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This Solo Exercise Changed Everything

“This was fixing two of the things that I wanted to improve in my playing, and I also discovered two new things that I could learn from it!”

Some years ago I had a period where whenever I sat down to practice in my room, I felt stuck with my playing. I could improvise through the changes and make lines but it didn’t really sound the way I felt it should, it was just a lot of notes and something was missing.

I had started to realize that, while longer 8th note lines work pretty well in a higher tempo, they don’t sound nearly as interesting in a medium tempo and I had mostly been focusing on getting better 8th note lines by checking out Pat Martino and Joe Pass. When I was playing a slower tempo, I wanted a different sound. It felt like the 8th note lines lacked dynamics and it sound like too much thinking in a tempo when you want to hear more groove and rhythm.

When you are trying to improve something then most of the work you need to do is to really understand what needs to be fixed. There is a famous Einstein quote where he says that “If I had an hour to solve a problem I’d spend 55 minutes thinking about the problem and five minutes thinking about solutions.” And this certainly applies to Music as well. The better you understand what is wrong the easier it is to fix it. What I hadn’t realized at that point was that I actually had a solution right in front of me.

I wanted to get a better idea about what should change. I knew that I wanted to get better at playing phrases that were not Bebop lines. But I was stuck with only knowing what I did not want, and I needed to figure out what I did want because doesn’t make sense to practice not doing something, you need to practice doing something else that works. So I needed examples of what I wanted the phrases to sound like. Examples that I could emulate and get some inspiration from. This meant diving into my cd collection (this was before the internet and Spotify).

Here I ran into a problem, I was looking for people who played fewer notes, and still had that sound I wanted. And I realized that I did not really have a lot of music from people who play like that, it was much more Pass, Martino, and Metheny, and not as much Jim Hall, Barney Kessel, and Charlie Christian. In hindsight, that of course explains a lot….

I did have a lot of Wes and that came pretty close. On a lot of the albums that I really liked he was playing a lot more short statements. So I started to listen and learn solos from Wes, trying to find things I could make my own, but I also wanted exercises that were more open open-ended and could help me develop this. And there was one really solid exercise right in front of me.

I was teaching a lesson when I realized that I had an exercise that would help. We were working on improvising over a Jazz Blues with a student and building it up from soloing with chord tones.

For a beginner in Jazz then improvising with chord tones have a lot of advantages:

There are only a few notes

They all work great on the chord

It is pretty easy to make melodies with an arpeggio

You learn to hear the chords in your solo.

But While I was demonstrating to the student by improvising a solo, I realized that this really connected to what I was trying to learn myself:

Because. when you have only 4 notes then you are not going to play a lot of notes simply because that doesn’t really sound great

If you are playing the arpeggio you are not going to get lost trying to add the material that you usually use with extensions, chromatic enclosures, etc

After I was done teaching that day, I immediately sat down to try this out. It was in many ways a perfect exercise, and I could work with it in a few different ways to really improve my playing like this. And this is an exercise that I find myself returning to fairly often.

Getting this exercise to develop your playing, especially when it comes to rhythm and phrasing can be seen as a 3 step process:

Step #1: The Raw Material

The first thing to do is to choose a song or progression, and then make sure you have all the arpeggios in one place like I am doing here with the first part of Days Of Wine And Roses.

Fmaj7

Eb7

Aøv

This is just to make sure that you have all the arpeggios in one place and to make it easier to go from one chord to the next without having to jump around the neck.

But you need to do more than just know where the notes are, they still need to become music.

Full position arpeggios

For this exercise, it is useful to have the full position of the arpeggio because that gives you more freedom to be melodic once you start improvising, and I am sure that you also already worked on this at some point, so now you get to use it!

