within a ii V etc) 30 mins - Transcription, currently working on the Charlie Parker omnibook, this changes every few months
I usually practice guitar 4-5 hours a day , and I will rest on sunday for my finger ,here are some I usually do everyday: 1.Inner Pulses : put the metronome on beat 2 or beat 4 , play pentatonic scale or melodic minor scale or modes~just pick some of them and do 12 keys 2.Triads: Play Major and Minor triads horizontal (usually top three strings ,include root ,1st inversions , 2nd inversions) , all 12 keys and do circle fifth way. 3.Chromatic : I do diffrent tempo from 100 ~ 150 ,( I set the metronome increase speed gradually ) , this work is focus on train the muscle 4."Install New Vocabulary": I have several Jazz licks books , I will pick some of I like and work on different tempo and do all 12 keys , and different position or Octave them , repeat play and listen 5.listen music : Jazz , Blues , Fusion , Rock , Billboard ,...etc 6.Play the songs : work on some Jazz tune and play some songs I want to work on (And Try to use the new licks I learned into the improvised) 7.7th Arpeggios (Maj7 , Minor 7 , Dominant 7 , Minor7b5 , Diminished 7 , Minor Major 7 , Major7#5) 8."Key Changes " : Here I use Irealbook as a tools , set 2 different bass note in 2 bars , like one bar is A and second bar is Bb , then loop the backing track , play A major scale in first bar , then play the Bb major in second bar , don`t leap but smoothly ) , I will change different keys everyday , not only play major scale , sometimes I will play modes. 9.Watching your youtube video for more information~~:D
For me, I always make sure to have a “fun stage” where I just play along and improvise without thinking about anything. Just feeling the music. So that all the theory I learn starts naturalky showing up in my playing.
Mid 40's. Played since i was 10. I'm told by some that I'm good but, being brutally honest, i know how actually mediocre i am. You hit my biggest issue... I've never learned a single song... not any that i practiced enough to remember. It definitely shows in my "playing". I do practice, but lack of any song knowledge has held me back. I'm embarrassed to be around actual musicians and have never really played with anyone else in a meaningful way. Watching your videos the past few weeks have convinced me to rethink what i actually want out of my time with my music and instruments. I just need to pick a couple of easy tunes to start with. Really appreciate everything you do here in your videos.
Although you post great material, I believe a guitarists greatest challenge lies in the organization of what they need to know. They may learn arpeggios and scales plus chromatism or triads, but they may be lacking in rhythmic ideas, become disgruntled and quit something amazing they were doing. I myself am becoming very disgruntled with my practicing of triads, arpeggios, etc. Because it sounds so robotic and or childish.
So practice how to use your arpeggios. The answer is really simple. As for how well you can organize your learning path: You have to accept that there is a limit to how well you understand and can identify your own problems. This is true in all aspects of life
I try to practice 2 hours everyday: 30 minutes-- play 4 note chromatic runs to warm up/ right hand left hand finger sync (about 2- 4 minutes), then play all the licks I am currently working on (plus some light improvisation) to a metronome first at a comfortable speed and then a less comfortable speed. Currently working on your Charlie parker arpeggio video! 30 minutes-- current songs I'm working on for performing live 30 minutes-- improvise arpeggios, major scale runs, and pentatonic notes over some II- V- I backing tracks in various keys (because I haven't gotten to more adventurous and complex jazz progressions yet) 30 minutes-- look for new stuff to learn, maybe some jazz standards, theory, licks etc, whatever catches my eye!
Thanks again, Jens. As a keyboardist I find almost everything you cover very helpful. My own practice routine is less structured, but covers playing progressions and riffs in all keys as well as scales. To maintain dexterity in both hands, I incorporate “classical” repertoire. I divide my time between maintaining skill and pushing into new places. Part of my musical study, though, is mental: listening to your ideas, for instance. I also mentally rehearse voicings across all keys while lying in bed - it is surprisingly helpful. Thanks.
Video title: let me give you some exercises for a 30-min practice session... after 7mins into the video: Here all practice methods you need for jazz. ALL of them. some good ideas to take away in here, Jens ;)
Squeezing in such a short practice session it's hard to make progress imo rather than just maintenance. I get less time during the week to practice around work, but I have a pretty comprehensive practice routine sheet that's set up sort of like a gym workout. Every day I warm up for around 20 minutes by playing trills on each pair of fingers, followed by tremelo picking (speeding up and slowing down, messing around with pick angle and note length) and a small scale fragment just to get my fingers going. Then I have 6 broad categories and I focus on one of them. If I can get one done in a day, I'm happy, though more than one is obviously better. The 6 categories are technique, scales/arpeggios (I practice the 2 together pretty much how you've outlined in your video, many different patterns and arpeggios but I stick to 1 position per session and just learn as much as I can about that 1 position), chords (diatonic and in thirds and 4ths up and across the neck, isolating triads within the chord shape etc), book study (I have a jazz method by Jodie Fisher and then the Jazz Theory book after that), jazz standards (a category where I work on a tune and learn the chords, practice arpeggios and endless scales, the stuff you've talked about, really try and get inside 1 tune) and the final category is own material, stuff I've written or writing new stuff. If I do a little of all of these every day my progress feels slow and unfulfilling, but if I zone in on one and really focus on it for a session then I feel like I've achieved a lot with that session. If I have time I'll do more than 1 of these categories in a day, and I keep a tally sheet so that I'm going through them roughly evenly, but I want to be effective with my time and also feel like I've genuinely achieved something in a practice session. It's like gym; instead of leg day I'll have legato day. Maybe a more accomplished guitarist such as yourself doesn't need to do so much work anymore, but I'm trying to make large progress so a more comprehensive routine is sort of necessary for me. Hope someone found this worthwhile.
I absolutely found this worthwile - really resonated with some thoughts and doubts I’ve been having with my my own practice routine. I find it difficult to squeeze in a lot of different things in the short amount of time I sometimes have
I don't have a strict routine per say, but my usual practice looks like this: Warmup: besides Jazz, I'm a big fan of metal lead guitar, so for warming up I've been using Yngwie licks and trying to practice them. I also like running through speed picking licks off the solo to A7x's Nightmare, as i find they really throw my hand into shape. Afterwards I use Jens's arpeggio exercise with the leading chromatic note to really get my hands into shape, and then I double check it by running a couple stretchy chromatic exercises. Next is Ear Training. Right now I'm learning Miles's solo off of So What? (About halfway there), so before picking up the guitar I listen to the solo and try to sing the phrases I'm working on atm. I do this for at least 20 minutes. Improvisation takes about 30 minutes. Been working on upping my improvisation around "A" Train and working on Billies Bounce too. At that point, I typically start writing songs and try to work on my singing chops as well. I typically play around 3 hours a day so it definitely varies depending on your schedule but this is what works for me
30 minutes on a tune. Assess what needs to be done based on that tune. Can you play the melody? Can you play in both octaves? Do you know the real chords… alternative chords/endings/turnarounds? Do you have an intro for it? Can you play basic lines over the changes? (Have you memorized those changes?) What about other techniques such as octaves, block chord solos, etc? Did you transcribe a solo over this tune from one of your favorite players? Did you at least transcribe a line from a particular solo? Can you play this tune in multiple keys or at least the most popular ones? I don’t believe there’s really a shortcut. But you can kick start the process by getting started with tunes you really love and approaching them slowly no matter the difficulty. You’ll gain so many jazz skills from this process alone. That’s how I spend 30 minutes a day. Currently listening to Woody Shaw playing On Green Dolphin Street (Live Village Vanguard 1978). There are incredibly rich melodic ideas there. [Other questions, do you know the lyrics to the melody? Have you transcribed a vocalist, you’ll be surprised by how their rendition varies greatly.] Everything we need is in the records.
that chromatic one, i reshape this into the chromatic scale. i call it the Chromatic Spider. Practising navigating around the neck, especially if cycling thru a few keys. Consecutive notes & "digitals". Just a bit more melodic .. just squeezing a bit more outa ur warmup. Yep, I too love playing 2 the back-beat 2 & 4s.
This is a topic that I have thought about a lot and have tried many different approaches over the years. What you showed contains way too much for half an hour, for me at least. My practice normally starts with a short warm up involving some sort of scale or flexibility exercises (I'm a trumpeter by the way). Then after that I work on just one thing in depth for the rest of the time. This may be transcribing, or trying to learn a particular technique, but all in the context of a single tune, or even just a few bars of a tune. Always having a tune in mind gives me a reason to work on the techniques I would like to use when I have to solo over it. I used to try to learn everything around all the keys, but now I just do it in the keys that fit with the song I am working on. I will still get around to the other keys eventually, but only when I need them. My practice usually finishes with some improvising over the tune using a playalong. Away from the horn I also do transcribing, listening, and arranging, as well as watching helpful RUclips channels like this one!
