Quote:
Originally Posted by axslinger
You can have all the knowledge (theory) in the world, but that doesn't give you the skill to play well.
Another point he made; if you can't make the the pentatonic scale sound good in the #3 position (5-8, 5-7, 5-7, 5-7, 5-8, 5-8), then it won't sound good in any other position because they're the same notes.
Also, when I practice, besides the regular exercises and scales, I try to write a new lick to a jam track I have. But, I write the lick in my head, then I find it on the neck.
In all honesty, the best sounding licks I can play are licks that I wrote that way.
I have also found that many times we avoid note combinations that don't feel natural. Such as notes on the same fret on adjacent strings. We just keep playing the combinations of notes that feel right, or feel natural. Try playing some unnatural note combinations until it feels natural, then you have something to add to your arsenal.
Good Luck!
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wow there are some great ideas there....using your inner ear is excellent
I belive that both statements about the petatonic scale sounding good in the thrid postion equals it sounding good in any postion and that the petatonic sacle in different positions promotes diiferent type of runs
are equally true:
IMHO it lust depends on how they are approached...the former statement suggest more of a blues approach...the resolution will be the same regardless what postion a person is in....I belive the latter is thinking more modelly...
ON THE TPOPIC OF IMPROVE: TRY USING ANY PETATONIC PATTEREN (POSITION) OVER ANY DOM TYPE CHORD>>>IT IS A GREAT WHY TO PLAY ALT TONALTIES OR OUT.....SUGGESTED TO ME BY AN EXCELENT JAZZ TEACHER AND PLAYER....and I have found it works great
THEORY, CHOPS AND, YOUR EAR All go togther...they feed of each other..I guess I am saying that theroy is an element of playing well