One of the most popular questions that I encounter as a jazz guitar teacher is “How do I develop an effective jazz guitar practice routine?”
This is not an easy question to answer without hearing the person play and doing an assessment of where they are in their development as a jazz guitarist.
But, there are certain ideas that I believe we can all include in our playing, regardless of our musical tastes or what we are working on, that can help us move forward as jazz guitarists.
Since I get asked this question a lot, I thought it’s about time that I write an article that lays out five of practice tools that I use to be more effective in the woodshed.
For me, there are many things that we can practice and we’ll end up getting better, as my teacher Nick Di Tomasso said “If you play guitar for eight hours a day you can’t help but get good over time,” but we can streamline our focus in the practice room so that we get to our goals sooner and enhance our musicianship at the same time.
Here are five of the things that I do everyday to ensure I have a well-balanced and effective jazz guitar practice routine.
Try them out and see how they can make a difference in your journey to learning jazz guitar.
Have a question or comment about this article? Visit the Building an Effective Jazz Guitar Practice Routine thread in the MWG forum.
“Don’t just do something, stand there.” – Zen Saying
One of the scenarios that I encounter when working with jazz guitar students is their frustration in not being able to play tunes or run all of the scales, arpeggios and licks that they learned in the past.
They are often trying to play an entire tune at one time, with the result being them getting lost, fumbling through the changes and generally not sounding very good, which leads to more frustration.
After seeing this same situation time and again, I decided to break things down with my students to the smallest idea possible, and then build up from there.
This means isolating one item, maybe a chord, a scale or a lick, and practicing it separately in your jazz guitar practice routine.
Then, moving to the next chord in the tune and practicing that on its own. Then when you can play both separately, practice those two bars together.
Here’s an example of how I would do this with the tune Blue Bossa.
This isn’t going to make you sound like Wes Montgomery overnight, but it will allow you to immediately solo over each chord in the progression, and sounding each chord along the way since the triad is more effective at bringing out the harmony in your solo than a scale would be.
You’re also giving your ears time to digest the sound of the harmony and harmonic movement of the tune, and most importantly, you are successfully improvising over chord changes. Giving you the confidence that you can actually play jazz and sound good.
Having this kind of confidence is often more important than all the licks and chord voicings in the world.
If you believe you can do something, you have a much better chance of doing it than if you don’t.
Try this exercise with any tune you are working on during your daily jazz guitar practice routine.
Practice each chord separately. Start with just the triad, then move on to the 4-note arpeggios, then scales and licks etc.
You might be surprised how easy even a difficult tune becomes once you’ve broken it down to the smallest chunks possible, one chord, and then built it back up again.
If you’ve tried practicing a tune and found that you couldn’t get through it, it was too fast or to complicated, try practicing one chord at a time and then combing them in two and then four bar phrases before building the tune back up to the whole form.
There’s no rush to learn any tune, and it’s better to learn something properly over time than to rush through it, get frustrated and give up.
Try this approach out in your practicing. It might surprise you how effective it can be.
“Practice does not make perfect. Only perfect practice makes perfect.” – Vince Lombardi
Most guitarists love to play fast. The guitar is built in a way that it allows us to fly over the fingerboard and play at quick tempos with more ease than other instruments, especially in the wind and brass family.
But, a common problem among jazz guitar students is that they think that in order to play fast they need to practice fast.
This is definitely not the case. In fact, the exact opposite is true, you need to practice slow to play fast.
How is this possible you may ask?
Well, when you practice slow, you are giving your muscles time to develop proper technique that will be used to play fast at a later time.
If you are practicing fast all the time, but are doing so with bad technique or improper fingerings etc., you’re training your muscles to repeat these errors whenever you play that idea, often translating to playing mistakes at slower tempos as well.
But, if you can practice perfectly at very slow tempos, your muscles will know how to move and react when you begin to play at faster tempos.
For example, this is one of my favorite lessons that I learned from Roddy Ellias.
We were talking about this idea in a lesson once during my undergrad days and he explained it as such:
“Have you ever watched a baby learn to walk? They first learn to crawl, very slowly. Then they learn to walk very slowly, allowing their muscles to develop proper coordination and mechanics.
Then, one day, once they’ve learned to walk, they just run. They don’t practice running, they just do it.
They’ve developed all the proper movements very slowly, so it’s just a matter of walking fast. They are one in the same as far as the technique is concerned, one is just done more quickly than the other.”
The same story can be applied to learning the guitar, just replace baby with guitarists and legs with fingers and you get the picture.
So, the next time you’re sitting down to learn a new lick or scale during your jazz guitar practice routine, try working it as slow as possible.
Play the scale in quarter notes at 10 bpms. Then, after doing that for a short time, try playing that idea at a much faster tempo, you’ll be surprised that you can just do it, without having practiced it at that tempo before.