My jazz practice routine: 1.Technique- 30 min. (chromatic ex., scale patterns (3 notes per string) and picking 2.Turnaround practice- 1.5 hours A) I VI II V, B)III bIII7 II V, C) III bIIIdom 7 II V (All keys both comping and soloing in all positions. Typically I comp the turnourounds with a metronome in the circle of 4ths in each position. I record this and then practice soloing over each key in every position) 3. 30 min-1 hour Practice 3 standards that utilize these turnaround For example 1. Bb blues (utilizes I VI II V in Bb) 2. How High The Moon (utilizes bot I VI II V and III bIII7 II V and 3. All The Things You Are which utilizes the III bIII dom7 II V. I interchange these each day with other standars that utilize these turnarounds.
@@JensLarsen Thanks, yes it has worked for me! I I have to find uses for my practice within the context of songs otherwise it becomes meaningless for me. I've noticed I've become much better at identifying the type of turnarounds in songsand I can interchange them if a rythmn section decides to switch up the turnauround. Love your channel, it an amazing resource and gift. Thank you Jens!
Hi Jens - if it wasn't for you, I might quit the internet entirely! you're just great, plain and simple. Honestly, one lesson every other week or every month would be all I can handle - oh well... The last time I went to Holland (and the only time), the flight attendant gave me this cool eye-cover thingy to help me sleep. Since then, I have tried to use it during practice sessions, so it's all about what I'm hearing. I think that helps, especially when practicing scales and arpeggios up and down the neck - you're completely dependent on what you're hearing, not what you're seeing. How do you feel about that?
Thank you! I think the idea of covering your eyes is really a good one actually. I used to sometimes turn off the light and practice in the dark. I don't do it anymore though. I try to focus on hearing the note before I play it.
Haha I just lmao when you talked about practising diatonic 6ths, and a picture about that guy( whom im not very fond of) popped up:) haha :) think I got why you put it there hahha:) thank you man for the lesson:) think im on a pretty good track, you are very wise sir, im glad you share your knowledge, you've got good mojo , keep on it man you're changing the world:) Thank you thank you thank you:)
When Herb Ellis was asked "how do you warm up" he seemed a little incredulous, like it was kind of a stupid question, he said: "just play the hardest thing you know" So , I play Agustin Barrios "The Bee's" given to me at Berklee ... It's an incredible piece that has arpeggios, chromatic approaches ,chords,and interval jumps. Are you familiar with it ? P.S. I'm a little surprised that you haven't gone over Berklee Method books .They are definitely Not just about reading , that'a nice byproduct ..it is very comprehensive . ask Mike Stern 💪Thanks always for sharing!
Ok. I don't know that one :) Actually I never really studied from books, more just records and playing with other people. At the conservatory we didn't do books, but we did do songs. I talk about it in the video I did on books I studied from (it's a top 5 for a reason :D)
My practice has become more cyclical over time. I have periods of time where technique/scales/arpeggios/chords are more of the focus and times where I focus just on tunes/improvising/solo guitar.
I'm a metal guy (but I really enjoy jazz stuff). My practice routine: 1hour technique: cross picking, inside/outside picking, 3 notes per string alternate picking, legato, vibrato and bends. 1hour on rhythm: khonakol (gatis and jethis), some repertoire riff, funk riffs, comping ideas. 1hour on repertoire: learn new songs, transcribing etc 1hour ear training: I'm using Curtis first steps on ear training, I already can hear the degrees of major scales. Now I'm trying to learn to hear chromatic approach notes. I use FL studio 12 to generate random notes and training my relative ear.
Thanks Jens Larsen. I can improvise using modes and pentatonic scales. But some improvisation topics are very hard to me. Then i decided to learn more fundamental stuff for now.
I personally can´t really get a schedule, so i take every chance i get to practice. Right now focusing on arpeggios cause I spend too many years on scales alone, my bad. But arpeggios really helping me to get more comfortable around the whole neck and helping me a lot with ear training.
I'm retired, so I have time to practice daily 30 min scales, arpeggios; 30 min songs; 30 min chords, and most times 30 min just exploring my instrument. Usually 30 minutes to an hour in between each session. Oh, and 30 minutes a day checking out your great videos.
I tryied to practice the way Barney Kessel suggests in a jazz lesson video, playing a chord, close your eyes and imagine a simple melody line, sing ot (or whistle), then figure out the notes on the guitar. On the paper it sounds absolutely logic to practice that, and seems very effective. But for some reasons, my "creative skills" seems OFF when I have the guitar in my hands. If I dont have my axe with me, and i'm listening to a song i can easily come up with ideas in my heads, but every time i pick the guitar it's like the process is frozen... Lack of practicing this particular exercice I think... Anyway thanks for your work. A lot of great ideas in your routine that I'm going to incorporate in mine :)
I guess that method really depends on being able to hear jazz lines in your head already. That might not be the case unless you have listened to a lot of jazz 🙂
I totally feel you, after so many years something similar happens to me in improvisation and composition as well. I find myself that the best ideas come up when I'm away from the guitar. Sometimes i feel blocked, I think that may happen because Of triyng to Approach improv from a theoretical point of view. I've found that working on transcribed solos, embellishing the melody or phrases, or juxtaposing phrases from other songs in a new song can helpm be get around these blocks and begin hearing. I will try this Kessel exercise also!
That one little sentence about how you see the fretboard when you improvise over (for example) G7 in the key of C was the moment where it clicked for me. Thank you
A simple hack to get coverage in all keys if your time is limited - I have a twelve-sided die that I got at a gaming store, I just roll it and practice in the key for whatever number comes up. #1 means C, then walk the cycle of fifths from there, so #2 means F, #3 means Bb, etc.
One thing I do often but not always is ill use a looper and play the a chord as if it's a metronome. Then I'll play scales ,triad shapes , arpeggio shapes ,to subconsciously train myself to that sound. Once I have the patterns under my fingers I start improvising over the looped chord or chords. I also play alternate pattern shape over loop to get use to those sounds. For ear training I pick out melody from songs in my head like a Beatles song or the wizard of Oz. After I pick out melody I start playing it in other positions and keys. I have been working on harmonizing the melodies but I'm weak on that skill. I try to find the different 3rds in the melody but it's hard to develop it into a arrangement
Hi Jens I found exercises for developing Gypsy Jazz right hand technique, with that very thick pick they use. Another site on youtube had jazz standards with chords and a backing track. Over the last two years I've learned to play with thumb pick and brass finger picks, I watched the Danny Gatton vid where he taught rolls etc. I don't play enough though. I practice in blocks e.g. chord voicings or bossa nova rhythm(from the Jens Larson site). Is it possible to make a one off contrubution on patreon? Lenny
Glad you find it useful! Patreon is a subscription service, but you can make a single donation using the donate button in the sidebar on my website: jenslarsen.nl/
Check Ben Eller' channel "punisher" exercise. It's worth seeing I think. It's for alternate picking. I also practice and learn things from yours videos. Thanks! Greetings :)
Great exercise is to play the first 6 arpejos vertically up and down within the 7 modes. For example in the key of C, C ionian (CMaj7,Dm7 Em7 FMaj7 G7 Am7), then D Dorian (Dm7 Em7 FMaj7 G7 Am7 Bm7b5), E Phrygian (Em7, FMaj7, G7, Am7, Bm7b5, CMaj7) and so on...
@@JensLarsen What Allan and Wayne taught me was to use the math and to create music with that. How improvisation was kind of without idiom. They both had incredible knowledge of the vocabulary but also told me to create own stuff. Why aren't all these jazz channels talking about pure improvisation? I don't know, maybe the can't think without vocabulary :)
@@Mrius86 I am sure there are channels talking about that, it's just not what most people want to see. I am not sure I would call what Allan did pure improvisation. The more I listen then more I hear him gravitate to similar types of melodies, they may not be bebop but he is not starting from scratch every time that is for sure. And I say that being a fan.
Jens thank you , keep uploading , best wishes for the new year 2022, may it be a musical and enoy playing guitar and practicing, Thanks very much , greats from The netherlands , Amsterdam.
Jens, when you say 'Transcribe', do you actually mean sit down and write out something you're listening to? Notate it? I'm such a chicken when it comes to that. It seems like sooo much work even though I know it'll be good for me in the long run. But I'd rather do anything else. It's such a discipline. Or do you mean just copy something by ear?
It depends on what you want to learn from it. I certainly think that you should try to write some things out at some point. Having it written out will probably give you a completely different overview and teach you some new things.
