Hey @poparad can you share the sibelius version of this transcription? Thank you for taking the time for transcribing this... as you can see, more than 82k visits means we appreciate your contribution.
This should be a lesson to anyone that wants to play jazz."If it ain't got that swing." well let's just call this guy a "Classical Gutarist" playing a standard american song.C'mon Man, where's the swing??If anyone aspires to this via what is he playing over this or that you need to go listen to real jazz.Listen to Jimmy or Doug Raney,Tal Farlow, best of the best Wes Montgomery, Pat Martino, Grant Green.That's what it's all about.These young cat's listen too much to Mike Stern and John Scofield!
@phenixdagemini Dude, you can listen to whatever you want, man. Why should there be anything wrong with the newer guys? Jazz is always evolving. You can listen to all that ol' jazz you like (I do too) but don't neglect the modern ones. Jazz isn't about playing like Wes. Wes played like Wes.
@JazzInATinCan..evolving,YES!but do YOU know what the meaning of evolving is?If i go see this guy three nights in a row i'll bet you 20 dollars his solo will sound the same every night.plus the shi* sounds like an exercise anyway, so whatever. It's obvious you don't know the meaning of swingAs far as modern.Peter Bernstein,Russell Malone etc have it.DUDE!.whatever.if you like Jassical music it's cool. We'll just come up with someting new for the rest of you to take the "eccense" out of.(lol)
@phenixdagemini I was writing a long answer, and then just realized how stupid I was, discussing music on youtube.... I really love all kinds of music, as long as the players' styles appeal to me. Scofield's does, and Wes' does. And Adam Jones' of Tool does... Enjoy your music (!!! the guys you mention are truly masters), but don't tell people you have "the answer" or that those not in four favor are bad. It's not an objective thing. And eventually have a good day. (lol yourself)
he's playing over all the changes.. but to the general public it just looks like he's playing aimlessly.. great laying but it doesn't matter if it doesn't entertain people
He is substituting a lot of extraneous chords for the basic chords using single note lines of long eight note strings, using a lot less traditional bop vocabulary.
{THEREFORE}
His lines make the changes ambiguous.
{THEREFORE}
It is difficult to hear the basic changes of the tune. The level of difficulty varies of course from person to person, based on musical backgrounds and level of ear training.
@bgstrat62 I know where you're coming from. I believe these type of substitutions, patterns, and tricks, as it were, are very interesting when sparsely present in the context of a well-developed melodic solo, one that uses strong bop phrases and ideas, rather, as the foundation of the underlying harmony. In the end, he's certainly a genius and an innovator. But is it truly *musical*? Or is it the solo's primary intention to just be "hip"?
Hey can anyone tell me what he's doing in bars 14-16 of the transcription? He seems to play an F#7 scale over a Dmin7 (bar 14) and I think it's a F altered scale over the F7 (bar 16) but I don't really get 14 or 15 at all or what he's thinking...
If someone could help me out it would really make my day...I will also give you $100,000...
@atj409 It's actually really simple: bar 17 is Bbmaj7. This is also the beginning of the bridge, which is a strong point structurally in the tune. The V7 of Bbmaj7 is F7, and its tritone sub is B7. For m. 14-16, he's just playing over a plain B7 chord (all B mixolydian) in anticipation of the Bbmaj7 he's going to resolve to at the start of the next section. This is the "changing key centers" thing he was asked about at the beginning: superimposing a new key in place of the normal changes.
@Poparad Hello Jemery Poparad. Very nice transcriptions on your site :) If i understood everything you said about this "changing key centers" thing is that Adam is superimposing the key of the tritone sub over the normal changes ?
I'm pretty sure that if you sit around on youtube bashing musicians who actually have careers, you are just a nobody who is validated through your internet anonymity/stupidity.
You guys DON"T GET IT! Jazz is clearly not jazz unless you eat 3 bananas before playing . You all clearly don't understand that the sauce used on the banana peel DEPENDS on the key you are about to play. (Aebersold vol 34. duh) If you don't squish your foot on the banana peel while you keep time you will never know how to swing. Hence, no banana squishing NO JAZZ! All these new guys have the audacity to squish PAPAYA peels under there feet which is just disrespectful to the REAL jazz artist!
Rogers seems to be a very important influence on young guitar players. I'm from Chile, a small country, and I've heard at least 7 guys here trying to play like him.
He seems to be the melodically weakest of the 'new generation' of high profile guys. Not much forward motion in his playing. Very flat to me. Whoever mentioned Tristano is missing the point. 'Line Up' is a fuckin' trip to space, and it unfolds and develops like a great story, all without ceasing to be 'All Of Me'.
OK, I'll say something good about him. His technique is perfect and smooth. He can really burn on modal vamps, which is a rare thing among guitarists. He was Brecker`s favorite new guy on guitar. He has Potter on his albums and he's got some great tunes and arrangements of standards.
All in all, he's one of the good fusion guitarists out there !
Lots of comments on whether he was following the changes... I'm a keyboard player and was able to comp under that solo with no problem. For my taste, it's too busy and note-heavy; but I think he was trying to illustrate some harmonic techniques for the class.
Adam is rocking the changes, no doubt. I played with Adam a number of times back in New York and he is a VERY talented musician. He can play straight be-bop, totally outside modern stuff, and everything in between. Hey Adam!
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Sorry folks, but he's just playing random notes under the guise of being "outside". It's too bad so many people fall for this sort of thing, because it's fraudulent, and not jazz . And to jazzfly- your ears are fine, don't worry, he isn't playing the changes. Seems as if that concept has been thrown out the window, along with the blues. So then what? Theories, notes, banality=bullshit.
@ShiffronLandren I'm sorry you have such tin ears that you can't hear that he actually is following the changes. The lines are hardly random, although there are a few passing moments where he plays outside, but in a very clear way that is also not random (at the end of the 2nd A section in a chorus he resolves to B major instead of F major, and which sets up the B section's Bb major beautifully). If you don't believe it, check the transcription. The notes are there, and the changes are there.
@Poparad adam is playing with some intense theories for sure, but i have to say saffron lantern is right about throwing concept and the blues out the window. I know that's whats happening because all my old jazz teachers all complaining about this kind of playing. It's definitely a style born from jazz but is it the real deal, swing time jazz jazz?
@bearishwearish Who cares if it's the "real deal, swing time jazz jazz?" It's still music. If I wanted to hear it done the way things used to be done, then I'd put on a record of it. If there aren't people trying new things and exploring new avenues (and yes, that often means leaving behind parts of the past to make room for the new), then the style would stagnate and die.