Step #2: Refining It

I worked with this exercise in two ways. The first is to build vocabulary, so compose licks or improvise slowly:

So you can hear that I try to use small 2-3 note fragments and then either use them as a motif to go from one chord to the next, or use call response so that one phrase is a call(b-roll)and the next is a response(b-roll)

When you work like this you focus more on making melodies, seeing the connections, and how the notes move from one chord to the next. Because that will help you make much more interesting solos

There are easy ways to work with this. Take this motivic line on Fmaj7 Eb7

Here I am using that A and C can move up to Bb and Db and then I can make that into a nice repeated riff tying together these two chords.

But of course, this is mostly about the notes and becoming better at making sense with short 2 or 3-note phrases, so you need to work on the next step as well to get the final ingredient:

Step #3: The Finishing Touch

Now you can take a medium tempo and start to solo using just arpeggios. If you have the first two steps down then this becomes the place where you really start to develop your solos and integrate them into your playing.

And this is where the limitation part of the exercise really starts to pay off.

A limitation exercise is an exercise where you limit yourself to focus on improving something specific. With music, you do this all the time and it can be a great way to develop many skills. Think of exercises like a chromatic exercise where you play something really simple to focus on your right hand.

In this case, the limitation is that you play the song and improvise over it, but you only use the arpeggio or the chord tones.

The advantage is that you play fewer notes and you don’t have to think too much about the notes, so you can really focus on the rhythm and how you play those notes, making your solo more dynamic and more interesting when it comes to rhythm.

I guess, I had an extra bonus because I was doing this exercise for myself, but also using it with my students, so I could actually practice while I was teaching.

And this was fixing two of the things that I wanted to improve in my playing, and I also discovered two new things that I could learn from it! Playing shorter phrases and more statements than long lines was already getting better, but I also discovered two other things that I had never thought about with Jazz melodies and Bebop lines.

And this was fixing two of the things in my playing that I really wanted to improve by letting me play shorter phrases and use more interesting rhythms. But I also discovered two other things that I had never thought about with Jazz melodies and Bebop lines.

The Sacred Quarter-note

The first thing was about rhythm: When it comes to rhythms then often we think that everything has to be complicated, odd note groupings and syncopations

but one thing that I found to be incredibly effective and overlooked was phrasing using quarter notes.

Quarter notes are very useful and if you go back to people that are closer to the swing era like Charlie Christian and early Jim Hall, then you will hear a lot of quarter note rhythms as well.

The quarter notes often get to work as a resolution so that your off beats sound more interesting as a sort of tension. They are also just a great way to sound more grounded and connect to the groove and the tempo.

Less Notes More Times

The other thing that I discovered improvising like this was that when you improvise 8th note lines then you rarely repeat notes. Mainly because that doesn’t sound great in an 8th note line:

but if you are improvising with shorter phrases and trying to make melodies that are focused on rhythm and locking in with the groove then repeating notes is a great thing to do, actually also something you will hear Wes do as well.

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What Is Effective Jazz Practice And Are You Wasting Your Time

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Even if you are practicing for years to learn Jazz then you may still not see a lot of progress, and there is a real chance that a lot of the time you spend working on learning to play Jazz is a complete waste of time. This is probably because you don’t take a step back and look critically at how you play and what you are practicing.

It doesn’t matter if you are just starting out or if you already have experience playing and a repertoire of songs you gig with. You need to get this right to get as much as possible out of your practice time and keep you progressing.

There are a series of questions that you can ask yourself about your practice and your playing that will help you determine if you need to change something, let’s take a look at the first one:

Do You Know What You Want To Improve?

This seems simple you are probably thinking “what do you mean? I want to get better at Jazz guitar” But that is nowhere near specific enough! You want to be very precise with what you want to improve.

Think of it like this: If you want to get better at using arpeggios in your solos then It is easy to find some exercises so you can play arpeggios, check out some examples and start writing some licks with the arpeggios.

You could summarize the process like this:

Practice Arpeggios
Check Out Examples
Write Licks With Arpeggios

That all seems obvious, but which exercises will make you “Better at Jazz Guitar” That doesn’t tell you what to practice, so essentially you want to keep digging into what you want to improve until you can figure out exercises that will help you grow that skill.