Right now I have begun to play "Jens Ten" 1. Take The A Train 2 - Billy Strayhorn 2. Cantaloupe Island - Herbie Hancock 3. Billie's Bounce - Charlie Parker 4. Tenor Madness - Sonny Rollins 5. Satin Doll - Strayhorn-Ellington 6. Blue Bossa - Kenny Dorham 7. Autumn Leaves - Joseph Kosma 8. Perdido 2 - Juan Tizol 9. Summertime - George Gershwin 10. Solar - Miles Davis Using iReal Pro also... Jens Arpeggios and after practicing the arps, I reinforce them by playing against a chord prog using IReal. Also focus on hybrid picking using various patterns like... DDMAMUDU, DD_AMAMU, DAMADDMA
I spend most all of my practice time learning solos that interest me -currently, your Bb jazz blues solo - very nice. I usually practice for 1.5 to 2 hours at a time. Unfortunately, its not every day - live has its priorities. But I rarely go 2 days without practicing. I think an additional regime of scales and arpeggios would be an improvement.
Thank you very much Karim! There is not an order for the videos, that depends on what you already know and that is different for everybody. You could try to browse these videos and see if there is something you feel like working on? ruclips.net/video/PyHXN3Vxhz4/видео.html
Alternate picking Chromatic scales, sometimes flight of the bumblebee, Segovia scales, Greg Howe “Giant Steps” warmup, sometimes John Coltrane “Giant Steps”, Donna lee, anthropology, Django “minor swing” solo and sometimes “Honey suckle rose”, I use these solos as warmups which makes it easier to remember to do. I am also working on classical solos and I need to get back into chord solos/improvisation. I use excerpts from John Petrucci “Rock Discipline” , Ygnwie Malmsteen “hot licks” and Paul Gilbert’s licks video, Paganini 5th (crossroads)solo. Thanks to Jens Larsen I am trying to improve jazz phrasing, improvisation, and technique!
If you are at a level where you can only do some of the things then do that and build it up until you include the things you want to work on. I am sure you can imagine that even trying to be very broad then this will not fit the level of everyone 🙂
my practice routine (particularly useful for commuters without guitar at hand but with an iphone...) 1) learn reading notes - a ios app called notenprofi - its for children but i really does the job - gamification really helps you to become quicker and quicker in reading notes 2) learing voicings and the neck: iOS - frettrainer 3) learning reading rhythms - Rhythmus Trainer also iOS (most unfortunately the developers have turned the app into a subscription model - but if you only use the app 10 minutes daily it remains free...) I used these apps on a daily basis while commuting - before the pandemic - and in the moring before starting to work in the pandemic.
20 minutes Ear Training, 15 minutes Barry Galbraith Daily Exercises (Arpeggios, Scales Sequences in Harmonic/Melodic Minor), 10 minutes Licks/Phrases, 5 minutes soloing or a fun lick, 30 min-2 hrs Transcriptions for a fakebook I am working on.
Great channel. Love the focus on fundamentals and the artistic yet disciplined approach rather than totally dry technical coverage. But my question is about the sunburst strat hanging over your right shoulder in the frame - is that a capo attached near the bridge of the instrument and does it have any function down there, or is that just the way you "stow" the capo on the instrument until you are ready to use it in a more traditional position?
I practice for about one hour every day from monday to friday - Why? Because I can only do it on the train to my job :^D I have two kids at home: the first is 4 years old and the second is two months old, so go figure! Warm up is hell: sometimes my right hand doesn't speed up; sometimes it works better especially if I use no pick at first and after a while I grab the pick: still wondering why and how to solve this. Since I attend lessons on tuesday, I have a different subject to work on every week, but it could take even months to fully understand it. Practicing that way, I use backing tracks with standards to experiment with different subjects: lately I'm into quartal harmony. AND sometimes I try to learn a new standard but I'd better look at the music sheets at home if I get the time - and I'm not a great music reader, so I tend to listen to the original tune (maybe from singers like Billie Holiday) to learn the main theme, and follow a chord chart to understand the harmoy.
Thanks for sharing? Wow thats a lot of stuff in 30mins, probably take me all day to go through all that Lol, whatever happened to playing for your own enjoyment. For me I try learn an arpeggio or two in a different position and how they sit over the diatonic scale, this helps keep my bearings in tact and helps me choose the right notes for that chord whilst still being in the correct key. Compared With all the stuff your showing, its just the tip of the iceberg for me, long way to.
As an other important part of jazz is rhythm, an other good exercice to me is to play rhythm on a famous jazz song as if you were part of the group (for example on "4 on 6") and to be able to keep the groove. Same thing with a bossa nova (fir example "Chega de Saudade"à with classic bossa rythmn
Hello Jens. Would you recommend a loop pedal to cover some of these exercises? For example, to practise chord changes and improvisation at the same time?
It's tough because I try and get at least a couple hours in 5-6 days a week. For YEARS I practiced scales and most recently arpeggios for almost the entire practice session. I often KNEW this wasn't effecient as many would define it though I felt I needed some serious work on my time feel and, to this day, I still like using the metronome as part of my playing. In most recent years it's often a challenge to keep up with all I want to learn though, for instance this morning, I took the first hour and worked with an old "50 Jazz Licks" DVD I bought in my 20s though instead of just doing the lick, I try and internalize the licks then move them around in all keys. That way I feel like I'm actually working on the true essence (the arpeggio to chromaticism balance) and tuning my ear to the lick instead of only really knowing it in one place. Then second hour I worked on songs for a show I'm doing tomorrow. I'm still working out exactly how I want things to go in practice though I've come a long way and feel I better have an understanding of things though still love working with the metronome: I could sit and run scales for hours. :) Thank you for your videos always.
I definitely don't have a solid "this is how much time I work on this" before I move on. I find it difficult because I have so many things I'm trying to learn right now. always working on pentatonic modulation, minor and major, triads, arpeggios, stuff I get from my teacher, and also trying to learn slide.
Hey Jens, love your videos. Do you think you'd be able to do one about various feels? Had no idea what people meant by double time, two feel, and the like when I was at a jazz jam. Thanks!!
I love your videos, Jens. Although I am not into jazz but I find it very helpful to learn and apply its theory into my playing. My current practice regime includes: technical exercises to enhance right and left hand cordination, with the focus on strict alternate picking; chord etudes picked from Jazz instruction books and trying to play them in 12 keys; scales in different combinations, like in 3rds, 4ths, 6ths and so so; sight reading exercises from William Leavitt's book; arpeggios from Introduction to jazz guitar soloing by Jor Elliott; arpeggio studies from Mimi Fox's Arpeggios on Jazz standards; ear training using an app I recently downloaded. Of course I don't touch upon all the elements in one sitting. Thanks for letting me share what I do. Once again, you are a brilliant teacher!
I thought that to... let me warn you.. I have found myself spiraling into a deep jazz appreciation, even listening to jazz! and not just guitar! I have had bouts of Miles Davis binging and a heavy Herbie Hancock addiction. I have been backsliding from my pentatonic heavy metal and even playing Major 7 chords! I don't know what to do. My head-banging friends won't even speak to me... I think I need help!
I garb my morning coffee go in the studio. I practice new stuff, work on arranging and some recording while my minds fresh. Could be for a half hour to three hours. At night I sit and practice scales arpeggios. I'll pick a chord and try to play every scale and arpeggio that will work with that chord in all positions. Also work on my right hand picking. Always slower than I want to be but won't give up.... Thanks for the videos
thank you for all you do!!! you give so many useful advice and I found something new for me! my practice routine (I'm an upright bass player): I usually use one metronome click per bar, sometimes on 2 and 4beat 25 min Scale from every degree up and down 25 min intervals and sequences 25 min diatonic triads and 7th chords from every degree 25 min 9th chords arpeggio + walk down from every degree 10 or 20 min break and transcribing or learning something that I like.
Getting familiar with every key is going to take some time for me. C Major and G Major are my bread and butter, but I took some of the advice of this channel to heart. I made little slips of paper to help with the circle of fifths, and those double for "what scales am I going to practice today?" Generally, I spend around 5 to 10 minutes warming up with finger exercises. I do some symmetrical stuff just like you've shown here. For picking hand exercises, there are some Paul Gilbert lessons that are my go to that really work on alternate picking. String skipping is a skill I need to invest more time in. For playing, I've really enjoyed playing over a backing track that can be found here on youtube, but I'm gonna focus more on the 7th and 6th arpeggios and adding them into my play. The extensions (E7#9) will come. :)
Voor extra ear training gebruik ik momenteel het boek/dvd 'Ultimate Ear training For Guitar & Bass' van Gary Willis. Een methode die ik toen op het conservatorium moest aanschaffen. Was vooral bedoeld om 'klank greep associatie' te ontwikkelen. Een fijn boek! ;-)
One of the ways in which I have practiced scales is to play all shapes, e.g. five “boxes” of the minor pentatonic scale moving up the neck and then changing key up a minor third to play the next five shapes going down the neck. Get to the bottom, change key up a minor third and work back up the neck, and so on until all twelve keys are done. Of course after each set of four you need to adjust the starting point or you end up playing the same for keys over and over again. If that sounds confusing let me know and I’ll try to explain it more clearly.