@Poparad i care if it's the real deal because there are healing elements that come jazz that is shared, loved, forgiven. This is a guy running scales and shapes with masterful technique not inviting me into his story he's trying to tell. Rather he is inventing high cerebral magic participating away from the listener. This is indeed music but is not jazz. Remember jazz is an old story with good news, it is an empty space for you empty yourself into, a place of real love to be forgiven.
@bearishwearish I didn't realize that you were the arbiter of all that is and isn't jazz. Music is music. Some of it will speak to you, and some of it won't. Just because it may not speak to you, doesn't mean that it doesn't speak to others. Just because it may not appeal to you doesn't determine whether something belongs to a certain style or not. Just about all the things that you just described as jazz meaning to you, are not what jazz means to me at all.
@bearishwearish You hit the nail on the head ! The story, and it comes with passion and sex and grit and issues of all kinds. The real thing just involves your emotions, like Blossom Dearie does....
"Remember jazz is an old story with good news, it is an empty space for you to empty yourself into, a place of real love to be forgiven." That's beautiful and true bearishwearish !!
@Poparad Well, a lot of people care !! That's why you still have people like Lee Konitz, playing the coolest shit you can imagine within that BEAUTIFUL tradition. If 'exploring new avenues' means leaving swing and grit behind, then you should try the radical new hot dog with no sausage in it !
If you don't want the style to stagnate, the don't overlook its basic constituent elements !
Don Ellis was a mixed meter freak but he swung like a motherfucker... there you go !
@bearishwearish I've studied with traditional players and players ushering jazz into the new age. You should try to appreciate the whole spectrum of jazz. This is coming from someone who loves Freddie Green and Eddie Lang but still loves Rosenwinkel. Expand your ears and your playing will thank you.
@bearishwearish It must be frustrating for the older guys to have to listen to this kind of playing being called jazz. It's post-McLaughlin stuff for sure. Makes me want to run and listen to Red Mitchell !!
@Bratschenator run and listen to red mitchell INDEED!!! I saw Sonny Rollins and Jim Hall in Vermont this summer a reunion that took 50 years! I lost it during "My One and Other Love" I had to leave my seat for I was afraid I was ruining the show for others around me. I'm guessing you would love my late mentor Claude Sifferlen. There is a small sample of a documentary about him on youtube as well as a few clips of him playing the clubs around Indianapolis.
@bearishwearish Wow!! Did Sonny and Jim get too abstract??? Thanks for introducing me to Sifferlen, a beautiful player indeed !! Must have been wonderful to find a teacher like that.
@ShiffronLandren , I'm afraid you've got pudding in your ears again...happens every time we forget to put your "helmet" on before mealtime. Go see the nurse at once!
@ShiffronLandren why do you gotta b such a nerdy d-bag and argue with people online about a man who plays his ass off. Who cares if your ears don't hear him playing the changes. This is Adam Rogers, not Barney Kessel.
Shiff... Adam is definitely playing the changes. If you're expecting bop lines, sorry: this isn't 1957. Haven't you ever checked out Lennie Tristano's school of linear ideas? Late '40s, son, and it sounds a lot like this. Check out Tristano's "Line Up" and take a guess at the standard he's playing over.
@ShiffronLandren Yah, may I most sincerely suggest that you look at the transcription provided in the description box. Even if you can't hear it, that transcription makes it very clear that he is in fact playing the changes.
@ShiffronLandren he is playing the changes... play the changes along w what he is playing its perfect.. al lot the concepts he is using which you refer to as bullshit are all coltrane and mccoy tyners influence... i think its safe to say they werent bullshitting either. it is jazz. it is blues and swing and all that great stuff jazz has always been just brought to a new level.
@ShiffronLandren Comp along with his playing (if you're capable) and then tell us he's not playing the changes. Or analyze the transcription (if you're capable) and then tell us he's not playing the changes. This is a demonstration of moving key centers around, which is clearly stated in the beginning. The only bullshit here is your comment.
Adam Rogers is amazing and a real inspiration to any guitarist, any musician. I've been playing guitar for a long time but Jazz has been inacessible to me. I love it, and can play all the heads in the fake book, but I can't "hear" to improvise .. Help!!
I think it's important to realize that the stuff that AR is playing here is *not* in a normal performance context, i.e., there is not audible harmonic underpinning for the ear to use as a reference, hence why some folks aren't hearing the changes. Additionally, more modern jazz players aren't going to explicitly continuously outline the changes as was done in the swing era and pre-bop / be-bop. I regularly shed this tune and I have no problem knowing where is in the form. I
What a remarkable player! And yes, you can clearly hear where he is in the form at all times. He's taking his time and developing his ideas. Tal Farlow's version turned me onto this song, and you can hear that Adam is clearly one of the leading improvising guitarists of his generation. All ideas and no shopworn licks.
This is great! Adam Rogers is one of my favorite guitarist but is anyone else having a hard time hearing the changes to HYMMJ? Even if he is changing keys which i don't think he is, its not there. Be interestinng to transcribe to see what he's really diving into.
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But what i'm saying is he's not doing a very good job. It sounds great, playing very interesting stuff, but it's just not there, the tune that is. Don't get me wrong though I LOVE Adam Rogers.
You can't hear the tune? It is there, and he is outlining the changes. Just look at the transcription. There are some moments that he does veer outside through some chromatic planing idea or through a substitution to a different harmony (there are a few really clever ones in there), but he's always there with the tune. Again, if you don't believe it, check the transcription. The tune is always there.
@Poparad Thanks for the transcription! I think I can see what MaScotheneyfield is saying, however... Ada,m chose to do some complicated stuff, but usually with a single instrument, you'd want to highlight the chord changes by staying true to the 3rd. He sometimes ignores the 3 altogether or gives it a different quality than is harmonically indicated. I think AR did it on purpose, sure, but I also can understand why someone would say that he's abandoning the "tune" for his own purposes... My $.02
@Poparad He goes pretty far outside at not just a few spots, but a lot of the time. I can see how it would be easy to get lost in the tune; the changes aren't that clearly outlined. At least, they aren't outlined in a traditional sense. Rather, it's that contemporary feel and interpretation that easily throws the untrained ear.
@MaScotheneyfield I think that if there was a band, or even just the chords, behind him, you would have an easier time hearing how what he's playing fits over the changes. Because it does.
@MaScotheneyfield LOL I don't see how you could say it sounds good and that he isn't doing a good job. I think the intent is for people to enjoy it... right?
Yeah I just expected more. He's always in the general 'area' of the tune but doesn't aurally display it almost ever. And There's stuff in the transcription that is pretty unexplainable other than he just wanted to do that... Chris Potter's maser class bootleg is a good example of what playing a tune solo should sound like. Even when he's out you can hear the tune. You can ALWAYS here the tune.
