Gonzalo "How I Learned" support group...?

Michael Bauer

Casey, don't even think of it as a "mistake". Think of it as another way to play the lick, arpeggio, or whatever, and be glad you have the ear to hear the difference. Both the G and F# work in different ways, so just file it away in your head and try to use them both when you are playing.

I listened to the "Walking Home" CD on the way back from Django in June, and I think it is one of the most beautiful records I have ever heard. Okay, it's not exactly "gypsy jazz", whatever that is, but it is as compelling a draw emotionally as you could ever hope to hear.

As for the two "How I Learned" volumes, instead of everyone focusing on the fact they they are not slick productions, could we all please just keep in mind how much poorer we'd all be musically if these two books weren't available? Here is a chance to get inside the head of one of the great players of our time, and frankly it could have been written on a cocktail napkin or a roll of toilet paper, for all I'd care. The value is in the information, not the production, and all profits go to a good cause: keeping Gonzalo fed so that we can make more music for us all to listen to.

mandocat

Although the Gonzalo's 2 books aren't slick publications I've gotten a lot more use out of them than other books I've spent the same money or more on. One of the things I like most about them is his explanations on the pages opposite the exercises regarding why he puts in certain notes or how to transition between positions. Right now I'm using the Daniel Givone Method but going back to some of the tunes in Gonzalo's books like "Some of These Days" and inserting the Givone licks in the 5 forms to see how they sound.

This may have already been explained in this thread but the chords at the back are shown in a very unconventional manner. I picture them like a chord diagram looking from the headstock of the guitar towards the body. Basically they are upside down from any other chord diagram you will see.

anthon_74

I have to say that it irks me to no end that some people complain about the production value of Gonzalos 2 books. Frankly, when it comes to phrasing and licks. those 2 books alone can go a LONG way to getting you sounding good.

Also, the simplicity of them makes them much easier to follow in my opinion. There's no complicated format to understand, just songs with basic 8th note phrases under them, for you to learn and tweek and so on.

What's even more important about the books, is the implied lesson they hold, which gonzalo hints at in one of them but never outright says which is this - to get good at playing, you need to practice creating licks and connecting them to other licks in context to this song or that song.

I've found great benefits from creating my own "etudes" for practice over this song or that, following the how I learned model. Do enough of those, and they greatly help you get your phrases and licks into your playing.

Anthony

Bones

What Michael Bauer said!

AmundLauritzen

I have volume 1 and I really like it. I've been working that way myself in other styles of music. I compose etudes to work in licks regardless of the style I practice. It is a true and tested method. As for the production, who cares? Do you want some glossy piece of decoration or something you can actually learn to play from? I can't believe this is actually an issue.

Thumbs up to Gonzalo for a great method.

Jim Kaznosky

Well said, Anthony. I like the look of the handmade version. Considering most folks will pay $60 for a Robin Nolan book with 25 licks (no disrespect to Robin), Gonzalo's books are bargains and an endless source of ideas.

pinkgary

caseyspaos wrote:

I didn't see any comments about the wrong notation. No frills self-publishing is fine, if the content is useful, which How I Learned mostly is. But the first song I started with was All Of Me, which, on the recording has F# as the last note in the C arpeggio (last note, bar 2), but according to the TAB that note should be a G. I went with the recording. But I am now wondering how many more transcription errors there are. Moreover, the numbers written on the TABs are not always clear (is that a 6, 8, or 0? A 7 or a 1?). Then of course there are the sloppily written chords in the back which are pretty much unintelligible. Of course, the material itself is incredibly valuable. I am not asking for slick Mel Bay publishing quality, but just neater writing, and a little more attention to details.

Gonzalo clearly states in the book that there will be discrepancies between the TAB & recordings, and to always go with the TAB. The TAB is always correct.... It's what he says.

Bones

Hey Jkaz,

Yeah, that's a good point. I like the handmade version as well. Kind of a cool thing actually! Very personal.

Jim Kaznosky

Like I said, no disrespect to Robin and his products at all. His material is great for getting some of the GJ sounds in your ear. Gonzalo's series is very very good and and endless source of the licks that these guys use in the style.

anthon_74

While we're on the topic, I wanted to share with you all the way I personally use his books - I look at 1 or 2 measures at a time, depending on when the chord changes, and after I work out the lick in a basic way, I figure out which chord SHAPE (e shape, A shape, C shape, Dim shape etc) it goes over, and then I make a note of it above the measure in the spaces in between. This way, it makes it easier to isolate the different phrases and transpose them.
It also makes it easier to practice separate licks/phrases rather than always learning the entire etude.
Then of course you noodle and tweek over the phrase in question until you make it your own and can use it in a solo...

Cheers !

Anthony