The example at 8:10 specifically and those following are great concepts for breaking out of our muscle memory habits. Thank you Mark. I routinely look for these kind of things on my own (particularly with uncommon 'shifting') but somehow had never thought of this. A real gem!
Great review! I got this book but I was never sure on how to really take advantage of it, now I have some useful insights on how to work this out. Thanks :)
I have the book for I think 30 years.... I pulled it out after seeing this video. Being a guitar teacher myself for 37 years I find this book to be a little bit "artificial"..... It covers a lot (too much?) of things, like you said in the video you might find a little thing you wouldn't have thought of before. It has some quirky humour too, which is always good of course. But as for the rest, it reads like a phonebook.
Would you recommend it to someone (me:), who can play and understand 'boxes' and looks for a reference to go with e.g. 'The Blue Side of Jazz' by Joe Pass. I am prepared to start from scratch in building melody and harmony but just can't bring all the isles into archipelagos of real music. Thankyou🌻
Excuse me. I was a student of Mick’s and I have played every single note and voicing in the entire three volume series. Sometimes I had to use two hands, but all the chords in this book ARE playable on the guitar. This book is meant to break boundaries with your instrument. if it’s not playable in a standard way, why not form new techniques and figure out a way to do it? Most importantly, please don’t suggest that other people should not get the book and tell them most of the voicings aren’t playable - they are.
Honestly I'm not sure what the purpose of this book is. Most people want to sound good and play good lines. I have yet to hear a remotely decent line played on a single string. I get it that it helps you break away from ''shapes'', but shapes are important and tbh heroes like charlie christian and wes that you mention heavily use shape (maybe not metheny, but I'm really not into metheny anyway). Shapes are necessary because they connect your ears to your fingers which is necessary on the guitar since you can play the same note in so many places. In most other instruments, there is no need for a shape because there's one way to play a given note. By play diagonally and or on a single string, imo instead of freeing yourself from something or breaking out of something, you're just adding a lot of confusion and as I said, I don't see how it will help create good jazz lines. Cheers
if you're interested in what actually the hell is happening IN The Advancing Guitarist (cause it's NOT an easy manual to understand) don't waste your time with this video. He ONLY talks ABOUT the book, he doesn't EXPLAIN anything IN the book.
![[Review] Your Ultimate Jazz Book: Modern Method](/img/1.gif)
Good call. I've been working through Advancing Guitarist off and off for twenty five years.
Me too
The example at 8:10 specifically and those following are great concepts for breaking out of our muscle memory habits. Thank you Mark. I routinely look for these kind of things on my own (particularly with uncommon 'shifting') but somehow had never thought of this. A real gem!
Exploration! :)
Very interesting. Thanks a lot!
Thank you brother.....the book kicks my ass mentally
We've all been there 😂 Keep at it! :)
+ 20 years still coming back to the book - this book is my first call againist stuckness
Can relate :)
Great review! I got this book but I was never sure on how to really take advantage of it, now I have some useful insights on how to work this out. Thanks :)
It's time to bring it out of the shelf, my friend :)
Absolutely 😊
now im interested to grab this book. thanks!
Alright!
Great Video. I bought this book a very long time ago and it has reminded me I really need to get it off the shelf👌
This is the sign 😉
thanks, Marc ... I will explore this book
That's great to hear! Enjoy the book!
Totally great book. The zen of guitar playing
Glad you enjoyed the book
Cheers Marc 😁
I have the book for I think 30 years.... I pulled it out after seeing this video. Being a guitar teacher myself for 37 years I find this book to be a little bit "artificial"..... It covers a lot (too much?) of things, like you said in the video you might find a little thing you wouldn't have thought of before. It has some quirky humour too, which is always good of course. But as for the rest, it reads like a phonebook.
imo the book is useless
@@jfar3340 That's another way of putting it ;-)
Would you recommend it to someone (me:), who can play and understand 'boxes' and looks for a reference to go with e.g. 'The Blue Side of Jazz' by Joe Pass. I am prepared to start from scratch in building melody and harmony but just can't bring all the isles into archipelagos of real music. Thankyou🌻
Excuse me. I was a student of Mick’s and I have played every single note and voicing in the entire three volume series. Sometimes I had to use two hands, but all the chords in this book ARE playable on the guitar. This book is meant to break boundaries with your instrument. if it’s not playable in a standard way, why not form new techniques and figure out a way to do it? Most importantly, please don’t suggest that other people should not get the book and tell them most of the voicings aren’t playable - they are.
I understand your perspective. The approach you took with Mr. Goodrick seems to have worked for you. Keep it up!
Honestly I'm not sure what the purpose of this book is. Most people want to sound good and play good lines. I have yet to hear a remotely decent line played on a single string.
I get it that it helps you break away from ''shapes'', but shapes are important and tbh heroes like charlie christian and wes that you mention heavily use shape (maybe not metheny, but I'm really not into metheny anyway). Shapes are necessary because they connect your ears to your fingers which is necessary on the guitar since you can play the same note in so many places. In most other instruments, there is no need for a shape because there's one way to play a given note.
By play diagonally and or on a single string, imo instead of freeing yourself from something or breaking out of something, you're just adding a lot of confusion and as I said, I don't see how it will help create good jazz lines.
Cheers
Mark: “infamous” means bad. You should say “famous”.
No no, I really meant infamous 😅 -- Some of the exercises are evil, trust me!
if you're interested in what actually the hell is happening IN The Advancing Guitarist (cause it's NOT an easy manual to understand) don't waste your time with this video. He ONLY talks ABOUT the book, he doesn't EXPLAIN anything IN the book.