I understand the whole "Jazz student" thing were you gotta have all the bases covered, dotting all your "i's" and crossing "t's" but when are we going to get back to just listening and ENJOYING? Just a thought.
@MaScotheneyfield: What bootleg are you talking about, the All The Things One? Keep in mind that tune is lots more mathematical in its changes than HYMMJ, he's doing a lot of repeated figures there (but then in a way that's beyond whatever us mere mortals could ever dream up)
@MaScotheneyfield I'm hearing the changes pretty clearly. He's just not playing the shit that everyone else does over major 3rd progressions so I can see how it doesn't seem as obvious at first.
...However, I think that I like old Joe Pass' solo version a little more.
As for this video, I'm ripping it and saving it (lest it disappear) for a time when my jazz chops have improved to the point where I can put it to use.
Man, his time is crazy. Anyone tried to put at metronome with his playing? He sound so solid. His tone is very cool as well. It sometimes sound lika trombone, both tonewise and his phrases. Anyone thought of that? 3:43 and forward :)
definately agree Mrzzajjazz... thanks alot for putting up the transcription, what jazz and music in general should be about, just sharing knowledge and helping each other explore and study music, thank you...
Thank you so much for sharing the transcription of this monster-impro by Adam Rogers! I've just started to take a look at it, and only on the first page I find so much information... A lot of hip things to learn! Keep up the good work Poparad!
I see there is some comments on the Benson-style picking. To get a good description of this, I would recommend checking out Tuck Andress´ article on his website. He describes the mechanics of it very thoroughly. Great clip of AR btw!
I am truly offended by the way you speak of my friend Jack Zucker. He is not only a wonderful person but a master gutarist. I mean that in every sense of the word.. We have played together on many ocasions and it has always nothing but a joyful experience and pure honest music. I would appreciate you not speaking about someone who plays like no other with such derogatory language. I would love to hear you play. Any sites that I could do that? Please let me know.
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the GB picking style helps for some and not others. Its fairly common for jazz guitar players. Henry Johnson said GB told him that was the trick to playing really uptempo stuff . Disregarding this specific genre the fastest pickers ive seen dont use this technique so thats another way to look at it. Personally i dont really look at jazz guitarists as pioneers in technique b/c its usually more oriented around the lines, etc. I could be wrong. you want crazy technique check out guthrie govan lol!
maybe I need more eart training , cause i barely ear the changes on his impro, can anyone talk about his concept? he is goin free outside with pentatonics or what? I know is not gypsy stylle but a few arpegios would center the lisener.
There's a link to a transcription I did in the info box for the video. He's playing the changes, though occasionally he does venture outside, but that's not all that often. He's not blatantly outlining the changes all the time, but he's not ignoring them either. Sometimes he lets a countour of the melody, or a sequence, or a rhythm take precedence over the harmony, but at the end of it, he goes right back to the changes to ground things again.
The reason why his wrist looks weird, is because he has that double jointed thumb or whatever it's called, like George Benson. If I'm not mistaking, I also believe Adam uses economy picking. Anyway, very good video, very good lines. Even with no harmony, you can hear him outline chords and changes very well.
There physically is no such thing as double jointedness.
Adam uses a bit of everything in his playing, which is why he's such a consummate master. Lots of economy picking, but also lots of alternating, and lots of legato.
I read a great article about different ways to hold a pick. The way he holds his pick is due to the joints in his hands. Many people hold a pick between the flat of their thumb and the side of their index finger. He holds it between the flat of his thumb and the flat of his index finger. So that's why his thumb is arched.
I have some videos of him playing with the Akron faculty from a few days before this masterclass. It's not the greatest quality... I'll see if any of it is worth putting up.
Too many great player hold the pick in totally different ways so there is no one "correct" way. However, the Benson/Rogers technique is particularly useful for heavier gauge strings because you can hit the lower strings hard to get a nice fat sound. Keep the right index finger almost straight and hold the pick at a 90 degree angle to the string. To do this you will have to tilt your right forearm from the elbow so that your palm is almost facing you. Hope that makes sense.
It sounds like you are keeping your right hand and forearm parallel to the strings, like most guitar players. Don't use a "cutting" angle. Anchor your right pinky on the pick guard and, with your index finger almost straight, pick with a "normal" pick angle on the 6th string. Your hand and forearm should no longer be parallel to the strings but facing you, I believe Benson also uses the rounded corner of the pick, with the sharpest angle pointing away from the guitar. Fatter sound.
god knows how many thumbs down im gona get for this!!! but i really really like adam rogers, BUT to me this is a bit like a bad case of jazz diarhia.... nice lines but....
1) This was just a demonstration in a masterclass, so he stuck to only single note soloing. In a real solo guitar performance setting, a lot more variety in textures is necessary to keep in interesting, but since this was just a pedagogical demonstration, he kept it simple.
2) Without anything backing him up, without any harmony being spelled out by another instrument, it is hard to grasp all of what he's playing. (continued)
(continued) The outside lines don't sound so outside since the inside isn't being specified; the polymetric ideas are more difficult to hear when not heard over a foundational rhythm from a drummer, and so on. When I play this for my students, I often comp along with the recording to help make it easier to understand for them.
Much agreed sheetsofsound... people need to listen to the music and disect IT as opposed to the mechanics. Tonality is what separates an individuals voices in contrast with another. Although it is important in "creating" your voice, being comfortable is more important.
His wrist position seems strange to me, that's all. I make a lot of transcriptions and i listen a lot of course. But i work on my picking hand just now, so i'm curious about that. And i think the physical side has his importance, you have to find your position, which feets confortable. I mean, Look to Adam rogers, his picking motion is always the same, so he must have worked on it. Look to the tennis players, theirs moves are ever the same. So it seems important to me.
You always say the same: "just listen ect..." And so one, you try to tell us the "right way to make music". But personnaly, i think that working on a musician and trying to look to every details is a really interessant work. If you're sensible to a musician, so study the man, all the personn. Just stealing some licks frome one to another ,like you do, is not for me very interestning. It's like trying to play a Bach "cliché" and saying, ok i figured out what's bach.
I think you are superficial in your studies, inded your metheny lick is wrong, and to get the good articulation u have to play that lick in triplets by groups of 4. If you listen closely to pat in masterclass he emphasize the use of triplets. Working on someone's music is working on the all musician.
Sorry but you seem a little bit arrogant "sheetsofound".
Ok, the transcription is up. I still haven't gone through and learned it note-for-note, but I'm pretty sure it's at least 90% correct. There are some really cool lines in there!
