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Posts: 4
Reply with quote  #1 
hello good evening everyone. Before too want to thank and congratulate the great work being done here in the name of the Lord Ted Greene. I'm Portuguese, I'm taking lessons from a jazz music school will be two years. I am pleased and agostar although, unfortunately, not be a school that invested a lot in jazz that serve perfectly for my goals. So now that I now spend a little rough patch in terms of finances and unfortunately I will have to give up some lessons for a while until things improve. I can say I'm a little sad and upset about it. I aim to learn to read music, play some themes I like most, improvise on them, make small personal arrangements, playing with other musicians and communicate with them. I intend to compose and also this is my challenge. I have some difficulties in organizing my studies because I feel that I start to have too much study material and sometimes do not even know where to start and what should I practice every day. Since I talk about stuff I can say I've been using the seguites bookk:
(would like to know your opinion on them)

RealBook Vol 1
Books Aebersold,
Volumes Single note soloing Ted Greene
Chord Chemistry
Modern Chord Progressions
The Advancing Guitarist (Mick Goodrick) - This got it a while ago but did not dare to dedicate myself to it for now, (or should?).

As you can see, it is some material that will keep me busy for a while.
I wonder which book in Ted should start studying.
I started to read single note vol.1 and I came across lots of positions of the fingers and it became confusing for me. In practical terms, what were the ways they found to obsorver all these nuances that this book provides us with Ted?
I will not have to stretch more to this topic not to become confused because my English is very bad. My sincere apologies.


Posts: 333
Reply with quote  #2 
It's pretty hard to learn trigonometry and calculus if you don't know how to multiply and divide.  So work gradually from basic to more advanced.  Be careful about trying to learn advanced things too soon.

Create a list of topics that you want to learn.  Let's say you want to learn note reading, scales, chords, arpeggios, improvising, things from a particular book, etc.  You make the list of YOUR desires.

Now you sit down to practice.  Pick something from your list.  Something that your heart draws you to.  Then work on it.  Practice it for a half hour, an hour, or until you're tired.  Rest a little.  Then pick another topic.  Practice it.  Practice this way for hours and hours, studying areas you love.  Repeat many days.  Enjoy the process.  Notice improvement, no matter how small.  After a while, your areas of study will change or deepen or both.

Basically the only way to deal with the lifetime mountain of music study is to divide and conquer.  You break it up into bite size pieces. And you enjoy them. If you just stare at the mountain, it is too scary.  But taking a footstep or two along a trail is not so scary.

In this way, you live music and music lives in you.  Since everything in the universe vibrates, everything is music.  Everything is singing its own song.

May you find your own way and share your own unique music.

Posts: 22
Reply with quote  #3 
My approach now is simple, supress anxiety.
Just one thing of one of these areas a day until mastered. It comes from a Kenny Werner style:
- Rhythm. Ted soloing volume 2.
- Melody. Ted soloing books
- Harmony. Ted's books.
- Transcription. Do it!

The other part from the equation is: ALL THINGS TED GREENE. I am thinking about selling all the books I have and study only music and Ted's books. People speaks about Ted's harmony knowledge but I think his soloing books are the best in the market ,followed by the two improvisation books by Garrison Fewell. Of course Fewell gives you musical examples,  but Ted give you the exercise and the music all gathered.
Working with the two soloing books by Ted and all the information this site has, you don't need anything but your records.

Jazz has too many doors. May be I have to close some of them.

Posts: 4
Reply with quote  #4 
Hello, good evening. Thank you for answers. Helped a lot.

Posts: 4
Reply with quote  #5 
Yes! For example, a master class kurt Rosenwinkel, he recommended various books one was Ted.

I am only sorry that my teacher did not react very well when I showed the first volume of Ted. He said they were "puppets" because of the diagrams.
Basically was not too surprised, or motivated, because I bought the book but ok ....

Posts: 453
Reply with quote  #6 
what a shame the man you're taking lessons from is not a teacher.

Posts: 52
Reply with quote  #7 
I think your "teacher" is sadly misguided, close-minded, and not serving YOUR interests, because, though they are hard to figure out for a while, Ted's diagrams show how much the guitar, as opposed to other instruments, can be learned in a visual, geometric way AS WELL AS by standard notation. There are patterns that lay on the neck that may sound good to you without strictly following pre-conceived notions of harmony or melody. Your teacher is offering you only a limited way of learning. READ MUSIC at all costs, but dont forget the pictures that the neck has hidden.

Posts: 22
Reply with quote  #8 
I have fought against the fretboard just since I took the guitar not far away, now I know is a lost battle. Why not to take the advantages of it?
With a guitar you don't have to learn all the things in 12 keys, you can't practice it in five positions, or may be licks in just three (to the right, up or down, and to the left). Guitar permits to transpose the music easily, it is a visual instrument, take advantage of it. It is my opinion.
To read could be great as well.

Jazz has too many doors. May be I have to close some of them.
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