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Right hand technique matter

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Comments

  • Hello DB community! :)

    I am gonna try to follow up today on last week's post and some of the reactions, as its been a very busy week for me with shows and recordings.

    In any case thank you very much to all of you who put themselves out there to express their point. In most cases, whatever the point is, it is a great gesture.

    I've already read some great ideas being shared, I'm glad for that and I hope some of these may inspire other players.

    I'll try to reply quickly to a few comments that caught my attention.

    Have a great week end, and don't learn-work music too hard... and have fun with music, that's just way too easy to forget about this !!! :)
  • You are all crazy.

    Jim, your comment is very offensive to this community and does not motivate any collective progress.

    I remember meeting you once a few years ago in a festival, and from the little I have known of you, I know that you can do much better than this.

    Looking forward to this.
  • LeftyKevan wrote: »
    -

    "Time's subdivision. this concept is largely determined by your picking handed..."

    This is exactly the common misconception that my thread attempted to stigmatize.


  • "Well you’re not wrong"

    Please prove me wrong!!!! :)

  • These constant discussions about the minutiae of 'technique' are all missing the point.

    Thanks Chris for your notes! Lot of great ideas there :)

    That being said I think you missed one of my essential point.

    My thread is stigmatizing the fact that technical improvement has been nowadays reduced to its physical aspect, popularly illustrated in the gypsy jazz community with the right hand technique topic.

    This topic has been largely monetized by most of online educational channels. It is also widely responsible to distract most aspiring gypsy jazz guitarists from playing this music.

    My point is the following, if your brain can't conceive a clear acoustic image of any musical movement, you right hand won't be of any help.
  • Shemi wrote: »
    "And brave is a strange word because why should it take bravery to help people freely from a position of superior knowledge on a forum dedicated to one's area of expertise ?"

    Do you claim the position of superior knowledge for yourself? Your posts give that impression as you seem to think you can talk down to most of us here.

    Who said what? Can you clarify? I don't understand. Thanks! :)
  • You are all crazy.

    Jim, your comment is very offensive to this community and does not motivate any collective progress.

    I remember meeting you once a few years ago in a festival, and from the little I have known of you, I know that you can do much better than this.

    Looking forward to this.

    I hope to one day live up to your standard of what you believe I can be, guy I met once at a festival.

    BucoBonesElí SaúlLeftyKevanvanmalmsteengalagatattoo
  • jeffmatzjeffmatz ChicagoNew
    Posts: 97
    PapsPier wrote: »
    Words of wisdom Chris.

    (Regarding the history of Django, I think you took some shortcuts: the accident is said to have happened before Django heard anything about Armstrong, he knew some kind of jazz but it was the light jazz created by white orchestras as Jack Hylton (who was supposed to hire Django) I also don't think that Django and Stephane often played for drunks in dancehalls. After Django started to play jazz, he mainly performed in concert halls, after-hours joints and swanky cabarets. Anyway minor corrections regarding the righteousness of your post)

    Yes indeed, I was taking shortcuts simply to give a brief idea of how Django developed his style from his early days; I had no intention of writing a historically correct biography as I am sure everyone here knows the story. The point being he learned to play how he did through a series of circumstances that the rest of us can not replicate, so why are people now writing 'rules' about how to play Django style the 'correct' way?
    I know there are many who deliberately try to learn Django tunes note for note using only two fingers of the left hand, but then some say he did use the other two damaged fingers sometimes for the chord shapes he could reach, so are they wasting their time too?
    Then there were the tales about Django wearing odd socks on stage, would that affect the tone of a SelMac?
    Sure he influenced us all, or we would not be reading this, but some folks seem to take it all a bit too far and at the same time are forgetting to have fun.


    I guess the thing that always blows my mind is the least "Django-like" thing you could possibly do would be to slavishly copy him...dude was a trailblazer.
    ChrisMartinShemi
  • ShemiShemi Cardiff✭✭✭
    Posts: 170
    Right, that's it, I'm taking up golf. I'm sure this kind of thing never goes on in those forums...
    Bones
  • ChrisMartinChrisMartin Shellharbour NSW Australia✭✭ Di Mauro x2, Petrarca, Genovesi, Burns, Kremona Zornitsa & Paul Beuscher resonator.
    Posts: 959
    Shemi wrote: »
    Right, that's it, I'm taking up golf. I'm sure this kind of thing never goes on in those forums...
    Oh you think so? I'll bet it does, there will always be self-appointed experts who will obsess over the tiniest details in any group.
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