The Precision Technique

itar, but also made a start on Ticket to Improv volume one. My problem is I've never played single string stuff on the guitar, nor ever used a pick so this new project is a real challenge (I am 69 yrs old so don't perhaps learn quite as quickly as I used to!)My biggest struggle is placing the fingers of the left had on the right strings (you can't really see the fretboard when you're looking edge-on) and then trying to hit the correct string with the pick. Sounds easy but it's not! I am improving though - just too slow for my liking, but I do realise it will come with time. The coming winter will give me more time to practice. I am enjoying it though and that's the main thing. Bob's various narratives have been very helpful and inspiring, as has the player's gallery.I really like Bob's approach to learning - it is exactly the approach I've discovered for myself over many years on different instruments. Practice by playing the music you want on the instrument - use exercises only when technical facility needs to be specifically improved. Leave theory to later (or maybe not at all).
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he could teach you the songs both ways. Joe Pass said one time that Robert Conti was the "fastest guitarist alive". I believe Joe. There is a genius alive behind that guitar, in that man. In those fingers. If you are a dedicated jazz player, you need to check out Conti's lessons. You will go somewhere with your abilities. Conti taught me that once you have the foundation...the chords...THEN, the chops can come...so, be patient with the chops...sharpen the axe of your fingers with some of Conti's "String Fever", when you're ready...if you're gonna cook, you gotta stay in the oven for a while, so, you gotta practice, or you aren't gonna get a thing.
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te jazz guitar players. Later on I started to buy records from Wes Montgomery, Martin Taylor and Kenny Burrel, and later on also Mike Stern and Bireli Lagrene. Few weeks ago I saw Bireli Lagrene playing in Paris and coming weekend I will see him again playing at a fstival in France. Just wanted to say that since I heard you for the first time (on You Tube) a few weeks ago, I am listening to you several times a day; you are truly an amazing jazz guitarist; the way you combine musicality with an incredible virtuoso speed of playing (which I sofar only saw with Bireli Lagrene and Joe Pass) is just superb.Best regards,Jos Vesters
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aying fast, smooth, flawless and with style that you can learn only from a master like Mr. Conti. You have others that play good guitar but they do not know how to teach or pass on their knowledge that is why you cannot call them a master. A true great master is a teacher who knows how to make the student understand and also play as good as the teacher himself. Once again Thank God that I found you on the internet and I thank Mr. Conti that I will soon be able to play like him. Can you imagine the look on my face and on the face of others when they see me play like my great Maestro Robert Conti.Regards,Ashok Hirdaramani
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tension, size, and spacing. But (since I mostly play the jazzbox) I was not doing the exercises on my classical guitar. After only a week of work splitting my "PT Time" between both guitars, I now find after playing my jazzbox, if pick up the classical and simply play one of the exercises I know one time (have worked through 3 of them so far), it is like I have been playing the classical all day! I thought that Mr. Conti might be interested in this different use for PT. It is useful even though I don't use a pick and it is most useful in helping me move between guitars quickly. Great Stuff!
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e. As a result, my new minimal pick stroke (and the resulting increase in speed) is somewhat short of amazing to me. Thanks again for your help and send on my thanks to Mr. Conti.David Dacolias
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ing through these books. Lucas Costner
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was amazed to hear you say that you used the 0.038 Dunlop nylon pick, because I've been using Jazz III picks or the moral equivalent for years. Not wanting to be close-minded, especially after seeing your demonstrations and hearing your arguments in favor of a thin pick, I decided to give it a try. By the third day of steady practice, it produced the first real breakthrough in my picking technique in twenty years, so I felt obliged to write and say thanks. I've been pushing speed limits that were not possible before. For me, just going 110 is a breakthrough, and I've been touching 120. I have gotten to like the Dunlop .046 nylon pick because it's light enough to eliminate the accursed bounce that you describe and demonstrate on The Precision Technique, but there's enough impact for a good dynamic range. I found .038 a little too soft, but I may change my mind. Anyway, don't want to take all day to explain this -- I think your DVDs are outstanding, and I really enjoy them. You not only know what you know, but you know what the audience DOESN'T know, and you take the time to anticipate their misunderstandings and clear them up. That's the mark of a great teacher.
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from teachers. I actually quit playing 20 yrs. ago out of frustration, I was playing in a popular country band for years but always was interested in Jazz and could never find a teacher or book that unlocked the secrets, with Robert's materials I now have a new outlook and feel as though playing jazz is actually within reach in the not too distant future. I can say this is the best and most detailed discussion I have ever seen on right hand technique and Robert makes logical conclusions to solving old problems. Most courses or teachers hold back the mystic secrets and only give up enough to keep you coming back, Robert gives you all you need and then some!!! I hope to someday have the pleasure of meeting Mr. Conti, just by watching his videos for so many hours makes me feel as though he's a regular kinda guy deep down and truly wants to help us mere mortals in guitar land. Someday I hope to purchase one of his guitars as well.
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