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Pat Metheny Guitar Etudes: Warm-Up Exercises for Guitar Format Kindle
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Fidèle à lui-même, Metheny laisse de côté les démonstrations techniques. Il faut dire qu'il ne joue au départ que pour lui-même dans le contexte énoncé plus haut. Chaque morceau peut s'apparenter à un moment individuel d'introspection musicale.
On dispose toutefois avec chaque pièce d'une matière technique impressionnante. Pèle-mêle travail des allers-retours, du démanché, des improvisations sur notes redoublées, saut de corde etc. etc... Plus encore on retiendra ces figures harmonico-mélodiques réutilisables à l'envi (notamment avec l'emploi des triades), mines d'idées pour l'improvisateur néophyte ou aguerri. Metheny arpente son manche et le fait chanter. Il réussit à travers cet ouvrage à nous communiquer un peu de sa transe lyrique.
Ce sont des ligne mélodique , sans aucune indication harmonique , seulement il y a des endroit où l'on souhaiterais savoir ce
qui se passe dans la tête de Pat...
Un intérêt technique peut être , mais à ce compte là , allez bosser les partita de Bach
Vous y apprendrez bien plus de chose et surtout un contexte harmonique évident et de jolie mélodie...
Mais ne perdez pas votre temps sur ce recueil .
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I have only owned this book for ONE day and have barely scratched the surface; however, I already have a ton great things to say about this book. First - be sure to read the Preface before beginning. In regards to content, Pat explains that these exercises (pretty much) have no specific lesson... which I think is great! The exercises were warm-up routines that Pat played before some concerts he did while on tour in Italy - All of which were improvised. He simply recorded the exercises each night and then transcribed them out. You are left to interpret the ideas and lines in your own way, which is kind of like a theory lesson built-in to the exercise. After playing through an exercise a few times, you'll go "Oooooh, that's what that is" or "I've heard him do THAT before." It's great!
Pat DOES acknowledge that the études were/are intended for two purposes: right hand technique and dexterity throughout the fret board. And this is certainly the truth! In a matter of 24-bars, you are playing all over the fretboard. You really begin to see patterns in new ways and new shapes. And if you think you are stumbling on something because of the left hand fingering, check out what your right hand is doing....
One last thing -- there are no chords symbols, finger numbers, or position numerals. There are notes and tabs. That's it. Again - Leaving it up to your interpretation.
To start 98% of the book is straight eights. There is one etude that's in 6/8 but it's still all eight note triplets. So don't expect to take any interesting rhythmic concepts away from this book. Also this is all single note improv with no backing chord structure. Not that the chords he's implicating are seriously complex or anything, but it does leave you hanging in a big way. Because there's no backing chords there's no real harmonic analysis that can be done, so even if you think the diminished line you just read sounds cool there's no new understanding of how Pat would superimpose it.
On the positive side of things this book does represent a decent set of coordination exercises. Theoretically you could apply your own chord structures to figure out harmonic application and you would certainly come away richer for the experience. But I didn't buy this book because I wanted to fill in the blanks. I bought it because Pat Metheny wrote it and I believed it would give me some sort of insight into his approach of applying structures over chords. I hoped he may reveal some thought process behind each warmup. Sadly he provides nothing close to this.
If you want a book of jazz etudes your money is much better spent on Greg Fishman's "Jazz Guitar Etudes". Pat sums up what this book is about in his intro when he says he just recorded himself warming up before some gigs. He took those recordings, sent them to a transcriber at Hal Leonard, they printed his name in giant letters on the top of the book and he's made a quick buck. And he barely had to do anything out of the ordinary! I'm not saying Pat's not smart, I just don't enjoy folks being smart at my expense. Do yourself a favor and buy the aforementioned book or technique book. Better yet, buy Pat's albums and transcribe them (you may actually learn something). Just don't bother wasting your money on this, don't encourage more artists to be so lazy. I expected better out of you Pat.
From a technical standpoint, one way to view 'Guitar Etudes' is as a rolling thesaurus of Pat's picking technique and applications of it to
the raw material of improvisation. While you may not find many of his 'licks' per se in these pages, you may come to recognize the landscape and soil they germinate from. And that's the first step to appreciate how improbable it would be, without the ability to spin these lines freely and consciously, for the vocabulary Pat crafts from them to arise spontaneously during actual playing.
For me, that's primarily what's revealed here. Musically, the etudes are by-and-large diatonic 'vanilla' streams of steady eighth notes and triplets in scalar and wide-interval forms that, while technically challenging, don't do justice to Pat's colorful sense of harmony and rhythmic subtlety - but that's not the point here.
What I would suggest is playing loosely through these pieces and allowing yourself to be drawn to smaller segments you then isolate and use as jumping off points to problem-solve and expand your technique (write your own etudes) or develop the segments into musical phrases of your own, integrated with your own vocabulary.
From that point of view, I found a lot here - but unlike many books it's not laid out in small-bite exercises. I think Pat assumes players approaching this book have travelled the path awhile and can reflect upon what they need to advance their playing. He's just presenting himself as a fellow traveller and giving a glimpse into his practice routine at some of the solutions he's come up with.
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