Let's let's talk about the o,
an overview of what the jazz
guitar curriculum will be.
There are basically three branches or
three areas that we're gonna deal with.
The physical aspect of playing the guitar.
Coordinating our two hands and
knowing where the notes are that we need.
The theoretical aspect.
We're gonna have to have a, a working
knowledge of some theory and harmony so
that we have a language we can speak to
each other in as we discuss improvisation.
And then the mental or
spiritual aspect of the guitar, what I,
what I mean by that is how
we let ourselves go and and
perform and play once we have everything
that we've studied and practiced.
Starting with the physical aspect my,
my general concept is one of geography.
I look at the guitar as kind of a map.
Actually I think of it, I'm a New Yorker.
So I think of it as like
a map of Manhattan.
Where the strings are avenues and
the frets are the streets going across.
And you know, you might wanna meet
somebody on the corner of B and
avenue 10, you know?
And yeah, you, you get the,
the general idea.
And the better we have a,
a knowledge of the geography of the map
of our instrument it's like having GPS.
You can look from an overview, and
you can see how you can get to
different places, different ways.
You could take the E string
down to the seventh fret, and
then jump down to the B string.
And go back to the fifth fret to get,
you know, different places.
I'll, I'll get in, in,
in more detail about that concept later.
Then we'll talk about just how to warm up,
and how to get familiar,
and different things that you can
study to coordinate the left hand and
the right hand, things like that.
The second branch is theory and harmony.
So we'll, we'll we're, we're gonna
look at the basic theory and harmony.
That we'll need, as I mentioned,
like a language.
What, when I talk about scales,
arpeggios, chords, voicings,
you need to know what I mean.
And this language is gonna give us a,
a, a way to communicate so
that we can get our ideas and
our improvisation flowing.
We don't have to think about it too much.
But it will take a,
a certain amount of study.
And the last part is has to do with
the mental or spiritual aspect of playing.
We're trying to get notes,
ideas, melodies, harmonies that
are inside of us to come outside and
be and exist in, in our guitar world.
And come out as jazz guitar.
As I mentioned,
we're gonna study theory and harmony.
We're gonna practice physical
exercises and techniques.
But in the heat of battle,
you may not have the time to think about
each detail of each of those things.
I think about, so I can relate it,
I used to play tennis, I don't play so
much anymore 'cause my knees ain't so
But when you study tennis, you do drills,
you learn how to you know, your forehand,
your backhand, your serve, and all
the different the way you move your feet.
And you do many drills, and you're told
many things about the pronation of your
arm, how you turn it over, et cetera.
When it, when the ball's actually
coming at you on a tennis court,
you really don't have time to
think about all those things.
You have to let your body
just do it naturally.
So the idea is that by that
point you will have practiced,
and exercised, and
learned enough to let your body go and
let yourself just react to the moment.
And just reach inside and
pull out the notes, the harmonies,
the melodies, the chords.
Everything that you wanna use to make
a jazz guitar statement by itself.
Sounds like it might be hard but,
but we'll get there.
I promise you that.
I always think also of I remember one time
this occurred to me that it was related.
I was coming out of the store and
I had just had my wallet in my hand.
And so I was walking to my car.
And I noticed I was tossing my
wallet from one hand to the other.
It was just going like this.
And maybe at that, at that point in time I
was even throwing it higher in the air and
catching it in the other hand.
I realized as I was doing it, hey, I'm not
even thinking about what I'm doing and
yet it is kind of a little physical act,
almost like juggling
where if I had to actually think of
the arc and the physical aspect, or
the physics of what I was doing,
I would never have time to do it.
My body knew how to do it by itself,
because I've been doing it my whole life.
That's how we want to arrive,
that's the point we want to arrive
that on, on our instrument.
To be able to just perform without
thinking about it too much.
So that's basically the ov, the overview
of what we're gonna be dealing with
we'll get into great deal,
great detail of each thing.
And let's get started.