Nice. Would like to do that on my barisax
PetersJazz1 1 month ago
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wsdjvgb 2 months ago
Pat Metheny knows....take a lessson:
phenixdagemini 3 months ago
@phenixdagemini ......Search ....Pat Metheny Lesson Part II....since i can't post the link???!!!!
phenixdagemini 3 months ago
Hey @poparad can you share the sibelius version of this transcription? Thank you for taking the time for transcribing this... as you can see, more than 82k visits means we appreciate your contribution.
kemilelumina 4 months ago
@kemilelumina I did the transcription in Finale, rather than Sibelius. I can post that, though.
Poparad 4 months ago
@Poparad Please do Gent ! Many thanks.
kemilelumina 4 months ago
@kemilelumina I added a link to it in the description box.
Poparad 4 months ago
This should be a lesson to anyone that wants to play jazz."If it ain't got that swing." well let's just call this guy a "Classical Gutarist" playing a standard american song.C'mon Man, where's the swing??If anyone aspires to this via what is he playing over this or that you need to go listen to real jazz.Listen to Jimmy or Doug Raney,Tal Farlow, best of the best Wes Montgomery, Pat Martino, Grant Green.That's what it's all about.These young cat's listen too much to Mike Stern and John Scofield!
phenixdagemini 4 months ago
@phenixdagemini Dude, you can listen to whatever you want, man. Why should there be anything wrong with the newer guys? Jazz is always evolving. You can listen to all that ol' jazz you like (I do too) but don't neglect the modern ones. Jazz isn't about playing like Wes. Wes played like Wes.
JazzInATinCan 4 months ago 2
@JazzInATinCan..evolving,YES!but do YOU know what the meaning of evolving is?If i go see this guy three nights in a row i'll bet you 20 dollars his solo will sound the same every night.plus the shi* sounds like an exercise anyway, so whatever. It's obvious you don't know the meaning of swingAs far as modern.Peter Bernstein,Russell Malone etc have it.DUDE!.whatever.if you like Jassical music it's cool. We'll just come up with someting new for the rest of you to take the "eccense" out of.(lol)
phenixdagemini 4 months ago
@phenixdagemini I was writing a long answer, and then just realized how stupid I was, discussing music on youtube.... I really love all kinds of music, as long as the players' styles appeal to me. Scofield's does, and Wes' does. And Adam Jones' of Tool does... Enjoy your music (!!! the guys you mention are truly masters), but don't tell people you have "the answer" or that those not in four favor are bad. It's not an objective thing. And eventually have a good day. (lol yourself)
JazzInATinCan 4 months ago 2
@phenixdagemini You're a freakin idiot.
Fishies125 1 month ago
He looks like 'Q', the omnipotent nemesis of Jean Luc Picard and co. from 'Star Trek: The Next Generation'
cfcpjazz 4 months ago
Thanks so much for the transcription! WOw perfect
EnterDaMatrix 4 months ago
he's playing over all the changes.. but to the general public it just looks like he's playing aimlessly.. great laying but it doesn't matter if it doesn't entertain people
xXironraiderXx 6 months ago
I'll now make my opinion plain and simple.
Yes, it is 2011, not 1951
{THEREFORE}
He is substituting a lot of extraneous chords for the basic chords using single note lines of long eight note strings, using a lot less traditional bop vocabulary.
{THEREFORE}
His lines make the changes ambiguous.
{THEREFORE}
It is difficult to hear the basic changes of the tune. The level of difficulty varies of course from person to person, based on musical backgrounds and level of ear training.
BillyC15 8 months ago
{THEREFORE}
This seems less musical when juxtaposed with the music of the founders of the jazz idiom and language.
BillyC15 8 months ago
@bgstrat62 I know where you're coming from. I believe these type of substitutions, patterns, and tricks, as it were, are very interesting when sparsely present in the context of a well-developed melodic solo, one that uses strong bop phrases and ideas, rather, as the foundation of the underlying harmony. In the end, he's certainly a genius and an innovator. But is it truly *musical*? Or is it the solo's primary intention to just be "hip"?
BillyC15 8 months ago
Good grief. I wish I knew where to look to learn how to do half of that
xOnimpulsex 9 months ago
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one of the best living jazz guitar players in the world right now. anyone care to argue?
TrueMason 11 months ago
one of the best living jazz guitar players in the world right now. anyone care to argue?
TrueMason 11 months ago 3
Hey can anyone tell me what he's doing in bars 14-16 of the transcription? He seems to play an F#7 scale over a Dmin7 (bar 14) and I think it's a F altered scale over the F7 (bar 16) but I don't really get 14 or 15 at all or what he's thinking...
If someone could help me out it would really make my day...I will also give you $100,000...
atj409 11 months ago
@atj409 It's actually really simple: bar 17 is Bbmaj7. This is also the beginning of the bridge, which is a strong point structurally in the tune. The V7 of Bbmaj7 is F7, and its tritone sub is B7. For m. 14-16, he's just playing over a plain B7 chord (all B mixolydian) in anticipation of the Bbmaj7 he's going to resolve to at the start of the next section. This is the "changing key centers" thing he was asked about at the beginning: superimposing a new key in place of the normal changes.
Poparad 11 months ago
@Poparad Edit: Sorry, it's probably more like F#7 -> B7 -> Bbmaj7, which still fits the general idea.
Poparad 11 months ago
@Poparad i refer to them as ii-V non resolving tritones
Jazzyteach65 9 months ago
@Poparad Hello Jemery Poparad. Very nice transcriptions on your site :) If i understood everything you said about this "changing key centers" thing is that Adam is superimposing the key of the tritone sub over the normal changes ?
mistermanugo 8 months ago
I'm pretty sure that if you sit around on youtube bashing musicians who actually have careers, you are just a nobody who is validated through your internet anonymity/stupidity.
Jazzguitar00 1 year ago 4
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Jazzguitar00 1 year ago
You guys DON"T GET IT! Jazz is clearly not jazz unless you eat 3 bananas before playing . You all clearly don't understand that the sauce used on the banana peel DEPENDS on the key you are about to play. (Aebersold vol 34. duh) If you don't squish your foot on the banana peel while you keep time you will never know how to swing. Hence, no banana squishing NO JAZZ! All these new guys have the audacity to squish PAPAYA peels under there feet which is just disrespectful to the REAL jazz artist!
pandafuryface 1 year ago 10
@pandafuryface AAAAAAHAHAHAHAHA
guitarmonster21 2 months ago
IMO, Adam needs to play standards more often!
brush200400 1 year ago
AR rules
flatnine 1 year ago
How did you transcribe this?
