I've said this about you before, you are one of the only TH-cam music educators out there that leaves their mistakes in their lessons. It makes you far more authentic and, at least for me, less intimidated by your ability. This is why I've actually purchased your books. Thanks for all you are doing!
So much clear and useful advice here, Janek. Definitely sharing this with my students. It's easy to get overwhelmed working on several things each day but to master one thing is so key. Thank you!
Sensei Gwizdala, do you have any further theoretical or practical insight into this? The closing bit leans into the c minor ness for sure, but even before that, the c minor feels like home. Thank you!
Hey Janek, Thanks for talking about your practice routine! 5 minutes of quality work is an excellent start. Concentration is like a muscle, the more you train it the stronger it gets. If you only solve one problem in that time you’re doing fine.. because the next day you’re going to take the solution with you to the next bar of music. After a while you realize that there aren’t actually so many different kinds of problems and you’ve already got a grip on them….and away you go! Discipline and having the courage to really be honest with yourself is 90% of quality practice.
Thanks, Janek I really like this approach and something similar has worked well for me. I’ve found shorter but regular practice working on arpeggios over two octaves through all 7 modes in different keys at slower tempos (e.g. 65 - 85bpm) has done more for my playing over the last 6 months than other routines I had been doing for 25+ years. I couple this with singing the notes as I play them and the main thing I’ve noticed is it’s helped my ability to come up with a bass line for a song more rapidly and then things seem to fall under the fingers better, plus I also noticed it’s really helping with my ear training. Great lesson and thanks again for providing this for everyone.
Love this! I always get super overwhelmed with the sheer amount of content I want to work on and not having enough time. I usually then feel guilty if I don't play but also if I don't cover the content I want and the content I want is vast as heck! I wish I could take the approach of "Not working on too much" but I always feel like I'm slipping in one area of another. Maybe I need to come up with and write some kind of schedule and focus on different things each day maybe? Great content as always. Having some of your books I love these videos as they often delve into more than just the books content and hearing your approach is amazing. Looking forward to seeing a UK visit on that tour page one day. That or I try and plan and convince my wife I "must" come to the states haha
The most I've practiced was 4 hours with your warmup, ii-V-I, and pentatonic books. I usually only do about an hour of practice/playing with about 20mins at the end of me playing songs I already know (because that's fun)
@@adammadtin8451 that’s a rough one. Those kinds of sessions rarely yield good results. I don’t think the brain or the body has the capacity to come out the other end in better shape than it started. Breaks are key.
I was surprised to see you aren’t using a metronome. What do you think about people like Wooten who state you should ALWAYS be using a metronome when you practice, especially repetitive stuff like this?
I’m not sure that Vic says you should ALWAYS be doing anything. There are so many variables that mean absolutes simply don’t work in music. I’m a huge fan of the metronome. I thinks it’s an incredibly important tool, but it’s not an organic source of rhythm. So there are many use cases where it’s an important tool, and many cases where it doesn’t improve the process. Just no absolutes as far as I’m concerned.
I like a mix. Metronome is essential for really getting the thing into your usable playing. Without a metronome is helpful while you ponder the theory, fingerings, and expansion of what you are playing.
@@janekgwizdalathanks for the reply. I’ve religiously used a metronome or drum track every time I practice for years. But I just tried doing it without, and actually found I could focus on other aspects more. I think you’re right - a mix is key.
Certain intervals in this exercise are thirds, but this is not a scale played in thirds. This is two triads, C minor and D Major, played using two notes at a time. Root and third, third and fifth, and fifth and root.
When does the metronome come in? You have great time, which we do not possess. Would you start off with a click right away at a low tempo, like 50-60bpm?
@@SeidellNorbel they don’t stay open when they’re brand new, but once you use them a little, they seem to stay open quite nicely. There’s also nothing stopping you from printing out the digital copy if you go that route and also want a few physical pages to sit flat on a music stand.
@@kseansummers9870 you should try asking yourself if you resonate with the sound this combination of triads creates. That’s what I do with anything I’m practicing. If the answer is yes, then it is enhancing my playing no matter what. There is no simple answer like “if you play this exercise you’ll be better at funk and gospel bass playing”. It’s an exercise. It builds technique. It expands harmony. If it doesn’t grab your attention, take the same intent with which I’m working on it, and apply that to something that inspires you. 👍
@@kseansummers9870 all the exercises I include in my books come from having heard them as musical phrases in songs or solos. The back end of this book includes chord changes and methods to apply the melodic material to different harmonic frameworks.
