I took out Mickey’s first book the other day and have been going over some of the lines. It dawned on me that Mickey doesn’t talk about playing out of shapes. He’s decidedly ‘old school’ yet he doesn’t talk about this at all. (If he did, I missed it.) Does this strike anyone else as curious?
Picked up Kessel’s “The Guitar” at the library (via inter-library loan) yesterday. Barney was a four-shape guy, as was said above: C, Bb, F, and G. (What he calls Bb most would call “A” and what he calls “F” is what others call open E. I think to be consisted, he should switch “C” to “D” (-so there are no open strings), but who am I to tell Barney Kessel what to do???
Yeah, Mikemc, I saw that page with the Barnes books for 100 bucks or so. I think Amazon lists one of his books (-used) for a hundred bucks. Too rich for my blood!
One thing I can see already is that although I’ve learned a lot of lines from Herb, in his books he doesn’t talk much about using one shape in multiple ways the way Tommy does. (I like the point Tommy makes in one of his lessons: “There’s only so many ways your fingers will go on a guitar.” Something like that. Meaning, you use the same shapes but in different places—in relation to the chord of the moment—they produce different results. That’s something I need to learn more about.)
Thanks, Craner! That’s quite a find. Have to bookmark this and set aside time to work through it. (By the way, I was at the library earlier and placed an inter-library loan order for the 4th edition–1973–of Barney’s “The Guitar.”
Now about the Kessel approach mentioned above. Is that from his 1973 book “The Guitar”? I should be able to get that via inter-library loan.
Tommy, I’m not sure I follow you. Let’s take this slow. You wrote, “If I drop an e shape a step I get 9nth chord with an 11th.”
Let’s say an “E” shape at the sixth fret would be a Bb (major) chord, right? (Bb, D, F) The 9th of Bb would be C and the 11th would be Eb. So when you say “step” you mean whole step, as in two frets, right? That would be Ab: Ab, C, Eb.
Now, are you saying you would be play an Ab triad to get a Bb9 sound? Or that you would use that shape at that position (the fourth instead of the sixth position, in this case) and play the same sorts of licks as you’d play over Bb major and a Bb9 sound will result because you’ll be hitting the 9th and 11th rather than the 3rd and the 5th? I can see what I’ll be practicing in the morning… ;o)
Great responses, guys! Yes, Mikemc, that’s me at Jazz Guitar Online. I play something of Herb’s every day. I like his approach. At the same time, there are other things that I want to do that require a different approach, so I’m always foraging for something new (or old-but-unlearned, like something from the Mickey Baker book I never got down.) I’ve never read Kessel’s or Barnes’ books, so I don’t know anything about their teaching approaches. I’ll see what the library has to offer….
I’ve learned a lot from Mickey’s book. He doesn’t explain everything but usually when I work with a lesson a bit I’ll think, “Oh, this sounds like a cool intro,” or “Hey, that change would fit in such-and-such a song”, and then I’m off to the races.
A friend of mine has made several videos of the lessons from the books (-so far, it’s the chord stuff from the first half of the book) and they’re worth checking out.