I used to practice for 6-8 hours a day when I was young. Now 40 years later I practice by going surfing to practice guitar and by playing guitar to practice surfing.
@@JensLarsen It helped me overcome a lot of barriers in my playing by giving me a completely different perspective on my music. A second passion supports the first and vice versa.
My routine changes due to each semester's classes, but as you say, it's easy to get scattered out, eventually accomplishing nothing. I have to keep computer files for each class with all the covered materials. It's an overwhelming amount of stuff, and hard to make time come back to for additional study after the test or semester ends. The next semester starts with all new classes so on you go. The best way that I've found to concentrate on those things that are very important to me is to keep a PRACTICE file directly under my current class files (3 or 4 classes per semester) in my computer sidebar. I constantly add certain things, then delete them (copies only) as I feel competent at whatever that was. I'm also constantly moving things into this folder, but I spend at least an hour a day on it before I start classes. There are so many good apps that help, so I also have aliases to the ones I that I study from in that folder as well. I hope this helps someone, it made a total difference for me. I tried a dry wipe board, I tried printed material on my music stand, I tried color-coded clipboards, but this method has worked the best for me. My routine is coffee in the morning while going through my PRACTICE file. Three cups, 1 hour.
Hello Jens...I start with chromatic s then into scales and mode i try to blend them all together up and down the board visualizing all the time as i go...I like to see the fret board in my mind in front of me ..so i create a road map ,like a third eye...Then i play music i go over my tunes that i have made and try to make them better.Also i like to play Joe pass or Larry Coryell and some Django..thank you for your great work..Make it a great day..:-)
Hi Jens, how could I practice phrases and motifs creation ? I'd like to improvise with phrases and motifs. Is it possible to create motifs inside the improvisation spontaneously ?
Thanks a lot for this video, I definitely need to practice my arpeggios the way you do. My routine is pretty similar, except I take a lot of time trying to invent shapes of II V I or I VI II V. Meaning I try to think of a few complex ways to play II V I with substitutions that wouldn't cross my mind in the middle of a track, and integrate them in order to have them ready when the times come ;) Great video thank you !!
For the last few months I've been working on your Jazz Guitar Roadmap. I spent an hour every (well, most) day practicing, and it was quite easy to know what to practice thanks to the structure of the course. Now that I've finished that, I'm trying to maintain the momentum. So far I've been spending 30 minutes on learning some new vocabulary (George Benson solo fragments except at beginner speed), and 30 minutes on an arpeggio and scale from Take The A-Train (different one every day). This consists of playing the scale for a bit, working on the arpeggio and the 2-3 variations suggested in the course (eg arpeggios from the 3rd and 6th for maj 7th chords), and attempting to compose some lines over this chord with a target note or phrase from the following chord in the song. Today I realised I need to change things up a bit, because I'm not spending enough time actually playing the song. When I do, as I did today, I discover I'm quite out of practice and it sounds crap. So I'm going to have to ensure I do a little bit of actual playing every day, I think.
Great video Jens. I start out with fingerstyle Merle, Chet kind of thing for about an hour and a half. I then play jazz, blues and anything else on flatpick for the next 2-3 hours. No finger warm up. Lately I've been devoting 2-3 nights a week to the "workshop" and researching my riffs and solos which are usually inspired by horn players. It also helps me ease things down so I can get to bed a little earlier.
@@JensLarsen It's more challenging then flatpicking so yes. I try to put some emphasis on things I have more trouble with when it's more natural to play things that come easier. I basically pump out a bunch of songs as if it's a live performance most of the time.
I once read in A tutor book by Frederick Noade (or Node, or maybe even Noad) for classical guitar, that when he did his National Service with the Army for two years he only had 45 minutes a day to practice. This instilled in him a disciplined approach to practice routines, plan ahead and stick to the plan. He credited this limitation of practice time with improving his playing immensely, much faster than 3 or 4 hours a day of unplanned and random messing around on the guitar.
Hi Jens, it's important when we don't have time to daily practice, focus on essentials topics. My practice routine when I don't have time is: 1) Warming up (Chromatic exercises), 2) Then a combination of horizontal and vertical technique exercises: triads, speed studies, modal scales, diatonic chords over fourth, fifth and sixth string. 3) Your technical exercise: three great alternate picking.
Great video Jens. I tend to focus a lot on practicing songs, so before I know I lack a lot of technique, vocabulary on the guitar and potentially intriguing creations that may come out of it. Once I get these done I would soon be able to express my ideas. I guess I should also search on a practice routing for singing 😅 One other thing is that I also don’t know how to practice music theory...
*My Routine:*
5 min Chromatic + Arpeggios (similar to the video)
20 min scales and exercises
Playing songs with Metronome (as long as I can) and/or check out recordings
unless I have to prepare for a gig, then I do that.
If you want a more accurate description of my routine then you could check out this video:
ruclips.net/video/yR_v0zTYw_g/видео.html&index=3&list=PLWYuNvZPqqcHBi6TAQA8f7gWiLmk7Xv-d
This video is very helpful, Jens. Thank you!
Thanks Nick! :)
Thanks Jens!
You're very welcome! I am glad you like it! 🙂
larsen do you play metal rock blues or another kind of music in the outiside or at the stage just wondering ı know you re playing jazz well but ı never heard another music genre that you play jazz
I don’t spend enough time learning actual music. Its easy to get caught up in scales, arpeggios, etc. Good suggestions. Thanks. 🎸
Thanks Craig! That is a very common issue with how we practice! 🙂
I did this for years then started using learning songs as the basis single note melody > basic chords > arpeggios over chords > expanding comping passing chords/ substituons > expanding melody with arpeggios and so on… it helped me progress and I had repertoire!
I have the opposite problem
lol me the opposite😭😭😭🤦🏿♂️
I have around 4 hours a day, my daily regime mainly consists of
20 mins - Chromatic warmups using all permutations
30 mins - The never ending scale exercise, using different progressions every day
20 mins - scale practice or arpeggio practice, learning new scales, sequences, diatonics etc
40 mins - technique, 1 day alternate picking, 1 day legato, 1 day sweeping , then repeat
60 mins - chords, play through standards, write down tricky transitions and then perfect them, comping, triads, drop 2 etc
60 mins - Improvising, writing lines, focus on a chord tone and write lines aiming for that tone (within a ii V etc)
30 mins - Transcription, currently working on the Charlie Parker omnibook, this changes every few months
Very nice! Through work out! 👍🙂
@@JensLarsen Thank you Jens, any tips or ideas on how you would refine this?
That's nuts awesome
“You should practice guitar for twenty minutes everyday. Unless you're too busy, then you should practice for one hour.”
-Zen saying
Haha! Yes, that covers it perfectly 😎
Ty Jen's... That's allot to chew on...I like the structure of it... And you're a damn good guitar player and educator. . You've got my support.
I usually practice guitar 4-5 hours a day , and I will rest on sunday for my finger ,here are some I usually do everyday:
1.Inner Pulses : put the metronome on beat 2 or beat 4 , play pentatonic scale or melodic minor scale or modes~just pick some of them and do 12 keys
2.Triads: Play Major and Minor triads horizontal (usually top three strings ,include root ,1st inversions , 2nd inversions) , all 12 keys and do circle fifth way.
3.Chromatic : I do diffrent tempo from 100 ~ 150 ,( I set the metronome increase speed gradually ) , this work is focus on train the muscle
4."Install New Vocabulary": I have several Jazz licks books , I will pick some of I like and work on different tempo and do all 12 keys , and different position or Octave them , repeat play and listen
5.listen music : Jazz , Blues , Fusion , Rock , Billboard ,...etc
6.Play the songs : work on some Jazz tune and play some songs I want to work on (And Try to use the new licks I learned into the improvised)
7.7th Arpeggios (Maj7 , Minor 7 , Dominant 7 , Minor7b5 , Diminished 7 , Minor Major 7 , Major7#5)
8."Key Changes " : Here I use Irealbook as a tools , set 2 different bass note in 2 bars , like one bar is A and second bar is Bb , then loop the backing track , play A major scale in first bar , then play the Bb major in second bar , don`t leap but smoothly ) , I will change different keys everyday , not only play major scale , sometimes I will play modes.
9.Watching your youtube video for more information~~:D
Wow! That is an impressive program 🙂 But it seems pretty good at getting most things in there
I'm writing yours down I have the time to do this.
hey, what books? care to share? thanks, M.
For me, I always make sure to have a “fun stage” where I just play along and improvise without thinking about anything. Just feeling the music. So that all the theory I learn starts naturalky showing up in my playing.
Give up work, live in a van and practice 14 hours a day. Go busking if you want food. 🤣🤣
Mid 40's. Played since i was 10. I'm told by some that I'm good but, being brutally honest, i know how actually mediocre i am.