But before you lose yourself in only doing exercises that are specific to one skill then there is something else you need to ask yourself.

What Are You Learning From Your Practice?

The previous question was there to make sure that you understand your playing and how to focus on getting better, but it is as important to look at what you are practicing and then be able to recognize what you are learning from each of the activities you do.

Let me go over a basic example and then one of the most important exercises you should work on::

Let’s say that you are practicing diatonic triads in a major scale.

An exercise like that is helping you develop:

So there are many things that you will work on within a single exercise. This is also what justifies why you should be spending a large part of your practice time playing music, which is probably the most important exercise to work on.

Without being specific then the goal is “I want to get better at Jazz guitar” and what is “Jazz Guitar” That is playing songs and improvising over the chord progression, so even if that is not a very specific set of skills, then if you want to be better at that then you practice doing that.

There are many essential things that you improve when doing this:

More Than Playing The Right Notes
How To Build an Interesting Solo
All Types of Techniques
Using and Developing Your Fretboard Overview
Create A Sound That Is How YOU Solo On a Song

You need to do more than just play the right notes

You want to make the notes and arpeggios into phrases, not just hit the chord changes and target notes.

You learn How To Build an interesting solo

A solo is like a story and has to have a beginning, a middle, and an end. You also need to make sure that phrases fit together and don’t sound like random copy/pasting of unrelated licks.

All Types of Techniques

Playing a solo you will probably use most of the techniques in your vocabulary, and it is here you can check if you really have the technique under control.

Using and Developing Your Fretboard Overview

When you are improvising a solo you are using and developing your fretboard overview finding all the things you play and a way to get all of that to come together in phrases.

Improvising is also where you create a sound that is how YOU solo on a song

Which is really just trying to play the things that you want to play in a solo and make it a whole piece of music.

But there is more to it than just what to practice, you also need to evaluate if the way you are practicing is actually getting you anywhere.

Are You Getting Better?

Once you have come up with exercises that help you develop the skill that you want to improve then you also need to keep track and see if you are actually getting any better.

You may think that this will be easy to spot, but that is actually not always the case. A lot of things that you work on can be stuff that takes months to get into your playing, again this can be about technique but it can certainly also be about getting new melodies into your ears and then out in your solos.

Recording your practice can be extremely useful for this, and taking notes or having a list to keep track of is also making things a lot easier. For example, I have been working on using octave displacement licks and getting that to sit better in my playing, so that is something I both consciously try to use but also try to evaluate if I listen to a recording of one of my solos: “can I play them? do they sit right in the line? Is that how I want it to sound?”

If you don’t keep track of these things then maybe you are not getting anywhere with what you are practicing. And sometimes you will get there faster if you use other types of exercises or changed the focus of what you are practicing. Otherwise, you are stuck doing exercises that are not helping you get any better and that is probably not what you are hoping to do.

I find that the next 2 questions are overlooked when it comes to finding the right types of exercises, and that is a pity because they really do help make it easier to find the things that will improve your playing.

Is This A Practical Exercise For Your Playing?

Sometimes you lose something in translating a goal into an exercise, and that can make the exercise almost useless.

A common example is how practicing scales is not always helping you play better lines. If you look at solo phrases then they are rarely a lot of scales, in Jazz anyway,

and there are other things that you want to learn as well or probably even focus more on so that you are building a vocabulary of things to play in your solos, and in this case, your solo should not just be you running up and down the scale so you want to learn some diatonic arpeggios or diatonic triads.

?? ??

Another thing that I see people waste a lot of time on is not planning the process of learning well enough and forgetting what may be the most important part of the goal.

Do You Know How To Use This?

Of course, you are choosing exercises based on what you want to learn and have in your playing. This is great for motivation and usually just makes it more fun to practice, but you do need to watch out that you also know where you are going with it.

