There are a lot of things that you need to learn as a beginner with jazz guitar, but sometimes you come across a myth that promises to be a magic solution for all your problems, and I think we should talk about a few of those because they can make you waste a lot of time and you end up working on wrong things while ignoring important skills.
In fact, a lot of these are about trying to avoid learning something that is actually very useful.
I Don’t Need To Learn Songs If I Can Hear Everything
One of the worst things to use instead of a rehearsal is this sentence: “don’t worry, you’ll hear it” And it was also this sentence that began what was probably one of the most stressful moments in my life.
I was subbing for my teacher in a band that was playing a jazz festival, it was a quartet with horn, guitar, bass, and drums. We didn’t rehearse, and just before starting Body and Soul, the band-leader told me that he wanted to do the verse in a duo with me before the theme. I told him that I didn’t know the verse so that would be a terrible idea, and his answer was “don’t worry, you’ll hear it”
What followed felt like the longest 2-3 hours of my life while I was completely clueless and trying to harmonize what he was playing in front of a hall full of people. Of course, In reality, It was probably less than a minute. There are times where you can get away with winging something like this, but with this melody, that is practically impossible. You can really hear the changes and modulations from just hearing that melody. Needless to say, I felt extremely bad messing this up in a band with people I did not know.
But, sometimes you don’t have a chance and not even the greatest ear would be able to tell what is going on. I took comfort in a story pianist Jim McNeely told us when he was a guest conductor in the conservatory big band. He was touring with Sonny Stitt and they had agreed that Stitt could not just begin songs without asking the band if they knew it, for obvious reasons. But one night Stitt just started a song, and McNeely didn’t know it, so he looked at the bass player, who also didn’t know it. And after playing for a while the only thing he knew was that the first chord was Eb and the last chord was Eb. This happens to everybody, and you can’t do everything by ear.
Sometimes I hear students saying:
“I want to practice ear training so that I can instantly hear all songs”.
I guess this seems easier, you just do ear training and play everything by ear.
Now, Don’t get me wrong here, you should train your ears as much as possible, but that comment is really just coming from ignorance or at least inexperience, because what is one of the best ways to train your ears? Learn a lot of songs by ear, and use the songs you know to teach you the songs you are learning, by ear. So really, combing this with theory is only going to help you even more. If you know that the song is in C major then you can probably hear that the chord before that C major is a G7. It helps to have an idea about what you might expect and also whether it sounds like what you expect.
And what will you do if you have to play a song that you don’t know and you have to play the chords? Imagine that with One Note Samba. If you don’t know it then the first 8 bars could be all tonic or a ton of other things.
Of course, sometimes you will have to do some songs by ear that you don’t know, not in the horror scenario that I described and it is useful to be able to do that, but it isn’t something you need to do very often, and your solos are a lot better if you already know that song, so that option is just always what you want to go for.
Theory Well Ruin Your Creativity
“Wes Montgomery didn’t know theory so why should I”
It is probably true that a lot of, especially early great artists, didn’t know a lot of theory, but that doesn’t mean that the best and most efficient way to learn to play Jazz is to not understand what is going on. In fact, a lot of things get a lot easier if you know a little theory.
Let me give you an example:
If you transcribe a great lick like this
Example 1a then that works great on a tonic chord, but if you can see the blocks that it contains then you can also make a G7 version of it
and you can even make a version with a dominant triad for a Gm7 like this:
I am sure you can see how that is useful, and this is just a single example of using very basic theory. The theory will help you learn and understand a lot of things a lot faster, and while it does not help you with everything then there is no real reason to avoid it.
I Want To REALLY Improvise, Not Play Licks Or Arpeggios
“I Want To REALLY Improvise, Not Play Licks Or Arpeggios Like Everybody Else!”
I come across comments like this at least once every week. Usually, the thought behind it is that You don’t want to sound like other people, so you won’t play or practice things that they play.
I sort of get the idea, but a few things to keep in mind here. First, how restricted are you by studying arpeggios?
You can get a D7 arpeggio to sound like this: Mozart Eine Kleine Nacht Musik
and you can also get it to sound like this:
So learning a D7 arpeggio is not really going to limit your style or how much you sound like you.
And secondly, the same goes for studying solos and licks, if you want to write a great book then it might be a good idea to read some books to figure out how. Just learning the alphabet is not going to cut it.
You Need To Know All Scales And Arpeggios To Play Jazz
“I Am Going To Spend Two Years Learning All The Scales And All The Arpeggios And THEN I Am Going To Learn To Play Jazz”
This is another comment that I see quite often, some even go even further and say that you first need to learn music theory and voice-leading before you even try to play Jazz.
Again there is nothing wrong with learning scales, arpeggios, harmony, and theory. It is useful for playing Jazz, but it is not where it starts, they are just skills and not really the music.
When I sat down to learn solos by ear or struggled for weeks to learn the first few standards then I was not first learning to play all diatonic arpeggios of melodic minor in all keys. That came a lot later. And the same goes for all the students I have ever taught, there is no reason to first spend years learning abstract exercises before you start playing music. It is like suggesting that you need a PH.D in grammar before you try to write a story.
I Just Need To Play What I Hear
“If I Just Learn To Play What I Hear, Then I Can Play Great Solos And I Don’t Need To Practice Licks Or Check Out Solos”
While you do want to learn to hear Jazz melodies that you can play, and you want to work on having a connection from your ear to your instrument, then don’t think that this skill is a shortcut that means that you don’t need to learn to actually hear those melodies. That is a part of it as well and it takes some work to get them in there. Usually, statements like this are because you probably don’t know what it means to hear something and then play it.
Hal Galper talks about it in one of his masterclasses:
And you need to teach yourself to hear the things you play.
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Here we already have two triads: Dm: D F A and F major F A C.