You hit my biggest issue... I've never learned a single song... not any that i practiced enough to remember. It definitely shows in my "playing". I do practice, but lack of any song knowledge has held me back. I'm embarrassed to be around actual musicians and have never really played with anyone else in a meaningful way.
Watching your videos the past few weeks have convinced me to rethink what i actually want out of my time with my music and instruments. I just need to pick a couple of easy tunes to start with.
Really appreciate everything you do here in your videos.
Although you post great material, I believe a guitarists greatest challenge lies in the organization of what they need to know. They may learn arpeggios and scales plus chromatism or triads, but they may be lacking in rhythmic ideas, become disgruntled and quit something amazing they were doing. I myself am becoming very disgruntled with my practicing of triads, arpeggios, etc. Because it sounds so robotic and or childish.
So practice how to use your arpeggios. The answer is really simple.
As for how well you can organize your learning path: You have to accept that there is a limit to how well you understand and can identify your own problems. This is true in all aspects of life
You're an amazing teacher, Jens. Thank you for these videos
Thank you very much Evan! I am glad you find them useful! If you have ideas for topics then do let me know!
I try to practice 2 hours everyday:
30 minutes-- play 4 note chromatic runs to warm up/ right hand left hand finger sync (about 2- 4 minutes), then play all the licks I am currently working on (plus some light improvisation) to a metronome first at a comfortable speed and then a less comfortable speed. Currently working on your Charlie parker arpeggio video!
30 minutes-- current songs I'm working on for performing live
30 minutes-- improvise arpeggios, major scale runs, and pentatonic notes over some II- V- I backing tracks in various keys (because I haven't gotten to more adventurous and complex jazz progressions yet)
30 minutes-- look for new stuff to learn, maybe some jazz standards, theory, licks etc, whatever catches my eye!
Any advice or constructive criticism is welcome btw!!
I think it is fine, you need to evaluate for yourself if it works along the way :)
Thanks again, Jens. As a keyboardist I find almost everything you cover very helpful. My own practice routine is less structured, but covers playing progressions and riffs in all keys as well as scales. To maintain dexterity in both hands, I incorporate “classical” repertoire. I divide my time between maintaining skill and pushing into new places.
Part of my musical study, though, is mental: listening to your ideas, for instance. I also mentally rehearse voicings across all keys while lying in bed - it is surprisingly helpful.
Thanks.
Great idea Warren! :)
Video title: let me give you some exercises for a 30-min practice session...
after 7mins into the video: Here all practice methods you need for jazz. ALL of them.
some good ideas to take away in here, Jens ;)
Go for it!
Squeezing in such a short practice session it's hard to make progress imo rather than just maintenance. I get less time during the week to practice around work, but I have a pretty comprehensive practice routine sheet that's set up sort of like a gym workout. Every day I warm up for around 20 minutes by playing trills on each pair of fingers, followed by tremelo picking (speeding up and slowing down, messing around with pick angle and note length) and a small scale fragment just to get my fingers going. Then I have 6 broad categories and I focus on one of them. If I can get one done in a day, I'm happy, though more than one is obviously better. The 6 categories are technique, scales/arpeggios (I practice the 2 together pretty much how you've outlined in your video, many different patterns and arpeggios but I stick to 1 position per session and just learn as much as I can about that 1 position), chords (diatonic and in thirds and 4ths up and across the neck, isolating triads within the chord shape etc), book study (I have a jazz method by Jodie Fisher and then the Jazz Theory book after that), jazz standards (a category where I work on a tune and learn the chords, practice arpeggios and endless scales, the stuff you've talked about, really try and get inside 1 tune) and the final category is own material, stuff I've written or writing new stuff.
If I do a little of all of these every day my progress feels slow and unfulfilling, but if I zone in on one and really focus on it for a session then I feel like I've achieved a lot with that session. If I have time I'll do more than 1 of these categories in a day, and I keep a tally sheet so that I'm going through them roughly evenly, but I want to be effective with my time and also feel like I've genuinely achieved something in a practice session. It's like gym; instead of leg day I'll have legato day. Maybe a more accomplished guitarist such as yourself doesn't need to do so much work anymore, but I'm trying to make large progress so a more comprehensive routine is sort of necessary for me. Hope someone found this worthwhile.
I absolutely found this worthwile - really resonated with some thoughts and doubts I’ve been having with my my own practice routine. I find it difficult to squeeze in a lot of different things in the short amount of time I sometimes have
The triad exercise is interesting. Its not blues but interesting none the less. I am curious about the theory behind it.
Which triad exercise is that?
@@JensLarsen Steve Morse @ 2:50 in the vid.
@@steveandsheilalauder8261 It's a composition not really something you want to explain with theory.
I don't have a strict routine per say, but my usual practice looks like this:
Warmup: besides Jazz, I'm a big fan of metal lead guitar, so for warming up I've been using Yngwie licks and trying to practice them. I also like running through speed picking licks off the solo to A7x's Nightmare, as i find they really throw my hand into shape.
Afterwards I use Jens's arpeggio exercise with the leading chromatic note to really get my hands into shape, and then I double check it by running a couple stretchy chromatic exercises.
Next is Ear Training. Right now I'm learning Miles's solo off of So What? (About halfway there), so before picking up the guitar I listen to the solo and try to sing the phrases I'm working on atm. I do this for at least 20 minutes.
Improvisation takes about 30 minutes. Been working on upping my improvisation around "A" Train and working on Billies Bounce too.
At that point, I typically start writing songs and try to work on my singing chops as well.
I typically play around 3 hours a day so it definitely varies depending on your schedule but this is what works for me
30 minutes on a tune. Assess what needs to be done based on that tune.
Can you play the melody? Can you play in both octaves?
Do you know the real chords… alternative chords/endings/turnarounds?
Do you have an intro for it?
Can you play basic lines over the changes? (Have you memorized those changes?)
What about other techniques such as octaves, block chord solos, etc?
Did you transcribe a solo over this tune from one of your favorite players?
Did you at least transcribe a line from a particular solo?
Can you play this tune in multiple keys or at least the most popular ones?
I don’t believe there’s really a shortcut. But you can kick start the process by getting started with tunes you really love and approaching them slowly no matter the difficulty. You’ll gain so many jazz skills from this process alone.
That’s how I spend 30 minutes a day. Currently listening to Woody Shaw playing On Green Dolphin Street (Live Village Vanguard 1978). There are incredibly rich melodic ideas there.
[Other questions, do you know the lyrics to the melody? Have you transcribed a vocalist, you’ll be surprised by how their rendition varies greatly.]
Everything we need is in the records.
that chromatic one, i reshape this into the chromatic scale. i call it the Chromatic Spider. Practising navigating around the neck, especially if cycling thru a few keys. Consecutive notes & "digitals". Just a bit more melodic .. just squeezing a bit more outa ur warmup. Yep, I too love playing 2 the back-beat 2 & 4s.
Ear training: sight *singing*, fixed and movable “do”. Strict counterpoint. Play Cantus firmus and sing counter melody. Then reverse.
Good stuff! Do you leave out sight singing jazz stuff?
Leave out? Nope sight sing anything and everything. Best if you don’t even know the genre upfront. The countpoint exercise is separate
Nice to see that comment from Adam Neely
Really good, relevant and useful lesson. Thank you Jens (not that is a surprise :)
Thank you Piotr! Glad you like it 🙂
This is a topic that I have thought about a lot and have tried many different approaches over the years. What you showed contains way too much for half an hour, for me at least. My practice normally starts with a short warm up involving some sort of scale or flexibility exercises (I'm a trumpeter by the way). Then after that I work on just one thing in depth for the rest of the time. This may be transcribing, or trying to learn a particular technique, but all in the context of a single tune, or even just a few bars of a tune. Always having a tune in mind gives me a reason to work on the techniques I would like to use when I have to solo over it. I used to try to learn everything around all the keys, but now I just do it in the keys that fit with the song I am working on. I will still get around to the other keys eventually, but only when I need them. My practice usually finishes with some improvising over the tune using a playalong. Away from the horn I also do transcribing, listening, and arranging, as well as watching helpful RUclips channels like this one!
That makes a lot of sense. I think how we make a routine is as much about how we work as what we play both in terms of instrument and style!
My jazz practice routine:
1.Technique- 30 min. (chromatic ex., scale patterns (3 notes per string) and picking
2.Turnaround practice- 1.5 hours A) I VI II V, B)III bIII7 II V, C) III bIIIdom 7 II V (All keys both comping and soloing in all positions. Typically I comp the turnourounds with a metronome in the circle of 4ths in each position. I record this and then practice soloing over each key in every position)
3. 30 min-1 hour Practice 3 standards that utilize these turnaround
For example 1. Bb blues (utilizes I VI II V in Bb) 2. How High The Moon (utilizes bot I VI II V and III bIII7 II V and
3. All The Things You Are which utilizes the III bIII dom7 II V. I interchange these each day with other standars that utilize these turnarounds.
