*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: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-yR_v0zTYw_g.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 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 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 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.
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!
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
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
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!
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'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.
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.
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.
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 RU-vid channels like this one!
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!
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 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
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
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 ;)
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.
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
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.
Learned this exercise in a lesson from Jerry Hahn years ago and I quite like it as a substitute for chromatic warm ups. Let's see if I can describe it adequately! It's quite obvious when you see the pattern, but a bit tedious to describe in text. You'll be playing diagonal lines both horizontally and vertically on the fretboard. Start with a four finger chromatic box anywhere on the neck. For example C C# D D# on the low E string. Now play C, C# on the 6th string, then F on the 5th string. Then D on the 6th String, F# on the 5th string and Bb on the 4th string. Now D# on the 6th, G on the 5th, B on the 4th, D# on the 3rd. Now G# on the 5th, C on the 4th, E on the 3rd, G on the 2nd. Keep going till you finish the box on D# on the high E string. Now go back and start again on C on the 6th string, but this time move to F on the 5th, then C# on the 6th. Now Bb on the 4th to F# on the 5th to D on the 6th - You get the idea. Finish this box. Then start in all the remaining corners and play both available boxes from each corner. You should have played eight patterns when you are done. I have found this to be a good exercise to identify my weaknesses in fret dexterity and helps me break up patterns and directions that have become too comfortable.
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.
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...
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!
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.
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.
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.
Thank you! I find it difficult to find a balance. It makes sense to do a little bit of practice on many skills each day, but it is easy to focus on one thing you like and skip the rest.
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.
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.
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.
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.
30 minutes read scales 30 minutes practice chords (voicing and inversions) 30 minutes theory 30 minutes sight reading 30 minutes repertoire I play in an ensemble so your videos seem very useful. I’m a new subscriber. I want to be a serious musician so I try to practice as much and close to the conservatory standard as possible. Which is hard because there aren’t really videos that teach that on RU-vid. I get a taste of what it means to practice like I’m in a conservatory from my music director but he is a piano player and the way he teaches is like for a pianist. I read a lot of music. I’m a Slow reader but I’m working on it. I’m hoping to grow as a musician from watching your videos.
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.
I spend most of my hour-long practice sessions focusing on athleticism and 'feeling' the connection 'across the gulf' between the right and left hands; I also try not to get trapped too much trying to 'keep up' with the tempo, rather to make each note a perfect hit. . .scales I try to do at speed
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
If doing scale patterns and modes gets a little too puppetty try throwing some rythmic changes in, creat a groove you can grow in and spread things out and back in again.
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.
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. :)
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!
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.
This is very useful, thank you! My teacher also suggests I practise sight reading a tune, then up an octave. Apart from being a useful skill, it also seems to help with fretboard knowledge, and using the melody as a basis for soloing.
Great video, and an important topic. My lesson routine is constantly changing, and I'm still trying to perfect my practice schedule, because I don't have time to do everything I want to do every day. I have a "scale of the week" and each day I warm up by doing thirds, fourths and triads (ascending, descending, alternating) in one position (I use the 7 Berklee positions, so one position each day = one scale per week). That takes about 10 minutes. A couple of times per week I have been going through Barry Galbraith's comping book to learn different chord voicings (about 10 min per day). I spend most of the time learning tunes (one day the melody in multiple positions, one day comping using what catches my ear in the Galbraith book, another maybe incorporate vocabulary I learned). Transcription time is a little less focused because I find there are some days I can't do it at all, but once I'm on a roll I keep going. So again, a work in progress.
That sounds like a very good practice routine! Super good that you pay attention to playing different exercises in the scales and that you work on songs 🙂
My routine changes every day depending on my gig and rehearsal schedule, but I start every day with warm up exercise, I always try to get some sight reading in and work on tunes,total 1 1/2- 2 hours.
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.
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..:-)
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:)
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.
Same here. Practicing with thick strings on my old dilapidated acoustic plus using a Grip Master for strength. I also twiddle a pen or pencil back and forth between my fingers, the way some people do with a big coin. I have found that this builds confidence for string skipping and overall vertical movement.
