Technical Difficulties

Bones

Hey Ya, what do you mean by 'open' arps? Do you mean when they use open strings?

How's things in Kuala Lumpur?

Paul Murray

For those 3 notes, C to Bb to A, I do DUD. I think you kinda have to have a snap on that A note. I hear it as one phrase ends on C, Bb is just a lead up to a new phrase and then the new phrase starts on A so you gotta make it stand out, hence you need a downstroke.
I get your thinking though, I think in those terms myself although mostly when I try to figure most efficient way to move while soloing.

Yeah I have been learning the version of that on the Rosenberg Academy and the picking is the same as you use and from any videos I have seen on the internet of people playing it, it seems that they are doing the same as well so maybe I will just stick to that and try and improve it. I have also tried pulling-off from the C to the Bb on the 1st string which actually works and then sliding up from the E to the F at the start of the F maj arpeggio (but I don't want to wuss out from doing the correct picking just yet!)

In that Bb arp my arm moves very deliberately but from the elbow. The wrist there is anchored and doesn't move at all except when it reaches high E string and there it does a small flick on that last note to give it more accent.
But once it starts moving from D string downwards it is a stiff bar, stiff but not tense.

I had a look at your video again and I see what you mean. You keep your wrist straight and then there is a little flick on the last note.

Paul Murray

For me, its the open arpeggios that cause me the problems, in particular the descending/ascending one over the Cm in Blues en Minor, or even E dim. It just feels so unnatural

I know what you mean, I have been working on that Cm in Blues en Mineur as well for the last few months. It's tricky alright. Though I can do the descending part of it no problem as I learned 'When the Day is Done' a while back and that has the same descending run in the intro. I find the ascending part is the trickiest. Those open arpeggios are a head f@#k! Another one I'm working on is the E dim arpeggio in Manoir de Mes Reves @ 2:20. It's a good one for practice.

Jazzaferri

Below I have copied an article from Hal Galper's site for educational purposes only. Please do not reprint.

PROBLEM: Compulsive eighth-note playing shows the student cannot phrase or leave space: there is a “forced” quality to their playing.

Analysis: These students have reached a mid-point in their studies where they have worked very hard and achieved a level of expertise wherein they can hear an internal, steady eighth-note line and can articulate most of what they hear. This is because they have achieved the mid-point goal of all practicing: the development of a strong brain-signal-to-hand-response. At this point in their careers, such students actually will have difficulty not playing.

Teachers must move them past this stage to a new understanding: they must first hear everything, be able to play everything they hear, and then play as little of what they hear as possible. The admonition “less is more” is applicable here. Miles Davis was once quoted as saying, “never finish and idea; let the rhythtm section finish it.” Since most students practice “finished” ideas, they have difficulty in sensing the end of a phrase when improvising.

It’s also human nature to want to enjoy the fruits of labor as a reward for hard work well done. Consequently, one keeps on repeating the achievement (the ability to hear and play busier and extended ideas) as a form of immediate self-gratification.

Solution: Compliment these students on their achievement! This is a positive development which has put them in a position to go on to higher levels. However, explain your analysis: they are settling for less by accepting the rewards of immediate self-gratification, actually denying themselves any further growth toward acquiring the ability to phrase.

Ask your students: “Have you ever noticed how many ideas you have when playing along with someone else’s recording?” They should then understand that they already have their own internal resource for musical ideas. Encourage them to be selective in playing ideas based on this “internal record”- as opposed to trying to play everything they hear. Communicate to them that space is an illusion created by the performer: there is always something going on in space that is not being articulated; and that space is controlled by thinking an internal melody or rhythm in that space. Students who understand this will immediately be more spontaneous, playful, and relaxed. They will be relieved now that you have lifted from them the misplaced burden of playing everything they hear.

If students’ “internal clock” is based on the “swing beats” of a 4/4 bar (two and four) or even quarter-note time, compulsive playing can also result. Watch their body motion for excess physical movement-or if they tap their foot or nod their head on swing beats. An explanation and demonstration of playing in “half time” will solve this problem. (See my article “Playing in Half Time”).

Also check to see if students have fears of getting lost or losing momentum if they stop playing. While the student improvises on a given tune, cue him or here to “stop articulating” (but keep hearing internally) ideas while the tune proceeds. Expand these pauses to longer periods of time than the student is used to, getting them more and more comfortable with not responding to every internal signal.

Jehu

Jazzaferri wrote: »

At this point in their careers, such students actually will have difficulty not playing.

Teachers must move them past this stage to a new understanding: they must first hear everything, be able to play everything they hear, and then play as little of what they hear as possible. The admonition “less is more” is applicable here.

But what if an entire genre is afflicted with the problem?

Paul Murray

@Jazzaferri

Interesting read, thanks for that.

Jazzaferri

I have spent some time recently trying to hear the whole solo in my head while only playing parts of it, all the while listening to what's going on.

Damn, it's really hard.

ya-honza

I actually went back to checking a transcription of Blues en Minor and found I'd been playing it a little wrong (or different..) Anyway I'm now practising it the 'proper' way and seems to be better but it still sucks at speed haha.

KL is good thanks Bones, we're still spreading the gospel of Django over hear to the natives, most of whom have basically never heard of gypsy jazz...which is great as there's very little competition for gigs and functions Oh me and my singer have been asked to join the MPO (Malaysian Philharmonic Orchestra) on stage for their annual swing event next week....sh*t I better get practicing! It's organised by a pair of Slovakian brothers in the orchestra who are demons on the violin!

Bones

Wow, sounds like a fun scene over there!