I hear this mostly from students that are working on things like the altered scale

or Barry Harris 6th diminished stuff. Learning the scale and the exercises is maybe not easy, but still something you can work on and it will be ok. The problems start when you don’t have any way of using it. You don’t know any examples of altered licks and don’t really know what to do with that scale.

That is why you also want to ask yourself: “Do You Know How To Use This”. Sometimes that is easy: If you are working on arpeggios or triads and you can probably think of some licks with triads that you can use as a blueprint for making your own vocabulary and in that way get things into your playing, but without something like that, some practical references to how this is put to use in real music then that can get pretty tricky and you may find that you are wasting practice time working on that topic.

Not Getting Caught Up In Myths

Being aware of what you are learning and what you want to learn is incredibly important. It is also important to not get fooled by some weird myth that you hear, and there are a few common ones floating around about learning Jazz or even music in general. Stuff like this can really slow you down and let you waste a lot of time chasing something that is actually wrong. If you want to avoid these then check out this video that discusses 5 of them so that you have a clear idea about where you are and what you should be working on.

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3 Things that Ruin Your Jazz Practice And Stops Your Progress

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We all want to play fantastic lines in our solos!

But one of the worst things you can do if you want to play better lines is to practice songs at full speed and then just hope that it becomes better.

#1 Too Fast = No Control!

It won’t make your lines better, but it might make you bitter, and that is how a lot of people go about it, I have certainly done that myself quite often.

When you do that it is a bit like trying to learn Chinese by watching a Chinese movie with Chinese subtitles. You will probably get there but it is going to take a few years.

Setting up a better method

So, you should slow things down and really work on playing stronger lines by having time to really listen to them, and figure out how to make them better before you are blasting away at full speed.

The best way to work on your lines is by composing lines, and I am going to show you how I do that and talk about how you benefit from that and what to pay attention to so that you get the most out of it because this is about a lot more than just practicing slowly!

In the example below you can see how I composed an 8th-note line using different building blocks.

It starts with a chromatic enclosure and continues with an Fmaj7 arpeggio before ending with a descending Dm triad melody that also involves a chromatic enclosure.

Refining The Arpeggio Melody (stealing from Benson & Bird)

The next thing to add to the mix is a bit more energy with the rhythm. You can do this by playing the arpeggio as a triplet as you can see in the example below:

This is almost identical to a line that both Charlie Parker and George Benson use very often.

A More Original Idea

Let’s try to create a line that is a little more original and a little less like a transcription. Here the example is combining the Fmaj7 arpeggio with a scale melody that continues into a descending melody in the 2nd bar. The descending melody is in fact a pentatonic phrase with an added chromatic enclosure.

In the video, I talk a bit more about how important melodic direction can be for this.

What Are You Really Practicing

It is important to remember that in the end it is not really about composing the perfect lick, what you are working on is practicing to put things together so that you get better at doing that when you are soloing.

#2 It is NOT just the notes!

You need to focus on more than just playing the right notes. You can get a robot to play the right notes, but it won’t make it a great solo.

You want to develop your skills when it comes to taking those notes and turning them into a SOLID MELODY.

In the example below I am adding a note to the arpeggio because that is a great way to explore and find some good melodies.

The Power Of Pivot Arpeggios

Using Pivot Arpeggios and Octave Displacement is another way to get some more interesting melodies. In the example below I am doing that with the Fmaj7 arpeggio at the beginning of the line.

#3 Fix Your Phrasing!

Now that you are slowing down you practice then you can also start working on adding better phrasing to the lines.

The first thing to work with here is to get used to ending lines on the off beat. In the example below it is on the 4-and:

Another thing to work with is to add accents to the line. When you play a stream of 8th notes then what makes it rhythmically interesting is how you add accents to get the syncopation in there.