You’ve trained your muscles to play the idea properly, which can translate to any tempo.
“Sometimes my mind wanders. Other times it leaves completely.” – Anonymous
In a world where our time is being used to do more and more things, and where the internet and other personal entertainment devices are becoming more integrated into our daily lives, it seems like we have less time to do the one thing that we all want to do the most, play guitar.
Because I have to teach, perform, learn new music, keep my chops up, run an online magazine, learn Portuguese, write articles for this site, book gigs, etc., I’m really careful with how I spend my time during my daily jazz guitar practice routine, and I always work on more than one concept at a time to maximize the limited time I do have to get things done on my guitar.
Now, we don’t want to overdue it, juggling too many items that we don’t learn anything, but if you read my article The 3 Elements of Music, you know that I like to work on at least two of the three main elements of jazz, Rhythm, Harmony and Melody, at the same time.
In the article I talked about things we can do on the guitar to maximize our daily jazz guitar practice routine, but we can also practice away from the guitar to learn the same skills as we wood with our guitar in hand.
Here are some of my favorite ways to practice away from my guitar:
Any or all of these items are great ways for you to better yourself as a guitarist when you’re walking to the store, driving to work, doing the dishes or anything else that allows you to multi-task and squeeze a few more minutes of practicing into your day.
Though you’re not actually playing the guitar itself, this type of mental practice can be just as beneficial as if you were sitting down and working this stuff out on the fretboard.
“Nobody has ever paid me to play scales. They pay me to create music from scales” – Roddy Ellias
I remember when I was in college, I would spend hours a day locked in my room practicing scales, modes, arpeggios and all the other fundamentals of music.
Then I would go out and play a gig, trying to apply these ideas to the tunes I was playing, and wonder why it sounded so bad.
I was learning all my scales in 12 keys, licks in 12 keys and in different octaves, but I was missing one ingredient.
I wasn’t practicing making music.
I had all the building blocks there, but the finished product eluded me.
Then I heard Pat Metheny talk in a clinic where he mentioned that he practiced tunes as the vehicles for learning new ideas.
So, I took this idea and applied it to my own playing and the improvement was incredible.
I actually sounded good blowing over tunes!
Because it worked so well for me I have also turned around and used tunes to teach scales, chords, licks and arpegggio etc to my own students.
Here are some ways that you might work a technique through a tune in your jazz guitar practice routine.
The first thing you do is pick one idea that you want to work on, say 3 to 9 Arpeggios, and then find a tune that you know, say Blue Bossa, and practice running these arpeggios through that tune.
Here’s a sample of the ways you might approach taking 3 to 9 Arpeggios through Blue Bossa, all at a slow tempo at first before slowly increasing the speed.
By doing this, you are not only learning to play 3 to 9 Arpeggios, you are learning how to apply them in a real-life situation, where you are creating music with these ideas.
This is a great way to learn tunes, techniques as well as working on improvisation, all helping to build an effective jazz guitar practice routine.
Since we’re all strapped for time, this kind of multi-tasking is a great way to cover a lot of bases in a short time, as long as we don’t put too many eggs in one basket.
So the next time you want to learn a new mode, arpeggios, lick, chord or anything for that matter, take it through a tune that you know. It will help you learn to make music and raise the level of enjoyment in the practice room at the same time.
“Do not fear mistakes. There are none.” – Miles Davis
As jazz guitarists, one of the main ingredients in anything we play is improvisation.
Whether we’re comping behind a soloist, interpreting a melody or soloing over changes, we need to be able to create music on the spot.
But, when I ask my students how often the work on soloing during their jazz guitar practice routine, they rarely say all the time.
This seems to be a little counter intuitive, because if we need to be able to improvise, why do we spend so much time on technique and other items when we could be practicing the one skill that will benefit us the most when we get onto the gig?
So, whenever I learn anything new, or teach a new concept or technique to a student, we improvise with it right away.
If I learn a new fingering for a C Major Scale, instead of running patterns through it or playing it up and down plainly with a metronome, I will get the fingering under my fingers and then improvise melodies through that position, either free of time if I want to focus on the notes, or with a play-along or metronome if I want to bring tempo into the equation.
I do this for everything I learn and teach. For me, this means that there is no difference in how I treat concepts in my practice room than I do on stage.
Far too often I see students who can rip through chords, scales, patterns, licks etc on their own, but freeze up when they get into a playing situation where they have to create music on the spot.
The easy solution to this problem is to practice making music.
The next time you learn anything new, it could be a lick, scale pattern, arpeggio fingering, anything, get it under your fingers and then immediately start to improvise with this concept.
It might not sound great at first, but you’ll notice that you will not only be internalizing this idea, you’ll also be increasing your improvisational skills at the same time.
Improvising is also fun, so it brings an extra dose of enjoyment to our practice routine, which can often be lacking if we spend all our time running scales and patterns instead of creating music.
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