TheLeunamiam 1 year ago
@TheLeunamiam With my guitar, my ears, an mp3, and Finale.
Poparad 1 year ago 6
@Poparad That's a pretty good ear man. And patience. Nice
TheLeunamiam 1 year ago
Rogers seems to be a very important influence on young guitar players. I'm from Chile, a small country, and I've heard at least 7 guys here trying to play like him.
He seems to be the melodically weakest of the 'new generation' of high profile guys. Not much forward motion in his playing. Very flat to me. Whoever mentioned Tristano is missing the point. 'Line Up' is a fuckin' trip to space, and it unfolds and develops like a great story, all without ceasing to be 'All Of Me'.
Bratschenator 1 year ago
@Bratschenator , I think you might need to clean your ears out dude. Plan on hiring a crew to haul away all the stuff your about to find in there!
cjenkinsjazz 1 year ago
@cjenkinsjazz , LOL !
OK, I'll say something good about him. His technique is perfect and smooth. He can really burn on modal vamps, which is a rare thing among guitarists. He was Brecker`s favorite new guy on guitar. He has Potter on his albums and he's got some great tunes and arrangements of standards.
All in all, he's one of the good fusion guitarists out there !
(Just don't ask him to play Stella !!)
Bratschenator 1 year ago
Id swear these were flstwound strings, but apparently he uses roundwound 13-49 =/
Rg1527 1 year ago
Increible!! este tio es el mejor!!
rachulguitar 1 year ago
Lots of comments on whether he was following the changes... I'm a keyboard player and was able to comp under that solo with no problem. For my taste, it's too busy and note-heavy; but I think he was trying to illustrate some harmonic techniques for the class.
Adam is rocking the changes, no doubt. I played with Adam a number of times back in New York and he is a VERY talented musician. He can play straight be-bop, totally outside modern stuff, and everything in between. Hey Adam!
GEgloff 1 year ago 3
This comment has received too many negative votes show
Sorry folks, but he's just playing random notes under the guise of being "outside". It's too bad so many people fall for this sort of thing, because it's fraudulent, and not jazz . And to jazzfly- your ears are fine, don't worry, he isn't playing the changes. Seems as if that concept has been thrown out the window, along with the blues. So then what? Theories, notes, banality=bullshit.
ShiffronLandren 1 year ago
@ShiffronLandren I'm sorry you have such tin ears that you can't hear that he actually is following the changes. The lines are hardly random, although there are a few passing moments where he plays outside, but in a very clear way that is also not random (at the end of the 2nd A section in a chorus he resolves to B major instead of F major, and which sets up the B section's Bb major beautifully). If you don't believe it, check the transcription. The notes are there, and the changes are there.
Poparad 1 year ago 14
@Poparad
Hi Poparad !!!
Thanx a lot to allowed us to get in touch with such amazing art music !!
Could it be possible to get the transcription you did in other format than PDF ?
So amazing playing, I do love the way Adam Rogers plays !!
LokayLakanay 1 year ago
@LokayLakanay I did the work on Finale, so I have a .MUS I could post.
Poparad 1 year ago
@Poparad
Hi Poparad !!!
Thanx a lot to allowed us to get in touch with such amazing art music !!
Could it be possible to get the transcription you did in other format than PDF .sib for example?
So amazing playing, I do love the way Adam Rogers plays !!
LokayLakanay 1 year ago
@Poparad
Hi Poparad !!!
Thanx a lot to allowed us to get in touch with such amazing art music !!
Could it be possible to get the transcription you did in other format than PDF .sib for example?
So amazing playing, I do love the way Adam Rogers plays !!
LokayLakanay 1 year ago
@Poparad adam is playing with some intense theories for sure, but i have to say saffron lantern is right about throwing concept and the blues out the window. I know that's whats happening because all my old jazz teachers all complaining about this kind of playing. It's definitely a style born from jazz but is it the real deal, swing time jazz jazz?
bearishwearish 1 year ago 3
@bearishwearish Who cares if it's the "real deal, swing time jazz jazz?" It's still music. If I wanted to hear it done the way things used to be done, then I'd put on a record of it. If there aren't people trying new things and exploring new avenues (and yes, that often means leaving behind parts of the past to make room for the new), then the style would stagnate and die.
Poparad 1 year ago
@Poparad i care if it's the real deal because there are healing elements that come jazz that is shared, loved, forgiven. This is a guy running scales and shapes with masterful technique not inviting me into his story he's trying to tell. Rather he is inventing high cerebral magic participating away from the listener. This is indeed music but is not jazz. Remember jazz is an old story with good news, it is an empty space for you empty yourself into, a place of real love to be forgiven.
bearishwearish 1 year ago 3
@bearishwearish I didn't realize that you were the arbiter of all that is and isn't jazz. Music is music. Some of it will speak to you, and some of it won't. Just because it may not speak to you, doesn't mean that it doesn't speak to others. Just because it may not appeal to you doesn't determine whether something belongs to a certain style or not. Just about all the things that you just described as jazz meaning to you, are not what jazz means to me at all.
Poparad 1 year ago
@bearishwearish You hit the nail on the head ! The story, and it comes with passion and sex and grit and issues of all kinds. The real thing just involves your emotions, like Blossom Dearie does....
"Remember jazz is an old story with good news, it is an empty space for you to empty yourself into, a place of real love to be forgiven." That's beautiful and true bearishwearish !!
Bratschenator 1 year ago
@Poparad Well, a lot of people care !! That's why you still have people like Lee Konitz, playing the coolest shit you can imagine within that BEAUTIFUL tradition. If 'exploring new avenues' means leaving swing and grit behind, then you should try the radical new hot dog with no sausage in it !
If you don't want the style to stagnate, the don't overlook its basic constituent elements !
Don Ellis was a mixed meter freak but he swung like a motherfucker... there you go !
Bratschenator 1 year ago
@bearishwearish I've studied with traditional players and players ushering jazz into the new age. You should try to appreciate the whole spectrum of jazz. This is coming from someone who loves Freddie Green and Eddie Lang but still loves Rosenwinkel. Expand your ears and your playing will thank you.
splanky87 1 year ago
@bearishwearish It must be frustrating for the older guys to have to listen to this kind of playing being called jazz. It's post-McLaughlin stuff for sure. Makes me want to run and listen to Red Mitchell !!
