choosing classes at DiJ

Charles Meadows

So how do we select classes? Are they separated by skill level? choice of instructor? Though a long time player I'm still at the point where my overall technique and theory knowledge exceed my GJ specific skills. And improv is not my strong suit! Just curious what to expect.

Jim Kaznosky

Yes, there are 4 skill levels and you are expected to honestly self select.
http://www.djangoinjune.com/For_musicians/DjangoCampSchedule/LevelGuide.htm
Folks will move up or down as they seem fit, but most folks will self rank honestly. This would be my take:
Basically, if you have no idea how to do any of it or want firm grounding, go to level 1.

If you have a basic skill sets, can play basic repertoire with charts, and know how to play some arpeggios, stick with Level 2. This is a good level for folks who generally come knowing their instrument, in my opinion.

If you improvise semi-regularly in jams or at gigs and can play solos or drop licks into solos, Level 3 is for you. At this point, you are likely comfortable with learning new songs and can likely play without charts. There are classes in this level that can be somewhat easy and some that are very hard.

If you can hang in the sick jams, go to level 4. Andrew calls this the top 10% of the camp.

I'd be interested to see what others say.

anthon_74

Class levels are 1 - 4.

One general guideline that Andrew has put forward is - If you can play the arpeggio shapes to a play along track of "all of me" at a reasonable tempo, over any/most parts of the fret board, then you're probably ready for an L3 or higher class.
As an overall rule, if you're not yet particularly comfortable soloing over Gypsy jazz tunes (or only can solo if they're played very slowly) try level 1 or level 2 classes.

If you feel comfortable soloing at or near the full average tempo, try level 3 or level 4 classes.

In general, I've found that L1 and L2 tend to be similar in difficulty, but vary somewhat based on the overall ability of the players taking the class.

L3, and L4 classes are likewise similar to each other, and their difficulty is largely based on the ability of the players taking the class.

Anthony

MattHenry

Just follow Denis around until he asks you to stop.

kevingcox

I have been to L3 classes where I felt completely out of my depth and L4 classes where I felt right at home. At that point a lot depends on what the teacher feels like doing and your familiarity with whatever that is. Higher level classes definitely favour those who can learn by ear and memorize quickly (note: I am not making any claims about my own abilities in this area, lol).

Personally I tend to go to L4 rhythm classes and L3 solo classes, with the odd exception if I want to spend time with a particular teacher. When i do feel out of my depth I try not to waste other people's time and when I feel ahead of the curve I either move along or help out those who are struggling.

Some of my best learning has actually happened after such classes when I stuck around to discuss the material with other students.

wim

My recommendation is to go with a teacher whose playing you admire and who inspires you. Irrespective of the level. I studied with only one teacher last time, really I would have been at his classes even if they were level minus-1, just because he was a great teacher

Previous years I've been to check out all the teachers and it's hit and miss .. I could see no real difference in difficulty between L3 and L4 honestly.

Jim Kaznosky

I think the thing to be conscious of between Level 3 and 4 is that the time to pickup the material depends on the players in the class. It may be basically the same stuff, but the expectation is to respect the level of playing of the attendees. I don't want to be the guy that's holding up the class in an L4 class.
Also, Wim makes a good point. Some teachers are generally not prepared as well as others. However, there are surprises to be found. Brunard's classes were some of my favorite last year.
Bottom line, you're going to learn a lot in the classes. If you don't have a steady local teacher, it can set you up with learning material for a year. You're going to learn much more jamming, so make sure you do a lot of this.

klaatu

Some years ago, Andrew made Gonzalo Bergara available at various times to evaluate the levels of players who were unsure. He seemed to be pretty busy during those time periods, so it must have been a valuable service.

One frustration expressed by a number of participants over the years is the number of people who show up for a class that is clearly beyond their pay grade and slow things down for others. Some instructors try to enforce the designated level and will actually ask someone to leave if they are clearly not there; others do not. I've found myself unable to keep up on more than one occasion, and I either try to get to another class quickly or just set my guitar aside and listen.

Charles Meadows

Wow. Good to know! i don't wanna be the guy who gets kicked out!

I've got pretty decent technique for other styles and have done enough GJ practice that hopefully I shouldn't be in beginner classes.

But I'm still relatively new to GJ - and I doubt I'll have the improv ability to hang with the pros!

Should I just take each class on a case by case based on instructor?

Buco

It can be a crap shoot, always fun though. I once took class which was level 1, with Jack Soref, and it turned out to be one of my favorite classes of the whole week. I also took a class which was level 3 or 4, can't remember now, which while it was fun didn't have much educational value for me (I'll withhold the name), though I still took a valuable lesson home based on some comments instructor gave that weren't directly related to teaching material.
Be mindful but go to what sounds interesting to you.

kevingcox

From what I have heard Level 1 and 2 are fairly similar and rhythm classes focus on the basics of la pompe. I would suggest that if you have never had direct face-to-face instruction on rhythm playing with someone with real "street cred" then you should do yourself a favour and start there.

Then if there is a teacher whose style you'd really like to emulate try sitting in with them. I remember feeling a bit stressed to choose my level during my first year but a few friends assured me of their thoughts where I was, and after a while I learned not to sweat it and try to stay out of the way when I was too tired, incompetent, ignorant or hungover to keep up.