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Thread: Getting Jazz Mandolin (the book)__note vs positions

  1. #1
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    Default Getting Jazz Mandolin (the book)__note vs positions

    Another question re the exercises in GJM.

    I understand the importance of following the exercises as they relate to finger position.
    I also understand that there is something to be gained from reading the notes or tablature as I am playing.

    But I am finding that once I have properly applied the tablature that I gain more speed, confidence, and dexterity from applying myself to the mandolin positions and fingering than I do from looking and following the noted material (the staff). It feels more real and substantial, if you know what I mean.

    My question is: Is it the intent of the book that I (repeatedly) read the sheet music or that I refer to the notation only long enough for me to ‘get it’ and then for me to practice the material without having to refer to the notation (unless I get stuck). (My inclination is to think that this is not a book about reading music and so the notation is only there to provide me with an exercise I can perform sans the book.)

    Any thoughts?

  2. #2
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    Default Re: Getting Jazz Mandolin (the book)__note vs positions

    Ultimately, you will likely find it invaluable to learn to read staff. There is very little tab available relative to the amount of music you can get in staff format.

    In this book, the tab provides a great guide to finger/hand position and what you learn from it will improve both your hand strength and your playing. (as you have already discovered!) Tab is a great means to an end, but learn the staff too.

  3. #3
    Registered User "Umm, fish?"'s Avatar
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    Default Re: Getting Jazz Mandolin (the book)__note vs positions

    I would think that a lot of the point of Ted's book (correct me if I'm wrong) is ultimately to get you thinking about the relationships between the scales in meaningful ways. Take what you need out of it. When you are ready, go back for more.

    I personally hate scale exercises and used the book just enough to start understanding the relationships among the different scales in each diatonic "cluster" on the fingerboard. I used it to help understand the relationships between the ii-V-I and other chord progressions. I also stole some cool chord shapes.

    Then, honestly, I stopped playing the exercises and started practicing improvising using the concepts. But getting lightning fast on finger studies has never been my goal. Your needs may be different.
    --------------------------------------------------------
    Andy

    "Not to know the mandolin is to argue oneself unknown...." --Clara Lanza, 1886

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