medical-site.info: Mickey Baker's Complete Course in Jazz Guitar: Book 1 (Ashley Publications) (): Mickey Baker: Books. Compre o livro Mickey Baker's Complete Course in Jazz Guitar: Book 1 na medical-site.info: confira as ofertas para livros em inglês e importados. "Mickey Baker's Complete Course in Jazz Guitar - Book 1" In Mickey Baker, an aspiring guitarist and guitar teacher, published a guitar course called.
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Mickey Baker's Jazz Guitar - Free download as PDF File .pdf) or read online for free. A Jazz Method Guitar - Lenny Breau - Jazz-Blues Comping. Uploaded by. Thread: Mickey Baker's Complete Course in Jazz Guitar. .. I have just downloadd Mickey Baker's Book #1 and I am looking forward to using. Mickey Baker's Complete Course in Jazz Guitar book. Read 2 reviews from the world's largest community for readers. (Ashley Publications). A method in how.
Anything, and everything.
Hopefully more experienced players, or people who use the book can stop in and help when needed. I think this will be a great tool for any other beginners that come along like me Ok, page one This is my first thought, all of this can be overwhelming!!
How am I going to be able to do this?? I can tell you first thing, I have no clue I'll start with the first chords, move on from there. I really want to play Jazz guitar. I have wanted to for a very long time, today I begin, come see me in a year The Jazz Guitar Chord Dictionary.
Isn't page two or three where it starts using one or two chords up and down the fingerboard.. I'll dig mine out tonight so I have it close by Page two lists the chords, Page three is where the chord exercises begin. Just a note for other beginners. You will be much better off knowing the note names on the neck when you begin using the book. I have some prior knowledge so I'm ok with the book, but if this was my first download, I may be feeling lost already.
Join Date Jun Posts Hey Jazz Bug When you practice the chords changes from Maj7 to Maj6 , and mi7 to mi6 keep your pinky anchored to the fretboard. This move will pay dividends in the future when moving from one position to the next. Join Date Jul Posts I'm releasing a lesson a week and I have just released Lesson 43 "Rhythm Changes". My role is as a moderator and fellow student, letting Mickey do all the teaching.
As I am a fingerstyle guitarist, I've added some insight to help other fingerstylists without affecting what Mickey wrote for the plectrum artists. I have put the entire course, including transpositions to all the orchestra keys, into the TablEdit format. All you have to do is download and play along. Where Mickey asks for student participation, I have given my attempts as examples. It's all free, BTW. Mickey Baker Best regards and good luck, Mike Joyce. Originally Posted by Jazz Bug.
Join Date Dec Location one guitar pick south of tokyo Posts Join Date Apr Posts Mike, Another thanks for the extra help on Mickey Backer, I recieved my lessons books over the weekend and went straight to your site to start as a companion.
It sounds like a lot of folks are taking Micky's course right now and your site will help tremendously. Hi Jasmeece, I'm happy that you're going to be able to use the site to help.
Remember that we're all students. Starting about lesson 8, Mickey gives us an opportunity to create intros, endings, etc. If you create something you'd like to share this invitation extends to all , send it to me and I'll add it to the lesson as student participation. Good luck, and have fun with it. Mike Mickey Baker. Join Date Nov Posts I am sightreading a piece called "ladybird" seems to me a tricky thing "classical players" would reject those "resolutions" Join Date Dec Posts 5.
Michael, took a quick look at your Baker lessons. Maybe I can get past lesson three now! Although I practice alot progress is slow. My question is this, my fretting hand, not finger tips but hand, gets sore after playing several hours.
Do you recomend a day off a day on like at the gym, or just pushing on through the soreness. Hi Micheal, you did a great favour to me with the mickey Baker course thank's a lot. I try to work it out. Hi there, might be you are not relaxed as necessary, be careful, perhaps change your position of the lower arm, otherwise you might suffer from tendonitis.
Make pauses, give your hand and arm always a chance to relax. Join Date Aug Posts 1, I just received my copy of Mickey Baker's book 1. It's quite interesting to think this book was written back in the 50's and yet is still very relevant today in It's neat. I am tickled to have it. I am familiar with many of the chords. However I managed it. I will say from my brief perusal of the book that Mr. Baker made an excellent instruction manual.
There is genius in simplicity and what could be more simple than a lesson per page with the instructions to practice each lesson at least 2 hours a day for a week. Simple but not easy. Bravo Mr. Hi all, It's interesting to hear all the comments coming from new students and old friends of Mickey's course. After almost three years of constant work with it two years to put the course into TablEdit Files, and a year of releasing one lesson a week , I'm more impressed with Mickey's genius than ever.
I hear criticisms like "there are lots of typos", "old fashioned", and "out of date", but I still contend that Volume 1 is the best thought out and concise guitar course I've ever found.