What you are looking for is a note that is on the off-beat and that is higher than the following note. In the example below the Eb is a great candidate, also because it is a chromatic leading note so it has some tension and therefore more energy:

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How To Make Music From Exercises And Practice Effectively

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Getting from just practicing a scale or an arpeggio to the point where you can actually use it in music is quite difficult, and something that a lot of people struggle with. You want to set up your jazz guitar practice in a way that will actually help you get your exercises into your playing as something that makes your solos and improvisations better. That is what this video will teach you! In this video, I am going to go over a 3 step plan to show you how you can approach this and make sure that what you practice also makes it into your playing, and I am also going to discuss what types of exercises I think are practical and what you might better not waste your time on.

The Most Important Scale Exercise in Jazz

Let’s start with an exercise that you always want to work on anyway: Diatonic 7th chords. In the Key of C major, that would be this exercise: This is a great exercise that will help you connect chords to a scale and technique to the chords of a song. I have another video going into this exercise in detail which I will link to in the description so I won’t really dig into it here. There are a few practical things to get right if you are practicing something because you want to use it in your solos.

Don’t make the exercise too long or complicated
Make sure that it is something that you have a place to use
Don’t make it so difficult that you have to spend a year learning to play it.

#1 Don’t make the exercise too long or complicated

If you practice Triad pairs with chromatic enclosures on each triad then that is something you can only use on a piece with one chord for a really long time, and you have to think about whether that is really efficient for you.

#2 Make sure that it is something that you have a place to use

Practicing Quartal arpeggios in Melodic minor is not useful if you don’t play over chords using that sound.

#3 Don’t make it so difficult that you have to spend a year learning to play it.

If you have never practice arpeggios then don’t start with playing them with leading notes and as 8th note triplets, just start with playing arpeggios which are probably anyway more flexible.

Taking the exercise to a song or chord progression

I always find it surprising how few people play exercises on songs. It is such a great way to just get your scales or arpeggios into the context where you need them, and also to check if you have everything covered for the song you want to use it on. For this video, I am not going to use an entire song, I am just going to use a basic turnaround in C Cut in – In the video I am using a very short chord progression, but it is really useful to have songs that you know really well to explore things on, and if you check then that is also something that a lot of players do. They have standards that they return to when practicing things to become comfortable and experiment with new material. Cmaj7 A7(b9) Dm7 G7(b9) In this progression, I am using the C major scale for Cmaj7 and Dm7, and I am using D harmonic minor and C harmonic minor for A7 and G7. And to add something new to our vocabulary then I am going to use the arpeggio from the 3rd of the chord. This is just to flex the music theory and fretboard knowledge a little. The Arpeggios we need: Em7 C#dim Fmaj7 Bdim Played through the progression in a very basic way: And to find some more material you can do the lower octave as well, even if that is not really there for the Fmaj7 arpeggio: And of course, you can also combine the two and make an exercise that fills up the bar: For an exercise like this to be useful, you need to be able to play it easily and think about the next thing you have to play. It has to be in time and you can’t get away with stopping to think. At the same time, it doesn’t have to be super fast, a medium or slow medium tempo will work as long as it feels easy to play. Sometimes I hear students say that it is difficult to learn on a whole song, but if you want to use it in your solos then this is actually a fairly easy thing to learn.

Making music

Now we can play it on the progression and also hear how it sounds on the song, the next step is to start improvising and start to make melodies. The first thing to do is probably just to spend some time improvising with just the arpeggios. Then you can start to add the other things you use in your solos and really make the arpeggios a part of your material. In some cases, it may be useful to first compose or improvise in rubato to get the user to making melodies that mix arpeggios and use chromatic leading notes. Doing exercises like this is may seem like something you do when you want to learn arpeggios, but actually it is a great way to explore new vocabulary and really challenge your fretboard overview, things that you really want to keep developing in your playing all the time.

Take this to Jazz Standards and use it in Music

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The Two Things You Need To Practice More

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In most Jazz practice routines there are two things that you probably don’t focus on as much as you should. In this video, I am going to go over what the problem is and give you some suggestions on how to solve that problem, and I think it is more a matter of how you think about practicing and structure your practice routine than anything else.

