You’re Ready to Move On
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Closing Thought – Play With & Learn From Better Musicians Than You
(^) When I was 15, a friend and I would go to this little jazz club on Sunday nights for their Sunday night Jazz jam
sessions. We would sit in the corner and watch thecould sit in and one night someone invited us to play. I was petrified my first time. I don’t remembe cities finest jazz musicians filter through and play. Anyone r what we
played but I remember how inexperienced and dumb I car, I was feeling depressed about how bad I thought I sounded. I was confronted face to face with plfelt next to these great players. Later that night in the ayers
better than me and it made me frustrated, embarrassstop. They hear or play with great players and they feel their own playing is so inadequate that theyed and depressed. For some people this is where th get ey
depressed and want to give up.
But if you can turn that bad feeling into fuel to pwill. Don’t let fear hold you back from playing wiractice, then those experiences will make you grow th people that are better than you. My band director in high school took me into as a player like nothing else
his office one day and said “The more you play withplaying situation of my life. Look for places and people to play with. Don’t let fear stop you from good musicians the better you will be.” I have foulearning from players that are nd that to be true in every
better than you. Lesser musicians cower back from those times. Real musicians lean into those times and learn all they can.
Tips for Successful Learning
- Learn the New Chord Forms. will never be able to be used in a real playing sitAs with any new chord forms, until they can be playuation. When playing jazz, favor the movable chorded fast enough, they forms over the
open chord forms. The moveable chord forms sound mthese forms around to different keys and places on the neck. Look at what chord melody note possibilore characteristic when playing jazz. Learn how toities are move
available for each chord form by moving the highest note finger around to nearby notes. - Experiment with the Jazz Chord Substitutions.the sound of various progressions. It takes practice to “hear” which color tones work in a particular Listen for how these chord substitutions change situation and
which do not work as well. It takes practice to knis about thinking. It is important to understand the harmonic structure to know where you want to go ow which chords are good ones to add a ii-V progresmusically. sion to. Jazz
This takes practice to work out the physical issueshow these chords are working together. Jazz is a “ of the new chords but it also involves practice inthinking” guitarist’s game. “thinking” about - Listen to the Great Jazz Guitarists. traditional jazz guitar playing listen to Joe Pass, Wes Montgomery, Pat Metheny or Tuck Andress. For As with any endeavor, you can always learn from thesmooth jazz, greats. For
listen to Larry Carlton, Lee Ritenour, Jeff Golub oChristian, Howard Roberts, George Barnes or George r Chuck Loeb. Some of the fathers of jazz guitar aVan Eps. These are just a handful of names of guitre Charlie arists that
you should be familiar with. Do yourself a favor and listen to some of their music and get inspired a little bit. - You have played through and learned all of the new chord forms. The open and
moveable major 7th chord forms, moveable minor 7th lesson book. chords and ninth chords are found on pages 93-94 in the - You have played and thought through all of the chord progression exercises in
the lesson book and in the bonus resources. - You have completed the chord spelling worksheets in the bonus resources.