As an improvising musician, what do you think is the optimal balance between working on scales and exercises such as these vs playing over changes vs learning licks and phrases by ear?
I don't think there's an optimal balance, and if you try and think about it like that you might be missing the most important aspect of the process which is the will power and imagination to do the work no matter what. It's kind of like asking where the balance between reading, writing, and speech skills are if you want to be able to hold a good level of conversation with someone else who speaks your language. There isn'a a balance, there is simply the vast dictionary of vocabulary you need (depending on the topic of course), and the experience of basic muscle memory and speech-based motor skills required to execute the sentences and phrases. Treat improvisation the same way you do your native language, and you'll be fluent far sooner than if you think about trying to balance licks, phrases, scales and patterns.
@@janekgwizdala that makes sense! Thank you for taking the time to respond. I am finally going to start recording myself on gigs and I think that that will help guide my practice a bit more.
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Repetition, critical thinking and patience... Is the key. Thank you master Janek
I've said this about you before, you are one of the only TH-cam music educators out there that leaves their mistakes in their lessons. It makes you far more authentic and, at least for me, less intimidated by your ability. This is why I've actually purchased your books. Thanks for all you are doing!
When ever I lose the motivation to practice I always come back and watch Janek's videos its so encouraging🙏
I just did 12 keys of minor/major chord tone practice, playing vertically across the fretboard while watching a movie for an hour :D
So much clear and useful advice here, Janek. Definitely sharing this with my students. It's easy to get overwhelmed working on several things each day but to master one thing is so key. Thank you!
Chords from G harmonic minor resolving to Cm so beautifully! Wonderful.
Sensei Gwizdala, do you have any further theoretical or practical insight into this? The closing bit leans into the c minor ness for sure, but even before that, the c minor feels like home. Thank you!
Hey Janek, Thanks for talking about your practice routine!
5 minutes of quality work is an excellent start. Concentration is like a muscle, the more you train it the stronger it gets.
If you only solve one problem in that time you’re doing fine.. because the next day you’re going to take the solution with you to the next bar of music. After a while you realize that there aren’t actually so many different kinds of problems and you’ve already got a grip on them….and away you go!
Discipline and having the courage to really be honest with yourself is 90% of quality practice.
Thanks, Janek I really like this approach and something similar has worked well for me. I’ve found shorter but regular practice working on arpeggios over two octaves through all 7 modes in different keys at slower tempos (e.g. 65 - 85bpm) has done more for my playing over the last 6 months than other routines I had been doing for 25+ years. I couple this with singing the notes as I play them and the main thing I’ve noticed is it’s helped my ability to come up with a bass line for a song more rapidly and then things seem to fall under the fingers better, plus I also noticed it’s really helping with my ear training. Great lesson and thanks again for providing this for everyone.
Great stuff, Janek.
Love this! I always get super overwhelmed with the sheer amount of content I want to work on and not having enough time. I usually then feel guilty if I don't play but also if I don't cover the content I want and the content I want is vast as heck! I wish I could take the approach of "Not working on too much" but I always feel like I'm slipping in one area of another. Maybe I need to come up with and write some kind of schedule and focus on different things each day maybe? Great content as always. Having some of your books I love these videos as they often delve into more than just the books content and hearing your approach is amazing. Looking forward to seeing a UK visit on that tour page one day. That or I try and plan and convince my wife I "must" come to the states haha
Perfect practice makes perfect thanks Janek
Great exercise! I love Your books.
Thanks for the inspiration once again!
5 and 20 minute workouts, cheers as usual Janek 👍🏼
Great video, thanks for sharing with us !!
Just sitting here obliterating this mango watching janek practice
Great advice here! For me, this is the only way to learn new material.
Gold.
The most I've practiced was 4 hours with your warmup, ii-V-I, and pentatonic books. I usually only do about an hour of practice/playing with about 20mins at the end of me playing songs I already know (because that's fun)
Really appreciate you showing us full unedited practice routine. I'd happily watch more. (Second channel material?)