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You can download the PDF and the GuitarPro file here: The Two Things You Need To Practice More

Content:

0:00 Intro – Getting more efficient with practice.

0:28 Flexibility – Remember the goal you want to achieve

0:52 The Progression and the basic exercise

3:32 How to open it up

4:31 Taking it further

5:23 Open up Technique Practice

5:51 A quote from Kurt Rosenwinkel

6:12 Application

6:25 From Scale Practice to Michael Brecker with Magic

6:41 Making using the material a priority in practice sessions

7:00 A Step-wise Plan

8:21 Limitation is efficient

9:45 The Worst Mistake When You Study Jazz

10:01 Like the video? Check out my Patreon page?

Avoid Long Practice Plans – This is what you should focus on

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You can make a lot of mistakes and waste a lot of time by having inefficient and unrealistic practice plans tie you down. At the same time, a Great Guitar Practice Plan can help you progress and make a huge difference for your motivation.

This video deals with that and helps you make better choices.

Goals and Guitar Practice Plans

If you are learning guitar or learning jazz then a part of what you are doing is setting goals for yourself and trying to reach those goals. That is a natural way of learning, but when you make a practice plan there are some things to be aware of. A Guitar Practice Plan should help you stay motivated and actually reach those goals. It really pays off to be aware of what goals you set for yourself. Especially if you are teaching yourself and don’t have a teacher to guide you.

And that is what I want to talk about in this video: How to set some good goals and work towards them, the 3 things you need to consider when you plan what to work on.

Learn more on Self-teaching

Check out THIS PLAYLIST to see some of my videos on topics related to teaching yourself to play Jazz and Jazz Guitar,

Content:

0:00 Intro – Setting Goals for yourself and learning

0:48 What is a realistic goal and is it realistic

2:02 #1 Long term goals have to have smaller goals along the way

2:35 The Step-wise Plan for Learning to improvise with chord tones

3:25 Be Specific

3:40 #2 Knowing where you are to know wha the next step is

3:55 Am pentatonic! On to Giant Steps!

4:53 Difficult Topics to improve on your own

5:11 #3 The Importance of flexibility

5:39 Stay Flexible don’t force it

5:48 The All scales example

6:36 Making Music Is The Goal

7:24 How do you work on setting goals for yourself?

7:47 Like The Video? Check out my Patreon page

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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Guitar Practice – How To Be Your Own Teacher

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Even if you have lessons you know that most of the time you need to teach yourself and make sure you are improving while you practice guitar. You need to make sure that are getting something out of how you practice and spend your time.

In this video, I am going to talk about how you can easily add something to your practice sessions that will help you evaluate your playing and give you an idea about whether you are progressing. I will also go over 3 things to keep in mind to get the most out of this way of working.

https://www.youtube.com/watch?v=KUFfHa09LM0

Content:

0:00 Intro – How Lessons really work

0:36 How To Teach Yourself

0:53 The Only Approach to Know how you sound

1:22 Why Should You Record Yourself

2:00 The main reason this works better

2:48 How To Record Yourself

3:36 Using Video – A Phone and A Coffee Mug

4:05 More Metronome than Backing track?

4:52 I HATE listening to my own playing. (The Confidence problem)

5:16 Just Get Started! – Notice Negative and Positive Things

5:52 Strategies for using recordings

6:39 The Gap Between how it feels and how it actually sounds

7:14 3 things You Need to Do

7:31 #1 – Distraction

8:14 #2 – How Do You Want it to sound

9:12 #3 – Measure over a longer period

10:01 How Do You Use Recordings of your playing in your practice?

10:13 Like The Video? Check out My Patreon Page.

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Don’t Waste Your Practice Time On These 3 Things

It is important to know how to practice jazz guitar so you don’t waste your time or focus on the wrong things. Here are three topics that I think too many jazz guitarists spend practice time on and think that they need to know which they really don’t. Most of this is related to a myth or misunderstanding and I think this is really worth talking a bit about because it doesn’t help you and it really works against you.

