Comments

• kevingcox Nova Scotia✭✭✭✭ Dupont MD50

  December 2013 edited December 2013 Posts: 298

  That Wrembel exercise is hands down the most difficult and painful thing I have ever done on the guitar. What kind of sick madman thinks of these things!?!
• klaatu Nova ScotiaProdigy Rodrigo Shopis D'Artagnan, 1950s Jacques Castelluccia

  December 2013 Posts: 1,665

  The great conductor Arturo Toscanini was often accused of using overly fast tempos, but his tempos were really not unusually fast in comparison to other conductors of the day, they just SEEMED faster than normal because of the precise articulation and clarity that he got from the orchestra. There's a lesson in that.

  Benny
  
  "It's a great feeling to be dealing with material which is better than yourself, that you know you can never live up to."
  -- Orson Welles
• steteak Kern County, California✭ Paris Swing

  December 2013 Posts: 50

  Jazzaferri wrote: »

  Sometimes on a unfamiliar chord progression i will play it really really slowly watching my fingers just two chords there and back there and back ....100 or more times sometimes way more...until it becomes subconcious and easy, then I work it up to speed.
  
  ...if you aren't committed to the journey and are only interested in the destination this will be a difficult voyage for you.

  
  
  
  I am playing a rather difficult progression with your approach. I have Gm^6 - A^7 - C#^dim - Dm^6/B - C#^dim - A^7 - Dm^6/B. Your approach is superior in isolating the difficult spots. That you @ Jazzaferri

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• Jazzaferri Victoria B.C.Moderator Dunn Ultrafox, DuPont MDC20 Gretsch Chet Atkins CG

  December 2013 Posts: 3,707

  Probably vpicings around the 3 - 5 fret area for the root. Lots of nice movement in those ones

  The Magic really starts to happen when you can play it with your eyes closed
• steteak Kern County, California✭ Paris Swing

  January 2014 Posts: 50

  The particular troubling part of the progression is the C#dim(x4535x) to A^7(5456xx). It sounds great, and I must keep it in the tool box.

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• Jazzaferri Victoria B.C.Moderator Dunn Ultrafox, DuPont MDC20 Gretsch Chet Atkins CG

  January 2014 Posts: 3,707

  You might try the diminished shape moving to 5x56 and then once that is grooved move to adding the 4 fret should you want the voicing with both 3rds.
  
  I often play it as a root 7 3rd voicing as it is more spread. The 4 fret note is just a repeat of the 6 fret down an octave

  The Magic really starts to happen when you can play it with your eyes closed
• Jazzaferri Victoria B.C.Moderator Dunn Ultrafox, DuPont MDC20 Gretsch Chet Atkins CG

  January 2014 Posts: 3,707

  Stuart x4545 is C#m7b5 (half diminished) which functions somewhat differently harmonically than C#dim. :point:

  The Magic really starts to happen when you can play it with your eyes closed
• steteak Kern County, California✭ Paris Swing

  January 2014 Posts: 50

  Slow and steady is working. I am amazed at the challenges within this beginner (introduction) book. I am also equally impressed by the material and the growth of my chord fingerings resulting from the lessons and the forum. Thank you all.

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• Buco NOVA, DCDeity Ivanovski maple/spruce

  January 2014 Posts: 4,736

  stuart wrote: »

  the key is to aim for economy of movement all the time. Keep your third finger on the fourth string and use it as a pivot. The other fingers keep a similar shape, just move them up one fret and the 1st and 4th fingers across two strings, tipping from 3rd finger up slightly to accommodate the new fingering.

  
  This advice is golden and I'd like to echo this from my perspective.
  
  When I was starting out with this whole jazz and gypsy jazz business and all these new fingerings were new to me, this it's what I would do.
  If, when practicing new and unfamiliar changes, you can find just one finger that doesn't need to change (almost always there is one) the strings up or down between the two chords then you can write it off in your mind and not think about it any longer and concentrate on what other fingers need to do.
  And this one write off also becomes the anchor point and it makes all the difference.
  You have one less thing to think about but also you gain one more thing you can rely on.
  Try it.
  
  Buco

  Every note wants to go somewhere-Kurt Rosenwinkel
• Garza New

  January 2014 Posts: 1

  steteak, not sure if others have already give this advice but here are some things that I have found help me.
  
  4-6 straight hours seems like a lot, especially if you're doing a very focused practice (which can at times be more arduous than playing a gig). But maybe some people can deal with that and more. Listen to your body, though, and don't strain.
  
  Apply warm water to your hands and forearms to warm up the muscles you'll be using during playing time. Similarly, cool down when you're done.
  
  Stretch before you play - It sounds strange but google hand exercises for people with arthritis. I tried these when I felt like I had carpel tunnel coming on and haven't had pain since. Also, stretch your fingers back very gently (don't cause pain).
  
  Strings - Make sure you're not playing on bad strings that need replacing.
  
  Guitar setup - Is the action too high on your guitar? Is the setup of your guitar ideal for long-term playing.
  
  In my opinion, the exercises that some people do outside of playing the guitar (spending $ on hand pumps or whatever) is no replacement for exercising on the instrument itself. Just make sure not to strain yourself.
  
  Hope that helps!
  
  John
  SwangGypsyJazz.com
  facebook.com/SwangGypsyJazz