As the old saying goes…

“You can’t teach an old dog new tricks”.

We all know that, right?

But…

It’s 100% untrue. For humans at least.

Check this out:

http://www.bbc.com/future/story/20170828-the-amazing-fertility-of-the-older-mind

This article dispels many of the myths surrounding an older person’s ability to learn. One of the examples given is a lady called Priscilla Sitienei from rural Kenya that learned to read and write…at the age of 90!

To quote the article:

“The latest studies from psychology and neuroscience show that these extraordinary achievements need not be the exception. Although you may face some extra difficulties at 30, 50 – or 90 – your brain still has an astonishing ability to learn and master many new skills, whatever your age. And the effort to master a new discipline may be more than repaid in maintaining and enhancing your overall cognitive health.”

Here’s the thing:

If you believe you can’t learn new things, then the mind will happily reinforce that belief for you. Lack of confidence in learning is probably the biggest stumbling block when it comes to older people mastering skills.

And it’s a worry if you think like this – learning new things, especially in old age, is very important to maintain your cognitive and overall health.

So dust off that ol’ jazz guitar, it’s time to get to work.

~ Greg

I read a very interesting article today (that might raise some eyebrows), called “Are Schools Necessary?” by V. Orval Watts.

Here’s the link by the way:

https://fee.org/articles/are-schools-necessary/

I think the question needs to be raised:

Do you need to go to a prestigious music university in order to be a great jazz player?

The answer for me is…

A resounding NO.

The idea that schools, universities and so forth are essential for learning – is flawed.

Of course, they offer a lot of great opportunities and connections with other players. And for sure, they can help accelerate the learning process.

On the flip-side though…

Students often get too dependent on these kinds of institutionalized systems when it comes to learning. They think that passing tests, getting grades and earning a degree or some qualification equals mastery.

But it doesn’t. As everyone knows, getting a formal qualification does not necessarily mean you have fully understood and internalized the subject.

Furthermore, people that haven’t had the opportunity to go to these prestigious schools think that they have “missed the boat”, and they won’t be able to realize their dreams to become a great jazz player.

But:

To quote the above article: “an individual becomes truly educated only as he learns to educate himself.”

Thinking that you need to go to a prestigious jazz school in order to play music is nothing more than a self-limiting belief.

Once I took responsibility for my own learning, put in the effort and sought out the answers to my questions off my own bat, I started to make rapid progress with my jazz playing.

And you can too.

~ Greg

Here’s a Jazz Police tale for you.

Recently I was booked to do a duo guitar gig but my usual partner-in-crime wasn’t available.

So I asked around and got a replacement player.

At the gig, we kicked things off with a tune that I know pretty well, On Green Dolphin Street.

As we were playing I noticed he was watching disapprovingly how I was using my fingerstyle technique to play the chord melody and chord solo.

Once we finished the tune, he lent over to me and said:

“Interesting that you’re using your fingers to play Jazz. Don’t worry, once you get more advanced you’ll graduate to pick eventually.”

What an odd thing to say.

The ironic thing about this: Joe Pass actually “graduated” in reverse – he started with a plectrum, then went to fingerstyle when he got more interested in chord melody and solo guitar.

Or what about Wes Montgomery – he just used his thumb, and he got by pretty well (to say the least)…

But I do find this attitude crops up here and there with the Jazz Police – assuming one technique is “better” than the other.

Here’s my two cents:

Whatever suits your playing style, and your interest, you should focus on that.

There are great advantages to using a pick, using fingerstyle, a combination of the two – whatever works.

It doesn’t matter really – in the end as long as you’re making great music, use whatever technique that helps you to make that happen.

Greg O’Rourke,

Founder, Fret Dojo

World Leader in Online Jazz Guitar Education

Have you seen the new Star Wars movie yet? (Don’t worry, no spoilers in this email). Great film, highly recommend.

As I was watching it, it reminded me of one of my favorite (old school) Star Wars scenes – video below:

Here, we witness Luke Skywalker getting his first taste of using a lightsaber, the weapon of choice for a Jedi.

And he sucks.

Why?

Obi-Wan Kenobi (Luke’s wise old mentor) notices that Luke is trying too hard, and thinking too much.

“This time,” he instructs, “let go your conscious self, and act on instinct”.

All of a sudden, Luke can defend a barrage of laser shots – even with his eyes closed.

Here’s the thing:

Obi-Wan Kenobi is not just a great Jedi master. He would have been a great jazz guitar teacher as well.

Too often, jazz players are thinking too hard when they play, resulting in tight, awkward technique, choking their ideas and phrasing.

By learning to “let go”, and “trusting your feelings” (more Obi-Wan wisdom), your technique, and hence your music, will begin to flow effortlessly, spontaneously and naturally.

I know you may scoff at this, like Han Solo in the above video, but I’m serious.

This simple approach has done wonders for my own playing, and it will do wonders for yours. All you need to do is learn how to take advantage of the natural power of your subconscious mind.

~ Greg