@@rodoherty1 wish there was enough interest for a second channel. I’m simply not that big in TH-cam terms to justify it.
I want this preview as a poster over my workdesk
1-3 hours a day is a good starting point
lets gooo !!! practice practice practice
You should get Dr Bassius on your show
My last session was 5 hours without a break and my neck has been fu$ked for a week and waking up dizzy every day due to the neck strain
@@adammadtin8451 that’s a rough one. Those kinds of sessions rarely yield good results. I don’t think the brain or the body has the capacity to come out the other end in better shape than it started.
Breaks are key.
I was surprised to see you aren’t using a metronome. What do you think about people like Wooten who state you should ALWAYS be using a metronome when you practice, especially repetitive stuff like this?
I’m not sure that Vic says you should ALWAYS be doing anything. There are so many variables that mean absolutes simply don’t work in music.
I’m a huge fan of the metronome. I thinks it’s an incredibly important tool, but it’s not an organic source of rhythm.
So there are many use cases where it’s an important tool, and many cases where it doesn’t improve the process.
Just no absolutes as far as I’m concerned.
I like a mix. Metronome is essential for really getting the thing into your usable playing. Without a metronome is helpful while you ponder the theory, fingerings, and expansion of what you are playing.
@@janekgwizdalathanks for the reply. I’ve religiously used a metronome or drum track every time I practice for years. But I just tried doing it without, and actually found I could focus on other aspects more. I think you’re right - a mix is key.
Cool as allways! Thank you so much maestro Janek! Can I ask whats about the double p-config and just the four string?
it gives way more fatness to the sound of the instrument, and a bunch more options for pickup selection and blending.
@@janekgwizdala ok, thanks for the response! Exciting to see if this catches on!
Thanks for sharing/teaching...sounds like thirds, is that what is called thirds?
Certain intervals in this exercise are thirds, but this is not a scale played in thirds. This is two triads, C minor and D Major, played using two notes at a time. Root and third, third and fifth, and fifth and root.
When does the metronome come in?
You have great time, which we do not possess. Would you start off with a click right away at a low tempo, like 50-60bpm?
Janek, do you physical books lay flat well or do they need something to hold em down? I'm torn between physical and digital lol
@@SeidellNorbel they don’t stay open when they’re brand new, but once you use them a little, they seem to stay open quite nicely. There’s also nothing stopping you from printing out the digital copy if you go that route and also want a few physical pages to sit flat on a music stand.
@@janekgwizdala I am conflicted because I miss physical books but pdfs are so darn convenient lol
Can you explain what this particular exercise it good for? How should it affect my overall playing?
@@kseansummers9870 you should try asking yourself if you resonate with the sound this combination of triads creates. That’s what I do with anything I’m practicing. If the answer is yes, then it is enhancing my playing no matter what.
There is no simple answer like “if you play this exercise you’ll be better at funk and gospel bass playing”.
It’s an exercise. It builds technique. It expands harmony.
If it doesn’t grab your attention, take the same intent with which I’m working on it, and apply that to something that inspires you.
👍
@@janekgwizdala Thanks. I like the exercise, but I'm having a tough time thinking of ways to apply it.
@@kseansummers9870 all the exercises I include in my books come from having heard them as musical phrases in songs or solos. The back end of this book includes chord changes and methods to apply the melodic material to different harmonic frameworks.
As an improvising musician, what do you think is the optimal balance between working on scales and exercises such as these vs playing over changes vs learning licks and phrases by ear?
I don't think there's an optimal balance, and if you try and think about it like that you might be missing the most important aspect of the process which is the will power and imagination to do the work no matter what.
It's kind of like asking where the balance between reading, writing, and speech skills are if you want to be able to hold a good level of conversation with someone else who speaks your language. There isn'a a balance, there is simply the vast dictionary of vocabulary you need (depending on the topic of course), and the experience of basic muscle memory and speech-based motor skills required to execute the sentences and phrases.
Treat improvisation the same way you do your native language, and you'll be fluent far sooner than if you think about trying to balance licks, phrases, scales and patterns.
@@janekgwizdala that makes sense! Thank you for taking the time to respond. I am finally going to start recording myself on gigs and I think that that will help guide my practice a bit more.