Note to Spider and Jazzbug: Don't get overwhelmed by the forest when you're concentrating on one tree. My least favorite lesson in Mickey's Volume 1 is Lesson 1. He presents 26 chord forms and just asks you to get familiar with the fingering.
From Lesson 2 on he just takes 3 or 4 forms and writes exercises around them. If you'll go to the Study Group, you'll find I've added a couple of exercises to help you learn all the notes of the fretboard. Don't worry so much about memorizing all the forms in the first lesson.
It's not about that. Tomorrow, I'll be releasing Lesson 47 Riffs with the tonic note on the 3rd string , and there are just 5 more after that, not including a review lesson, and several appendices. The subjects for the appendices will include one on arranging for a small group and it gives a bunch of Mickey's riffs that have been adapted for a bass guitar; an appendix on Latin rhythms; an appendix on chord solos; one on modern comping; and Larry Kuhns has written an appendix on creating an independent guitar score from sheet music and entering it into TablEdit.
We have space for some more and I am open to suggestions. As of right now I have no plans to put Volume 2 into TablEdit as it doesn't quite lend itself to the same format that Volume 1 did. Also, little by little, I've given most of the Volume 2's chord forms as additional variations. If anyone has any ideas about how to adapt Vol 2 to this format, I'd sure love to hear about it. Good luck and like anything, one gets out of it what one puts into it! BTW, a very happy holiday season to all!
I am not sure if this is the right thread to ask but since we are on the Mickey Baker course. In lesson 2, thats as far as I got, he is asking to make the chord change from a Maj7 form to the Maj6 form. I am not used to the Maj 6 form and I find myself switching to a 6and9 form which I am used to. Will this form be a viable substitue for the Major chord which I beleive is the whole point to the exercise in the first place? I want to be true to the course but this switch is slowing me down.
Hi Jasmeece, Do you remember the first time you tried to make a 1st position F chord, with that little barre on the 1st and 2nd strings? Buddy, I sure do! I was 8 and that was about 52 years ago. Somehow I figured out how to do it, just as I'm sure you did as well. Mickey's Form 2 Major 7 going to a Form 3 Major 6 is a "bread and butter" chord progression that is found in all forms of guitar music, not just Jazz.
The fingering pattern is used for other chords such as a Major 9, minor 7, and if you move it to the 5th, 3rd, 2nd, and 1st strings, it is the finger pattern for a minor 6. Note that Mickey asks you to spend at least a week on this lesson. At the end of the week, if you aren't comfortable, spend some more time. It's just too important to pass up. Another way of thinking about this progression is to have a tonic triad which you've added a descending scale starting with the 7th note an F in G to a 6th an E in G.
Because this progression is so important, I hesitate to give this "crutch". Some players "comp" using three note chords. If you take this progression and omit the notes on the 2nd string, you can dedicate your 1st finger to remain on the note on the 4th string, your 2nd finger on the note on the 6th string, and your 4th finger on the note on the 3rd string. Then it's a simple matter of raising or lowering your 3rd finger which is on the 4th string and same fret as the 4th finger to go from Maj7 to Maj6 or vice versa.
But the fingering pattern for a Maj9 is similar to a Maj6 a C Maj9 with a 5th on the 6th string is the same as a G Maj6 and an E minor7. Just practice it until you get comfortable with it. Then the other progressions that use that fingering pattern will be a piece of cake. I hope this helps and you'll let us know how you're progressing. You can do it!! Best regards, and Happy Holidays, Mike. I have received my copie of the book 1.
I am waiting for the book 2, but it doesn't matter!! I have enough work to do for the next 20 years! It seems very complicated for the beginner I am. I just can play some of the 26 chords in the lesson 1.
It is who I am currently. I want to be sure that I master that before going further. No problem with the suggested fingering in the book. Very logical and adapted Thanks a lot to michael Joyce for his fantastic job based on this method.
Very interesting , and very helpful. It will be a precious help for me during the hard time i will surely have. Mickey Baker It took me over a year to work through the Mickey Baker book 1 and I still use it as a reference. This book will put a lot of chords under your fingers and give you insight into how to substitute chords.
If you use this book take your time, a significant amount of info is presented without much explaining - it will take some time to digest the material. I think this is one of the greatest jazz guitar books ever published tom.
Thanks for the tip on the pinky finger!! I went over it again and I realized that my issue was that I lifted my hand and once I started fixing the pinky it came together a lot better.
I still have some work to do but I am farther today than I have been before. This is a really good instruction book for learning jazz. I'm amazed. I read somewhere on the web that Mickey Baker pretty much took these lesson ideas from an instructor he had in the 50's.