That is a very solid (and extensive) routine! I would imagine that works really well! 🙂
@@JensLarsen Thanks, yes it has worked for me! I I have to find uses for my practice within the context of songs otherwise it becomes meaningless for me. I've noticed I've become much better at identifying the type of turnarounds in songsand I can interchange them if a rythmn section decides to switch up the turnauround. Love your channel, it an amazing resource and gift. Thank you Jens!
This is basically the same things that I preach to my students. Great lesson Jens.
Thank you Derryl! I am glad to hear that 🙂
My 30 minute practice routine is to watch 5 RUclips tutorials - I am now a virtuoso - in my head, it’s just my fingers don’t realise yet 🤣
Hi Jens - if it wasn't for you, I might quit the internet entirely! you're just great, plain and simple. Honestly, one lesson every other week or every month would be all I can handle - oh well...
The last time I went to Holland (and the only time), the flight attendant gave me this cool eye-cover thingy to help me sleep. Since then, I have tried to use it during practice sessions, so it's all about what I'm hearing. I think that helps, especially when practicing scales and arpeggios up and down the neck - you're completely dependent on what you're hearing, not what you're seeing. How do you feel about that?
Thank you!
I think the idea of covering your eyes is really a good one actually. I used to sometimes turn off the light and practice in the dark. I don't do it anymore though. I try to focus on hearing the note before I play it.
Haha I just lmao when you talked about practising diatonic 6ths, and a picture about that guy( whom im not very fond of) popped up:) haha :) think I got why you put it there hahha:) thank you man for the lesson:) think im on a pretty good track, you are very wise sir, im glad you share your knowledge, you've got good mojo , keep on it man you're changing the world:) Thank you thank you thank you:)
When Herb Ellis was asked "how do you warm up" he seemed a little incredulous, like it was kind of a stupid question, he said: "just play the hardest thing you know" So , I play Agustin Barrios "The Bee's" given to me at Berklee ... It's an incredible piece that has arpeggios, chromatic approaches ,chords,and interval jumps. Are you familiar with it ? P.S. I'm a little surprised that you haven't gone over Berklee Method books .They are definitely Not just about reading , that'a nice byproduct ..it is very comprehensive . ask Mike Stern 💪Thanks always for sharing!
Ok. I don't know that one :)
Actually I never really studied from books, more just records and playing with other people. At the conservatory we didn't do books, but we did do songs. I talk about it in the video I did on books I studied from (it's a top 5 for a reason :D)
My practice has become more cyclical over time. I have periods of time where technique/scales/arpeggios/chords are more of the focus and times where I focus just on tunes/improvising/solo guitar.
Which is perfectly fine! I think mine has that aspect as well, though usually I still have a technical element as a constant.
What strings do you use and the gauge? Thanks.
Sonotone strings, 13s. There is actually a link in the video description :)
I'm a metal guy (but I really enjoy jazz stuff).
My practice routine: 1hour technique: cross picking, inside/outside picking, 3 notes per string alternate picking, legato, vibrato and bends.
1hour on rhythm: khonakol (gatis and jethis), some repertoire riff, funk riffs, comping ideas.
1hour on repertoire: learn new songs, transcribing etc
1hour ear training: I'm using Curtis first steps on ear training, I already can hear the degrees of major scales. Now I'm trying to learn to hear chromatic approach notes. I use FL studio 12 to generate random notes and training my relative ear.
Sounds solid! So you don't do any improvising or composing in your routine? 🙂
Thanks Jens Larsen. I can improvise using modes and pentatonic scales. But some improvisation topics are very hard to me. Then i decided to learn more fundamental stuff for now.
My routine is staring at the the damn thing until I get distracted by something. Some of my best playing comes from not playing at all.
I personally can´t really get a schedule, so i take every chance i get to practice. Right now focusing on arpeggios cause I spend too many years on scales alone, my bad. But arpeggios really helping me to get more comfortable around the whole neck and helping me a lot with ear training.
That sounds like a good approach! In the end it is about figuring out what works for you :)
I'm retired, so I have time to practice daily 30 min scales, arpeggios; 30 min songs; 30 min chords, and most times 30 min just exploring my instrument. Usually 30 minutes to an hour in between each session. Oh, and 30 minutes a day checking out your great videos.
Hahaha! I am glad to hear that :)
I tryied to practice the way Barney Kessel suggests in a jazz lesson video, playing a chord, close your eyes and imagine a simple melody line, sing ot (or whistle), then figure out the notes on the guitar. On the paper it sounds absolutely logic to practice that, and seems very effective. But for some reasons, my "creative skills" seems OFF when I have the guitar in my hands. If I dont have my axe with me, and i'm listening to a song i can easily come up with ideas in my heads, but every time i pick the guitar it's like the process is frozen... Lack of practicing this particular exercice I think... Anyway thanks for your work. A lot of great ideas in your routine that I'm going to incorporate in mine :)
I guess that method really depends on being able to hear jazz lines in your head already. That might not be the case unless you have listened to a lot of jazz 🙂
@@JensLarsen I'll listen more then ^^
I totally feel you, after so many years something similar happens to me in improvisation and composition as well. I find myself that the best ideas come up when I'm away from the guitar. Sometimes i feel blocked, I think that may happen because Of triyng to
Approach improv from a theoretical point of view. I've found that working on transcribed solos, embellishing the melody or phrases, or juxtaposing phrases from other songs in a new song can helpm be get around these blocks and begin hearing. I will try this Kessel exercise also!
@ Thanks for the suggestions Herman !
Can you give me the kessel's link please
Amazing teacher showed again all genres include jazz blues clasdic music.Steve morse exercise is so good.Thanks for sharing us as always.
Glad you like it Mert! :)
That one little sentence about how you see the fretboard when you improvise over (for example) G7 in the key of C was the moment where it clicked for me. Thank you
Jens, as a novice jazz guitarist where do I start with your videos?
There is not one path that fits everybody, but maybe start here: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/
A simple hack to get coverage in all keys if your time is limited - I have a twelve-sided die that I got at a gaming store, I just roll it and practice in the key for whatever number comes up. #1 means C, then walk the cycle of fifths from there, so #2 means F, #3 means Bb, etc.
I used to do that as well, but numbered them from the chromatic scale :)
One thing I do often but not always is ill use a looper and play the a chord as if it's a metronome. Then I'll play scales ,triad shapes , arpeggio shapes ,to subconsciously train myself to that sound. Once I have the patterns under my fingers I start improvising over the looped chord or chords. I also play alternate pattern shape over loop to get use to those sounds.
For ear training I pick out melody from songs in my head like a Beatles song or the wizard of Oz. After I pick out melody I start playing it in other positions and keys. I have been working on harmonizing the melodies but I'm weak on that skill. I try to find the different 3rds in the melody but it's hard to develop it into a arrangement
Hi Jens I found exercises for developing Gypsy Jazz right hand technique, with that very thick pick they use. Another site on youtube had jazz standards with chords and a backing track. Over the last two years I've learned to play with thumb pick and brass finger picks, I watched the Danny Gatton vid where he taught rolls etc. I don't play enough though. I practice in blocks e.g. chord voicings or bossa nova rhythm(from the Jens Larson site). Is it possible to make a one off contrubution on patreon? Lenny
Glad you find it useful!
Patreon is a subscription service, but you can make a single donation using the donate button in the sidebar on my website: jenslarsen.nl/
Super! Thanks Jens!!
Glad you liked it!
Check Ben Eller' channel "punisher" exercise. It's worth seeing I think. It's for alternate picking. I also practice and learn things from yours videos. Thanks! Greetings :)
Ben is great! 🙂
Great exercise is to play the first 6 arpejos vertically up and down within the 7 modes. For example in the key of C, C ionian (CMaj7,Dm7 Em7 FMaj7 G7 Am7), then D Dorian (Dm7 Em7 FMaj7 G7 Am7 Bm7b5), E Phrygian (Em7, FMaj7, G7, Am7, Bm7b5, CMaj7) and so on...
Yes, Diatonic arpeggios are indeed good to know :)
I like to browse the web and find jazz instructional videos, specifically those with lots of views. Then I try to avoid doing what's being taught.
And how is that working out for you? 😄
@@JensLarsen What Allan and Wayne taught me was to use the math and to create music with that. How improvisation was kind of without idiom. They both had incredible knowledge of the vocabulary but also told me to create own stuff. Why aren't all these jazz channels talking about pure improvisation? I don't know, maybe the can't think without vocabulary :)
@@Mrius86 I am sure there are channels talking about that, it's just not what most people want to see.
I am not sure I would call what Allan did pure improvisation. The more I listen then more I hear him gravitate to similar types of melodies, they may not be bebop but he is not starting from scratch every time that is for sure.