This may also be the first video I ever made telling you to not practice something instead of giving you stuff to practice.

Of course I would love to hear what you think, because maybe it’s different for you or maybe I am completely wrong?

Content:

0:00 Intro – Don’t Wast Your Practice Time

0:58 #1 Sight Reading – What Do You Actually Need?

1:23 The Big Myth about Sight Reading

1:53 How the real process is.

2:20 Learn Music By Ear

2:31 A More Useful Goal and Approach

3:15 #2 Voice-Leading

3:50 A Time and A Place for Everything

4:35 Don’t think just play

5:23 #3 Scales – What You Need and What You Don’t

5:54 New scales ≠ New Melodies

6:32 The Gypsy Mixolydian #4 b9 scale

6:39 What Else Are We Wating Time on?

7:01 Like The Video? Check out my Patreon Page.

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The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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How to Solve the “I Have no Practice Motivation” Problem

It is very difficult to keep motivated and figure out how to practice guitar so that you feel like staying with it. This is especially true if you practice and learn something complicated like Jazz Guitar. But you also know that you have to be consistent and dedicated to book improvements in your playing and develop you skills. If you don’t practice you probably will just end up in a vicious circle that will stop you playing all together.

In this video I am going to go over 5 things that helps me keep motivated and inspired to practice. Things that are coming from my own experience but also from having taught a lot of students and been around a lot of jazz musicians in general.

This video will give you some ideas to keep inspired and working and also some other perspective on what playing an instrument and playing music is about. Not all of these tips are really about the practice situation but about what else you do.

Hope you like it!

Content of the video:

0:00 Intro – Staying Motivated Why it is important

1:17 #1 Is You Practice Session Fun? How To Improve it!

2:24 #2 Check out Live Music – Get Inspired!

3:43 #3 Track You Progress and Keep Track of Your Work

4:56 #4 Play With Other People

6:28 #5 Taking Lessons

7:06 What Keeps You Motivated? Leave a Comment!

7:24 Like the video? Check Out My Patreon Page!

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Jazz Practice Routine How To Find The Perfect Balance

If you have to make a 30 minute Jazz Practice Routine, what should you include?

We are all different so there is no one solution that fits everybody, but you don’t want to waste time or leave out important things to practice.

In this video, I am going to go over what I think a 30-minute practice session should include. I am of course a guitarist so it will be aimed at jazz guitar practice, but I am sure the philosphy and topics will fit all instruments. Some of the topics that I think are important for a jazz practice routine would be:

Technique, Repertoire, Exercises, Vocabulary, Theory, Ear-Training,
Transcriptions

I am really curious about how your practice routine is, so if you have a routine then please leave a comment with a list of stuff you work on. This is useful for people looking for inspiration and certainly also for you to evaluate how you work. I will do the same 🙂

Content:

0:00 Intro – A 30-minute Practice Routine

1:24 Technique and Warm-up

1:32 Warm-up and Synchronization – 10 minutes

2:05 Arpeggios – Right hand warm-up

2:31 Working out with Spread Triads (Steve Morse)

3:00 Technique – Musical Practice

3:19 My Basic Fretboard Visualization

3:41 Practice in all 12 Keys! (are there only 12 keys?)

4:08 Diatonic Harmony

4:40 Stay Flexible and Practice open-ended

5:43 Playing Music – 10 min

6:13 Play Songs and Put it all Together

6:47 What You Focus on and Learn

7:41 Ear Training – 5 min.

7:52 Moving Melodies through the scale

8:26 Using Apps or Computer Programs

8:50 Advantages to a schedule working with Apps

9:04 Transcriptions

9:28 Figuring Songs out from Memory

9:49 Vocabulary – 5 minutes

10:00 Use Composition and Create YOUR vocabulary

10:28 Share your Practice Routine! Give us some ideas!

10:50 Like the video? Check out my Patreon Page!

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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Join 1500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

Please subscribe to my YouTube channel and feel free to connect with me via Instagram, Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.