Bratschenator 1 year ago
@Bratschenator run and listen to red mitchell INDEED!!! I saw Sonny Rollins and Jim Hall in Vermont this summer a reunion that took 50 years! I lost it during "My One and Other Love" I had to leave my seat for I was afraid I was ruining the show for others around me. I'm guessing you would love my late mentor Claude Sifferlen. There is a small sample of a documentary about him on youtube as well as a few clips of him playing the clubs around Indianapolis.
bearishwearish 1 year ago
@bearishwearish Wow!! Did Sonny and Jim get too abstract??? Thanks for introducing me to Sifferlen, a beautiful player indeed !! Must have been wonderful to find a teacher like that.
Bratschenator 1 year ago
@ShiffronLandren , I'm afraid you've got pudding in your ears again...happens every time we forget to put your "helmet" on before mealtime. Go see the nurse at once!
cjenkinsjazz 1 year ago
@ShiffronLandren why do you gotta b such a nerdy d-bag and argue with people online about a man who plays his ass off. Who cares if your ears don't hear him playing the changes. This is Adam Rogers, not Barney Kessel.
hofner20 1 year ago
Shiff... Adam is definitely playing the changes. If you're expecting bop lines, sorry: this isn't 1957. Haven't you ever checked out Lennie Tristano's school of linear ideas? Late '40s, son, and it sounds a lot like this. Check out Tristano's "Line Up" and take a guess at the standard he's playing over.
shootthephoneco 1 year ago
@ShiffronLandren Yah, may I most sincerely suggest that you look at the transcription provided in the description box. Even if you can't hear it, that transcription makes it very clear that he is in fact playing the changes.
HendrixcommaMartin 1 year ago
@ShiffronLandren he is playing the changes... play the changes along w what he is playing its perfect.. al lot the concepts he is using which you refer to as bullshit are all coltrane and mccoy tyners influence... i think its safe to say they werent bullshitting either. it is jazz. it is blues and swing and all that great stuff jazz has always been just brought to a new level.
GLeone221 1 year ago
@ShiffronLandren Comp along with his playing (if you're capable) and then tell us he's not playing the changes. Or analyze the transcription (if you're capable) and then tell us he's not playing the changes. This is a demonstration of moving key centers around, which is clearly stated in the beginning. The only bullshit here is your comment.
bobbygoesbig 1 year ago
@ShiffronLandren its not much out. Just because you cant follow what he plays , agrre fully with poparad here, ur way out...clueless even.
pk978675 1 year ago
Incredible...
I want his brain, his fingers, his musical mind...
lessthan427 1 year ago
Does anyone wonder about the intent of the composer.
babinm 1 year ago
Yeah man, nice job on the transcription too.
mirthguitar 1 year ago
S M O K I N' ! ! !
bobbygoesbig 1 year ago
beautiful, musical playing...
bodhidharma2600 1 year ago
If you can't hear the changes, you just need to play on Miss Jones more!
TimboBandit 1 year ago 6
Adam Rogers is amazing and a real inspiration to any guitarist, any musician. I've been playing guitar for a long time but Jazz has been inacessible to me. I love it, and can play all the heads in the fake book, but I can't "hear" to improvise .. Help!!
HugeGene 1 year ago
He's in there.. if you can't hear it??! Lear MORE TUNES!!
geetarted 1 year ago
It awesome... he references tunes based on these change's If you can't hear it.. LEARN MORE TUNES!!
geetarted 1 year ago
I think it's important to realize that the stuff that AR is playing here is *not* in a normal performance context, i.e., there is not audible harmonic underpinning for the ear to use as a reference, hence why some folks aren't hearing the changes. Additionally, more modern jazz players aren't going to explicitly continuously outline the changes as was done in the swing era and pre-bop / be-bop. I regularly shed this tune and I have no problem knowing where is in the form. I
effsixteenblock50 1 year ago
my name is Adam Rogers. no joke just curious what i would find when i type my name in. Adam John Rogers is my name
L1zardK1n9 1 year ago
@L1zardK1n9 ASK
hugobugo36 1 year ago
ruling
geetarted 1 year ago
calm down.. he is awesome.... pissed of adam rogers.. you want..
geetarted 1 year ago
What a remarkable player! And yes, you can clearly hear where he is in the form at all times. He's taking his time and developing his ideas. Tal Farlow's version turned me onto this song, and you can hear that Adam is clearly one of the leading improvising guitarists of his generation. All ideas and no shopworn licks.
mgerakos 1 year ago
cool... thanks a ton for posting the transcription!
mwljazzguitar 1 year ago
great ! and thanks for the transcription !
toniak86 1 year ago
How can I check the Transcription. Just curious and thanks for mentioning it.
babinm 1 year ago
hes doing a great job.
timreyes58 1 year ago
This is wonderful, I didn't catch half of it when he played this in class. Thanks for transc. it as well.
xterrettx 1 year ago
andate a vedere claudio cusmano!!!
MrMarcoDiGrazia 1 year ago
This is great! Adam Rogers is one of my favorite guitarist but is anyone else having a hard time hearing the changes to HYMMJ? Even if he is changing keys which i don't think he is, its not there. Be interestinng to transcribe to see what he's really diving into.
MaScotheneyfield 1 year ago
Check the full description for the video.
Poparad 1 year ago
This comment has received too many negative votes show
But what i'm saying is he's not doing a very good job. It sounds great, playing very interesting stuff, but it's just not there, the tune that is. Don't get me wrong though I LOVE Adam Rogers.
MaScotheneyfield 1 year ago
You can't hear the tune? It is there, and he is outlining the changes. Just look at the transcription. There are some moments that he does veer outside through some chromatic planing idea or through a substitution to a different harmony (there are a few really clever ones in there), but he's always there with the tune. Again, if you don't believe it, check the transcription. The tune is always there.
Poparad 1 year ago 18
Hey thanks missed the trans. link that you allueded to before. I hear it now. Visual helped.
MaScotheneyfield 1 year ago
@Poparad Thanks for the transcription! I think I can see what MaScotheneyfield is saying, however... Ada,m chose to do some complicated stuff, but usually with a single instrument, you'd want to highlight the chord changes by staying true to the 3rd. He sometimes ignores the 3 altogether or gives it a different quality than is harmonically indicated. I think AR did it on purpose, sure, but I also can understand why someone would say that he's abandoning the "tune" for his own purposes... My $.02
duboyous10 1 year ago
@Poparad He goes pretty far outside at not just a few spots, but a lot of the time. I can see how it would be easy to get lost in the tune; the changes aren't that clearly outlined. At least, they aren't outlined in a traditional sense. Rather, it's that contemporary feel and interpretation that easily throws the untrained ear.
BillyC15 8 months ago
@MaScotheneyfield Play the changes with him
tmcdona1 1 year ago
@MaScotheneyfield Sounds like he's mostly nailing the changes to me.