And I say that being a fan.
Jens thank you , keep uploading , best wishes for the new year 2022, may it be a musical and enoy playing guitar and practicing, Thanks very much , greats from The netherlands , Amsterdam.
Thank you very much Hans! Glad you find the videos useful 🙂
I would suggest the teoria.com webpage for ear training.
That Morse-ex. sounds brilliant!
Thank you 🙂
I like to play every chromatic note ,,, except middle C
took good notes. many thanks
Glad it was helpful!
Jens, when you say 'Transcribe', do you actually mean sit down and write out something you're listening to? Notate it? I'm such a chicken when it comes to that. It seems like sooo much work even though I know it'll be good for me in the long run. But I'd rather do anything else. It's such a discipline. Or do you mean just copy something by ear?
It depends on what you want to learn from it. I certainly think that you should try to write some things out at some point. Having it written out will probably give you a completely different overview and teach you some new things.
Many thanks for such structured, complete, but in the same time brief practice plan!
Thank you so much for your support!
How do I get to patreon page
There is a link in the video description :)
Arps thru tunes. The melody all over the neck. learning famous or otherwise solos you like. The Blues!
All solid stuff! 🙂
@@JensLarsen and comping thru tunes with metronome. or good drum track like the drumghoul app which is excellent upon your recco...
Right now I have begun to play "Jens Ten"
1. Take The A Train 2 - Billy Strayhorn
2. Cantaloupe Island - Herbie Hancock
3. Billie's Bounce - Charlie Parker
4. Tenor Madness - Sonny Rollins
5. Satin Doll - Strayhorn-Ellington
6. Blue Bossa - Kenny Dorham
7. Autumn Leaves - Joseph Kosma
8. Perdido 2 - Juan Tizol
9. Summertime - George Gershwin
10. Solar - Miles Davis
Using iReal Pro
also... Jens Arpeggios and after practicing the arps, I reinforce them by playing against a chord prog using IReal. Also focus on hybrid picking using various patterns like... DDMAMUDU, DD_AMAMU, DAMADDMA
I find 1-3-5-6-7 runs, a couple of octaves each, following a 1, 4, 5, 4, 1 very useful and fun
Good stuff!
I spend most all of my practice time learning solos that interest me -currently, your Bb jazz blues solo - very nice. I usually practice for 1.5 to 2 hours at a time. Unfortunately, its not every day - live has its priorities. But I rarely go 2 days without practicing. I think an additional regime of scales and arpeggios would be an improvement.
Go for it :)
fantastic jens ! but im coming from rock world what can i do to starting jazz guitar from your videos by sequence ?
Thank you very much Karim! There is not an order for the videos, that depends on what you already know and that is different for everybody. You could try to browse these videos and see if there is something you feel like working on?
ruclips.net/video/PyHXN3Vxhz4/видео.html
The Steve Morse exercise is pure Gold 👍👍👍❤️🙏
Thank you! That is indeed a great exercise 🙂👍
Love the Paul David’s rip
Thanks Jens, your vídeos are very interesting help us to learn, from Ecuador
Glad you like them 🙂
Alternate picking Chromatic scales, sometimes flight of the bumblebee, Segovia scales, Greg Howe “Giant Steps” warmup, sometimes John Coltrane “Giant Steps”, Donna lee, anthropology, Django “minor swing” solo and sometimes “Honey suckle rose”, I use these solos as warmups which makes it easier to remember to do. I am also working on classical solos and I need to get back into chord solos/improvisation. I use excerpts from John Petrucci “Rock Discipline” , Ygnwie Malmsteen “hot licks” and Paul Gilbert’s licks video, Paganini 5th (crossroads)solo. Thanks to Jens Larsen I am trying to improve jazz phrasing, improvisation, and technique!
Hello Jens, your videos are great and very helpful, but to be honest when you are learning like me this is more than a daily routine rather than 30mn.
If you are at a level where you can only do some of the things then do that and build it up until you include the things you want to work on.
I am sure you can imagine that even trying to be very broad then this will not fit the level of everyone 🙂
my practice routine (particularly useful for commuters without guitar at hand but with an iphone...)
1) learn reading notes - a ios app called notenprofi - its for children but i really does the job - gamification really helps you to become quicker and quicker in reading notes
2) learing voicings and the neck: iOS - frettrainer
3) learning reading rhythms - Rhythmus Trainer also iOS (most unfortunately the developers have turned the app into a subscription model - but if you only use the app 10 minutes daily it remains free...)
I used these apps on a daily basis while commuting - before the pandemic - and in the moring before starting to work in the pandemic.
1:15 lol
Yeah, sorry...🤓
20 minutes Ear Training, 15 minutes Barry Galbraith Daily Exercises (Arpeggios, Scales Sequences in Harmonic/Melodic Minor), 10 minutes Licks/Phrases, 5 minutes soloing or a fun lick, 30 min-2 hrs Transcriptions for a fakebook I am working on.
Great channel. Love the focus on fundamentals and the artistic yet disciplined approach rather than totally dry technical coverage. But my question is about the sunburst strat hanging over your right shoulder in the frame - is that a capo attached near the bridge of the instrument and does it have any function down there, or is that just the way you "stow" the capo on the instrument until you are ready to use it in a more traditional position?
Yes, that is just where I keep my capo :)
In the Steve Morse spread triad exercice, do you use alternate picking (down-up-down-up) ? it is not easy with the strings skiping
Yes, Certainly. That is the point of the exercise 🙂
I practice for about one hour every day from monday to friday - Why? Because I can only do it on the train to my job :^D I have two kids at home: the first is 4 years old and the second is two months old, so go figure!
Warm up is hell: sometimes my right hand doesn't speed up; sometimes it works better especially if I use no pick at first and after a while I grab the pick: still wondering why and how to solve this.
Since I attend lessons on tuesday, I have a different subject to work on every week, but it could take even months to fully understand it. Practicing that way, I use backing tracks with standards to experiment with different subjects: lately I'm into quartal harmony. AND sometimes I try to learn a new standard but I'd better look at the music sheets at home if I get the time - and I'm not a great music reader, so I tend to listen to the original tune (maybe from singers like Billie Holiday) to learn the main theme, and follow a chord chart to understand the harmoy.
Thanks for sharing? Wow thats a lot of stuff in 30mins, probably take me all day to go through all that Lol, whatever happened to playing for your own enjoyment. For me I try learn an arpeggio or two in a different position and how they sit over the diatonic scale, this helps keep my bearings in tact and helps me choose the right notes for that chord whilst still being in the correct key. Compared With all the stuff your showing, its just the tip of the iceberg for me, long way to.
That's great! You should do what works for you :)
As an other important part of jazz is rhythm, an other good exercice to me is to play rhythm on a famous jazz song as if you were part of the group (for example on "4 on 6") and to be able to keep the groove. Same thing with a bossa nova (fir example "Chega de Saudade"à with classic bossa rythmn
Hello Jens. Would you recommend a loop pedal to cover some of these exercises? For example, to practise chord changes and improvisation at the same time?
Yes, you can, but I mostly just put on a metronome
Thanks!
Glad you like it 🙂
It's tough because I try and get at least a couple hours in 5-6 days a week. For YEARS I practiced scales and most recently arpeggios for almost the entire practice session. I often KNEW this wasn't effecient as many would define it though I felt I needed some serious work on my time feel and, to this day, I still like using the metronome as part of my playing. In most recent years it's often a challenge to keep up with all I want to learn though, for instance this morning, I took the first hour and worked with an old "50 Jazz Licks" DVD I bought in my 20s though instead of just doing the lick, I try and internalize the licks then move them around in all keys. That way I feel like I'm actually working on the true essence (the arpeggio to chromaticism balance) and tuning my ear to the lick instead of only really knowing it in one place. Then second hour I worked on songs for a show I'm doing tomorrow. I'm still working out exactly how I want things to go in practice though I've come a long way and feel I better have an understanding of things though still love working with the metronome: I could sit and run scales for hours. :) Thank you for your videos always.
I definitely don't have a solid "this is how much time I work on this" before I move on. I find it difficult because I have so many things I'm trying to learn right now. always working on pentatonic modulation, minor and major, triads, arpeggios, stuff I get from my teacher, and also trying to learn slide.
Hey Jens, love your videos. Do you think you'd be able to do one about various feels? Had no idea what people meant by double time, two feel, and the like when I was at a jazz jam. Thanks!!
Thank you! I guess I should be able to get around to that sometime :)
Let me know if you have other suggestions!