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.
@@JensLarsen I already have a good practice routine going on. I warm up, do some scalar stuff and chords...all mainly to get fingers moving and synched. I liked the spread triad stuff you did. Going to throw that in more. I had a major life disaster about 7 years ago, and haven't been able to play much over those years. I started about a year an a half ago to regain my chops, and build more. That's going extremely well. Now I'm working on building repertoire, new ideas and writing my own stuff to for getting back out this spring for gigs and recording. I guess I'm looking to reorganize my practice for this new durectiin, and this vid, and others of yours have given me many ideas.
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! ;-)
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)
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 !!
II've struggled many years wondering how to practice, overwhelmed about the infinity of material, worried about wasting time. Thanks Jens for the class and all those who posted their opinions, Its alway helpful to know how other musicians go about this issue. Theres some things I´ve found helpfult throughout the years: I Jounal often on my practice routines, what new things about my playing i´ve found, what things I feel I have to work more on. I like to warm up also my mind and my ears so I do things I believe fundamental, like the 12 mayor scales in 1 string or in 1 position, or the cromatic scale or play a melody by ear starting on a random note. I pick up a tune and ask myself the question: What do I need to know in order to play this tune? Then I work on that. I try to find different approaches to improvise on a tune mostly by analyzing solos I´ve learned. I´ve found that for me its not good to rush through different topics but I like to take time and tackle a problem deeply. Sometimes when you have a timer and set yourself to solve this and that you prevent yourself from thinking and going deeply into solving a problem, or exploring a concept or a tune. Also you have to be careful in having limits and not spending all the time in only one thing at the extent of forgetting tunes from your repertoire . There are some topics that require you to ingrain them into your subconscious mind so you have to repeat them for a long time, like scales and arpeggios. I find important to craft my routine so this topics are repeated two or three times during a week. If I had only half an hour to practice daily I would practice something challenging and mentally exhausting like transposing a tune or solo, or playing a group of tunes in one pass. Note: this reflection is copied onto my journal ;)
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 🙂
Jens, thank you for all these easy to digest, deeply insightful videos! I've been a quasi-professional singer (vocal degree to boot) for nearly 20 years and, while I've messed around on guitar since childhood, have only started a regular (guitar) practice routine as of January 2019. Each night, after I've put my 3yo daughter to bed, I've been using your "How to practice your scales and why" lessons. I can tell you that the progress has been remarkable. Using C major as the baseline is perfect. Here's how I try to break it down: 20 minutes - scales, diatonic 3rds, triads, 7ths 20 minutes - tunes (started w/ All The Things You Are. Have been working on Have you Met Miss Jones, Bye Bye Blackbird, All Of Me) 20 minutes - straight blues training (working through some Stich Method technique there) 20 minutes - nothing yet (I think I want to work in some rock tunes here) Then it's off to dishes and making the lunches for the next day!! Thanks again for such great content.
Much respect I just downloaded the ear trainer app rn I want to use it for my singing so I can make more efficient vocal melodies I never know what notes I'm singing unless I find notes on guitar I just sing the melody I hear in my head when I listen to the chords instead of constructing it as another layer of the music as far as the guitar I know what most the things are going to sound like before I play them unless its really something I've never tried even then I can hear most of my licks before I play them but even then I'm sure itll still help every thing else I agree with as well like the practicing scales in every key I realize i few days ago I have over 90 songs and dont have a song in every key on mostly the 4 most convient for flamenco I'm not sure that its completely necessary but I'm sure each key will bring new new ideas and options and the chromatic finger excessive should help alot to for when I get stiff fingers instead of jumping into a song and making a fool of my self
I heard that one of the major classical composers of symphonic music wrote a piece for choir and orchestra and forgot an important factor: the singers need to breathe, they are not violins or cellos. We too, as jazz improvisers, need punctuation. Reading your description above, sorry mate, but I'm lost.
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 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.