BacEgChsBis 1 year ago
@MaScotheneyfield I think that if there was a band, or even just the chords, behind him, you would have an easier time hearing how what he's playing fits over the changes. Because it does.
HendrixcommaMartin 1 year ago
@MaScotheneyfield LOL I don't see how you could say it sounds good and that he isn't doing a good job. I think the intent is for people to enjoy it... right?
MontgomerylandFunk 1 year ago
@MaScotheneyfield Yeah, it sounds like F Major scale over and over to me.
tubeiroe 1 year ago
Yeah I just expected more. He's always in the general 'area' of the tune but doesn't aurally display it almost ever. And There's stuff in the transcription that is pretty unexplainable other than he just wanted to do that... Chris Potter's maser class bootleg is a good example of what playing a tune solo should sound like. Even when he's out you can hear the tune. You can ALWAYS here the tune.
MaScotheneyfield 1 year ago
@MaScotheneyfield Right, I listened more carefully and can hear him outline the tune to a degree.
tubeiroe 1 year ago
I understand the whole "Jazz student" thing were you gotta have all the bases covered, dotting all your "i's" and crossing "t's" but when are we going to get back to just listening and ENJOYING? Just a thought.
jazzmac03 1 year ago
Hmmm, good thought.
MaScotheneyfield 1 year ago
@MaScotheneyfield: What bootleg are you talking about, the All The Things One? Keep in mind that tune is lots more mathematical in its changes than HYMMJ, he's doing a lot of repeated figures there (but then in a way that's beyond whatever us mere mortals could ever dream up)
NJlo 1 year ago
@MaScotheneyfield Well, keep in mind what the songs are: Potter played "All The Things You Are." Not as difficult as this song here.
kabustard 1 year ago
Comment removed
BillyC15 8 months ago
Comment removed
BillyC15 8 months ago
@MaScotheneyfield I can hear the tune... sing it while he plays... no problems at all
zabingham 1 year ago
@MaScotheneyfield I'm hearing the changes pretty clearly. He's just not playing the shit that everyone else does over major 3rd progressions so I can see how it doesn't seem as obvious at first.
prsguitarsr4me 1 year ago
thanks for posting
earthchild100 2 years ago
Smokin'!
thechallengeresponse 2 years ago
truly the most nutz chops around
NateParton 2 years ago
YES !!!!!
dockdedos 2 years ago
This comment has received too many negative votes show
Sorry-it's a little too abstract for me, and doesn't have that Richard Rogers mystery. "Burning" technique isn't everything.
For the real McCoy, try Tal Farlow's version.
tdeecy 2 years ago
I love Tafarlow's and Charlie Mingus' version!!!
...However, I think that I like old Joe Pass' solo version a little more.
As for this video, I'm ripping it and saving it (lest it disappear) for a time when my jazz chops have improved to the point where I can put it to use.
Hoopermazing 2 years ago
shazaaaamm that was burning.
swyslouch 2 years ago
WOW it's AWESOME!!!
shama2 2 years ago
Man, his time is crazy. Anyone tried to put at metronome with his playing? He sound so solid. His tone is very cool as well. It sometimes sound lika trombone, both tonewise and his phrases. Anyone thought of that? 3:43 and forward :)
Best, Sandemose
Sandemose 2 years ago 2
Thanks for the transcription, what a fantastic work !
I think i will spend very much time on this !
jonasforlot 2 years ago
definately agree Mrzzajjazz... thanks alot for putting up the transcription, what jazz and music in general should be about, just sharing knowledge and helping each other explore and study music, thank you...
patfreecat 2 years ago
Thank you so much for sharing the transcription of this monster-impro by Adam Rogers! I've just started to take a look at it, and only on the first page I find so much information... A lot of hip things to learn! Keep up the good work Poparad!
Cheers mate :)
Mrzzajjazz 2 years ago
I see there is some comments on the Benson-style picking. To get a good description of this, I would recommend checking out Tuck Andress´ article on his website. He describes the mechanics of it very thoroughly. Great clip of AR btw!
Redchet81 2 years ago
O.o
maxigoodvibes 2 years ago
great video! and extra props for putting up a transcription that is too cool
ConradReeves 2 years ago
freedzable,
I am truly offended by the way you speak of my friend Jack Zucker. He is not only a wonderful person but a master gutarist. I mean that in every sense of the word.. We have played together on many ocasions and it has always nothing but a joyful experience and pure honest music. I would appreciate you not speaking about someone who plays like no other with such derogatory language. I would love to hear you play. Any sites that I could do that? Please let me know.
. Peace, Teddy
teddypantelas 2 years ago
This comment has received too many negative votes show
the GB picking style helps for some and not others. Its fairly common for jazz guitar players. Henry Johnson said GB told him that was the trick to playing really uptempo stuff . Disregarding this specific genre the fastest pickers ive seen dont use this technique so thats another way to look at it. Personally i dont really look at jazz guitarists as pioneers in technique b/c its usually more oriented around the lines, etc. I could be wrong. you want crazy technique check out guthrie govan lol!
trauma15 2 years ago
maybe I need more eart training , cause i barely ear the changes on his impro, can anyone talk about his concept? he is goin free outside with pentatonics or what? I know is not gypsy stylle but a few arpegios would center the lisener.
jazzlefty 2 years ago
There's a link to a transcription I did in the info box for the video. He's playing the changes, though occasionally he does venture outside, but that's not all that often. He's not blatantly outlining the changes all the time, but he's not ignoring them either. Sometimes he lets a countour of the melody, or a sequence, or a rhythm take precedence over the harmony, but at the end of it, he goes right back to the changes to ground things again.
Poparad 2 years ago
Comment removed
bluenotesoul 2 years ago
you have a bad ear
nateo5 2 years ago
hey nateo since when an amateur drummer have good ear training, ja ja .
jazzlefty 2 years ago
HIs sound massages my brain. I could listen to that all day.
cb041764 2 years ago
awesome
05rsx 2 years ago
This has been flagged as spam show
where is swing???
flajazz1 2 years ago
Every second of this video.
Poparad 2 years ago
This has been flagged as spam show
are you sure that you know what swing is?
flajazz1 2 years ago
Are you really going to start this ridiculous argument? Take your trolling elsewhere.
Poparad 2 years ago
He's playin like 240bpm. What are you talking about?!?!
jazzmac03 2 years ago 3
killer demonstratin, adam is the man!!!
Nu9v9 2 years ago
Swing is everywere except near you...
Sandemose
Sandemose 2 years ago 3
The reason why his wrist looks weird, is because he has that double jointed thumb or whatever it's called, like George Benson. If I'm not mistaking, I also believe Adam uses economy picking. Anyway, very good video, very good lines. Even with no harmony, you can hear him outline chords and changes very well.
xMiloTheGreatx 2 years ago
There physically is no such thing as double jointedness.
