Now imagine sitting down with someone who was there when the song was recorded and can tell you how that series of sounds was committed to tape, and who can also explain why that particular combination of rhythms, timbres and pitches has lodged in your memory, making your pulse race and your heart swell every time you hear it. Remarkably, Levitin does all this and more, interrogating the basic nature of hearing and of music making this is likely the only book whose jacket sports blurbs from both Oliver Sacks and Stevie Wonder , without losing an affectionate appreciation for the songs he's reducing to neural impulses.
Levitin is the ideal guide to this material: he enjoyed a successful career as a rock musician and studio producer before turning to cognitive neuroscience, earning a Ph.
Though the book starts off a little dryly the first chapter is a crash course in music theory , Levitin's snappy prose and relaxed style quickly win one over and will leave readers thinking about the contents of their iPods in an entirely new way.
These etudes are a very musical way to warm up. JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding. Metheny Warm-ups book coming out. Thread starter guitarjazz Start date Sep 12, Prev 1 … Go to page. First Prev 9 of 10 Go to page.
GovernorSilver Member. Messages 15, KRosser said:. Well, that's just crazy talk KRosser Member. Messages 14, GovernorSilver said:. What was speculated earlier in this thread was that Metheny got the idea of playing melodies on one string from Goodrick - that's where the Goodrick-influenced-Metheny talk started. Messages 23, I have an alternate reality theory about the playing on one string thing. Goodrick attended one of Howard Roberts' seminars.
HR was definitely into the importance of having command of moving up and down one string. It's the first section of his Sight-Reading book. There is a photo on the internet of Howard and Mick playing together with a Strohs beer between them.
I'm pretty sure HR was telling Mick at that moment that he'll be famous among guitar geeks for espousing mastery of single-string playing. Messages 1, Of course bass and cello players learn very early how to shift up and down one string. Guitar players get lazy since they have 6 or more strings. But when you only have 4 you learn shifting! Just sayin. More likely they both got that from Jim Hall, actually. That etudes were transcribed off of his warmup sessions during a tour in Pat is a fan of playing chromatic thirds, both ascending and descending, which you can see at the end of the lick in this example.
If you are looking to get a Metheny vibe into your solos, try taking those last few chromatic 3rds out of this lick and apply them to other musical situations. Though many of us associate three-note-per-string scales with rock and metal, Pat translates these scale shapes to the jazz idiom as he uses to hammer-ons per string to build a fluid line over a Dm7 chord.
Here you are stepping outside and using non-diatonic triads to build tension over a major 7 chord , in this case, Cmaj7. Notice how there are some diatonic notes in each triad, and some tension-building notes, which eventually resolve to the 6th, the last note of the line. This phrase uses string crossing to build a semi-legato line that mixes hammers with plucked notes in a cool sounding and effective manner. This technique can be a bit tricky to get under your fingers at first, so go slow, use a metronome and really nail that string crossing before raising the tempo and getting the whole phrase up to speed.
Curious why the annotation for the A minor blues in the fingering chart scale is written as a D raised 4th instead of a b5.
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