They are good ideas. Kudos to Mr. Baker for passing them on to future jazz students. The lesson plan is damn good. It's broken up into very manageable chunks. What I find very interesting and crucial to whole "system" is the 2 hours-a-day for 7 days per lesson. This plan makes me realize how often we try to bite off more than we can chew when learning new things. Most often we don't spend enough time practicing one thing before jumping to the next.
The idea could be implemented in a lot of situations. If you were learning a new scale like Melodic Minor, you would practice that scale for 2 hours a day for 7 days. Anything else you are doing is on top of that. And really 2 hours a day. Use a stopwatch to keep time. Pause it when you get coffee. No cheating.
Try it. I used the Mickey Baker I book back in the mid 70's - if you try to digest the chords and the fingerings, 2 hours a day for a week is about right - I found that book to be one of the best guitar books I have ever seen or used. Unfortunately, I just don't have these 2 hours a day to practise.
But every day a little is also a good thing. I take just a lonnnger time to get threw a lesson. I took me about one month to fulfill just the lesson 2. Not so good, but I am very happy. This lesson is probably the harder one, isn't it?
I have to say that I followed all the piking recommanded by michael on his website. It takes more time, but it is very interesting. Fantastic job michael , very helpful! The chord 5 after the 4 is just terrible to play. Very complicated for me to play it with the fingering of Mickey Baker. Someday it goes, someday I have to use my thumb on the bass string.
I apologize for that It took me probably three years to go through this book. It doesn't matter. Every exercice is pure jazz, and not just an exercise.
It makes the difference. Great book. And with the explanation of Michael, it is just as to discover a goldmine somewhere. Hi Manu68 et al, Yes, that little book packs a lot of dynamite, doesn't it?!?!
Let's talk a little about chord forms 4 and 5. First of all, remember that Mickey's fingerings were for a plectrum guitarist that only had a single pick to strum a chord. I believe he chose fingerings that allowed the guitarist to deaden unused strings so that when you strum through the chord, the deadened string wouldn't sound.
Also, he gives us 4, 5, and 6 note chord forms. So often we can omit the highest string or couple of strings. So, why would he do that? It could be that he learned those chords with those names. I like to think that he named chords according to their function; not so much according to the notes they contain.
Learning a little basic music theory will help you sort that stuff out if you are the curious type. They apparently were much more popular in the past than they are today in Jazz. However, they certainly can still be used. Check out Kenny Burrell. He uses big, lush 6 string chords all the time. Maybe this is what people are referring to when they criticize the book as being dated.
However, I see this as a non-issue. Any 5 or 6 note chord can be reduced to a 3 note shell voicing. However, there are occasions when a big, lush chord is called for. Not Enough Explanation There is very little theoretical explanation of anything in this book. That should certainly please the anti-music theory crowd; and motivate those interested in music theory to put on their thinking caps.
The objective is for you, the student, to get the chord shapes, progressions, and lines under your fingers. And, more importantly, to get the sound of these progressions and lines into your ears and put them to practical use ASAP. I think this is the way many of the old-timers learned back in the day. They learned by listening, watching, and copying what they heard and saw. They got tips from the more experienced musicians they played with.
Then they took all this information and explored, experimented, and discovered things on their own. I know I could certainly benefit from more exploration, experimentation, and self-discovery instead of always depending on tabs. He makes you work too hard This is not a passive book where you just play what he shows you as a series of exercises.
He expects you to put this material to practical use right now. Half way through part one he tells you to start applying his chord substitutions to actual songs on your own. In part two he gives you a couple of bars of a solo and has you fill in the next couple of bars with your own ideas. Then he gives you a couple of more bars and you fill in again.
In other words he forces you to think, work, and apply what you are learning — not when you finish the book, but right now as your working through it. This is where many of us fail. We skip over the hard stuff. We get distracted by the shiny object over there thinking that the secret to becoming a good guitarist is in that other book or video course.
Not enough chords are presented Only a petty, pedantic, pinhead would say something like this. Mickey Baker gives you 5 major 7th shapes, 13 dominant 7th shapes including altered 7ths , 2 to 4 different shapes for major 6th, minor 6th, minor 7th, minor 11th, minor 9th, and diminished 7th. There are 33 chords in total and several can function as more than one chord.
For example, the Gmaj6 3 x 2 4 3 x x is also a 1st inversion of an Emin7 and a rootless Cmaj9 with the 5th in the bass. As Joe Pass pointed out, there are only 3 chord types — major, minor, and dominant.
All chords function as one of those primary types. You can play any Jazz standard in existence with the 33 chords in this book. This could be completely true, partially true, or not true at all. Who knows for sure?
None of the parties involved are alive today to defend their positions. Is the value of this book any less because there is some doubt as to who actually wrote the material?