Adam uses a bit of everything in his playing, which is why he's such a consummate master. Lots of economy picking, but also lots of alternating, and lots of legato.
Poparad 2 years ago
I read a great article about different ways to hold a pick. The way he holds his pick is due to the joints in his hands. Many people hold a pick between the flat of their thumb and the side of their index finger. He holds it between the flat of his thumb and the flat of his index finger. So that's why his thumb is arched.
xMiloTheGreatx 2 years ago
this guy is an amazing guitar player. one of my new favorites. thank you for this video. do you have some more? sp
valdrighi 2 years ago
I have some videos of him playing with the Akron faculty from a few days before this masterclass. It's not the greatest quality... I'll see if any of it is worth putting up.
Poparad 2 years ago
amazing
fender0430 2 years ago
Too many great player hold the pick in totally different ways so there is no one "correct" way. However, the Benson/Rogers technique is particularly useful for heavier gauge strings because you can hit the lower strings hard to get a nice fat sound. Keep the right index finger almost straight and hold the pick at a 90 degree angle to the string. To do this you will have to tilt your right forearm from the elbow so that your palm is almost facing you. Hope that makes sense.
miamilew61 2 years ago
Very helpfu!
I'm trying this out after seeing Benson ( and Santana, Broom etc) use it for years.
If i'm doing it correctly , then my downstrokes will be 'cutting' the string on the right side of the pick?
And upstrokes will be slightly on the pick's left side.
Seems like the only way it works.
Thanks for some feedback...
bobgure 2 years ago
It sounds like you are keeping your right hand and forearm parallel to the strings, like most guitar players. Don't use a "cutting" angle. Anchor your right pinky on the pick guard and, with your index finger almost straight, pick with a "normal" pick angle on the 6th string. Your hand and forearm should no longer be parallel to the strings but facing you, I believe Benson also uses the rounded corner of the pick, with the sharpest angle pointing away from the guitar. Fatter sound.
miamilew61 2 years ago
is that a es339 or es335?
jrob521 2 years ago
A 1999 Gibson ES-335. He goes in to detail on his website about all the gear he uses.
Poparad 2 years ago
souds is great........
organic19 2 years ago
god knows how many thumbs down im gona get for this!!! but i really really like adam rogers, BUT to me this is a bit like a bad case of jazz diarhia.... nice lines but....
todioliver 2 years ago
I have to points to make in reply:
1) This was just a demonstration in a masterclass, so he stuck to only single note soloing. In a real solo guitar performance setting, a lot more variety in textures is necessary to keep in interesting, but since this was just a pedagogical demonstration, he kept it simple.
2) Without anything backing him up, without any harmony being spelled out by another instrument, it is hard to grasp all of what he's playing. (continued)
Poparad 2 years ago
(continued) The outside lines don't sound so outside since the inside isn't being specified; the polymetric ideas are more difficult to hear when not heard over a foundational rhythm from a drummer, and so on. When I play this for my students, I often comp along with the recording to help make it easier to understand for them.
Poparad 2 years ago
i can hear the harmony and the rhythmic ideas just fine on this clip. it's very clear to my ears.
mcj3691 2 years ago
are you stupid?
fender0430 2 years ago
are you dumb?
fender0430 2 years ago
weedlee weedlee weedlee wooop !
earsoup 2 years ago
Christ... it just pours from him
DrKaufman2009 2 years ago 2
Much agreed sheetsofsound... people need to listen to the music and disect IT as opposed to the mechanics. Tonality is what separates an individuals voices in contrast with another. Although it is important in "creating" your voice, being comfortable is more important.
BlingMasterFunk 2 years ago 5
who cares about the wrist. Listen to the music. Folks should worry less about the mechanics. Transcribe the music!
sheetsofsound 2 years ago
His wrist position seems strange to me, that's all. I make a lot of transcriptions and i listen a lot of course. But i work on my picking hand just now, so i'm curious about that. And i think the physical side has his importance, you have to find your position, which feets confortable. I mean, Look to Adam rogers, his picking motion is always the same, so he must have worked on it. Look to the tennis players, theirs moves are ever the same. So it seems important to me.
flooetoru 2 years ago
You always say the same: "just listen ect..." And so one, you try to tell us the "right way to make music". But personnaly, i think that working on a musician and trying to look to every details is a really interessant work. If you're sensible to a musician, so study the man, all the personn. Just stealing some licks frome one to another ,like you do, is not for me very interestning. It's like trying to play a Bach "cliché" and saying, ok i figured out what's bach.
flooetoru 2 years ago 3
I think you are superficial in your studies, inded your metheny lick is wrong, and to get the good articulation u have to play that lick in triplets by groups of 4. If you listen closely to pat in masterclass he emphasize the use of triplets. Working on someone's music is working on the all musician.
Sorry but you seem a little bit arrogant "sheetsofound".
flooetoru 2 years ago 4
in response to picking
he looks to have a double jointed thumb in which the pick strikes the string with an upward angle as opposed to a downward angle
selim22sivad 2 years ago
Just like george benson
durtmagert 2 years ago
es un genio
sebastianlubini 2 years ago
Great stuff Jeremy! More! More!
gawfshot 2 years ago
What a man...
Since i have discovered him few months ago i am ever listenning to him.
Just now i'm in the transcription of night and day in his last record.
There 's so much tastefull phrases...
But there's something i don't understand about his picking hand, how does he hold his pick? His wrist seems so strange... Someone could tell me?
flooetoru 2 years ago
Adam rests his pinkie on the pickguard as an anchor, and therefore his arm is parallel with the strings. George Benson picks this way as well.
Poparad 2 years ago
Thanks, but the problem is that i don't undersatnd the "Benson" technic.
How does he hold the pick between his fingers? I hold it in a traditionnal way, and i can't figure out what they do.
I 've tried but my wrist get in some nasty positions and i can't even play one note...
I need some explanations, or some pictures. Thanks.
flooetoru 2 years ago
As far as I know, he holds the pick in the standard way. The only things that's different is his arm is a bit lower so he can anchor his pinkie.
Poparad 2 years ago
Seems as if my last comment wasn't registered. Anyway, thanks a lot Poparad, the transcription is great!
ThisIsACleverName2 2 years ago
thx a lot!!!!
tylersuhr77 2 years ago
Ok, the transcription is up. I still haven't gone through and learned it note-for-note, but I'm pretty sure it's at least 90% correct. There are some really cool lines in there!
Poparad 2 years ago