Really informative, I have the problem of how to practice big time.....thank you this was really helpful
Glad you find it useful David 🙂
I love your videos, Jens. Although I am not into jazz but I find it very helpful to learn and apply its theory into my playing. My current practice regime includes: technical exercises to enhance right and left hand cordination, with the focus on strict alternate picking; chord etudes picked from Jazz instruction books and trying to play them in 12 keys; scales in different combinations, like in 3rds, 4ths, 6ths and so so; sight reading exercises from William Leavitt's book; arpeggios from Introduction to jazz guitar soloing by Jor Elliott; arpeggio studies from Mimi Fox's Arpeggios on Jazz standards; ear training using an app I recently downloaded. Of course I don't touch upon all the elements in one sitting. Thanks for letting me share what I do. Once again, you are a brilliant teacher!
Thank you!! :)
I thought that to... let me warn you.. I have found myself spiraling into a deep jazz appreciation, even listening to jazz! and not just guitar! I have had bouts of Miles Davis binging and a heavy Herbie Hancock addiction. I have been backsliding from my pentatonic heavy metal and even playing Major 7 chords! I don't know what to do. My head-banging friends won't even speak to me... I think I need help!
I garb my morning coffee go in the studio. I practice new stuff, work on arranging and some recording while my minds fresh. Could be for a half hour to three hours. At night I sit and practice scales arpeggios. I'll pick a chord and try to play every scale and arpeggio that will work with that chord in all positions. Also work on my right hand picking. Always slower than I want to be but won't give up.... Thanks for the videos
thank you for all you do!!! you give so many useful advice and I found something new for me!
my practice routine (I'm an upright bass player):
I usually use one metronome click per bar, sometimes on 2 and 4beat
25 min Scale from every degree up and down
25 min intervals and sequences
25 min diatonic triads and 7th chords from every degree
25 min 9th chords arpeggio + walk down from every degree
10 or 20 min break
and transcribing or learning something that I like.
You're very welcome! Seems like a very solid routine!
Jens Larsen thank you🙌🏼
What is that blue thing on the headstock?
Getting familiar with every key is going to take some time for me. C Major and G Major are my bread and butter, but I took some of the advice of this channel to heart. I made little slips of paper to help with the circle of fifths, and those double for "what scales am I going to practice today?"
Generally, I spend around 5 to 10 minutes warming up with finger exercises. I do some symmetrical stuff just like you've shown here. For picking hand exercises, there are some Paul Gilbert lessons that are my go to that really work on alternate picking. String skipping is a skill I need to invest more time in.
For playing, I've really enjoyed playing over a backing track that can be found here on youtube, but I'm gonna focus more on the 7th and 6th arpeggios and adding them into my play. The extensions (E7#9) will come. :)
Voor extra ear training gebruik ik momenteel het boek/dvd 'Ultimate Ear training For Guitar & Bass' van Gary Willis. Een methode die ik toen op het conservatorium moest aanschaffen. Was vooral bedoeld om 'klank greep associatie' te ontwikkelen. Een fijn boek! ;-)
One of the ways in which I have practiced scales is to play all shapes, e.g. five “boxes” of the minor pentatonic scale moving up the neck and then changing key up a minor third to play the next five shapes going down the neck. Get to the bottom, change key up a minor third and work back up the neck, and so on until all twelve keys are done. Of course after each set of four you need to adjust the starting point or you end up playing the same for keys over and over again. If that sounds confusing let me know and I’ll try to explain it more clearly.
I used to practice for 6-8 hours a day when I was young. Now 40 years later I practice by going surfing to practice guitar and by playing guitar to practice surfing.
That's great! How is that working out?
@@JensLarsen It helped me overcome a lot of barriers in my playing by giving me a completely different perspective on my music.
A second passion supports the first and vice versa.
Love that you gave the example of G7 against or within the C major scale. I thought I was doing something wrong in doing that but I guess I'm OK....
Glad it was useful :)
@@JensLarsen Oh Yeah sure was thanks again
My routine changes due to each semester's classes, but as you say, it's easy to get scattered out, eventually accomplishing nothing. I have to keep computer files for each class with all the covered materials. It's an overwhelming amount of stuff, and hard to make time come back to for additional study after the test or semester ends. The next semester starts with all new classes so on you go.
The best way that I've found to concentrate on those things that are very important to me is to keep a PRACTICE file directly under my current class files (3 or 4 classes per semester) in my computer sidebar. I constantly add certain things, then delete them (copies only) as I feel competent at whatever that was. I'm also constantly moving things into this folder, but I spend at least an hour a day on it before I start classes. There are so many good apps that help, so I also have aliases to the ones I that I study from in that folder as well.
I hope this helps someone, it made a total difference for me. I tried a dry wipe board, I tried printed material on my music stand, I tried color-coded clipboards, but this method has worked the best for me. My routine is coffee in the morning while going through my PRACTICE file. Three cups, 1 hour.
Hello Jens...I start with chromatic s then into scales and mode i try to blend them all together up and down the board visualizing all the time as i go...I like to see the fret board in my mind in front of me ..so i create a road map ,like a third eye...Then i play music i go over my tunes that i have made and try to make them better.Also i like to play Joe pass or Larry Coryell and some Django..thank you for your great work..Make it a great day..:-)
Grazie
You're very welcome! I am glad you like it! 🙂
Hi Jens, how could I practice phrases and motifs creation ? I'd like to improvise with phrases and motifs. Is it possible to create motifs inside the improvisation spontaneously ?
Maybe check out this video: ruclips.net/video/iSMc9sbhbZc/видео.html
@@JensLarsen great recommendation ! Thanks
Eres el mejor Maestro Jens!! I enjoy your lessons even if I don´t get everything well understood, like your approach. Saludos from Mexico City
Great lesson! as usual!! thanks from Dominican Republic
You're very welcome! 🙂
If you are on Facebook you should Join us in the Facebook Jazz Guitar Group Community: bit.ly/InsidersFBGroup
Thanks a lot for this video, I definitely need to practice my arpeggios the way you do. My routine is pretty similar, except I take a lot of time trying to invent shapes of II V I or I VI II V. Meaning I try to think of a few complex ways to play II V I with substitutions that wouldn't cross my mind in the middle of a track, and integrate them in order to have them ready when the times come ;) Great video thank you !!
Sounds good, keep at it 🙂
Thank you Sir! Best Regards!
You're very welcome! I am glad you like it! 🙂
For the last few months I've been working on your Jazz Guitar Roadmap. I spent an hour every (well, most) day practicing, and it was quite easy to know what to practice thanks to the structure of the course.
Now that I've finished that, I'm trying to maintain the momentum. So far I've been spending 30 minutes on learning some new vocabulary (George Benson solo fragments except at beginner speed), and 30 minutes on an arpeggio and scale from Take The A-Train (different one every day). This consists of playing the scale for a bit, working on the arpeggio and the 2-3 variations suggested in the course (eg arpeggios from the 3rd and 6th for maj 7th chords), and attempting to compose some lines over this chord with a target note or phrase from the following chord in the song. Today I realised I need to change things up a bit, because I'm not spending enough time actually playing the song. When I do, as I did today, I discover I'm quite out of practice and it sounds crap. So I'm going to have to ensure I do a little bit of actual playing every day, I think.
Sounds like a good plan! Been there done that! :)
Thanks!
Great video Jens. I start out with fingerstyle Merle, Chet kind of thing for about an hour and a half. I then play jazz, blues and anything else on flatpick for the next 2-3 hours. No finger warm up. Lately I've been devoting 2-3 nights a week to the "workshop" and researching my riffs and solos which are usually inspired by horn players. It also helps me ease things down so I can get to bed a little earlier.
Thanks Tom! So the Fingerstyle thing also serves as a type of warm up I guess?
@@JensLarsen It's more challenging then flatpicking so yes. I try to put some emphasis on things I have more trouble with when it's more natural to play things that come easier. I basically pump out a bunch of songs as if it's a live performance most of the time.
I once read in A tutor book by Frederick Noade (or Node, or maybe even Noad) for classical guitar, that when he did his National Service with the Army for two years he only had 45 minutes a day to practice. This instilled in him a disciplined approach to practice routines, plan ahead and stick to the plan. He credited this limitation of practice time with improving his playing immensely, much faster than 3 or 4 hours a day of unplanned and random messing around on the guitar.
Hi Jens,
it's important when we don't have time to daily practice, focus on essentials topics.
My practice routine when I don't have time is:
1) Warming up (Chromatic exercises),
2) Then a combination of horizontal and vertical technique exercises: triads, speed studies, modal scales, diatonic chords over fourth, fifth and sixth string.
3) Your technical exercise: three great alternate picking.
That is very true, but don't forget to also practice some music :)
@@JensLarsen that always.
Great video Jens. I tend to focus a lot on practicing songs, so before I know I lack a lot of technique, vocabulary on the guitar and potentially intriguing creations that may come out of it. Once I get these done I would soon be able to express my ideas. I guess I should also search on a practice routing for singing 😅 One other thing is that I also don’t know how to practice music theory...
Ha! Was that Paul Davids on 08:05?